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89 ibidem, p. 286, for instance: ‘Is prope sepem circum circa oblonga et amoenissima ambu-
latione vitbus odoratis, et iis quiem laetissimis consitus in quotidianum Culinae usum, ut
salubres (ut Virgilius inquit) corpori praebat cibos, prudenter destinatus est’.
90 ibidem, p. 284.
classical literature, and a large part of Tanner’s treatise is dedicated to listing
and quoting the classical sources on the lay-out and management of gardens,
and in particular the quincunx, including Columella’s De Re Rustica, Virgil’s
Georgica and Pliny’s Historia Naturalis. These are mostly practical treatises on
agriculture and husbandry, and Tanner actually stresses the functional use of
Maximilian’s garden, which included not only orchards but also herbal and
kitchen gardens. Next to its recreational and representative functions, the do-
main was useful in providing the Vienna court with the game, the vegetables and
the fruits—often exclusive, exotic ones—that it needed in large quantities.89
This practical aspect also applies to the quincunx, which is praised not merely
for its geometrical perfection, but also because it gave the individual trees more
space and better protected them against adverse weather conditions.90
Of course we do not know whether Maximilian himself had studied all of
these texts. When Tanner was asked to prepare the description of the garden,
he may have begun collecting such classical instances to vindicate the King’s
project ex post facto. But it seems more likely that he merely added to the argu-
ments and ideas that had inspired the design of Maximilian’s garden, and that
the King had read at least some of these texts himself—though possibly he
limited himself to the relevant passages pointed out to him by advisors such as
Huetstocker. That he should have read such texts is not really odd, in view of
his intelligence, his gift for languages and his well documented personal inter-
est in gardening. It could moreover be justified because such texts often made
part of, or complemented more general arguments of domestic economy, and
were therefore of immediate practical use for an efficient administration of his
patrimony, and, by analogy, also for the proper government of his states. That
at least is the point made by Tanner’s opening quotation, taken from a treatise
entitled ‘The Economist’ and describing the gardening activities of a prince
who is explicitly presented as the ideal ruler. Like his Cyropedeia, Xenophon’s
Economist was perfectly suitable for the education of a prince, and in some
version it may already have been among the reading material assigned to Maxi-
milian by his teachers long before he ever thought of building or of gardening.
Yet the general tenor of Tanner’s description of the King’s ‘amoenissimus
hortus’ is to sing the praises of the many animals that inhabited its groves, the
many species of birds whose sweet music filled the air, the flowers that bejew-
elled its meadows:
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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