Page - XIII - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

xiiiContents 13 Books, Prints and Drawings: The Musaeum as a centre of visual documentation    629 13.1 Introduction    629 13.2 Strada’s Acquisition of Drawings    630 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s Graphic Collection    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 with Strada    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, Civis Romani’: 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 Part 4 The Antiquary and the Agent of Change 15 Le Cose dell’antichità: Strada as a Student of Antiquity    799 15.1 Profession: Antiquarius    799 15.2 Strada’s Qualities as an Antiquary    807 15.3 Strada’s Method    813 15.4 Strada’s Aims    822 16 Strada & Co.: By Appointment to His Majesty the Emperor    830 16.1 Strada as an Imperial Antiquary and Architect    830