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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
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Chapter 4196 Strada did take advantage of his trip to Prague to pay a visit to Regens- burg, where a Diet was in progress in the presence of the new Emperor. He was received in audience probably on 5 February, when Ferdinand accorded him an Ehrengeschenk of hundred Thaler.14 Poor Ferdinand! While engaged in complex and important political negotiations, and worrying about the Turks in Hungary and about the wayward behaviour of his eldest son, he was also beset by swarms of figures such as Strada seeking his patronage: only a few days later the Hofkammer made a list of recent payments to a number of similar clients. One can only hope that the talents of at least some of them occasionally dis- tracted the Emperor from his cares, as will have been the case with Orlando di Lasso, who precedes Strada in this list.15 In view of Ferdinand’s interest in Antiquity, and in particular in ancient coins, Strada’s visit may likewise have served as a welcome distraction: Strada had prepared a present for the Em- peror, a set of drawings of Roman Republican coinage. This manuscript, the first volume of De consularibus numismata, is similar in concept and execution to the numismatic works he had produced for Fug- ger and for his unknown French patron.16 Its beautifully illuminated title page, including the Imperial coat of arms [Fig. 4.4], betrays its original destination: the panel in the pedestal of the left column is covered by a strip of marbled paper hiding a drawing of Charles v’s emblem showing the Pillars of Hercules, accompanied with the famous device Plus Ultra. Ferdinand’s appreciation of this gift was expressed in the Ehrengeschenk that he accorded Strada on this occasion, and in his interest in the second volume of the work, which Strada promised to finish for him.17 Strada presented his manuscript to Ferdinand not merely in the hope of obtaining the habitual financial reward, but also as a means to draw the Em- peror’s attention to his person and his qualifications. This is borne out by his 14 DOC. 1557-02-05. 15 DOCS. 1557-02-05 and 1557-02-08. 16 önb-hs, cod. 9411–9412; the Fugger manuscripts are now in Gotha and London, the French volume, dated 1554, in the Bibliothèque de l’Arsenal in Paris; cf. above, Ch. 3.3. 17 DOC. 1558-02-12: Strada refers to his visit in Regensburg. Von Busch 1973, p. 199 and p. 335, note 47, cites this letter as directed to Maximilian. This is incorrect: it is addressed to the King of the Romans, which was Ferdinand i, whose succession to Charles as Emperor was formally confirmed by the College of Electors only on 14 March 1558. For the same reason Strada’s dedication of his edition of Panvinio’s Epitome pontificum romanorum of 1557 reads: ‘Domino D. Ferdinando Romani Imperii Caesari designato’. Maximilian was elected King of the Romans only during the Frankfurt Diet of 1562 (election 24 November, corona- tion 30 November). The letter refers to Strada’s meeting with the addressee in Regensburg, and the latter’s visit to Strada’s studio, probably in Nuremberg: since Maximilian did not set foot in Germany proper between his return from Brussels in the early autumn of 1556 (he merely spent one night, 11–12 September, in Regensburg) and the Frankfurt Diet (ar- rival 23 October) it is out of the question that Maximilian is meant.
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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