Castle Karlstein, were noble examples of art well calculated 

 to stimulate the beholder to further acquisitions. The 

 Emperor was undoubtedly influenced by the success of the 

 Archduke Ferdinand of Tyrol, for fifteen years Governor of 

 Bohemia, in forming the remarkable collection at the Castle 

 Ambras, the richness of which can hardly be appreciated by 

 the few specimens still preserved in the imperial museum at 

 Vienna. 



The nucleus of Rudolph's world -renowned "Kunst- 

 Kammer" was formed by the union and removal to the 

 Hradschin of two great collections, that of Maximilian II. 

 at Vienna, and one gathered by the noted art-connoisseur 

 Jacopo di Strada, of Mantua. This learned antiquarian and 

 numismatist, author of several works on coins and medals, 

 was one of the first to apply knowledge of these objects to 

 the elucidation of histor}^ ; as a profound student of antiqui- 

 ties he perceived too their historical bearing and did much to 

 establish archaeology as a science. While residing in Italy he 

 formed acquaintances with prominent artists, sat for his 

 portrait to Titian (a painting now preserved in Vienna,) and 

 acquired a good knowledge of their masterpieces; under 

 Maximilian he became curator of the Viennese Galleries and 

 within a year after Rudolph's accession to the throne, he 

 was invited to Prague and appointed custodian of the 

 imperial collections. Strada and his son Octavius soon 

 secured great influence at the court; Rudolph placed the 

 utmost confidence in his fidelity and judgment and raised 

 him to the dignity of a Knight with the appellation "von 

 Rossberg". The intimacy was undoubtedly strengthened by 

 Rudolph's passion for Strada's extremely beautiful daughter, 

 who bore the Emperor three sons and three daughters. 



Agents in every part of the world sought for the imperial 

 museum natural curiosities, antiquities, and art-rarities; not 



53 



