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how far Jacopo Strada himself was involved in this project: in his testament he
accuses Ottavio of having commissioned these engravings without his authori-
zation. But a letter from Ottavio to his father exists which appears to contradict
this. Written from Nuremberg, where Ottavio was supervising the printing of
some of his father’s planned editions, it implies that Ottavio had discussed the
project with his father, and that the elder Strada, even if he had not taken the
initiative, did not disapprove of it at the time.87 In fact he must have approved
of it, since the fifth item in a copyright privilege conceded to Strada by Maxi-
milian ii in May 1574 bears the same title as the Dresden album, confirming
that this or a similar volume is the book Ottavio referred to.88
Ottavio incited his father to have the ‘mascare’ printed because ‘he knew
that they would sell well’, and advised his father to write the accompanying
descriptions as soon as possible and have them translated into Latin. Otta-
vio then would take care of having them translated into German and French.
Ottavio’s optimism as to the success of this multilingual coffee-table book was
probably based on the idea that many of the participants in the prestigious
festivities it documented would wish to acquire a copy.
There can be no doubt that Amman’s engravings were made for this project,
which never materialized as planned by Ottavio. Whether this is due to his
father’s opposition or for other reasons cannot now be determined.89 But what
we do know is that Strada disposed of at least two hundred designs for various
courtly festivities, as well as of the inside information necessary to write the ac-
companying descriptions—both indications that he himself had been closely
involved in their preparation. This supposition is further corroborated by his
connection, likewise documented in Ottavio’s letter, with the humanist and
draughtsman Giovanni Battista Fonteo, responsible for the cartels and other
texts of the festivals designed by Arcimboldo.
Strada’s contribution was based on his antiquarian expertise and the visual
documentation he had collected in his Musaeum, witness a manuscript pre-
senting hundred designs of ‘Ancient helmets and crests as were used of old
by the Greeks and the Romans and also by other peoples both in spectacles
87 DOC. 1574-12-05; text transcribed in Appendix A; it will be discussed in greater detail in
chapter 14.3.
88 DOC. 1574-05-30; cf. the title of the Dresden volume, Kupferstichkabinett Ca 93, cited
above, note 84; moreover the presence of ‘satelllites’, attendants on foot dressed to cor-
respond to the individual equestrian figures, tallies both with the Dresden drawings and
with the descriptions of such festivals.
89 In his ambitious publishing programme the elder Strada probably set other priorities; on
this, and his conflict with Ottavio, see below, chapter 14.
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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