Seite - 1012 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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1012 Illustrations
9.9 Monogram of Emperor Maximilian II and Empress Maria under the
Bohemian crown, as depicted on the dedication page of Tanner’s trea-
tise of the Prater Lusthaus; ÖNB-HS, ms. 8085    435
9.10 Severin Brachmann, King Maximilian II and his consort Maria of
Spain in a pavilion in one of their gardens, limestone relief, ca 1560;
KHM, inv. nr KK 9895    436
9.11–9.12 Georg Matthäus Vischer, view of Schönbrunn; engraving from
VISCHER 1672, pl. 92, and detail; BSB, inv.-nr Hbks/F 71; image
BSB-MDZ    436
9.13 The Vienna Neugebäude in its present state; image author 
  437
9.14 View of the Neugebäude complex as envisaged in the reconstruction
model, realized by Modellbauwerkstätte Philipp Lang; Vienna, Schloß
Neugebäude; image Wikimedia/ Gryffindor (CC-BY-SA 3.0) 
  438
9.15–9.16 Lucas van Valckenborch, Rudolf II and his brothers in front of the
Vienna Neugebäude, ca 1593, and detail; KHM, Gemäldegalerie, inv. nr
9863 
  441
9.17 Matthäus Merian, Eigentliche Delineatio des Schönen Lusthauses
genannt das Neugebäu, bird’s-eye view from the north; engraving,
1649, from his print series Topographia Provinciarum Austriacarum,
Austriae, Styriae, Carinthiae, Carniolae, Tyrolis, Frankfurt a.M. 1679;
Dusseldorf, Universitäts- und Landesbibliothek; image digital.ub.uni-
duesseldorf.de/ihd, acc.-nr 39:131883S (CC BY-NC-SA 4.0)    443
9.18 Andreas Altmann, Design for the frame of a green tunnel for the
garden at Prague Castle, 1567; NAP, inv. nr ÄŒDKM IV, Kart. 191, f.
452    444
9.19 The green tunnel in the gardens of the Villa d’Este, detail from a
17th-century copy after Etienne du Pérac’s bird’s eye view of 1571,
handcoloured engraving; image Wikimedia/pd    444
9.20 Hans Vredeman de Vries, design for a garden labyrinth, ca 1587: engrav-
ing from a later edition of his print series Hortorum viridiarumque, ca
1635–1640; ARM, inv. nr RP-P-1964-3023    444
9.21 Galleries in carpentry to be overgrown with ivy at the Château de
Montargis, engraving from ANDROUET DU CERCEAU 1576, pl. 33;
image BN-INHA, collections Doucet, sig. Num Fol Res 538(1) (open
licence)    445
9.22 Johann Adam Delsenbach, Das Neugebäude: Ein Kayserl: Lust-Haus,
bird’s-eye view from the north-east, engraving after a design by Joseph
Emanuel Fischer von Erlach, 1715; image Wikimedia/pd    446
9.23 View of the service buildings east of the main block of the Neuge-
bäude (tennis court, stabling, fishponds, perhaps a menagerie); detail
of ill.9.22    447
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Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Band 2
- Titel
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Untertitel
- The Antique as Innovation
- Band
- 2
- 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
- 542
- Kategorien
- Biographien
- Kunst und Kultur
Inhaltsverzeichnis
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038