Seite - 628 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Chapter ��6�8 have been either antique or modern: one thinks of something like the couple of satyrs from the workshop of Andrea Riccio in the Metropolitan Museum [Figs. 12.47–12.48]. A small bronze of a man laying his hand on his head was indicated as being by ‘Buonarota’, but probably was after Michelangelo rather than in his own hand. It may have been the cast of a study similar to the wax model preserved in the Victoria and Albert Museum [Fig. 12.49], but more likely was a small bronze replica of one of the slaves for Michelangelo’s tomb for Pope Julius ii. The most interesting objects are four ‘figures’ in clay or ter- racotta made by one ‘Antonella da Mantua’ and a clay or terracotta figure of Neptune by Jacopo Sansovino, perhaps a study for the Neptune on top of the Scala dei Giganti in the Palazzo Ducale in Venice [Figs. 12.50]. Apart from these sculptures the list mentions some curiosities, typical Kun- stkammer objects, such as a mirror in a richly wrought frame decorated with alabaster plaques and gilt medallions, an Arabic ‘Rauchgeschirr’ (‘smoking appliance’)’ (perhaps an early example of a hookah?), ‘a round mirror with which the Egyptians used to blind their enemy’ and two ‘maritimo Ainkirn’, narwhal’s tusks interpreted as the horns of a unicorn. A quantity of coins and medals mentioned probably consisted of doubles of Strada’s own collection— it can hardly refer to his huge collection of ancient coins, which he probably would not have offered for sale. It is interesting that these were mounted in lead or ebony rings; perhaps they were at least in part modern portrait medals, rather than ancient coins. 12.8 Conclusion In view of the relative rarity in Vienna of classical antiquities, the monumental Kunstschrank or collector’s cabinet and the quantity and the interest of the an- cient coins that were probably housed in its various compartments would have appealed at least to the educated among Strada’s visitors. Though perhaps not very large, the collection of paintings on display was quite prestigious, includ- ing a number of large and splendid paintings by the greatest names of con- temporary Venetian painting. If the two Veronese paintings now in the Frick Collection can be considered representative for Strada’s cabinet of pictures, it must have made a big impression on his visitors. That such material was proposed to German patrons, the assumption that they would be interested in it, demonstrates the cosmopolitan attitude and the awareness of recent artistic developments in Italy prevalent both at Munich and at the Imperial court. Even without taking his own collection in account, Strada’s expertise and his personal connections with several of these artists must have been an important factor in creating that awareness.