Seite - 389 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

389The Munich Antiquarium When Fugger sent the siteplan he appears also to have told Stopio that it was intended to house the Ducal Library on the first floor of the planned building. Stopio thought that the drawing he had sent could easily be adapted to that function, ‘by adding windows over or in between these compartments or ae- diculae [‘anche’ (?)] that are drawn there, as the architect can easily do’.14 The drawing Stopio had sent was probably an elevation of the internal disposition of the principal room of the suite dedicated to Giovanni Grimani’s collection: this was a square, tribuna-like space covered by an unusual square dome and lit only from above by its lantern.15 [Fig. 8.2] Perhaps Stopio was slightly opti- mistic about the ease with which this interior elevation could be adapted to an 14 Stopio to Fugger, 28-11-1568, responding to Fugger’s letter of 10-11-1568: ‘...et con quella ho hauto un disegno per la fabrica che S.Ecc.a vuol fare per le anticaglie. Ho mandato un disegno avanti hieri, che credo sera a proposito, et ben si potrà accomodare la libraria di sopra facendo delle finestre sopra o fra quelli compartimenti, o anche, che stanno ivi disegnati come l’architetto sapera ben accomodare...’. [BHStA-LA 4852, fol. 193/184; Weski/ Frosien-Leinz 1987, p. 466, nr. 139]. Here the word ‘anche’ is problematical: it is introduced as a synonym for ‘compartimenti’; perhaps it should read ‘ante’ in the architectural sense (pillars or posts framing a doorway or—less likely—the leaves of a door or window); pos- sibly it is a local (?) variant or adaptation of ‘ancona’, indicating an architecturally framed altarpiece or (more rarely) a niche intended for a statue. In either case it probably refers to the pedimented aediculae framing niches in the Antiquarium Grimani. 15 The Antiquarium Grimani is integrated within the fabric of the Grimany family palace at Santa Maria Formosa, and has no proper facade: it must have been the design for its spec- tacular interior that had been discussed with the best architects of Italy, perhaps includ- ing Strada, who at this time was in contact with the Patriarch (cf. below). Its author is not known, suggestions include the Patriarch himself [Perry 1981], Bartolommeo Ammanati [Stefani Mantovanelli 1984] and Giovanni Battista Bertani (Manfredo Tafuri, on the basis of the similarity between its cupola and that of Bertani’s Palatine basilica of Santa Bar- bara in Mantua; oral communication). The space has been recently studied and restored; the sculptures for which it was planned were later given to the Venetian Republic, and housed in the Biblioteca Marciana. Figure 8.3 Siteplan for the Munich Antiquarium, autumn 1568; Bayerische Staatsbibliothek, Handschriftensammlung.