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Chapter
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A house like that cost quite a lot: in 1567, when it was still far from finished,
Strada boasted to Stopio of having spent seven- to eight-thousand talleri or
thaler, and it is clear that this taxed his financial potential to the limits. His
financial troubles in the 1570s doubtless were caused in part by the huge
expense of the house itself and of the aristocratic and sumptuous lifestyle it
required. When he tried to sell it to Vilém z Rožmberk in 1573, he asked for
‘acht dausent Daller, wie wol es mich mer den neyne gekost hatt’; three years
later he claimed that it had cost him over ten thousand Thaler, and in 1581 the
amount he mentioned was even over twelve thousand Thaler.13 This is a huge
sum in relation to Strada’s annual salary of three hundred Gulden, and makes it
quite clear that his salary was only a minor part of his income—the payments
he received from Hans Jakob Fugger and later from Duke Albrecht v of Bavaria
of the nine to ten thousand numismatic drawings of his Magnum ac novum
opus, at a Thaler a piece, come closer to explain Strada’s ability to finance a
project of this sort. His position as Imperial Architect, however, must directly
or indirectly have facilitated the construction of his house. Occasionally he
was granted building materials from the Imperial works, and he may like-
wise have been allowed to use some of its infrastructure, such as scaffolding
and machinery.14 Thanks to his position he had direct access to the available
specialized labour forces, and at least some of his immediate colleagues—the
architects and master-masons he worked with at court—will have exchanged
their expertise on structural and technical aspects for his artistic advice and
access to the relevant materials in his collections.
a discretion es was gelten soll gerendt, als nun Irer Fürstl. Durchl. Parthey soliches gewun-
nen, haben sich die Sechs als herr von Thurn von Hoyos Jägermeister Teuffel von Zelting
vnd von Khünigsperg mit einander verglichen, Iren Fürstl. Durchl. etc. ein Pangöth vnnd
Tanz zehalten, haben also ein gar stetlich Pangöth zuberait Ier Fürstl. Durchl. etc. vnd vier
Taffel Frawen vnd Junckhfrawen darauf geladen die auch khumben vnd nach dem nacht-
mal biss auf halbe ainss in die nacht getanzet, auch ein schöne Mumerey die beiden Irer
Durchl. etc. Mumschanz gebracht gehalten worden, Ier Durchl. etc. sein zwar gar lustig
vnnd frölich gewesen, vnnd ist soliches Pangöth vnd Tanz in des Sträda hauss gehalten
worden<...>.
13 Stopio to Fugger, Venice 5 Sept. 1567, BHStA-LA 4852, f. 63/57: ‘Il Strada è partito 3 dì sono
per Mantua <...>Iddio li dia bon viagio, andando a questo modo a spese d’altri a fare fatti
suoi, si puo fabbricare delli palazzi, come si è vantato qui di haverne fatto una in Vienna
ove ha speso 6 m. taleri, et per compire ne spendera altri 2 o 3.’; DOCS: 1573-12-18; 1576-06-
16; 1576-09-00; 1581-11-02.
14 In July 1564 Strada was conceded wood for use in the construction of his house; in Febru-
ary 1569 a similar request for lime, by this time probably to be used for plaster rather than
for mortar ( DOCS. 1564-07-08; 1564-07-11; 1569-02-00).
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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