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at the Imperial Court
Your Highness, I can serve him extremely well, and what I will have had
made will be praised by every man of taste [‘hogni huomo di giuditio’].
I can also serve in having made designs [‘inventioni’] for masques,
jousts and other nice things such as one day may occur to Your High-
ness. Also if he should wish to make a beautiful cabinet of antiquities and
medals, I will serve him in that as well. Should he wish to set up a most
beautiful library of all sorts of books, also in that I will be able to serve
him. In many things I can serve Your Most Serene Highness, which would
take too long to mention all, and perhaps as well as any man in Germany
and Italy.
This letter is of paramount interest as an indication both of Strada’s actual em-
ployment by Maximilian ii and of his own perception of it. In interpreting it,
many things should be taken into consideration. Strada doubtless either pre-
sented his request in person or through one of Ernest’s courtiers, most probably
his own elder son Paolo, who had been appointed one of Ernest’s gentlemen of
the chamber. In fact the Archduke must have known perfectly well who Strada
was, if only because—as we shall see below—he used to frequent Strada’s studio
in his infancy. The fact that Strada found it necessary to introduce himself in this
formal manner perhaps indicates that this official suit for patronage was directed
as much at the Archduke’s advisers as at his person. This is corroborated by his
signature, ‘Jacopo Strada, Architetto et Antiquario’, including both the official
functions he had discharged at court, whereas in all other correspondence he
was content with the single appellation of Antiquario della Sacra Cesarea Maestà.
Secondly, it is important that Strada himself states quite clearly that he had
been continually employed by Maximilian ii. Though it is likely that in this
bid for patronage he presented his qualifications in the rosiest light, his claim
must be taken seriously: he could not afford to wildly exaggerate his services
when—after twenty years of residence in Vienna—these were so well known,
or could so easily be checked. It is moreover corroborated by Maximilian ii
himself: on one of the occasions that his brother-in-law, Duke Albrecht, re-
quested to be allowed to make use of Strada’s services, the Emperor replied that
he would concede this, ‘wiewol ich seiner in etzlichen sachen nit wol geraten
khan’, ‘though in many things I can hardly spare him’.99 On a second occasion,
he reacted irritably to Albrecht’s supposition that, because of a projected trip
to Bohemia, he would have no need of Strada, and noted that, on the contrary,
99 BHStA-LA 4461, fol. 347v; printed in bibl 1916–1921, ii, p. 50 (and cited in Lietzmann 1987,
p. 116).
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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