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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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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