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Author:   Dirk Jacob Jansen
Publisher:   Brill
Imprint:   Brill
Volume:   17
Weight:   2.293kg
ISBN:  

9789004355262

ISBN 10:   900435526
Pages:   1070
Publication Date:   07 March 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

Preface Introduction | The Image - Or from Whom (Not?) to Buy a Second-Hand Car 0.1 The portraits of Jacopo and Ottavio Strada 0.2 Why are these portraits so special? 0.3 Motions of the mind 0.4 What is known about Strada: early notices 0.5 Quellenkunde: some sources published and interpreted in the nineteenth century 0.6 Kulturgeschichte before World War II 0.7 Romance: Josef Svatek and the Rudolfine legend 0.8 A (very) modest place in the history of classical scholarship 0.9 Contemporary scholarship 0.10 What has not been written about Jacopo Strada 0.11 Weaving the strands together: the purpose of this study I | 'A Puero Enutritum et iam Olim Exercitatum': Education and Early Experience 1 | Early Years: Family Background, Education, Giulio Romano 1.1 Family background 1.2 Mantua and the Gonzaga 1.3 Formal education 1.4 Artistic training 1.5 Giulio's collections 1.6 Early training as a goldsmith? 1.7 Significance of his Mantuan background for Strada's development 2 | Travel: Rome, Landshut, Nuremberg and Strada's Relationship with Wenzel Jamnitzer 2.1 Early travels 2.2 Residence in Germany 2.3 The Landshut hypothesis 2.4 Romance in Franconia: Strada's marriage and his settling in Nuremberg 2.5 Strada and Wenzel Jamnitzer 3 | In Hans Jakob Fugger's Service 3.1 Hans Jakob Fugger 3.2 Fugger as a patron and collector 3.3 Fugger's employment of Strada 3.4 Architectural patronage for the Fugger Family: the Donauwoerth Studiolo 3.5 Strada's trips to Lyon 3.6 Strada's contacts in Lyon: Sebastiano Serlio 3.7 Civis Romanus: Strada's sojourn in Rome 3.8 Commissions and purchases: the genesis of Strada's Musaeum 3.9 Departure from Rome 4 | 'Antiquario della Sacra Cesarea Maesta': Strada's Tasks at Court 4.1 Looking for patronage: Strada's arrival at the Imperial court 4.2 The controversy with Wolfgang Lazius 4.3 'Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen': Strada's tasks at court 4.4 Indirect sources throwing light on Strada's employment at court 4.5 Conclusion II | 'Ainem Paumaister bey unnsern Gebewen': Jacopo Strada as an Imperial Architect 5 | Jacopo Strada as an Imperial Architect: Background 5.1 Introduction: the Austrian Habsburg as patrons of architecture 5.2 The Prince as architect: Ferdinand I and Maximilian II as amateurs and patrons of architecture 5.3 'Adeste Musae': Maximilian's hunting lodge and garden in the Prater 5.4 The Imperial residence: status quo at Strada's arrival 5.5 The architectural infrastructure at the Imperial court: available talent 5.6 Strada's competence as an architect 6 | Strada's Role in Projects Initiated by Emperor Ferdinand I 6.1 The Hofspital 6.2 The Tomb of Maximilian I in Innsbruck 6.3 Interior decoration 6.4 The Tanzhaus 6.5 The Stallburg 7 | An Object Lesson: Strada's House in Vienna 8 | The Munich Antiquarium 8.1 The commission 8.2 The design of 1568 8.3 The concept 8.4 Strada's project: the drawings 8.5 Strada's project: the building 8.6 The interior elevation 8.7 The exterior elevation and its models 8.8 Conclusion: Strada's role in the creation of the Antiquarium 9 | The Neugebaude 9.1 The tomb of Ferdinand I and Anna in Prague; Licinio's paintings in Pressburg 9.2 Kaiserebersdorf and Katterburg 9.3 Sobriety versus conspicuous consumption 9.4 Hans Jakob Fugger's letter 9.5 Description of the complex 9.6 The personal involvement of Emperor Maximilian II 9.7 Ottoman influence? 9.8 Classical sources: Roman Castrametatio and the fortified palace of Diocletian at Split 9.9 Classical sources: monuments of ancient Rome 9.10 Contemporary Italian architecture 9.12 Strada's contribution 9.12 Conclusion: Strada's role in the design of the Neugebaude 10 | Other Patrons of Architecture 10.1 The courtyard of the Landhaus in Graz 10.2 The residence for Archduke Ernest 10.3 Other patrons: Vilem z Rozmberka 10.4 Jan Sembera Cernohorsky z Boskovic and Bucovice Castle in Moravia 10.5 Christoph von Teuffenbach: the house in Vienna and the castle at Drnholec 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 10.7 Conclusion III | The Musaeum 11 | The Musaeum: Strada's Circle 11.1 Strada's house 11.2 High-ranking visitors: Strada's guest book and Ottavio's Stammbuch 11.3 'Urbanissime Strada': accessibility of and hospitality in the Musaeum 11.4 Intellectual associates 11.5 Strada's confessional position 11.6 Contacts with members of the dynasty 12 | The Musaeum: its Contents 12.1 Introduction 12.2 Strada's own descriptions of his Musaeum 12.3 Strada's acquisitions for Duke Albrecht V of Bavaria 12.4 Strada's own cabinet of antiquities 12.5 Acquisitions of other materials in Venice 12.6 Commissions in Mantua 12.7 'Lustigen Tiecher': contemporary painting in Strada's Musaeum 12.8 Conclusion 13 Books, Prints and Drawings: The Musaeum as a centre of visual documentation 13.1 Introduction 13.2 Strada's acquisition of drawings 13.3 'Owls to Athens': some documents relating to Strada's graphic collection 13.4 The contents of Strada's collection of print and drawings 13.5 Later fate of Strada's prints and drawings 13.6 Drawings preserved in a context linking them to Strada 13.7 Strada's commissions of visual documentation: Antiquity 13.8 Strada's commissions of visual documentation: contemporary architecture and decoration 13.9 Images as source of knowledge 13.10 Conclusion 14 'Ex Musaeo et Impensis Jacobi Stradae S.C.M. Antiquarius, Civis Romani': Strada's Frustrated Ambitions as a Publisher 14.1 Is there life beyond the court? 14.2 Strada's family 14.3 Ottavio Strada's role 14.4 The publishing project: Strada ambitions as a publisher 14.5 The Musaeum as an editorial office? 14.6 Financing the programme 14.7 The Index sive catalogus 14.8 Strada's approach of Christophe Plantin 14.9 The rupture with Ottavio 14.10 Strada's testamentary disposition 14.1 Conclusion: the aftermath IV The Antiquary and the Agent of Change 15 'Le Cose dell'antichita': Strada as a Student of Antiquity 15.1 Professsion: Antiquarius 15.2 Strada's qualities as an antiquary 15.3 Strada's method 15.4 Strada's aims 16 Strada & Co: By Appointment to His Majesty the Emperor 16.1 Strada as an Imperial antiquary and architect 16.2 Strada's role as an agent 16.3 Strada as an independent agent 16.4 'Ex Musaeo Jacobi de Strada': study, studio, workshop, office, showroom 16.5 Strada's influence: an agent of change 16.6 Conclusion: Strada's personality 16.7 Epilogue: back to the portrait APPARATUS 1 List of abbreviations 2 Chronological list of sources 2 Appendices A: Some unpublished letters B: Strada's will C: Strada's Musaeum: 'Pleasant paintings' D: Strada's Musaeum: The Index sive Catalogus 4 Bibliography 5 List of illustrations Index

Reviews

Jansen has successfully demonstrated Strada's importance in the cultural transfer from Italy to the North. In the process he has assigned him a unique role as an agent of change in the cultural history of the second half of the 16th century. Sylvia Ferino, Director Emerita of Paintings at the Kunsthistorisches Museum, Vienna. In: The Art Newspaper, 13 July 2020.

A beautiful book that will certainly become the definitive biography of this intriguing Italian. Howard Louthan, University of Minnesota. In: Renaissance Quarterly, Vol. 74, No. 2 (Summer 2021), pp. 626-628. Jansen has successfully demonstrated Strada's importance in the cultural transfer from Italy to the North. In the process he has assigned him a unique role as an agent of change in the cultural history of the second half of the 16th century. Sylvia Ferino, Director Emerita of Paintings at the Kunsthistorisches Museum, Vienna. In: The Art Newspaper, 13 July 2020.

Author Information

Dirk Jacob Jansen, Ph.D. (Leiden 2015), Gotha Research Centre at the University of Erfurt, has been an academic librarian and curator. His published research focuses on sixteenth-century architecture, antiquarianism and collecting in courtly contexts, and includes several articles on the life and career of Jacopo Strada.

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