Seite - 30 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Introduction30 these manuscripts was dedicated to Don Giovanni de’ Medici and is preserved in the Museo delle Scienze in Florence. A publication of this volume spon- sored by eni, the National Electricity Network of Italy, presented the oppor- tunity to place these drawings in context. Thomas DaCosta Kaufmann treated the intellectual, technical and military concerns of the sixteenth century, the present author wrote about the workshop and later history of three genera- tions of Strada’s, and Luisa Dolza and Vittorio Marchis discussed the devel- opment of this specific type of literature in the sixteenth through eighteenth centuries. Unfortunately it proved not possible to include a detailed analysis of each technical invention and its probable sources.65 In his ‘Kunsttätigkeit in München unter Wilhelm iv und Albrecht v’ of 1933 Otto Hartig presented Strada’s designs for the Munich Antiquarium, and was thus the first to demonstrate that Strada was himself actively involved in the architectural projects of his patrons.66 This information allowed Renate Rieger just after the Second World War to attribute to Strada some part in the con- ception of the Neugebäude, the extensive pleasure garden just outside Vienna laid out for the Emperor Maximilian ii. She observed correspondences in form and construction between its principal element, a huge half-open gallery built over two immense, vaulted halls, and the Antiquarium, which led her both to postulate a similar function for the Neugebäude, and to attribute a role in its conception and design to Jacopo Strada.67 In his short monograph on the Neugebäude of 1976 Rupert Feuchtmüller follows this up with some more ar- guments, without assigning any concrete role to Strada.68 Certainly the Antiquarium and the Neugebäude are of signal importance for an understanding of Jacopo’s role at the courts of Munich and Vienna: the two best surveys of his career to date were published as a spin-off of research into their history.69 But even before that, Erich Hubala had discovered another, alternative design for the Antiquarium, and in his article of 1958 he carefully reviewed all the drawings and the most relevant documents. For the recep- tion of this important article it was perhaps unfortunate that Henry Russell- Hitchcock, in his general overview of German Renaissance architecture of 1981, mixed up the drawings, publishing an image of the German alternative design under Strada’s name instead of Strada’s own drawings. This alternative design is in any case a source of misattributions; a later attribution to the Flemish 65 reti 1963, pp. 297–298; Clavreuil 2001, cat. nr. 37; Marchis / Dolza 2002. 66 Hartig 1933(a), pp. 220–225 and Figs. 26–28. 67 Rieger 1951. 68 Feuchtmüller 1976, pp. 64, 80–81. 69 Von Busch 1973; Lietzmann 1987; cf. below.