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Bavarian court, as is indicated by the fact that an identical copy of the list sent
to Vienna is found among the Munich correspondence.69
Titian appears to have had rather sanguine expectations from Duke Al-
brecht V of Bavaria: later in the same year he had Strada convey two paintings,
intended as gifts for the Duke and for Fugger, to their destinations.70 It was not
unusual for Titian thus to donate examples of his work as a bait to secure some
important commission, or in lieu of payment for services rendered.71 It seems
likely that the painting he thus presented to Duke Albrecht is identical with
the Venus and Cupid with Bacchus and Ceres in the Bavarian State Collections,
which is already mentioned in the 1598 inventory of the Munich Kunstkammer.
The ‘Donna Persiana’ he intended for Fugger may well be the presumed por-
trait of Roxelane, La Sultana Rossa, in the Ringling Museum in Sarasota [Fig.
12.26].72
69 The list sent to Vienna is published in JdKS 13, 1892, ii. Teil, p. xlvii, Regest nr. 8804; apart
from some spelling variants, it is identical to the list sent to Munich (BHStA-LA 4853, fol.
31). Maximilian responded with a request for further information, fearing that Titian’s
ages had impaired his eyesight (ibid., p. xlviii, Regest nr. 8806).
70 BHStA-LA 4852, fol. 110, Stopio to Fugger, 12 December 1567: ‘Messer Titiano manda salu-
tare a Vostra Signoria, et ancora lui spera domane havere riposta alle sue, et m’ha detto
di havere alcune pitture in ordine per mandare poi a Vostra Signoria, et al Signor Duca’;
BHStA-LA 4852, fol. 153, Stopio to Fugger, 19 February 1568; BHStA-LA 4852, fol. 169, Stopio
to Fugger, 14 November 1568; BHStA-LA 4852, fol. 209, Stopio to Fugger, 29 January 1569:
‘Essendo Vostra Signoria in Viena, sara buona che la vede il ritratto del Strada che ha fatto
Signor Titiano, et anche una Dea Pomona, che è una bellissima donna, ritratta con varij
frutti; et le vengono presentati; et Vostra Signoria ha da sapere che Signor Titiano, sopra
le parole del Strada, che li haveva promesso cose grande, haveva parechiato tre quadri:
uno per il signor Duca, una per Vostra Signoria, et una per il Strada, accompagnandoli
con lettere a Vostra Signoria; ma il bello è che quando il Strada vidde quello che era stato
designato per Vostra Signoria, cioè quella Dea Pomona, disse lui di voler quello per lui, et
che’l desse l’altro a Vostra Signoria, che è una Donna Persiana, che penso Vostra Signoria
havera hauto; impero vedendo quella Pomona, conoscera se il Strada ha tolto il più bello
per se. Il bon Titiano per contentarlo fece a suo modo, et stracciò quella lettera et ne
scrisse un altra; hora si duole che non ha haute aviso alcuno da nissuno, ne sa se li quadri
siano stati presentati a suo nome o non; imperò mi ha pregato di scrivere a Vostra Signoria
di volerne dare qualche aviso’.
71 It should be noted that a ‘present’ made to a Prince—here Albrecht V—was generally ex-
pected to be compensated by a favour which would be more or less equivalent in value: it
offered him an occasion to display the royal virtues of liberality and magnanimity.
72 Diemer/Diemer/Sauerländer 2008, 3, nr. 3208, pp. 986–987; Munich, Bayerische Staatli-
che Gemäldesammlungen, inv. nr. 484 (not on show); this painting, now attributed to
Titian’s workshop, is one of several variants of the Allegory of Marriage in the Louvre. In
addition to its provenance from the Wittelsbach collections, the bigger size and great-
er monumentality of this painting suggests that this was the painting intended for, and
delivered to Duke Albrecht, whereas Fugger and Strada would have been given images
perhaps equally splendid, but more modest in size and of simpler composition (below,
note 74).
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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