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at the Imperial Court
expensive—printmakers. It is not surprising that Strada was looking around for
influential and affluent patrons, other than Hans Jakob Fugger. Though Fugger
certainly would have applauded Strada’s intentions, he was getting into finan-
cial trouble—largely due to the reluctance with which Charles v and Philip ii
satisfied their creditors—which would lead to his bankruptcy in 1564; so he
could not on his own advance the sums Strada would need. As we have seen,
Strada appears to have attempted to obtain permanent patronage already in
Rome, and he claimed to have obtained such patronage from Popes Julius iii
and Marcellus ii; in view of his sustained support for antiquarian studies be-
fore his election, the latter would have been particularly sensitive to Strada’s
proposals. The unexpected brevity of Marcellus’ reign and the accession of
Paul iv Carafa—unfortunate for far greater interests than Strada’s—shattered
such possibilities; like other aspiring scholars Strada had to look elsewhere for
the protection he needed. Thus in October 1557 his own acquaintance Onofrio
Panvinio, though assured of a fixed position in Cardinal Farnese’s household,
consulted Antonio Agustín whether he should dedicate a forthcoming book to
Maximilian, Archduke of Austria and, since 1548, titular King of Bohemia, or
whether it was preferable to choose Maximilian’s cousin and brother-in-law,
Philip ii of Spain. Agustín, who coupled a sincere faith and a profound knowl-
edge of classical Antiquity with a remarkable astuteness in more mundane
matters, formulated his advice as follows:
<...>between these two princes I would choose the one that is at present
more highly considered, and the better friend of your patron [this was
Cardinal Alessandro Farnese], that is the King of Spain, even though the
other is closer to the Empire; but he will be a king of chess without the
help of his cousin.2
After having just failed to obtain the patronage of the Pope, it is not surpris-
ing that Strada should have thought of applying to the highest ranking secular
patron of Christianity, the Emperor, or to other members of his august house,
with which his own researches were so inextricably connected. It is just pos-
sible that he considered Philip ii as a potential patron: at the time Philip was
not merely king of England and, soon afterward (16 January 1556), of Spain, but
he had not yet been ruled out as his father’s successor to the Empire. Years later
2 ‘<...>tra quelli duoi principi pigliaria quel che hora è più sublime, e più amico del Vostro pa-
tron [this was Alessandro Cardinal Farnese], idest il Re di Spagna, benchè l’altro sia più pro-
pinquo all’Imperio; ma sarà un Re di scacchi senza l’agiuto del suo nepote<...>’, letter dated
Rome, 2 October 1557, published in AGUSTÍN 1980, nr. 191, p. 277.
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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