Page - 1011 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 1011 -
Text of the Page - 1011 -
1011Illustrations
8.36 Jacopo Strada, exterior design for the Munich Antiquarium, exterior
elevation, ornamental balustrade; detail of ill. 8.15    419
8.37 Rodrigo Gil de Hontañon et al., Palacio de Monterrey, Salamanca
(from 1539); image Wikimedia/ Gfreihalter (CC BY-SA 3.0)    419
8.38 Cornelis Floris de Vriendt and Adriaan Michiels, chancel around
Sacrament altar, Church of St Leonard, Zoutleeuw (Belgium), ca
1550–1560; image © KIK-IRPA / Paul Becker 
  420
8.39–8.41 Jacques Androuet du Cerceau, designs from an untitled series of
ornamental motifs Balustrades dites Bordures ou Petits nielles; image
BN-INHA, collections Jacques Doucet, sig. 4° Res 88, pl. 3, 17 and 27
(open licence)    420
8.42 Simon Zwitzel, design for the Antiquarium, section, 1569; BHStA,
Plansammlung, nr 7940 
  422
8.43 The Munich Antiquarium after the air attack of April 1944, show-
ing the construction of the vault and the iron tie-rods; image from
WESKI/FROSIEN-LEINZ 1987, vol. 2, p. 17, Fig. 8    422
8.44 Anonymous, detail of the interior of the Munich Antiquarium, show-
ing the disposition of the statues as planned by Jacopo Strada, draw-
ing; BSB-HS, Cod. icon. 198c    426
8.45 Jacopo Strada, proposal for the arrangement of the statues in the Anti-
quarium; detail of ill. 8.20    427
9.1 Nicolas Neufchatel, Emperor Maximilian II, 1566; KHM, Gemäldegal-
erie, inv. nr GG-374    430
9.2–9.3 Alexander Colin, Tomb of Emperor Ferdinand I, his consort Anna
of Hungary and his son, Emperor Maximilian II, 1565–1583; details
showing the effigy of Maximilian II and a medallic portrait of King
Wenceslaus IV, Prague, St Vitus Cathedral; images author    431
9.4–9.5 Giulio Licinio (?), Cesare Baldigara and Ulisse Romano, remainders
of the stucco and painted decoration in the chapel of the Royal castle
at Pressburg, ca 1563–1569; images ©Peter Barta. I am grateful to
Dr Barta and Annemarie Jordan Gschwend for having provided these
images 
  432
9.6 View of the castle at Kaiserebersdorf, wall-painting in the Palazzo Vec-
chio, Florence, 1565; image from MÃœLLER/KRAUSE 2008, vol 2, Fig. 14
(photograph M. Schulz) 
  433
9.7 View of the castle at Kaiserebersdorf; engraving by Georg Matthäeus
Vischer from his Topographia archiducatus Austriae inferioris moder-
nae, vol. 1, Das Viertel unter Wienerwaldt, Wien 1672, fig. 23    433
9.8 Stone with the monogram of Emperor Maximilian II and Empress
Maria, from their hunting lodge at Katterburg (now Schönbrunn) near
Vienna; image from HASSMANN 2001, p. 435    435
back to the
book Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Volume 2
- Title
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Subtitle
- The Antique as Innovation
- Volume
- 2
- Author
- Dirk Jacob Jansen
- Publisher
- Brill
- Location
- Leiden
- Date
- 2019
- Language
- English
- License
- CC BY-NC-ND 4.0
- ISBN
- 978-90-04-35949-9
- Size
- 15.8 x 24.1 cm
- Pages
- 542
- Categories
- Biographien
- Kunst und Kultur
Table of contents
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038