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327Imperial
Architect: Background
130 The patent also applied to ‘a new design for building furnaces for dyers and those who
make beer, and for other uses, with a great saving of fuel’, cited in White 1967, p. 432. The
patent was granted only in 1565.
131 Lord Burleigh owned a copy of the Latin version, Jacobus Acontius de Oppidis Arcibusque
muniendis, but to date no manuscripts of either version are known, nor are copies known
of a version reputedly printed in Geneva in 1585. Recently Stephen Johnston of the Oxford
Museum of the History of Science has discovered the manuscript of an English transla-
tion by Thomas Blundeville, dedicated to the Earl of Bedford, now in the archives of Lord
Egremont at Petworth House; cf. Johnston 2005/9, which provides the introduction and a
survey of the chapter’s headings.
132 Fiedler 1870, p. 217; quoted in Lietzmann 1987, p. 29: ‘<…> favorisce gli architetti et tutti
quelli che gli portano cose nuove pertinenti à guerra, o fortificationi, et à tutti dona, et
use [water] wheels’.130 A few years later, when he had been naturalized, and
backed by a group of investors, he obtained a royal privilege to reclaim about
two thousand acres of marshland in Kent. It was only in 1564 that Aconcio, to
provide a ‘second opinion’, was added to the committee charged to transform
Berwick, which defended the bridge across the Tweed against the Scots, into
the foremost fortress in the British Isles. Such engineering skills would have
certainly interested Maximilian, who had initiated similar schemes of water
management while regent of Spain, as we have seen above.
Aconcio relates that he had decided to study engineering when he began to
fear that his heterodox religious opinions would at some time constrain him to
flee from Italy, and he would need to have some profession enabling him to sur-
vive in exile. He also writes that on arrival in England he had circulated several
copies of his own Latin version, Ars muniendorum oppidorum, of his unpub-
lished Italian treatise on the subject.131 This treatise, which summarized the
principles—or ‘universals’, as the philosopher Aconcio called them—of fortifi-
cation, and which was based on first-hand experience obtained within the past
decade, would have been of great interest to Maximilian and his father, whose
greatest care was the defence of Europe against the Turks. Most of the Italian ar-
chitects whom Maximilian later persuaded to come to Vienna, such as Sallustio
Peruzzi, were in fact military engineers, and employed in Hungary to meet the
Turkish challenge. And this interest certainly antedated his accession: In 1563
the Venetian envoy, Giacomo Soranzo, wrote to the Doge that Maximilian
‘<…> favours architects and all who bring him new things pertaining to
[the arts of] war, or fortifications; and he gives [bounty] to all of them;
and I have heard that he has in drawings not only the state of Your Serene
Highness [= the Doge], and in particular all the fortresses with many dis-
courses about them, but also the site of this City [= Venice] with annota-
tions and discussions about how one could attack it’.132
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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