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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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569Strada’s Circle two brothers, ‘Thomas et Rubertus Auserstulfer’ from Tirol had been found prepared to testify against him.44 Strada appears not to have hidden his opin- ions to his contemporaries, so it may merely be a coincidence that we are not better informed about them. Already in October 1567 Niccolò Stopio—himself a suspect, as results from an anonymous report to Philip ii—had responded to a query from Hans Jakob Fugger about Strada’s trouble with the Inquisition: <…>though I have never heard from his talking that he is against Rome, except that he is very free in his reasoning, and once he gets angry he respects no one, whomsoever it may be.45 Strada’s ‘free’ verbal criticism probably included the Pope himself, Pius v: he did not hesitate to write it down in a letter to Duke Guglielmo of Mantua.46 After the death of Emperor Maximilian ii, Strada’s protector, the Duke had even less reason to interfere, and in 1581 Strada was burnt in effigy, together with his son Paolo, canon of Mantua cathedral. Even though Rudolf ii had with- drawn his support of Strada already by 1578, it remains a moot point whether Duke Guglielmo would have allowed the two Strada’s to be burnt in the flesh, had they been so careless as to let themselves be caught.47 It is quite ironical that at about the same time that he was burned in effigy, Strada planned the entertainment for Riccardo Riccardi already described, including among the guests not only the Archbishop of Kalocsa, the later Cardinal Juraj Drašković, but also two Dominican friars, belonging to the order intensively involved in the eradication of heresy.48 There can be no doubt that Strada maintained at least the pretence to have remained faithful to the Roman Catholic Church until the  end of his life, indicating in his will of 1584 that he wished to be in- terred in the Minoritenkirche, the Franciscan church near to his house.49 44 Pagano 1991, p. 200, n. 23. 45 Niccolò Stopio to Hans Jakob Fugger, Venice, 5 October 1567, quoted above. Niccolò Sto- pio was himself suspect, as results from an anonymous report to Philip ii preserved at Simancas (Archivo General, Papeles de Estado, Venecia, legaja 1548, nr. 52, fol. 248). 46 Doc. 1568-10-11, cited above: Strada tells the Duke that he will not for the moment make use of a safe-conduct to come to Mantua, ‘si per non haver io di presente da negotiar costà, come anche di non voler L’Excellenza Vostra importunare, e tanto più in questi tempi di questo Pont[efice], il quale non à rispetto a niun Principe dove si puole attacare (quantunque dal canto mio la mia consienza sia netta)’. 47 Doc. 1578-07-16: Already in 1578 Rudolf had indicated he did not care if ‘Giacomo Strada antiquario’ were to be deprived of [his son Paolo’s] benefice in Mantua, ‘perchè non lo tiene per buon cristiano, anzì per heretico<…>’. 48 Above, Ch. 11.3. 49 Doc. 1584-07-01; Appendix B.
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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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