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307Imperial
Architect: Background
completion. Few, if any, architectural designs for Imperial commissions from the period
have survived.
95 Holzschuh-Hofer 2007 interprets Ferdinand’s choice for Vienna as capital as part of his
defence strategy against the Turks, as ‘the ideological part of a whole military defence
strategy of placing the King, subsequently Emperor, as symbol of his permanent presence
on the front line’. Christiane Thomas has shown that Ferdinand’s adoption of Vienna as
his chief residence was not an official act, but merely the result of a process of easy stages
(Thomas 1993, pp. 101–103); Altfahrt 2003 provides a graph comparing the length of Ferdi-
nand’s sojourns in his various capitals and in other cities of the Empire, based on his itin-
erary 1521–1564 (p. 33). But Prague remained important as residence of equal importance
until ca. 1547 (Hausenblasová/ Jeitler 2014, p. 26).
more ambitious garden complex, the Neugebäude, its layout was determined
by it architectural elements to a much greater extent than that of the Prater.
Though building may not have been his predominant passion, it is probably
safe to conclude that, like his brother, Maximilian was sufficiently interested in
it to participate personally in the planning of his commissions. His taste would
have been formed by what he had seen in Northern Italy, in the Netherlands
and in the Empire, and influenced by at least some of the architectural trea-
tises of his time and their illustrations. In view of the importance of ancient
precept and example in the concept and planning of the Prater gardens, one
may assume that in planning his architectural commissions he likewise used
classical sources—chiefly Vitruvius—and their modern interpretations and
adaptations, such as Serlio’s treatises. Whether he really studied them himself
or whether he had them explained to him by his humanist advisors, must re-
main an open question.
5.4 The Imperial Residence: Status quo at Strada’s Arrival
5.4.1 Residential Requirements
Though Ferdinand i’s representational needs were great, they were easily
transcended by purely practical necessities. Some time after its heroic resis-
tance to the Turkish siege, Ferdinand decided to move his court to Vienna.95
In the 1540s, after some initial repairs, he began adapting the local residence,
the Hofburg, to house his increasing family. Funds were scarce, and what was
done initially can be described as the minimum necessary and the maximum
possible. The Hofburg proper, later also known as ‘Alte Burg’, ‘the old castle’
or ‘Schweizertrakt’, was a late medieval castle consisting of four wings around
a central courtyard, fortified by irregularly placed square corner towers and
provided with an elegant Gothic chapel. It was built almost on top of the city’s
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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