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391The
Munich Antiquarium
exterior facade for a building of two equivalent stories and a length of about
twenty bays. But then there is no indication that Stopio had any particular
knowledge or understanding of architecture.
The Antiquarium Grimani must have played some role in the decisions
taken in Munich about the form the new building should take: certainly Stra-
da must have been very much aware of it, since in the beginning of the same
year he had spent some days closeted with the Patriarch, probably studying
his coins and other antiquities, and possibly also advising the Patriarch on his
new Musaeum.16 But in Munich a different concept was decided upon: a long,
simple hall, a galleria, instead of a square or circular space, a tribuna. It is this
concept that determined the choice of site, close to, but separate of the Neue
Veste, the ducal Residence. The drawing Fugger sent to Strada, to Stopio and
probably to others, shows nothing but a huge rectangle, with a scale of mea-
sure and some notes as to the orientation of the planned building written in
the margins.17 [Fig. 8.3].18
8.2 The Design of 1568
The first response to the request was a design made by an anonymous draught-
sman of Northern German or perhaps Netherlandish extraction [Figs. 8.4 and
8.6].19 It shows a huge building of two floors topped by a steep roof reminis-
cent of Antwerp town hall dotted with small dormer windows. Its lower level
is articulated by a Ionic order of semicolumns or pilasters superimposed on a
windowless wall of rustic blocks, very likely intended to be executed in sgraf-
fito rather than in full relief. An intermediate level coinciding with the pedestal
zone of the upper level contains rectangular windows filling the lunettes of the
vaulted ceiling of the lower hall: an elegant solution which provides sufficient
wall space to place the statues and busts and also assures adequate lighting of
these. The top level of the facade is articulated by an order of superimposed
16 On 22 Febr. 1568 Stopio writes to Fugger that Strada had refused his invitation for a drink
to celebrate the wedding of Prince Wilhelm of Bavaria: ‘Io havevo invitato il Strada per
questa matina per fare un poco di allegrezza a memoria di queste nozze, ma l’ha mandato
ad scusare, che ha tanto da fare tutto il dì con il patriarca, che a pena ha tempo da mangi-
are ...’ [BHStA-LA 4852, fol. 150/142].
17 The site actually belonged to the neighbouring Franciscan monastery; they were recom-
pensed for the loss of part of their garden by with an annual donation only in 1570 [Weski/
Frosien-Leinz 1987, Textband, p. 468, nr. 168].
18 bsb-hs, Cod. icon. 198 c, nr. 1., ff. 2av/2br.
19 BHStA, Plansammlung 7933.
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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