Seite - 297 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
Bild der Seite - 297 -
Text der Seite - 297 -
297Imperial
Architect: Background
74 Androuet du Cerceau/ Thomson 1988, p. 103: âFeu François de Valois, Roy de France <âŠ>
choisit un endroit [in the forest of St Germain] pres dâun petit marescage <âŠ> oĂč les
bestes rousses lassees du travail de la chasse se retiroyent: et y feit dresser ceste maison,
pour avoir le plaisir de veoir la fin dâicelles, et la nomma la Muette, comme lieu secret, &
separĂ©, & fermĂ© de bois de tous costez <âŠ>â. and ibid., p. 104.
75 ibid. p. 108. François i built a similar hunting lodge at Challuau, near Fontainebleau, for
his mistress, the Duchesse dâĂtampes, according to Du Cerceau again because âquâaudict
bois prochain y avoit grande quantitĂ© de cerfsâ, ibid. p. 291. Girouard 1978 cites English
instances of hunting lodges that conform to the pattern, often located in special game
preserves, from the fifteenth and early sixteenth (pp. 76â78) and the late sixteenth and
early seventeenth centuries (pp. 106â108).
If they knew about Chambord, which had been built for Francis i, king of
France and husband of their aunt Eleanor, they may have known about La Muette,
another project of Francis i that provides an interesting parallel to Mariemont
and the hunting-lodges in Prague and Vienna [Figs. 5.63â5.64]. La Muette was a
hunting lodge built between 1542 and 1549 in the park of Saint-Germain-en-Laye,
and its very name implies its function as a retreat from the pressures at court. But
it also served as a belvedere from which (the ladies of?) the court could follow the
hunt in the surrounding wood at leisure. Both functions are explicitly referred to
in the relevant entry in Du Cerceauâs Les plus excellents bastiments de France:
The late François de Valois, King of France, chose a site close to a small
marsh where the red deer, exhausted from the chase, hid themselves, and
he had this house built here, to have the pleasure of seeing how they were
done to death; and he called it La Muette, for being in a secret and remote
place, and surrounded by forest on all sides.74
In his comment David Thomson points out that âthe form of hunting lodges or
pleasure houses was always the object of daring experimentsâ, and that is cer-
tainly the case at La Muette: like Mariemont it is a tall block-like pavilion in the
midst of a wood, but it is built on a quite audacious centralized plan, consisting
of a square tower with smaller, almost detached towers or pavilions on each
corner, and a chapel and staircase tower tacked onto two of its facades. Such
parallels leave little doubt about the function of the Archdukesâ two similar
lodges: both were built likewise in wooded country rich in big game, in par-
ticular deer. They offered a convenient place to meet for the hunt, to cater for
and enjoy the huntsmenâs picnic, and to provide shelter and entertainment for
participants and invited onlookers in case of adverse .75
5.3.2 The Function of the Prater Lusthaus and HvÄzda
Such outings, providing small-scale entertainment for a select group of close
friends or important guests may also have been organized independently from
zurĂŒck zum
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 ImageâOr 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 SvĂĄtek 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, NurembergâStradaâs Connection withWenzel Jamnitzer 67
- 3 In Hans Jakob Fuggersâs Service 107
- 3.1 Hans Jakob Fugger 107
- 3.2 Fugger as a Patron and Collector 114
- 3.3 Fuggerâs Employment of Strada 121
- 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
- 3.5 Stradaâs Trips to Lyon 137
- 3.6 Stradaâs Contacts in Lyon: Sebastiano Serlio 149
- 3.7 Civis Romanus: Stradaâs Sojourn in Rome 156
- 3.8 Commissions and Purchases: The Genesis of Stradaâs Musaeum 174
- 3.9 Departure from Rome 183
- 4 Antiquario Della Sacra Cesarea Maesta: Stradaâs Tasksat Court 188
- 4.1 Looking for Patronage: Stradaâs Arrival at the ImperialCourt 188
- 4.2 The Controversy with Wolfgang Lazius 200
- 4.3 âObwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchenâ: Stradaâs Tasks at Court 210
- 4.4 Indirect Sources Throwing Light on Stradaâs 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 âAdeste Musaeâ: Maximilianâs Hunting Lodge and Garden in the Prater 290
- 5.4 The Imperial Residence: Status quo at Stradaâs Arrival 307
- 5.5 The Architectural Infrastructure at the Imperial Court 319
- 5.6 Stradaâs Competence as an Architect 331
- 6 Stradaâs Role in Projects Initiated by Emperor Ferdinand I 339
- 7 An Object Lesson: Stradaâs House in Vienna 367
- 8 The Munich Antiquarium 383
- 9 The NeugebÀude 430
- 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinioâs Paintings in Pressburg 431
- 9.2 Kaiserebersdorf and Katterburg 432
- 9.3 Sobriety versus Conspicuous Consumption 437
- 9.4 Hans Jakob Fuggerâs 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 Stradaâs Contribution 500
- 9.12 Conclusion: Stradaâs Role in the Design of the NeugebĂ€ude 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: VilĂ©m z RoĆŸmberk 520
- 10.4 Jan Ć embera ÄernohorskĂœ z Boskovic and BuÄoviceCastle 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