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133In
Hans Jakob Fugger’s Service
the natural repositories of the smaller antiques, such as small bronzes, gems
and coins. This was especially true for the Nuremberg goldsmiths, several of
whom appear themselves to have owned cabinets of curiosities that stimu-
lated similar activities on the part of their social superiors.42 Soon, however,
Strada did not need to limit his acquisitions to the shops of his Nuremberg
neighbours, since Fugger anticipated the advice that Quiccheberg gave in the
second part of the Inscriptiones vel tituli:
It is suitable that great lords have talented men at their disposal to send
to various countries, in order to look for marvellous things <…>43
When Strada dedicated his edition of Caesar’s Commentaries of 1575 to Al-
brecht v—the epistle as a whole is one long paean on the Munich Hofbib-
liotek and Fugger’s fundamental role in its creation—he relates how he had
been sent to Italy with the specific purpose of purchasing such ‘marvellous
things’ for his patron’s cabinet.44 Though Strada’s travels probably were pri-
marily intended as learned peregrinations, and the results of his study would
find their way into the numismatic albums prepared for his patron, it may be
assumed that Fugger expected some more immediate and concrete results in
return for his capital outlay. That such results did indeed include the acquisi-
tion of antiques—in particular of antique sculpture—is indicated by Fugger’s
comment, in a letter to Niccolò Stopio of 1567 referring to Strada’s purchases:
‘<…> di quelle [= ‘anticaglie’] ne comprò in Roma già parecchi anni fa, me resto
sattisfatto’.45 The wide range of Strada’s tasks can be best demonstrated by an
account of the documented travels he made while in Fugger’s service, that is
his trip to Lyon in about 1550, and his subsequent trip first to Lyon, and then to
Rome in 1553–1555. These are of sufficient importance, also in view of Strada’s
later career, to have a paragraph of their own.
42 In his A.A.A. Numismatωn Antiquorum Διασκευέ Strada refers repeatedly to various gold-
smiths owning prize specimens of coin-types he described; see Jansen 1993a, pp. 219–220
and annex 1b, pp. 231–232.
43 Quiccheberg 1565, p. D ii r.: ‘Optimates in his colligendis decebit habere homines ingenio-
sos quos ad diversas regiones mittant, inquirendarum rerum miraculosarum gratia <...>’.
44 Caesar 1575, p. * 4-r.: ‘Missus sum ab hinc annis 20. in Italiam, Romam, Venetias ac aliò ad
numismata auro, argento, ac aere afformata, vetustateque insignia marmora comparan-
da, quae ego magna vi pecuniarum expensa Augustam, nobilissimis spoliis exuta Italia,
advexi. Sunt inter ea quàm plurima Imperatorum ac Imperatricum capita, multae insuper
integrae marmoreae statuae, aliàque opera non minimi precii et pervetusta’.
45 ‘I am still quite satisfied with those [= antiquities] he bought for me in Rome several years
ago’: Fugger to Stopio, 6 December 1567, BHStA-LA 4852, fol. 103v, as quoted in Von Busch
1973, p. 112; cf. below, Ch. 12.3.
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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