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49Early
Years
Clemente and uncle Simone before him) it appears that, while she was the
mother and guardian of Pietro Paolo and Ottavio, she was only the stepmother
of Jacopo.12 Jacopo’s own mother must have been the Cecilia who, according
to D’Arco, was Rinaldo’s wife in 1522, and about whom nothing more is known
at present.13
About Rinaldo himself little is known either, except that he is probably iden-
tical with the Messer Rinaldo Strata, the Gonzaga bailiff at Portarolo, who in
1556 received his ‘provisione et sallario’ from the Ducal administration.14 While
he originally lived in the Contrada della Bue, in 1564 his widow inhabited a
house in the Contrada della Serpa, though she still held the leases of both the
house in the Contrada della Bue and the farm at Curtatone which her husband
had inherited from his cousin Don Clemente.15 The question of the wealth of
the Stradas is of some importance in view of Strada’s later career: doubtless
his—for an artist—exceptional prosperity in the 1560s was partly due to the
generosity of his patron, Hans Jakob Fugger, and to his marriage to a noble
German heiress. Yet even this marriage itself would certainly not have been
possible, had he not on his own account been able to maintain his status as a
gentleman.
Simone della Strata’s testament of 1514 gives only a partial account of the
wealth of the family at that date: though we know that he owned the modest
farm and its appendages at Curtatone where he was living at the time, and of
which he left the usufruct to his wife, as well as the house in the Contrada della
Bue in Mantua in which his sister and her son were living, we do not know
what was included in the residue of his estate. Since the residue was left to
12 ASMn, Registri notarili 1564, fol. 757v.: ‘domina Antonia, eiusdem quondam domini Rain-
aldi uxor et mater [crossed out: ac tutrix et pro tempore curatrix testamentaria] ac legit-
tima administratrix predictorum Petri Pauli et Octavii <…> per suis propriis nominibus ac
nomine et vice predicti domini Jacobim eorum fratris absentis<…>’.
13 D’Arco, Famiglie mantovane, p. 68; I have not found the document on which he based this
assumption, but it is corroborated by Strada’s naming one of his daughters ‘Sicilia’.
14 ASMn, Archivio Gonzaga, busta 410, nr. 45, fasc. 9 [Registri economici incompleti, entrata
et spesa].
15 In 1564, after her husband’s death, Antonia renewed the enfiteusi for a house in Mantua
in the Contrada della Bue, and a cottage with field and orchard in Curtatone, doubtlessly
close to their own property in both places; cf. above, note 12. Enfiteusi is a lease contract,
normally renewable every nine years, and entailing an obligation to improve the land
held in tenure. Antonia’s leases included a house in the Contrada della Bue, within the
town of Mantua, which had been held by her husband—and by Simone della Strata en
his son Clemente before him—from the ‘venerabile ospitale magno’ of Santa Maria della
Cornetta at Mantua [ASMn, Registri notarili 1564, fol.757v.] and some lots of arable land,
a vineyard and an orchard and comprising a hut and the use of a well in the territory of
Curtatone, held from Mantua Cathedral [ASMn, Registri notarili 1564, fol. 1165v.].
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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