Seite - 194 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
Bild der Seite - 194 -
Text der Seite - 194 -
Chapter
4194
would be prepared to take on that task, on the condition that—subject to the
Archduke’s own wishes—he would be solely in charge, that is, only:
in case Your Excellency is willing to charge me with [the supervision of]
the whole project, and that I am to direct it [comandare], and that I have
no other supervisor [sopra capo] than Your Excellency.9
This condition clearly indicates the confidence Strada had in his own capaci-
ties and the recognition of these by prospective patrons: in fact he trusted that
the Archduke knew his name and had seen the numismatic works he had pro-
vided to Hans Jakob Fugger’s library. In addition, he indicated that he possessed
materials that could be of use in the conception and the design of the object:
I also possess many beautiful things that could be of use for the project,
in particular a most beautiful book of animals in colour; also I could find
you many [images of] rare fishes, which could be used for the rivers<…>.10
This is a valuable hint as to the function of Strada’s Musaeum, which was thus
not merely a collection of objects of material value and of aesthetic or scien-
tific interest, but which was intended to fulfil quite practical needs, and could,
he thought, be of great use in the artistic and scientific enterprises both of
himself and of his patrons.
Strada’s evaluation of his prospects appears to have been quite correct,
since the Archduke wrote by return of post to Jamnitzer to ask Strada to come
to Prague to discuss the project, when he ‘would graciously hear him, and
thereupon condescend to open our minder further [to him].11 He also desired
Strada take with him the books and other things that might be useful for the
project. Jamnitzer answered the Archduke that Strada would arrive in Prague
at Candlemas (2 February) as requested, and that he also would bring with him
a quantity of ‘geschmelzte dierlein’, small animals cast in silver, that Jamnitzer
had had made by one of his assistants.12
9 ‘Pero volendo Sua Excellenza darmi il carico di tutto, et ch’io abbia a comandare, et che
non conoschi altro sopra capo che Sua Excellenza<...>’.
10 ‘Et anchora mi truova di molte belle cose che per essa servirebbe, e massime un libro
de animali colorito belissimo; ancora li trovaria di molti pessi rari, che servirebbe per li
fiumi<...>’.
11 DOCS. 1557-01-07: ‘auch ine gnediglich gern hören und darauf unser verrer gemuet mit
gnaden eröffnen’.
12 DOCS. 1557-01-07 and 1557-01-27. The group consisted of an ‘Orpheus sampt den thirlein
und kreitlein’, Orpheus with small animals and plants’; they were intended as a sample
zurück zum
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