Page - 607 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 607 -
Text of the Page - 607 -
607The
Musaeum: Its Contents
Titian quite often used this means to induce his more influential friends
to assist him selling his works or to foster his interests in other ways: ‘Messer
Titian’, wrote Giovanni della Casa in 1544 to Cardinal Alessandro Farnese, ‘has
given me a portrait of our Sovereign Lord [= Pope Paul iii] by his own hand,
and thus corrupted me to such an extent that its suits me to become his solici-
tor’, whereupon he begged the Cardinal to grant Titian a much desired bene-
fice. It is common knowledge that Titian’s relationship with Pietro Aretino was
partly based on a similar exchange of goods and services.73 Strada was quite
fortunate in this respect: apart from painting his portrait, Titian presented him
with another painting by his hand, or at least from his studio: a ‘Dea Pomona,
ch’è una bellissima donna ritratta con vari frutti’, probably the Lavinia holding
a bowl of fruit now in Berlin [Fig. 12.25].74
73 Quoted in Hope 1977, p. 189: ‘Messer Titian mi ha donato un ritratto di nostro Signore di
sua mano, et corrottomi di maniera, che mi convien essere suo procuratore’.
74 Stopio (cited above, note 70) claimed that Titian had prepared three paintings, one for
Duke Albrecht, of which he does not mention the subject, and one each for Fugger and
for Strada; he claims that Titian originally intended a ‘Dea Pomona’ for Fugger, ‘ch’è una
bellissima donna ritratta con varij frutti che le vengono presentati’, and a ‘Donna Per-
siana’ for Strada, but that Strada, himself preferring the ‘Pomona’, had him change their
intended recipients. Diemer/Diemer/ Sauerländer 2008, 3, nr. 3208, pp. 986–987, connect
the ‘Dea Pomona’ mentioned by Stopio with the Munich Venus and Cupid, but this seems
Figure ��.�6 Titian, La Sultana Rossa, ca. 1550–1560; perhaps the Persian woman Titian
gave to Hans Jakob Fugger? Sarasota, The John and Mabel Ringling Mu-
seum of Art.
Figure ��.�5 Titian, Lavinia holding a bowl of fruit: probably the ‘Dea Pomona’ Titian
gave to Jacopo Strada; Berlin, Staatliche Museen.
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