Page - 605 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 605 -
Text of the Page - 605 -
605The
Musaeum: Its Contents
Duncan Bull has recently argued the hypothesis that a double portrait now
in Dresden, but with a Prague provenance, is the portrait acquired by Maximil-
ian, in which the young servant or pupil would not be the young Ottavio—who
would be the wrong age and whose portrait by Marietta’s father shows little
resemblance—but the self-portrait of Marietta, who was reputed to dress as
a boy and go everywhere with her adoring father.67 [Fig. 12.23] This identifica-
tion remains a hypothesis, but the fact that these portraits were painted does
suggest a conscious effort at self-advertisement of Tintoretto and his daugh-
ter: sending a prospective patron—Maximilian ii—splendid portraits of
people he knew personally—the Stradas—would convince him of the quality
of their authors—Jacopo and Marietta Tintoretto—and might tempt him to
place commissions with them. There can be little doubt that it was Strada who
served as the channel through which both Marietta’s works and her reputation
as a girl-prodigy reached Maximilian ii.
Strada’s relationship with Titian is better documented and cer-
tainly it has been more often discussed. Strada’s portrait is first men-
tioned in Stopio’s correspondence in February 1568, when he wrote to
Fugger:
Titiano and he [= Strada] are like two gluttons eating from the same dish:
Strada has him paint his portrait, but he will still work at it for at least a
year, and if by that time Strada doesn’t render him the services he wishes,
he will never finish it.68
Apart from a fur-lined mantle—similar to the one Strada himself is wearing
in the portrait?—Titian’s wishes probably included Strada’s intervention on
his behalf, with the aim of enabling him to sell paintings from his studio to
such exalted and prestigious patrons as the Emperor and the Duke of Bavaria.
And in fact Strada did recommend a number of Titian’s favole, mythological
scenes that were at least in part variations of earlier inventions executed for
the Emperor’s cousin, Philip ii of Spain, as being of sufficient importance to be
acquired for the Imperial collections. Strada also exerted his influence at the
il ritratto di lei stessa, i quali, come cosa rara, sua Maestà gli tenne in camera sua, e fece
ogni opera di havere appresso di se questa donna excellente, la quale fu ancora mandata
à chiedere al padre da Re Filippo e dall’arciduca Ferdinando’.
67 Bull 2009<b>.
68 la 4852, fol. 153–154: ‘Titiano e lui [= Strada] son doi giotti a un tagliero: Strada li fa fare il
suo ritratto, ma vi stara sopra ben ancora un anno, et se in questo mezzo il Strada non li
fara li servicii che desidera, non l’havera mai compito’.
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