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405The
Munich Antiquarium
Strada interpreted the siteplan [Fig. 8.16] as indicating the internal mea-
surements of the projected building, which implies that his project [Fig. 8.17]
would take up a little more space, i.e. basically the thickness of the walls and
the order of engaged columns.36 He projected a long building of 18 × 3 bays,
corresponding to a proportion of 6 : 1, and subdivided this space into the main
exhibition hall, of 15 bays (that is a proportion of 5 : 1), an entrance with ves-
tibule and main staircase taking up the first two bays, and two small cabinets
and a service staircase filling the last bay. Details of these subsidiary spaces
indicate Strada’s concern for the practical use of the building.
The entrance [Fig. 8.18] consists of a quite representative vestibule of two
bays deep, the walls of which are articulated by coupled pilasters, and which
was to be covered by two groin vaults or, more likely, by a compartmented bar-
rel vault decorated in stucco. On the left (south) side, a monumental staircase
gives access to the library on the upper floor. On the right (north) side two
small spaces probably were intended as a porter’s or custodian’s lodging; its
back room includes a narrow staircase which may be a subsidiary service stair,
but more likely provides access to a mezzanine with a bedroom for the cus-
todian. Under these stairs a latrine was situated (shown when lifting the flap
of paper on which the staircase is drawn). The small front room appears to
have been heated by a Kachelofen, the traditional German stove of ceramic
tiles heated from the back.
The same elements, a service staircase over a latrine and a cabinet heated
by a Kachelofen, are found at the other end of the building [Fig. 8.19]. Here
are projected two cabinets accessible through doors in the lateral bays of the
western end wall of the main space. As we have seen, the one of the left (south)
side is heated by a Kachelofen, the one on the right (north) has an ample chim-
neypiece with its own smoke channel in the outside wall. With the vestibule
on the other end these are doubtless the ‘stanze dele [due (?)] teste’, the ‘rooms
on either end’ to which Strada refers in his note on the measures used in the
drawing. It is tempting, though, to read this name as indicating their func-
tion, rather than their position, as ‘rooms of the portrait-heads’, which would
36 Comparing Strada’s ground plan with the siteplan at first sight their proportions seem
not to coincide: the siteplan seems longer or narrower that Strada’s project. When taking
into account Strada’s comment on these measurements, which he repeats in his drawing,
it turns out that he refers them to the internal measurements of the building: ‘242 piedi
la longezza dentro i muri computando le stanze dele [unreadable abbreviation: ‘due’?]
teste’ and ‘40 piedi largezza [... (crossed out, unreadable] senza i muri’. If one measures
the length between the inner wall surfaces, but including vestibule and cabinets at either
end, and the width between the pedestals of the semicolumn, one in fact comes pretty
close to these measurements.
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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