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at the Imperial Court
to correct the plates that had already been made, and stressed that the engrav-
ing should be carefully supervised:
<…>and it is also necessary that the master who engraves the plates
should have a supervisor, and that he makes them better, and with more
design [‘et con piu disegno’], because he draws them so badly that they
could not be worse, and he all does them in the same manner, and they
make His Majesty believe that they look like that. Even though a medal is
somewhat damaged, it does not for that reason lose the perfection of its
design. They do not look at anything except the outside contours, show-
ing these with the damages; so that who sees them would think that His
Majesty has the ugliest medals in the world.
In his letter to the Emperor Strada makes no mention of his ambitions, but he
did ask Guzmán to remind Ferdinand of his earlier request. He hoped that a de-
cision would be taken before Ferdinand left Frankfurt, in order that ‘I would not
loose another opportunity about which I have been approached, and that in
the end, because of the long delay, I would have neither the one, nor the other’.
Had Strada been more aware of the high esteem Lazius enjoyed in Vien-
na and at court, he perhaps would have worded his criticism more tactfully.
Fortunately for him his old acquaintance Antonio Agustín had just arrived in
Frankfurt as Papal nuncio. Strada, who himself had come to Frankfurt prob-
ably in connection with the book fair, but doubtless also to further his interests
at court, told him of the projected catalogue. As perhaps the foremost numis-
matic expert of his day, Agustín was asked to give his opinion. As he told Pan-
vinio, ‘io ho trovato che c’è puoco di buono, et cosi manderemo a monte la
stampa<...>’, ‘I found that there was little good in it, and so we will end up frus-
trating the printing’. But he was surprised, because—like Panvinio—he was
aware of Lazius’ other books, and had great respect for him: ‘Volfango è molto
antiquario et buona persona et dotta’.24
Agustín’s commendation of Strada’s criticism obviously persuaded Ferdi-
nand of his bona fides, because now he did concede Strada’s request to be em-
ployed, and Strada immediately asked the Nuremberg Council to be permitted
to live for three years in Vienna without losing his rights as a citizen of the
town.25 He had anticipated this permission, because he had already transferred
his household to Vienna when Agustín himself arrived, doubtless accompany-
ing the Emperor, who made his official entry on the 15th of April:
24 DOCS. 1558-04-11 and 1558-05-02.
25 DOC. 1558-04-30.
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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