Seite - 419 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

419The Munich Antiquarium Strada’s receptivity to the art with which he had been surrounded in his adop- tive country. This is the ornamental parapet on the roof, or strictly speaking the odd arabesque ornamental balustrade with which Strada intended to fill the gaps between the pedestals carrying obelisks and vases which topped the Antiquarium [Fig. 8.36] in the manner of Sansovino’s Biblioteca Marciana [Fig. 8.11–8.12]. It is difficult to decide how Strada intended this ornament to be executed— perhaps as the type of parapet in stone that would remain habitual for civic architecture in central Europe, though in quite different forms. Much closer in effect is an ornamental parapet in stone found, oddly enough, in Spain, in the Palacio de Monterrey in Salamanca, built from 1539 onward after designs by Rodrigo Gil de Hontañon and Fray Martín de Santiago [Fig. 8.37]. This is Figure 8.33 Bartolommeo Ammanati, garden facade of the Palazzo Pitti, Florence, 1560. Figure 8.34 Jacopo Strada, exterior design for the Munich Antiquarium, exterior elevation, detail. Figure 8.35 Andrea Palladio after a design by Giulio Romano, Palazzo Thiene, Vicenza, window surround. Figure 8.36 Jacopo Strada, ornamental balustrade, detail of the exterior elevation for the Antiquarium. Figure 8.37 Rodrigo Gil de Hontañon et al., Palacio de Monterrey, Salamanca (begun 1539).