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13.7.3 ‘Magnifica colonna coclida istoriata’
Thanks to Strada’s acquisitions of Serlio’s, Giulio’s and Perino’s materials and
his acquisitions and commissions in Rome, Strada’s documentation must have
included drawings and prints of most or all of the principal ancient remains
of the Urbs, including famous monuments such as the Colosseum, the Pan-
theon, the Basilica of Maxentius, the Arches of Titus, Septimius Severus and
Constantine, the Septizonium, the Baths of Caracalla and Diocletian, the Cas-
tra Pretoria and the Mausolea of Augustus and Hadrian. But the only antique
monuments of Rome which are individually mentioned in Strada’s papers are
three monumental columns the shafts of which were decorated with figura-
tive spiral friezes in low relief, dedicated in honour of the Emperors Trajan
and Antoninus (Marcus Aurelius), both in Rome, and Theodosius (Arcadius) in
Constantinople. According to his descriptions in the Index sive catalogus and
his letter to Christophe Plantin Strada possessed series of drawings of the spi-
ral relief friezes of these three columns, each set of which was, as he phrased it,
‘ridotta in un libro’, ‘bound as a book’.93
The reception of Trajan’s Column in the Renaissance has been the subject
of detailed research.94 The production of a survey of a ‘colonna coclide isto-
riata’ such as the Trajanic column, in particular of its upper part, obviously
was no easy task; yet this is what was done some time before 1506 by Jacopo
Ripanda, who slowly descended along its shaft in a basket suspended from its
top.95 There are some indications that this feat was repeated by Giulio Romano
gelegt, thails wie die gewesen, und thails noch sein, in Regal, und weiß Copert’ and (less
likely) nr. 106 (103): ‘Architectur buech etlicher Gebew, Triumphpögen, Portiken, und an-
derer Römischer gebew in kupffer gestochen, thails von freyer handt gerißen’. München,
bsb-hs, Cgm 2133 fol. 8v–9r / 2134 f. 8r; transcribed in Diemer 2004, p. 47; Diemer/Diemer
2008, pp. 34–36.
93 Index sive catalogus (Appendix D), nrs 37, 40 and 41; paraphrased in Strada’s letter to
Plantin, Doc. 1578-08-13): [37] ‘Un libro dove sta ritratta tutta la colonna Trajana ch’è in
Roma p[er] tutta la forma della colonna di fuori et di dentro et poi le historie in un libro,
sonno foli. 150. In questo libro sonno tutte li vestimenti Civili et milittari si de Romani
corne anche di altre natione Barbari dove Traiano Imperadore combatette. ...; [40] La col-
onna di Theodosio Imperadore che sta in Constantinopoli ridotta in un libro passa 100 fol.
Reali aperti; questa l’o fatta dessignare à spesa mia in Constantinopoli]’; [41] ‘La Colonna
Antonina di Roma ridotta in un libro simile alla Traiana sunominata; questa fu dessignata
ad instanzia mia in Roma’.
94 Becatti 1960; Agosti/ Farinella 1984, in particular part 1, ‘Un monumento: La Colonna
Trajana, per esempio’, pp. 390–427; Arasse 1984; Agosti/ Farinella 1985; Settis/ La Regina/
Agosti/ Farinella 1988; Heenes 2017.
95 As told by Raffello Maffei (Volterrano), Rerum urbanorum commentarii, 1506: ‘Floruit item
nunc Romae, Jacobus Bononiensis, qui Trajani Columnae picturas omnes ordine delinea-
vit, magna omnium admiratione, magnoque periculo circum machinis scandendo’; cited
in Arasse 1984, p. 15 and note; quoted in Agosti/Farinelli 1984, p. 400.
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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