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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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Chapter 11570 On the other hand Strada may have had some sympathy for the Reforma- tion: as we have seen, he maintained contacts with many Protestants, and in particular with Italian Evangelical exiles, such as Mino Celsi and Giovanni Bernardino Bonifacio, Marchese di Oria—both of whom collaborated on his edition of Serlio’s Settimo Libro—the printer Pietro Perna in Basel and the humanist Lodovico Castelvetro, whose translation of Aristotle Strada sold and may have been instrumental in publishing. The extent of such sympathy is in- dicated by his attempt to enlist Antun Vrančić to provide counsel and support to Girolamo Donzellini, in order to help Donzellini to return to Italy and clear himself with the Holy Office.50 Summing up, a preliminary conclusion could be that Strada participated to some extent in the confessional debate of his time. He had both lived in a largely Protestant environment in Germany and moved in the circle of prelates who represented or at least tried to formulate the Catholic response to the Reformation, in Rome in the 1550s. In contrast to Hans Jakob Fugger, whose orthodoxy was never doubted notwithstanding his ample patronage of Prot- estant scholars, Strada must have expressed his doubts about ‘le cose Romane’ sufficiently often and openly to have attracted the attention of the Inquisition. Taken altogether, it seems likely that Strada may have shared a certain confes- sional leniency with his patron, Maximilian ii. 11.6 Contacts with Members of the Dynasty Together with Strada’s erudition, his curiosity and his enthusiasm, it was per- haps also his moderation in the confessional field that gained him Maximil- ian’s sympathy: a sympathy which was expressed in the Emperor’s enduring patronage, and which is reflected in Strada’s own letters.51 There is little or no evidence of a direct contact with Empress Maria and the members of her own immediate circle, but other members of the dynasty did frequent his house— or at least wrote their motto in his ‘memoria di casa mia’.52 Chief among 50 On these contacts, see above, Ch. 11.4; on Donzellini, see Jacobson Schutte 1992. 51 Maximilian’s intervention with the Duke of Mantua in the affair of Paolo Strada’s ben- efice in Mantua Cathedral is a case in point, involving an explicit motu proprio to Duke Guglielmo, impressed by an accompanying letter by no less a personage as Vratislav z Pernštejn, the Bohemian Chancellor, and presented to the Duke in person by Paolo Emilio Bardelone, the Mantuan envoy at the Imperial court (Docs. 1565-05-12 and 1565-05-15). 52 It is difficult to say whether the rumour of Strada’s alleged heresy as reported back to him by Dani in 1576 circulated widely. In Mantua it remained alive, given the fact that in 1583 both Strada and his son Paolo, as canon of San Pietro, were burned in effigie as
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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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