Seite - 483 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1
Bild der Seite - 483 -
Text der Seite - 483 -
483The
Neugebäude
the Neugebäude, but they were mostly derived from Pirro Ligorio’s Anteiquae
Urbis Imago, his famous detailed plan of ancient Rome, printed in 1561 and
consisting of 15 separate sheets together measuring 149 x 126 cm.82 This plan
was basically a bird’s eye view of Rome and its immediate surroundings and
illustrated the individual buildings in detail. Since these were often identi-
fied on the basis of literary sources, it offered an ample choice of authoritative
models. It is significant that almost every garden illustrated was surrounded by
a continuing porticus, interrupted by higher pavilions on a square, a circular or
a polygonal ground plan.
Particular striking are the plans of the ‘Horti Bassiani Antonini Aug.’ (i.e.
the gardens of the Emperor Caracalla) and the Horti Caesaris. The plan of the
former [Fig. 9.66] is quite close to the Neugebäude: a huge rectangular garden
surrounded on three sides by colonnades interrupted by round and square pa-
vilions or towers, and on the fourth side by a long building consisting of a central
block and connected with a two-story arcade to square pavilions at either end.
In the reputed garden of Caesar [Fig. 9.67] the gallery enclosing the central
garden is flanked at either end by towers which appear to be hexagonal rather
than octagonal. This provided an authority for the hexagonal towers of the
Inner garden of the Neugebäude. Another monument of some interest is the
‘Domus Petronii’, the principal facade of which (on the right in the illustration)
consisted of a huge open colonnade over a closed, rustic socle zone between
two corner pavilions; possibly this provided some of the inspiration for the
Neugebäude’s principal building [Fig. 9.68].83
82 Mandowksy/Mitchell 1963, p. 41; Burns 1988. Ligorio was also the first to publish a recon-
struction of the Villa of the Emperor Hadrian at Tibur (Tivoli).
83 Other plates of possible interest are ‘Lucus Petilinus’, ‘Collis Hortulorum’ (i.e. the gardens on
the Palatine), the ‘Horti Domitiorum’ (included twice), and the ‘Monumentum
sextannio-
rum’. I have used the digital version accessible on the site of the Institut National d’Histoire de
l’Art: http://inha.divvalib.net/collection/365-livre-des-edifices-antiques-romains/?n=9.
Figures 9.67–9.68 Jacques Androuet du Cerceau, the ‘Horti Caesaris’ and ‘Domus Petronii’,
after Pirro Ligorio’s 1561 plan of Ancient Rome.
zurück zum
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