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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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Chapter 11554 festivities of Archduke Charles and princess Maria of Bavaria in 1570.11 Another example is the German nobleman Franz von Domsdorf, whose extensive trav- els are documented in his Stammbuch, in which both Strada himself and his son Paolo inscribed their names on the occasion of Domsdorf’s visit to Vienna in September 1579.12 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum That Titian’s insight was right, and that Strada’s house was in fact an open house, is suggested by a letter Strada wrote to his old friend, Jacopo Dani, sec- retary of Francesco de’ Medici, now Grand Duke of Tuscany, in November 1581. He reacts to a (lost) letter of recommendation Dani had written to introduce Riccardo Riccardi, who was visiting Vienna at about this time. Strada reassures Dani of his friendship, and tells him that immediately on reception of the let- ter he had sent his son Paolo to Riccardi to invite him to come and visit the studio. To Strada’s great disappointment Riccardi had excused himself. That the later founder of the still existent Biblioteca Riccardiana did not think a visit to Strada’s house worthwhile is perhaps an indication that Strada’s star had dimmed after Rudolf ii moved his court to Prague: I had already organized everything to offer him a banquet, and to invite the Archbishop of Kalocsa, who is now Bishop of Györ, and Supreme 11 asf, Medici del Principato 827, fol. 318, Ottavio Strada to Prospero Visconti, Prague 1 November 1590: ‘Riccordandomi della S[ignori]a V[ostr]a Ill[ustrissim]a quando la fu in Vienna con la altezza del Alberto Duca di Baviera, alle nozze del Ser[enissim]o Archiduca Carlo, et della amorevolezza che V[ostra] S[ignoria] Ill[ustrissima] ha dimostrato a mio padre, bona memoria, nel venir in el nostro studio, et nel mandar di poi un inventario delle sue medaglie<…>’; on Visconti and his connections with Munich, see Simonsfeld 1902; he has moreover the distinction to be a possible model for Prospero, Duke of Milan, the protagonist of Shakespeare’s Tempest, cf. Gombrich 1990. 12 Israel 1989, nr. 60, pp. 46–47, ‘A good example of an ‘Album Amicorum”. I am grateful to Mr Israel to have allowed me to consult the volume. Strada’s entry is on f. 111 v.: ‘1579 – Festina Lente – Jacobus Strada’; Paolo’s on f. 112 r.: ‘1579 – Nobilitate et virtute praestanti vir0 Dno Francisco à Dumstorff amicitiae ergo scribebat haec Paulo Strada Serenissimi Archiducis Ernesti aulicus, Vienna Austriae Anno MDLXXIX die vii me<n>sis VIIbris’. The connection is interesting because of Domsdorf’s antiquarian interests: his Stammbuch also includes the signatures of Pirro Ligorio, Carlo Sigonio, Janus Sambucus, Jean Ma- tal, Hubert Languet, Adolph Occo and Marco Mantova Benavides, and somewhat later he would contribute to Joanes Rosinus’ Romanarum antiquitatum libri decem, printed at Basle by the heirs of Pietro Perna in 1583.
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Jacopo Strada and Cultural Patronage at the Imperial Court The Antique as Innovation, Volume 2
Title
Jacopo Strada and Cultural Patronage at the Imperial Court
Subtitle
The Antique as Innovation
Volume
2
Author
Dirk Jacob Jansen
Publisher
Brill
Location
Leiden
Date
2019
Language
English
License
CC BY-NC-ND 4.0
ISBN
978-90-04-35949-9
Size
15.8 x 24.1 cm
Pages
542
Categories
Biographien
Kunst und Kultur

Table of contents

  1. 11 The Musaeum: Strada’s Circle 547
    1. 11.1 Strada’s House 547
    2. 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
    3. 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
    4. 11.4 Intellectual Associates 556
    5. 11.5 Strada’s Confessional Position 566
    6. 11.6 Contacts with Members of the Dynasty 570
  2. 12 The Musaeum: its Contents 576
    1. 12.1 Introduction 576
    2. 12.2 Strada’s own Descriptions of his Musaeum 577
    3. 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
    4. 12.4 Strada’s own Cabinet of Antiquities 592
    5. 12.5 Acquisitions of Other Materials in Venice 599
    6. 12.6 Commissions in Mantua 610
    7. 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
    8. 12.8 Conclusion 628
  3. 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
    1. 13.1 Introduction 629
    2. 13.2 Strada’s Acquisition of Drawings 630
    3. 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
    4. 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
    5. 13.5 Later Fate of Strada’s Prints and Drawings 647
    6. 13.6 Drawings Preserved in a Context Linking Them withStrada 649
    7. 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
    8. 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
    9. 13.9 Images as a Source of Knowledge 711
    10. 13.10 Conclusion 717
  4. 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
    1. 14.1 Is There Life beyond the Court? 719
    2. 14.2 Strada’s Family 719
    3. 14.3 Ottavio Strada’s Role 725
    4. 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
    5. 14.5 The Musaeum as an Editorial Office? 739
    6. 14.6 Financing the Programme 752
    7. 14.7 The Index Sive Catalogus 760
    8. 14.8 Strada’s Approach of Christophe Plantin 775
    9. 14.9 The Rupture with Ottavio 781
    10. 14.10 Strada’s Testamentary Disposition 783
    11. 14.11 Conclusion: The Aftermath 786
  5. 15 Le Cose dell’antichità: Strada as a Student of Antiquity 799
    1. 15.1 Profession: Antiquarius 799
    2. 15.2 Strada’s Qualities as an Antiquary 807
    3. 15.3 Strada’s Method 813
    4. 15.4 Strada’s Aims 822
  6. 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
    1. 16.1 Strada as an Imperial Antiquary and Architect 830
    2. 16.2 Strada’s Role as an Agent 836
    3. 16.3 Strada as an Independent Agent 840
    4. 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
    5. 16.5 Strada’s Influence: An Agent of Change 849
    6. 16.6 Conclusion: Strada’s Personality 863
    7. 16.7 Epilogue: Back to the Portrait 868
  7. Appendices 877
    1. A Some Unpublished Letters 877
    2. B Strada’s Will 894
    3. C Strada’s Musaeum: Pleasant paintings 900
    4. D Strada’s Musaeum: The Index Sive Catalogus 902
  8. Chronological List of Sources 915
  9. Bibliography 932
  10. List of Illustrations 986
  11. Index 1038
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