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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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Chapter 11556 That this attitude was not merely the polish acquired after twenty years of court-life is evident from a letter to Strada by the learned prelate Antun Vrančić (Antonius Verantius), Bishop of Eger and Imperial Legate to the Coun- cil of Trent, in December 1558, when Strada had only recently arrived at court. This long and elegant epistle deals with the attempt of a common acquain- tance, Girolamo Donzellini, to come to terms with the Inquisition, in order to be able to return safely to Venice, which provided Vrančić with the occasion for a philosophical disquisition on the love of one’s homeland and the sufferings of the exile. He peppers this letter not only with classical allusions, but also with flattering epithets, addressing his correspondent as ‘amantissime Strada’, ‘suavissime Strada’, ‘urbanissime Strada’ and ‘humanissime Strada’.16 If such a prominent member of the ecclesiastical and political establishment of the Habsburg dominions and of the Republic of Letters so generously accepted Strada as an equal, there can be little doubt that he was taken seriously also by other members of these groups. Some of them would at least have been curious to see what Strada’s Musaeum, of which he was so proud, had to offer. 11.4 Intellectual Associates Informal neighbourly visits of course are rarely documented, but occasionally hints of visits are found in Strada’s correspondence. Thus Jacopo Dani had first got to know Strada in 1558 when he arrived in Vienna—more or less at the same time as Strada himself—as secretary of the Tuscan ambassador, remain- ing until 1562. He returned in 1564 to work out the agreements for the wedding of Archduchess Johanna with Francesco de’ Medici. It is not impossible that Strada was involved in the preparations for this wedding: he may have pro- vided the models for the depictions of favourite Habsburg residences included in the still existing festive decoration of the cortile of the Palazzo Vecchio, and he may have contributed information on Imperial and Habsburg iconography. 16 Doc 1558-12-04. Strada’s letter to which Vrančić replies is lost: it probably involved a re- quest for intercession on behalf of Donzellini, perhaps with Ferdinand i, whose inter- vention with the Serenissima ultimately allowed Donzellini to return home (cf. Jacobson Schutte 1992). It is not surprising that Strada took to Vrančić, who supported him in the Lazius affair; Strada heartily recommended him to Hans Jakob Fugger: ‘Questa settimana di qui si parte il Reverendissimo Veschovo de Agria per venir costì; certo mi si parte il più caro et il più famigliare signore che io habbia, levandone li miei signori et padroni. La Signoria Vostra conossera un signore adornato di tutte le virtù che puol haver un altro signore; egli me a comesso ch’io faccia una raccomandatione alla Signoria Vostra da sua parte, et grandemente dessidera conosserLa per il gran nome Suo, del quale non solum da me gli è stato predicato, ma anchora da tutti quelli che Vostra Signoria hanno conosciuta.’ (Doc. 1559-06-09). On Vrančić, see Stoy 1981.
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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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