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Such sets of drawings of Trajan’s Column were quite popular, and not least
with Strada’s patrons: a copy in the form of a book, now in the Österreichische
Nationalbibliothek, but originally at Ambras, may well have been the copy
Strada mentions in his Index sive catalogus, acquired by Archduke Ferdinand
ii of Tirol after Strada’s death—if not before [Fig. 13.89–13.90]. A similar copy,
this time in four volumes, is mentioned in an inventory of the Munich Kunst-
kammer of 1598, together with a set of drawings after the frieze of the column
of Marcus Aurelius. Perhaps these had been commissioned by Duke Albrecht
V of Bavaria from Strada together with a similar set of drawings of the Column
of Theodosius in Constantinople, but it is more likely that the drawings of the
Theodosian column (in fact it was the column dedicated to Arcadius) were
intended to complement the sets of drawings of the Columns of Trajan and
Marcus Aurelius which Strada earlier may have purveyed to Fugger.98 Finally
Strada supplied a copy to Vilém z Rožmberk, the Czech magnate to whom he
had dedicated his edition of Serlio’s Settimo Libro. In this case the sheets had
been pasted together so as to form a continuous scroll, rather than a codex:
‘<…> die Columna Trajana, die ich E.G. vorlengst presentiertt hab, nemlich des
kästla mit den vieren rollen<…>’.99 This rotulus must have been very similar to
the scroll from a private collection which was exhibited at the Institut Français
at Florence in 1984 [Fig. 13.87–13.88]: technique and style of drawing of this set
is so close to Strada’s numismatic drawings that a tentative attribution to his
98 önb-hs, Cod. 9410. In the older catalogues this volume precedes the description of the
numismatic volumes by Jacopo and Ottavio Strada. The Munich copies are mentioned
in Diemer/Diemer/Sauerländer 2008, 1, p. 58, nr. 153 (Marcus Aurelius) and p. 66, nr. 183
(Trajan); on the drawings of the Column of Theodosius, not included in the inventory, see
below.
99 Doc. 1573-12-18; Strada wished to borrow Rožmberk’s copy to consult it for his polyglot
dictionary, which indicate that at that time he did not possess a copy of his own; perhaps
he took this opportunity of preparing the copy in the form of a book mentioned in the
Index sive catalogus.
Figures 13.89–13.90 The Column of Trajan in images from the Ambras manuscript,
probably purveyed by Jacopo Strada; Vienna, Österreichische
Nationalbibliothek.
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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