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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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571Strada’s Circle them was Maximilian himself, who first visited it in 1565 at the instigation of Duke Alfonso ii of Ferrara. Apparently the Emperor was pleasantly surprised, because he would occasionally or regularly return, at least according to Strada himself: His late Majesty, of blessed memory, often used to come in my studio, and would remain from after lunch until dinner-time; and His Imperial Majesty called it the delight and museum of Strada, because he saw there so many rare and various things as ever struck the eye.53 Maybe Maximilian came now and then to inspect Strada’s collections, prob- ably incited by Strada himself, who could have let drop a hint of new acquisi- tions when he was in attendance on the Emperor.54 It is difficult to guess what material would have appealed most to the Emperor: the little we know about his intellectual interests suggests an orientation towards natural history and technical topics. Natural history seems to have had little attraction for Strada, though he did possess a book of drawings of ‘four-footed animals’. Technique, however, as a branch of architecture, was well represented in Strada’s library and even among his own works. Maximilian’s interest in the Lazius contro- versy suggests that he would also have been particularly interested in Strada’s ‘eretici confirmati’. This probably merely implies that they had not taken the risk to go and defend their case in person: it is very doubtful whether the Duke would have allowed them to be burnt in the flesh. Of course at the Imperial court, where there was much more direct contact between the various confessions, such accusations would have been taken with a grain of salt. There is no indication that Strada’s career at court was hampered by his religious position, and it should be noted that the Spanish ambassador, ex officio chief of the Catholic party, did add his name to Ottavio’s Stammbuch. 53 Doc. 1581-11-02: Jacopo Strada to Jacopo Dani: ‘Nel mio studio Sua Maestà morta, pia memo- ria, sovente vi veneva, et vi stava dal doppo dessinare per insino all’hora della cena; et lo chiamavo Sua Maestà Cesarea le dellitie et museo del Strada, perchè Sua Maestà vedeva tante cose rare et varie che mai si straccava l’hocchio’. 54 Strada’s attendance upon the Emperor is documented in his letter thanking the Duke of Mantua for the benefice accorded to his son Paolo (Doc. 1568-12-28): ‘E la prima volta ch’io mi truovo con Sua Maestà me ne voglio rallegrare di questa cortesia di Vostra Excellenza Illustrissima’; and in his answer to Jacopo Dani’s letter reporting the gossip about Strada’s alleged heresy (Doc. 1576-09-28): ‘Et io un giorno con commodità la monstrai la lettera a Sua Maestà Cesarea in Camera, et Sua Maestà si misse a ridere, et poi mi disse alcune parole di lui, ch’io non vorebbe già, che Sua Maestà dicesse di me.’ The latter passage makes it clear that such attendance was sufficiently relaxed to allow Strada to obtrude his own affairs on Maximilian. The willingness to favour Strada on the part of princes such as the Dukes of Florence and Mantua likewise indicates that he was perceived to have some influence with the Emperor.
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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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Jacopo Strada and Cultural Patronage at the Imperial Court