Seite - 91 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

91Travel—Wenzel Jamnitzer [Fig. 2.12], appears to have been on excellent terms with him, and at a later date would propose a collaboration on a similar commission. This lack of pro- fessional jealousy will have been partly due to Strada’s intention to employ a local master or journeyman in the execution of the piece.50 Probably Strada intended to employ Jamnitzer himself, and in case the latter was already too busy with the Merkelsche Tafelaufsatz, he presumably remained Strada’s chief consultant in the choice of a suitable collaborator. Strada lived in the Zistel- gasse, the present Albrecht-Dürer-Straße, and was therefore an immediate neighbour of the famous goldsmith: their contacts of necessity must have been very close.51 It is very likely that Strada’s taste and experience of Italian art and the ar- tistic documentation—drawings, prints, perhaps even small casts—that he must have possessed even at that date, directly influenced Jamnitzer’s style. The presence of Italianate Renaissance motifs in, and the general classicist ap- pearance of so many of Jamnitzer’s works, clearly distinguish his manner from the more vernacular style of most of his contemporaries.52 A good example is the little coffer for jewellery in the Munich Schatzkam- mer dated ca. 1560–1570, with its Doric frieze that is typical for Jamnitzer [Fig. 2.13]. The panels with small classical figures in relief against a dark background bring Italian, in particular Mantuan, examples to mind: they are very close to the small panels in the ceiling of the Camera degli Stucchi in the Palazzo del Te, in which Strada later would show a special interest.53 [Fig. 2.14] Other examples are the Kaiserpokal now in Berlin—possibly a present of the Nuremberg Council to the Emperor Maximilian ii, on the occasion of his visit in 1570—and the gorgeous reliquary now in Madrid which was certainly given to Maximilian’s consort, the Empress Maria, on that occasion [Fig. 2.15]. The general proportions and the detail—such as the Doric frieze found again both along the rim of the cup, and as dominant feature of the architecture of 50 In fact the guild usually did not allow foreigners to exercise their craft: see Hayward 1976 pp. 40–44; Warnke 1985 pp. 86–92. 51 Doc. 1552-07-30; on Jamnitzer’s house, see Mulzer 1974. 52 Pechstein 1966, p. 260, touches on the question of Jamnitzer’s sources, and suggests Strada as a possible purveyor of motifs. 53 Wenzel Jamnitzer 1985, pp. 224 (cat. nr. 19); the original design (‘Visierung’) has been pre- served in Berlin: ibidem, p. 343 (cat. nr 300). On the Camera degli Stucchi, see Verheyen 1977, pp. 123–127; Giulio Romano 1987, pp. 364–374, passim; Belluzi 1998: Saggi, pp. 422– 439, cat. nrs. 782–842; Atlante fotografico, pp. 394–423. Among the Strada material some copies of Giulio’s designs for these panels have been preserved: the originals Strada had brought in his possession in about 1555 (see below, Ch. 13.4).