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297Imperial
Architect: Background
74 Androuet du Cerceau/ Thomson 1988, p. 103: ‘Feu François de Valois, Roy de France <…>
choisit un endroit [in the forest of St Germain] pres d’un petit marescage <…> où 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 d’icelles, et la nomma la Muette, comme lieu secret, &
separé, & fermé de bois de tous costez <…>’. and ibid., p. 104.
75 ibid. p. 108. François i built a similar hunting lodge at Challuau, near Fontainebleau, for
his mistress, the Duchesse d’Étampes, according to Du Cerceau again because ‘qu’audict
bois prochain y avoit grande quantité de cerfs’, 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. 76–78) and the late sixteenth and
early seventeenth centuries (pp. 106–108).
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. 5.63–5.64]. 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 Cerceau’s 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 ‘the form of hunting lodges or
pleasure houses was always the object of daring experiments’, 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 Archdukes’ 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 huntsmen’s 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 Hvězda
Such outings, providing small-scale entertainment for a select group of close
friends or important guests may also have been organized independently from
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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