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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
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Chapter 3138 well have provided Strada with further introductions to local society.51 Doubt- less Strada himself was attracted to Lyon by the antiquities of this old Roman colony as much as by the fame of the local printers. Strada planned his second sojourn in Lyon to be longer than the first: he left Nuremberg early in August 1552, after having obtained permission to live up to three years in Lyon without losing his Nuremberg citizenship, and having sold his household effects.52 He would remain in Lyon at least until the actual printing of the treatise, which was completed on 6 November 1553.53 This visit therefore afforded him ample opportunity to establish contacts with the lively humanist circle flourishing in this centre of the Pléiade. A good impression of the brilliance and cosmopolitanism of this circle in the years preceding Strada’s arrival is given in Jean-Claude Margolin’s article on Jean Visagier’s Epigramma- ta, a volume of poems recording the names of and dedicated to the members of what Visagier considered a sodalitium, an informal academy which included Rabelais, Etienne Dolet, the German scholar-printer Sebastien Gryphius, Mau- rice and Guillaume Scève and Louise Labé, to name only a few.54 Strada will have felt particularly at home because of Lyon’s traditional connections with Italy: the city counted a considerable number of Italian families among its pa- triciate, such as the Gondi and the Guadagni, and at the time its archbishop was Cardinal Ippolito d’Este. Moreover various individual Italian expatriates had made their home temporarily or permanently in Lyon. One of these was Fugger’s old acquaintance Ortensio Landi († 1560), a friend of Dolet who had worked as an editor in Gryphius’ workshop in 1534–1535, and who had visited Hans Jakob in Augsburg in 1544–45. So Strada must have known him person- ally, and through him could establish contacts with other Italians in Lyon, such as the humanist Gabriele Symeoni, the lawyer Giulio Calestano and, perhaps most illustrious, the architectural theorist Sebastiano Serlio.55 The intellec- tual life of the city was strongly stimulated by the presence of an impressive 51 On the Italian presence in Lyon, see Lyon et L’italie 1958; Lyon 16e 1993, p. 207 (bibliogra- phy). Willibald Imhoff was often in Lyon himself; his visit from 3 September until 23 De- cember 1550 possibly overlapped with Strada’s presence, that lasting from mid September 1552 until 7 January 1553 certainly did [Jante 1985, p. 21]. 52 Docs. 1552-07-26 and 1552-07-30. 53 As indicated in the colophon of the book. 54 Margolin 1974, using the second edition of Visagier’s collection: Ioannis Vulteii Remensis Epigrammatum libri iv, Lyon (Michel Parmentier) 1537. The existence of such a group of friends is documented elsewhere, as in Nicolas Bourbon De amicis lugdunensibus (1533). 55 On Lyons’s cosmopolitan society, see Renucci 1943; Romier 1949; Humanisme Lyonnais 1974; Rinascimento a Lione 1988; Lyon 16e 1993 (with extensive bibliography by Maria Te- resa Arizzoli Clementel on pp. 203–217); and Sebastiano Serlio a Lyon 2004. On Landi, see: Hartig 1917<a>, p. 217; Maasen 1922, p. 84; Grendler 1969, pp. 21–38; Costanzo Landi, conte
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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

  1. Preface XV
  2. Acknowledgements XVIII
  3. Acknowledgments of Financial Support Received XXI
  4. List of Abbreviations XXII
  5. Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
    1. 0.1 The Portraits of Jacopo and Ottavio Strada 1
    2. 0.2 Why are These Portraits so Special? 4
    3. 0.3 Motions of the Mind 4
    4. 0.4 What is Known About Strada: Early Notices 9
    5. 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
    6. 0.6 Kulturgeschichte before World War II 19
    7. 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
    8. 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
    9. 0.9 Contemporary Scholarship 25
    10. 0.10 What Has Not Been Written on Jacopo Strada 37
    11. 0.11 Weaving the Strands Together: The Purpose of this Study 39
  6. 1 Early Years: Family Background, Education, Giulio Romano 45
    1. 1.1 Family Background 45
    2. 1.2 Mantua and the Gonzaga 50
    3. 1.3 Formal Education 54
    4. 1.4 Artistic Training 57
    5. 1.5 Giulio’s Collections 60
    6. 1.6 Early Training as a Goldsmith? 63
    7. 1.7 Significance of his Mantuan Background for Strada’sDevelopment 65
  7. 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
    1. 2.1 Early Travels 67
    2. 2.2 Residence in Germany 69
    3. 2.3 The Landshut Hypothesis 71
    4. 2.4 Romance in Franconia: Strada’s Marriage and his Settling in Nuremberg 79
    5. 2.5 Strada and Wenzel Jamnitzer 83
  8. 3 In Hans Jakob Fuggers’s Service 107
    1. 3.1 Hans Jakob Fugger 107
    2. 3.2 Fugger as a Patron and Collector 114
    3. 3.3 Fugger’s Employment of Strada 121
    4. 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
    5. 3.5 Strada’s Trips to Lyon 137
    6. 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
    7. 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
    8. 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
    9. 3.9 Departure from Rome 183
  9. 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
    1. 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
    2. 4.2 The Controversy with Wolfgang Lazius 200
    3. 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
    4. 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
    5. 4.5 Conclusion 248
    6. 5 Jacopo Strada as an Imperial Architect: Background 251
    7. 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
    8. 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
    9. 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
    10. 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
    11. 5.5 The Architectural Infrastructure at the Imperial Court 319
    12. 5.6 Strada’s Competence as an Architect 331
  10. 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
    1. 6.1 The Hofspital 340
    2. 6.2 The Tomb of Maximilian I in Innsbruck 343
    3. 6.3 Interior Decoration 350
    4. 6.4 The Tanzhaus 352
    5. 6.5 The Stallburg 355
  11. 7 An Object Lesson: Strada’s House in Vienna 367
  12. 8 The Munich Antiquarium 383
    1. 8.1 The Commission 383
    2. 8.2 The Design of 1568 391
    3. 8.3 The Concept 393
    4. 8.4 Strada’s Project: The Drawings 398
    5. 8.5 Strada’s Project: The Building 401
    6. 8.6 The Interior Elevation 407
    7. 8.7 The Exterior Elevation and its Models 411
    8. 8.8 Conclusion: Strada’s Role in the Creation of the Antiquarium 421
  13. 9 The Neugebäude 430
    1. 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
    2. 9.2 Kaiserebersdorf and Katterburg 432
    3. 9.3 Sobriety versus Conspicuous Consumption 437
    4. 9.4 Hans Jakob Fugger’s Letter 438
    5. 9.5 Description of the Complex 441
    6. 9.6 The Personal Involvement of Emperor Maximilian II 455
    7. 9.7 Ottoman Influence? 463
    8. 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
    9. 9.9 Classical Sources: Monuments of Ancient Rome 480
    10. 9.10 Contemporary Italian Architecture 489
    11. 9.11 Strada’s Contribution 500
    12. 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
  14. 10 Other Patrons of Architecture 514
    1. 10.1 The Courtyard of the Landhaus in Graz 514
    2. 10.2 The Residence for Archduke Ernest 517
    3. 10.3 Other Patrons: Vilém z Rožmberk 520
    4. 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
    5. 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
    6. 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
    7. 10.7 Conclusion 542
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Jacopo Strada and Cultural Patronage at the Imperial Court