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399The
Munich Antiquarium
instructing him about the roof construction, and asking him to decide whether
he wished window frames and staircases in wood or in stone.30
Strada’s drawings for the project have not been preserved together, reason
why they were not recognized as belonging to one consistent project until
Renate von Busch’s painstaking examination of the sources. They are:
– the siteplan [Figs. 8.3 and 8.16], preserved in the Bayerische Staatsbiblio-
thek, Cod. icon. 198 c, nr. 1., ff. 2av/2br; it includes notes in Italian in Fugger’s
hand on the orientation of the site; Strada based his designs on this plan or
an identical copy of it (cf. above);
– a ground-plan [Figs. 8.17–8.19], preserved in the Bayerisches Staatsarchiv,
Plansammlung 7939; it repeats verbatim in Strada’s hand most of Fugger’s
annotations;
– an interior elevation [Fig. 8.20]; preserved with the siteplan and other mate-
rial relating to the Antiquarium in the Staatsbibliothek, Cod. Icon. 198 c, nr.
2. fol. 3r;
– an exterior elevation [Fig. 8.15], preserved in the Bayerisches Staatsarchiv,
Plansammlung 7931/9584.
These drawings are all intimately related: the ground-plan repeats verbatim in
Strada’s hand the notes in Italian Fugger had jotted onto the siteplan; the inte-
rior elevation, preserved with the siteplan, exactly tallies with the ground-plan;
the exterior elevation is drawn on the same paper from Ferrara as the interior
elevation, and again its proportions correspond closely to those of the ground-
plan. Moreover all three designs are drawn in the same technique, a fine pen in
a light brown ink over underdrawings in pencil, and the hand also appears to
be the same. This technique is the habitual technique of Strada’s workshop; the
yellow wash used in the exterior elevation is found in some of Strada’s decora-
tive and numismatic drawings. Moreover the style of the designs corresponds
closely to the architectural reverses among Strada’s numismatic drawings [see
30 DOC. 1569-02-19; cited in Hartig 1933, pp. 221–222, and Hubala 1958–59, p. 134. Fugger was
in Vienna to negotiate on behalf of Duke Albrecht in the matter of the Landsberger Bund,
from at least mid January 1569, when Stopio writes to him there [BHStA-LA 4852, fol.
207/198 ff.] until at least 30 March 1569, when he still dated a letter to Stopio from there
[BHStA-LA 4852, fol. 228/219]. On 5 March 1569 Fugger wrote to the Duke: ‘... von Im [=
Strada] die Pedestal unnd ubrigen stuckh der colonna genommen darzue den abri ßdes
gebews...’; he then reports Strada’s suggestions to the Duke; an undated note in Strada’s
hand referring to details such as the window frames and the ceiling decoration of the
library likewise refers to these discussions; cited in Von Busch 1973, pp. 133 and 301–302,
and Lietzman 1987, p. 125.
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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