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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
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Introduction10 treatise, but he did comment on Strada’s drawings in a letter to his learned colleague Basilius Amerbach the Younger. Occo had admired the richly bound volumes of numismatic drawings that Strada had provided to Duke Albrecht v of Bavaria, and reports the fabulous price of a ducat that Strada was paid for each of these splendid drawings. Though Occo is sceptical about the veracity of many of the drawings, he yet deems it a precious treasure, truly befitting a prince.10 Strada had made the huge folio volumes of numismatic drawings com- mended by Occo for the Emperors Ferdinand i and Maximilian ii—these were preserved in the Imperial library in Vienna—and for Hans Jakob Fugger and Duke Albrecht v of Bavaria: these later ended up as spoils of war in the library of Duke Ernest the Pious of Saxe-Gotha-Altenburg at Gotha. In both places they excited the interest of the officials locally responsible, such as the learned statesman Veit Ludwig von Seckendorf. Appointed librarian at Gotha in 1654, when he was hardly twenty years old, he had meanwhile been promoted to Privy Councillor of the Duchy. In a letter to Johann Andreas Bosius of 5 De- cember 1657 he gave a summary description of Strada’s volumes, of which the Duke had given him the first three to study, and added some critical notes on their contents. This letter became publicly known only in 1714, when it was transcribed in its entirety in the catalogue entry for the Strada manuscripts in Ernst Salomon Cyprian’s Catalogus Codicum manuscriptum Bibliothecae Go- thanae, together with a full transcription of Strada’s preface annexed to one of the Gotha volumes.11 The related volumes of Strada’s numismatic drawings preserved in the Im- perial Library in Vienna were of easier access than those in Gotha. In his travel diary Charles Patin [Fig. 0.9] relates how he once had been received by Em- peror Leopold i [Fig. 0.7], who had allowed him free access to the Imperial Library where, among its inexhaustible treasures, he had particularly admired 10 Quoted in Patin 1683, pp. 188–189. Occo’s own treatise, Impp. Romanorum nvmismata a Pompeio Magno ad Heraclivm, was printed in Antwerp by Plantin in 1579 (occo 1579). Other references and comments to Strada’s printed numismatic books crop up in sev- eral specialized bibliographies, such as the Bibliotheca nummaria by the Jesuit Philippe Labbé, first published in 1664. However, Labbé created a bibliographical ‘ghost’: a ‘The- saurum antiquitatum, sive imperatorum romanorum orientalium et occidentalium Icones ex antiquis numismatibus delineatae absque aversis illorum partibus, Lugduni anno 1551, in 4o’, of which no copy has ever been found. It seems likely that he either quoted from a copyright privilege or from the title page of a lost manuscript (Labbe 1675). 11 Cyprian 1714, cat. nrs. 239–263, pp. 83–87; he also included verbatim a passage describing these volumes in Burckhard Struve’s Introductio ad notitiam rei litterariae et usum biblio- thecarum [Struve 1704, pp. 13–14], and gives the title of a ms. by Ottavio Strada [Cyprian 1714, cat. nr 178, p. 75].
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Jacopo Strada and Cultural Patronage at the Imperial Court The Antique as Innovation, Band 1
Titel
Jacopo Strada and Cultural Patronage at the Imperial Court
Untertitel
The Antique as Innovation
Band
1
Autor
Dirk Jacob Jansen
Verlag
Brill
Ort
Leiden
Datum
2019
Sprache
englisch
Lizenz
CC BY-NC-ND 4.0
ISBN
978-90-04-35949-9
Abmessungen
15.8 x 24.1 cm
Seiten
572
Kategorien
Biographien
Kunst und Kultur

Inhaltsverzeichnis

  1. Preface XV
  2. Acknowledgements XVIII
  3. Acknowledgments of Financial Support Received XXI
  4. List of Abbreviations XXII
  5. Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
    1. 0.1 The Portraits of Jacopo and Ottavio Strada 1
    2. 0.2 Why are These Portraits so Special? 4
    3. 0.3 Motions of the Mind 4
    4. 0.4 What is Known About Strada: Early Notices 9
    5. 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
    6. 0.6 Kulturgeschichte before World War II 19
    7. 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
    8. 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
    9. 0.9 Contemporary Scholarship 25
    10. 0.10 What Has Not Been Written on Jacopo Strada 37
    11. 0.11 Weaving the Strands Together: The Purpose of this Study 39
  6. 1 Early Years: Family Background, Education, Giulio Romano 45
    1. 1.1 Family Background 45
    2. 1.2 Mantua and the Gonzaga 50
    3. 1.3 Formal Education 54
    4. 1.4 Artistic Training 57
    5. 1.5 Giulio’s Collections 60
    6. 1.6 Early Training as a Goldsmith? 63
    7. 1.7 Significance of his Mantuan Background for Strada’sDevelopment 65
  7. 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
    1. 2.1 Early Travels 67
    2. 2.2 Residence in Germany 69
    3. 2.3 The Landshut Hypothesis 71
    4. 2.4 Romance in Franconia: Strada’s Marriage and his Settling in Nuremberg 79
    5. 2.5 Strada and Wenzel Jamnitzer 83
  8. 3 In Hans Jakob Fuggers’s Service 107
    1. 3.1 Hans Jakob Fugger 107
    2. 3.2 Fugger as a Patron and Collector 114
    3. 3.3 Fugger’s Employment of Strada 121
    4. 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
    5. 3.5 Strada’s Trips to Lyon 137
    6. 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
    7. 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
    8. 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
    9. 3.9 Departure from Rome 183
  9. 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
    1. 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
    2. 4.2 The Controversy with Wolfgang Lazius 200
    3. 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
    4. 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
    5. 4.5 Conclusion 248
    6. 5 Jacopo Strada as an Imperial Architect: Background 251
    7. 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
    8. 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
    9. 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
    10. 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
    11. 5.5 The Architectural Infrastructure at the Imperial Court 319
    12. 5.6 Strada’s Competence as an Architect 331
  10. 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
    1. 6.1 The Hofspital 340
    2. 6.2 The Tomb of Maximilian I in Innsbruck 343
    3. 6.3 Interior Decoration 350
    4. 6.4 The Tanzhaus 352
    5. 6.5 The Stallburg 355
  11. 7 An Object Lesson: Strada’s House in Vienna 367
  12. 8 The Munich Antiquarium 383
    1. 8.1 The Commission 383
    2. 8.2 The Design of 1568 391
    3. 8.3 The Concept 393
    4. 8.4 Strada’s Project: The Drawings 398
    5. 8.5 Strada’s Project: The Building 401
    6. 8.6 The Interior Elevation 407
    7. 8.7 The Exterior Elevation and its Models 411
    8. 8.8 Conclusion: Strada’s Role in the Creation of the Antiquarium 421
  13. 9 The Neugebäude 430
    1. 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
    2. 9.2 Kaiserebersdorf and Katterburg 432
    3. 9.3 Sobriety versus Conspicuous Consumption 437
    4. 9.4 Hans Jakob Fugger’s Letter 438
    5. 9.5 Description of the Complex 441
    6. 9.6 The Personal Involvement of Emperor Maximilian II 455
    7. 9.7 Ottoman Influence? 463
    8. 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
    9. 9.9 Classical Sources: Monuments of Ancient Rome 480
    10. 9.10 Contemporary Italian Architecture 489
    11. 9.11 Strada’s Contribution 500
    12. 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
  14. 10 Other Patrons of Architecture 514
    1. 10.1 The Courtyard of the Landhaus in Graz 514
    2. 10.2 The Residence for Archduke Ernest 517
    3. 10.3 Other Patrons: Vilém z Rožmberk 520
    4. 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
    5. 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
    6. 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
    7. 10.7 Conclusion 542
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Jacopo Strada and Cultural Patronage at the Imperial Court