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599The
Musaeum: Its Contents
12.5 Acquisitions of Other Materials in Venice
12.5.1 Miscellanea
Apart from the antiques from the Zeno and Bembo collections, a quantity of
coins of undefined provenance and his incidental expenses, the final account
that Strada presented to Duke Albrecht V of Bavaria mentions a further quan-
tity of miscellaneous, non-antique items that he had provided.51 Most of these
objects were of relatively minor importance, as can be inferred from their
prices, and they are never mentioned in the correspondence. It is possible that
Strada had been given carte blanche for acquisitions of this type, but it is more
probable that—well aware of the Duke’s and Fugger’s taste and preferences—
he bought this type of items on his own account: when his patrons had made
their choice after his return to Munich, he would not have found it too difficult
to dispose of the remainder elsewhere.
Few of these objects are of interest in themselves, but their variety gives an
indication of the range of Strada’s competence. They included a number of
independent works of art, which we would class among the fine, rather than
among the decorative arts: four metal statuettes—probably small bronzes—
representing a Victoria, a Jupiter, an unidentified female figure and a rear-
ing horse, and some paintings of little value: a Hercules and the portraits of
‘Pope Julius’ and of ‘a Greek woman’. Moreover Strada listed an enigmatic item
of no less than three hundred and sixty ducats which he had paid to a mer-
chant in Mantua, Guidoto Garotto. This consisted partly of fifty ducats worth
of ‘other stones’—perhaps pietre dure or rather antique gems or sculpture
fragments—and partly of ‘several paintings’: though unspecified, at three hun-
dred and ten ducats these must have been of some importance, and I will come
back to them below.52
possible to reconstitute it to a large extent, which would allow a more precise analysis of
Strada’s collecting habits and his numismatic practice, and compare them to those of his
contemporaries.
51 BHStA-LA 4853, fols. 11–21. The incidental expenses included restoration, packing, storage
and transport of the objects, some clothing for Strada and his son Ottavio, who func-
tioned as his assistant, and even one ducat ‘<…> den Saal im Palast und zu St. Marco und
das Arsenal zu sehen’, i.e. to see (the state rooms of) the Palazzo Ducale, San Marco and
the Arsenal (Stockbauer 1874, p. 35).
52 BHStA-LA 4853, fols. 11–21; Stockbauer 1874, p. 33: ‘1 Gemälde mit einem Hercules v.2’. <…>
‘1 Bild Victoria’ <…> ‘1 Bild Jovis’ <…> ‘1 Frauenbild’ <…> ‘1 springendes Pferd’ (all in metal
and together priced at 30 ducats); p. 34.: ‘1 Papst Julii Contrefait v 7 f 3 st 10’. <…> ‘1 Gemäl-
de einer griechischen Frau v 5’. <…> ‘So habe ich zu Mantua dem Guidoto Garoto, einem
Kaufmanne allda, die übrigen Steine bis zu 50 und etliche Gemälde zu bezahlen v 360’.
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book Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2"
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
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038