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Introduction16
and the arts. He complemented a brief mention of Jacopo Strada with the tran-
scription of a letter by Ottavio Strada to the Duke of Ferrara about his father’s
heritage, a letter Tiraboschi had found in the Archivio Estense.23 Naturally in-
terest in Strada was strongest in his hometown, Mantua, where brief entries on
his career were included in works studying the history of Mantua and revaluat-
ing its local cultural heroes.24 More valuable contributions were due to the two
first serious students of the Gonzaga archives, Count Carlo d’Arco (1799–1872)
and Stefano Davari (1835–1909). Carlo d’Arco’s Delle famiglie mantovani, a com-
pendium of historical and genealogical notes on Mantua, included a detailed
genealogy of the Strada family. He moreover devoted a brief notice to Jacopo
in his Delle arti e degli artefici di Mantova of 1857.25 At about the same time,
in his Lettere artistiche inedite, another aristocratic amateur of history and
the arts, marchese Giuseppe Campori (1821–1887), published a letter from the
Modena archives documenting Strada’s connection with a cadet branch of the
Gonzaga.26 Similar research in archival sources uncovered a completely new
aspect of Strada’s personality, his religious heterodoxy, presented in passing
by the founding genius of the Mantuan State archives as a first-class histori-
cal research institution, Stefano Davari, in his chilling notes on the persecu-
tions by the Inquisition in Mantua in the second half of the sixteenth century.
Davari was also the first to publish and discuss Strada’s description of the Pala-
zzo del Te, a prime document for the history and the interpretation of that
monument.27
In Austria, Strada’s homeland by adoption, the increasing interest in such
primary archival sources, which accompanied new approaches and methods
in historiography, was reflected in Johann Evangelist Schlager’s Materialien zur
österreichischen Kunstgeschichte, the fifth volume (1850) in the Archiv für Kunde
österreichischer Geschichtsquellen, published by the Imperial Academy of Sci-
ences. This is a useful but rather unsystematic summing up of facts gleaned
from archival and printed sources, covering a period from the mid-sixteenth
up to the mid-eighteenth century. Unfortunately references are only sketchily
indicated, and the wording is Schlager’s own. Thus his influential statement
23 Tiraboschi 1772–1778, cited from Tiraboschi 1824, pp. 1245–1246.
24 Bettinelli 1774, p. 57 and p. 108; Coddè 1837, pp. 142–143.
25 Annotazioni genealogiche di famiglie mantovane che possono servire alla esatta com-
pilazione della storia di queste, s.d., ASMn, Documenti patrii 220, vol. vii, fols. 65–75; it
remained in manuscript, but is was accessible to later researchers in Mantua; D’Arco
1857(b), pp. 283; Arco also referred to Strada in his biography of Giulio Romano: Arco
1842, p. xci.
26 Campori 1866, p. 50, letter nr. lxi; cf. Doc. 1568-06-16.
27 önb-hs, Cod. 9039, fols. 154–155; printed in Davari 1889 and Verheyen 1967, pp. 68–69.
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Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1"
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
- Preface XV
- Acknowledgements XVIII
- Acknowledgments of Financial Support Received XXI
- List of Abbreviations XXII
- Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
- 0.1 The Portraits of Jacopo and Ottavio Strada 1
- 0.2 Why are These Portraits so Special? 4
- 0.3 Motions of the Mind 4
- 0.4 What is Known About Strada: Early Notices 9
- 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
- 0.6 Kulturgeschichte before World War II 19
- 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
- 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
- 0.9 Contemporary Scholarship 25
- 0.10 What Has Not Been Written on Jacopo Strada 37
- 0.11 Weaving the Strands Together: The Purpose of this Study 39
- 1 Early Years: Family Background, Education, Giulio Romano 45
- 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
- 3 In Hans Jakob Fuggers’s Service 107
- 3.1 Hans Jakob Fugger 107
- 3.2 Fugger as a Patron and Collector 114
- 3.3 Fugger’s Employment of Strada 121
- 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
- 3.5 Strada’s Trips to Lyon 137
- 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
- 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
- 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
- 3.9 Departure from Rome 183
- 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
- 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
- 4.2 The Controversy with Wolfgang Lazius 200
- 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
- 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
- 4.5 Conclusion 248
- 5 Jacopo Strada as an Imperial Architect: Background 251
- 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
- 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
- 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
- 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
- 5.5 The Architectural Infrastructure at the Imperial Court 319
- 5.6 Strada’s Competence as an Architect 331
- 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
- 7 An Object Lesson: Strada’s House in Vienna 367
- 8 The Munich Antiquarium 383
- 9 The Neugebäude 430
- 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
- 9.2 Kaiserebersdorf and Katterburg 432
- 9.3 Sobriety versus Conspicuous Consumption 437
- 9.4 Hans Jakob Fugger’s Letter 438
- 9.5 Description of the Complex 441
- 9.6 The Personal Involvement of Emperor Maximilian II 455
- 9.7 Ottoman Influence? 463
- 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
- 9.9 Classical Sources: Monuments of Ancient Rome 480
- 9.10 Contemporary Italian Architecture 489
- 9.11 Strada’s Contribution 500
- 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
- 10 Other Patrons of Architecture 514
- 10.1 The Courtyard of the Landhaus in Graz 514
- 10.2 The Residence for Archduke Ernest 517
- 10.3 Other Patrons: Vilém z Rožmberk 520
- 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
- 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
- 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
- 10.7 Conclusion 542