Seite - 18 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Introduction18 and inspire contemporary designers and craftsmen the Vienna Museum für Kunst und Industrie reproduced the eighty-two drawings in a beautiful fac- simile edition which came out in 1869.30 Strada’s affinity with the goldsmith’s art, and in particular his close connections with the leading German goldsmith of his time, Wenzel Jamnitzer, were demonstrated by documents published in the Jahrbuch der Sammlungen, and discussed in David von Schönherr’s article on Jamnitzer’s work for Archduke Ferdinand ii of Tirol. Additional informa- tion was printed in Hampe’s publication of the decisions of the Nuremberg City Council, published in 1904.31 The information from sources of the Imperial court was complemented by research done in the archives of the other principal patron for whom Strada had worked, Duke Albrecht v of Bavaria. Though in Munich no similar pro- gramme to publish source material existed, in the Bavarian archives much of the material relating to the collections and other cultural activities of the Wit- telsbach princes had always been preserved in separate files. These so-called Libri antiquitatum were examined and summarized in Stockbauer’s extensive study on the artistic patronage of Duke Albrecht v of 1874. Though sometimes mistaken or lacking in precision, Stockbauer was the first to show Strada’s role in the conception of the Antiquarium of the Munich Residenz and in the acquisition of ancient and contemporary works of art on behalf of Duke Al- brecht v. Because so much of its information related to acquisitions in Italy, the book was also of interest to students of Italian art and history. Thus within a few years Crowe and Cavalcaselle came to use it for their ground-breaking monograph on Titian—including the information on the painting of Strada’s portrait. Though later detailed studies corrected and enlarged upon various aspects of Stockbauer’s study, for a long time it remained the only compre- hensive discussion of patronage and collecting at the Munich court in the sixteenth century. It is therefore not surprising that even in the 1960s it still proved to be Pope-Hennessy’s source on Strada’s activities and character.32 Nevertheless, even here Strada was presented as only one among a welter of figures—artists, craftsmen, learned advisors, merchants, courtiers and coun- cillors, princely competitors—who assisted or obstructed the Duke in his cul- tural ambitions. And this holds for most of the later studies in which Strada figures: in general he occupies a similar marginal place, and his activities are 30 Strada, Ottavio [ i ] 1869; the original codex, entitled Libro di disegni per far Vasella da Argento now preserved in Brno, University Library, Ms. Mk 4 (i.214); cf. Bukovinská / Fučíková / Konečný 1984, p. 65 and note 22, which cites the earlier literature. 31 Schönherr 1888; Hampe 1904, 1, pp. 414, 417, 434, 473–474, 535; 2, pp. 18–19. 32 Stockbauer 1874; Crowe/ Calvalcaselle 1877-1878; Hartig 1917, pp. 44 fols. and Hartig 1933a and Hartig 1933b use the material more critically, but were not cited by Pope-Hennessy.