Seite - 81 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
Bild der Seite - 81 -
Text der Seite - 81 -
81Travel—Wenzel
Jamnitzer
applied to Rudolf ii to add name and coat of arms of his mother’s extinct fam-
ily to his own.29
The first unequivocal proof of Strada’s presence in Germany, however, only
dates from 1 November 1546, when the Council of Nuremberg inquired into his
activities as an artist; the next day he was officially authorized to keep his own
house, which implies that he had already been present in Nuremberg for some
time.30 Some years later, on the 13th of March 1549, and after payment of a fee
of 4 gulden, he obtained the citizenship of the town. In spite of occasional ab-
sences, some of which were of considerable length, Nuremberg would remain
his basis of operation for well over a decade.
It is not clear why Strada chose to settle in Nuremberg rather than in Augs-
burg, the residence of Hans Jakob Fugger, his principal patron in the 1540s and
early 1550s. Perhaps the close connections of the town’s ancient and powerful
patriciate with the landed aristocracy of the surrounding region, to which his
wife belonged, made it easier for him to gain admittance and to obtain the sup-
port he needed for his projects. If he had left Italy because of heterodox religious
opinions, he may have been attracted by the city’s uncompromising adherence
to the Reformation. But other factors will have been of greater importance:
with about thirty thousand inhabitants the old Imperial Reichsstadt was, after
Cologne, the second largest city of the Empire, and one of the wealthiest mer-
cantile centres of Europe. Sitting as a spin in a web consisting of the great towns
of Southern and Central Germany—Regensburg, Frankfurt, Augsburg—it was
situated on the crossroads of the great trading routes: those from the North,
from Saxony and beyond, to the South, to Bavaria and across the Brenner to
Italy and through Swabia and Switzerland to Lyon; and those from the East,
from Prague and beyond and from the Habsburg court at Vienna along the
Danube, to the West, through the Rhineland onward to Strasbourg and Paris,
and to Cologne and Antwerp. Its merchants travelled widely and maintained
extensive contacts throughout Europe, its manufacturers and craftsmen pro-
duced high quality merchandise that was exported all over the Empire and be-
yond. Though lacking both bishop and university, it had considerable renown
in the world of learning, which it chiefly owed to humanists such as Hartmann
Schedel, Willibald Pirckheimer and other Nuremberg lawyers—most of whom
29 Rudolf ii confirmed Ottavio’s nobility and granting him the righ to add the arms of his
mother’s extinct familty to his own on 18 May 1598 (JdKS 15, 1894, ii, pp. clviii–clix, Re-
gest nr. 12420). Strada himself never used the name Rossberg or Rosberg (which indicates
that the fief itself was no longer part of his wife’s heritage). Jacopo’s and Ottavio’s lineal
descendants survive in France as Strada d’Arosberg, a name due to a misunderstanding of
Ottavio’s signature, Strada da Rosberg [Pascuito 1978; Chabot de l’Allier 1990].
30 Docs. 1546-11-01, 1566-11-02.
zurück zum
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