Jacopo Strada was an Italian polymath courtier, architect, inventor of machines, linguist and merchant of works of art. His portrait by Titian has kept his image familiar, he is supposed to have received early training as a goldsmith in the Mantua workshops of Giulio Romano. From 1552 to 1555 he sojourned in Lyon and travelled to Rome in the service of Pope Paul III, after his death his successor Marcellus II, upon whose sudden death he returned north. From 1556 onwards he settled at Vienna and from 1576 served as an official artist and architect to three successive Habsburg Holy Roman emperors, Ferdinand I, Maximilian II and Rudolph II, he worked for Albert V, Duke of Bavaria, for whom he conceived the Antiquarium to house the antiquities at the Munich Residenz. He served as the friend and trusted agent of the Augsburg patrician and book-collector, a friend and advisor of Albrecht, the immensely rich Jakob Fugger, for whom he scouted works of art in Italy from his headquarters in Mantua. On Fugger's commission he assembled a comprehensive array of coats of arms of Italian nobility, filling fifteen volumes, for Fugger's library.
A suite of drawings of ancient coins, that Strada did for Fugger, has found its way into Duke Albrecht's collection and is preserved at Gotha. In 1544 he wed Grafin Ottilia Schenk von Roßberg in Lyon, he moved to Nuremberg in 1546, where he was granted the city's freedom as a goldsmith in 1549. In 1556 he moved to Vienna, taking a house that still stands, now Bankgasse 12, putting his antiquarian knowledge at the disposal of the Habsburg court, rewarded with the care of the imperial treasury, he worked as architect to Ferdinand I in the ongoing construction of the Hofburg. In December 1566 he journeyed to Albrecht's court in Munich, to oversee the Antiquarium planned in conjunction and competition with Fugger, returning to Vienna in 1568. For Schloss Bučovice near Brünn he provided plans for the architect Jan Šember von Boskovic. For Schloss Neugebäude, begun from scratch as a hunting box by Maximilian II in 1568, no architect is reported in surviving documents, but its advanced integration with gardens makes Strada the most candidate.
The circumstances surrounding the making of the Titian portrait show Strada in a less favourable light. He visited Venice in 1567-68 to try and acquire for Albrecht the famous collection of art and antiquities left by Gabriele Vendramin; this entailed breaking the terms of Vendramin's will, in the end the attempt failed. Another deal was hatched with Titian. In return Titian was to paint Strada's portrait, to receive a fur from him. Knowledge of the deal comes from a letter to Fugger by Nicolò Stoppio, a Venetian dealer, Strada's rival in Fugger's service. Although the brilliant quality of the portrait has always been recognised, art historians agree the depiction of Strada is not flattering; the pose is taken from a tomb relief of about 1335 that Titian would have known, where a nobleman offers God his soul, represented as a naked baby. However, in his "expensive den", Strada makes a different offer to a client: "He manhandles a Venus, whose pudica gesture is wittily cancelled out by his hand clamped on her breast.
As a shady character, he has an exceptionally heavy chiaroscuro on his face. His crowning achievement, his works on numismatics are placed above his head, his social ambition is emphasised by Titian's late decision to double the loops of his chain." He quit Albrecht's service about 1570. During 1571–1574 he compiled a catalogue of the surviving literature of Antiquity and compiled a lexicon. In 1574 his wife Ottilia died. At the end of the year, 27 December, he was accorded noble status, he demolished and rebuilt his dwelling, which housed his library of 3,000 volumes and his Kunstkammer. There he lived until the honoured guest of the emperors, his Palais Strada stood as an eminent example of Late Renaissance architecture in the Simmering district of Vienna until it was demolished in 1875 in the rebuilding of the Wiener Burgtheater. In 1577 he published in Frankfurt-am-Main Sebastiano Serlio's seventh book of architecture, with its original Italian text, which exists in manuscript on parchment, Strada's Latin translation.
In the introduction Strada reported that he had received the manuscript from Serlio himself in Lyon in 1550. He is buried in the Church of St. Nicholas in the Malá Strana, his son, Ottavio Strada, his assistant at the Hofburg, followed in his father's footsteps in the service of the Imperial court as expert in works of art. Ottavio's daughter Katharina was a favourite of Emperor Rudolph II, bore him six children. Jansen, Dirk Jacob. Urbanissime Strada: Jacopo Strada and cultural patronage at the Imperial Court. Maastricht, 2015. Doctoral thesis. Lawrence, Sarah. Jacopo
"Nuclear" is a song by singer-songwriter Ryan Adams from his 2002 album Demolition, the only single from the album. The song was recorded during Adams' July 2001 sessions with the Pinkhearts in Nashville. In 2002, Adams spoke with CNN about the song: "I guess it's Britpop for Americans. I don't know what it is but the lyrics are funny. There's a funny line in it that says,'I saw her and the Yankees lost to the Braves.' If you're from Atlanta, that's not a nice thing to say. It's sort of referring to the fact that the Braves never win." Among the b-sides included on the various "Nuclear" singles are the non-album tracks "Blue" and "Song For Keith". Adams co-wrote "Blue" with Julianna Raye, the song comes from the 48 Hours sessions. "Song For Keith" is a tribute to Rolling Stones guitarist Keith Richards and was recorded during The Pinkhearts Sessions. European CD Single "Nuclear" "Blue" UK 7" Single "Nuclear" "Song For Keith" CD1 Single "Nuclear" "Blue" "Song For Keith" CD2 Single "Nuclear" "New York, New York" "To Be Young" Ryan Adams — electric guitar, vocals Bucky Baxter — steel guitar Billy Mercer — bass Brad Pemberton — drums Brad Rice — electric guitar Produced by Dave Domanich Engineered by Warren Peterson and Chad Brown Recorded at Javelina Recording Studios"Blue" Ryan Adams — lead vocal & guitar Greg Leisz — pedal steel Chris Stills — rhythm guitar Ethan Johns — drums Julianna Raye — background vocals Produced by Ethan Johns"Song For Keith" Ryan Adams — lead vocal, guitar & drums Billy Mercer — bass: Billy Mercer David Rawlings — guitar Brad Rice — guitar & background vocals Tony Scalzo — piano Produced by Dave Domanich Lyrics of this song at MetroLyrics
The Wagoners' Memorial is a war memorial in Sledmere, in the East Riding of Yorkshire in England. The unusual squat columnar memorial was designed by Sir Mark Sykes, 6th Baronet and built in 1919–20, it became a Grade II listed building in 1966, upgraded to Grade I in February 2016. The memorial stands near the Eleanor Cross, Sledmere, a copy of the Eleanor Cross from Hardingstone, built as a village cross in the 1890s and converted by Sykes into a war memorial for the men from his estate. Sykes was the son of 5th Baronet, he served in the Princess of Wales' Own Yorkshire Regiment in the Boer War and as lieutenant colonel in of the 5th Battalion, Yorkshire Regiment. He was MP for the local constituency of Kingston upon Hull Central from 1911 to his death in 1919, he inherited the baronetcy on his father's death in 1913. The 1916 Sykes–Picot Agreement is named after him. Sykes received permission to raise the Wagoners Special Reserve as a Territorial Army unit in 1912, signing up farm labourers and tenant farmers from across the Yorkshire Wolds for war service as drivers of horse-drawn wagons.
Sykes held wagon-driving competitions for his wagoners. During the First World War, 1,127 men from the corps were called up to serve in the Army Service Corps and the Royal Engineers. Most were sent to serve on the Western Front in France, with little or no military training, given the important logistical task of moving essential materiel: food and equipment. Wagoners served in Italy and the Middle East. Sykes attended the 1919 Paris Peace Conference, but contracted Spanish flu and died in February 1919, before the memorial was completed; the memorial is to the west side of Sledmere, north of St Mary's Church, near the Sykes residence at Sledmere House. It was designed by Sykes, is said to be based on a Saxon memorial in the crypt at York Minster, it stands 6 feet high, with an octagonal plinth of five steps leading up to squat stone column of Portland stone, with stone carvings, with conical canopy and pinnacle, once topped by a cross. The central column is surrounded by four narrower columns, supporting a carved entablature, inscription on the frieze.
The masonry was built by Alfred Barr and the naive art sculptures made by Carlo Domenico Magnoni, curving around a central column in three sections, similar to Trajan's Column, showing scenes from the history of the Wagoners, from Sykes enlisting them, through them being called up, travelling to France, graphic scenes of conflict. It was described by Pevsner as "curiously homely"; the memorial is inscribed with a five verses poem with in the local dialect. The memorial was unveiled on 5 September 1920 by Sir Ivor Maxse, General Officer Commanding-in-Chief Northern Command; the ceremony was attended by 2,000 spectators, with a guard of honour from the 5th Battalion, Yorkshire Regiment. The last wagoner veteran died in 1993. Historic England. "Wagoners' Memorial". National Heritage List for England. Retrieved 13 December 2016. Waggoners' Reserve Memorial, Imperial War Museum Waggoners memorial, yorkstories.co.uk, 2007 The'Wolds Wagoners' who left farms for war, Yorkshire Post, 22 September 2014 Wolds Wagoners: Remembering East Yorkshire's courageous First World War heroes, Yorkshire Press, 19 January 2015 Wolds Wagoners Memorial, Sledmere, UK, waymarking.com The Wagoner's Special Reserve, Western Front Association