Page - 604 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 604 -
Text of the Page - 604 -
Chapter
��604
Though no mention is made in Stopio’s correspondence of Strada’s contacts
with Jacopo Tintoretto, these are testified by the portrait which this master
made of Ottavio, Strada’s second son. Ottavio shared the interests of his father,
and had accompanied him to Venice as his assistant, as part of his profes-
sional training. The portrait, which is now in the Rijksmuseum at Amsterdam,
shows the eighteen-year old Ottavio in the fashionable attitude of a young,
melancholic virtuoso of noble birth. It was obviously intended as a pendant
for Titian’s more famous portrait of his father [Figs. 0.1 and 12.22 and 0.2 and
12.24].65 Strada’s connection with the Robusti family is attested moreover by
the statement in Raffaele Borghini’s Il Riposo of 1584 that Jacopo’s talented
daughter Marietta had also painted a portrait of Jacopo Strada, which, together
with her own self-portrait, had been acquired by Maximilian ii. As ‘rare things’
the Emperor kept both of these in his own chamber, and he made every effort
to have Marietta come to his court.66
fa le queste sue cose<…>’; ibid., fol. 66: Stopio to Fugger, 9 September 1567, speaking of
a Paris in Parian marble that Stopio wished to acquire on behalf of Duke Albrecht: ‘un
amico che ha veduto il Cupido del Strada che li costa scudi 75, dice che questo Paris vale
per il dopio, si come è anche più grande di un bon palmo che non è quel suo Cupido’ (and
the Paris was as large as ‘un putto de 7 o 9 anni’). The restoration of the female statue is
mentioned in Strada’s account (BHStA-LA 4852, fols. 16–20; Stockbauer 1874, p. 32). Maxi-
milian’s request for information (Linz 18 December 1568) printed in JdKS 13, Reg. 8807,
and discussed in Lietzmann 1987, pp. 163; Podewils 1992, pp. 47–48.
65 Amsterdam, Rijksmuseum, inv. nr. SK-A-3902; cf. most recently Duncan Bull’s entry in
the catalogue of the Louvre exhibition Titien, Tintoret, Véronèse: Rivalités à Venise (Bull
2009<a>). The dimensions of the painting (1,28 x 1,01 m.) are quite close to Titian’s portrait
of Jacopo Strada (1,25 x 0,95 m.).
66 Borghini 1584, p. 558: ‘[Marietta Tintoretta] dipigne benissimo, et ha fatto molte bell’opere,
e fra l’altre il ritratto di Iacopo Strada Antiquario dell’Imperador Massimiliano secondo, et
Figures ��.��–��.�4 The painting recently attributed to Marietta Tintoretto, as Portrait
of Jacopo Strada and self-portrait, dressed as a boy (Dresden,
Gemäldegalerie, centre), compared to Titian’s portrait of Jacopo
(Vienna, left) and Tintoretto’s portrait of Ottavio Strada
(Amsterdam, right).
back to the
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