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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
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Chapter 4200 On this visit Ferdinand was accompanied by one of his most trusted advis- ers, Otto Truchsess von Waldburg, Cardinal and Prince-Bishop of Augsburg [Fig.  1.19]. This scion of an illustrious German military dynasty, the epitome of the German knight, was very conscious of the high duties imposed by the sacred office for which his rank and education had destined him. A feared adversary of the Protestants, he introduced many religious reforms in his diocese. He had had an outstanding education—like Hans Jakob Fugger he had sat at Alciati’s feet at Bologna—which expressed itself in his intellectual concerns: he found- ed a university and a printing-press at his residence at Dillingen, both of which he made available to the Jesuits, and he used his frequent sojourns in Rome to build up an important collection of antiquities and contemporary works of art. His library at Dillingen was explicitly commended by Antonio Agustín, who visited it on his short trip as Papal nuncio to the Emperor in the spring of 1558.19 So his commendation of Strada’s collection would be quite valuable. 4.2 The Controversy with Wolfgang Lazius 4.2.1 The Catalogue of the Imperial Coin Collection Ferdinand’s visit had impressed him sufficiently to summon Strada in person. During the audience he gave him two gatherings of the text and some proof- sheets of the engravings of an illustrated catalogue of his own coin-collection.20 This catalogue had been first planned as far back as 1550 and was intended to document all of the Emperor’s circa seven thousand ancient coins. It was prepared by Leopold Heyperger, one of Ferdinand’s chamberlains particularly charged with the care of the works of art, who had provided the inventory, and the engraver Hans Sebald Lautensack, who as ‘Kaiserlicher Maj<estät> Antiquitetenabconterfetter’—i.e. ‘draftsman of antiquities of his Majesty the Emperor’—provided the illustrations. The Imperial Historiographer, Dr Wolf- gang Lazius, was responsible for the scholarly commentary and supervised the project. The final responsibility of the project probably rested with Ferdinand’s Oberstkammerer, Martin de Guzmán.21 19 On Truchseß, see Overbeeke 1994. Agustín’s report to Panvinio on the German libraries he had seen in Agustín 1980, p. 290–291. 20 This and the following based on the letter Strada presented in person to Ferdinand i dur- ing his visit to Nuremberg [DOCS. 1558-02-12; see appendix 3a] and his letters to Ferdinand [DOC. 1558-02-21<a>] and to his Oberstkammerer Martín de Guzman [1558-02-21<b>, see appendix 3a]. 21 Some of the relevant documentation summarized in Kenner 1902.
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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