Seite - 397 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

397The Munich Antiquarium afterwards built in Munich. In an important paragraph, ‘Der Bautyp des Anti- quariumgebäudes’, Renate von Busch analyses the building type of the Munich Antiquarium and attempts to place it in the history of the humanist studio and the development of the gallery.27 It is true that Strada and his patrons may have been well aware of the development of the gallery as a free standing building-type, particularly in France: the most obvious example, the Galerie François-Ier in Fontainebleau, may well have been a source of inspiration, both because of its illustrious patron and because its upper floor originally housed the French King’s library.28 But it is significant that many of the comparisons Von Busch cites actually postdate the Munich Antiquarium. Seelig moreover rightly stresses that though the type is indeed unusual at the time for build- ings planned to house a collection, it is by no means unusual for a building conceived to house a library, witness the examples given above. And even then, these earlier examples are hardly necessary to explain the building concept: given the decision to combine library and collection of antiquities, and given the available space, the building type chosen for the Munich Antiquarium seems the natural and obvious solution. So the originality of the Munich Antiquarium lies in this concept, rather than in the resulting building type. The idea of combining the complete library and the complete collection of antique sculpture in one building, thus creat- ing a true museum, can be derived from the ideas current in the circle of Hans Jakob Fugger, who considered library and collection as tools of science and scholarship as well as of representation. As we have seen, he brought these ideas with him to Munich, where they were codified by his former librarian, Samuel Quiccheberg, and were put into practice under Fugger’s direct supervi- sion, in the huge complex of collections created by Albrecht v. The concept of 27 Von Busch 1973, pp. 153–160; it is preceded by an equally important paragraph on the historical position of the Munich Antiquarium as a collection and a conclusion on the significance of the Munich Antiquarium as created by Albrecht V. Hubala 1958–59, and Heike Frosien-Leinz and Horst Stierhof in Weski/Frosien-Leinz 1987 also discuss possible architectural sources of the Antiquarium. 28 Seelig 1987, p. 26–27; he conveniently lists the literature on the gallery as a building type, p. 30 note 46, and cites Gerhard Hojer (ibid. p. 26 and note 48), who, rather than of the ‘Galerie François-Ier’, thought of the ‘Galerie Henri-II’, otherwise known as the ‘Salle de Ball’ (which was illustrated by Serlio, cf. above, Fig. 5.88), a not particularly illuminating comparison for the original concept of the Antiquarium, but perhaps helpful for its later function as a festive hall. It should be noted that galleries were not unknown in Italy, though often derived from open logge as in Mantua. The most relevant freestanding gal- leries are without doubt those designed by Bramante to connect the Belvedere with the Vatican Palace—used in part, it should be noted, to house the Vatican Library.