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711Visual
Documentation
Strada appears to have collected similar material from other cities, since the
Index sive catalogus also mentions a ‘book of the most beautiful and famous
palaces that can be seen in Rome and in other Italian cities such as Florence,
Mantua and Venice’130 The plans of an unidentified palace and of Pisa Cathe-
dral, and the Duomo and San Lorenzo in Florence preserved in the Strahov
codex are probably remnants of this material, and would have served Strada’s
stated purpose to perfection [Figs. 13.21–13.24].
13.9 Images as a Source of Knowledge
As in other aspects of Strada’s affairs, the scarcity of surviving sources docu-
menting Strada’s collection of drawings and prints allows few definitive
conclusions as to its precise scope, size and quality. The preceding account
nevertheless demonstrates Strada’s vast ambition in this field. The documents
we have chiefly relate to Strada’s purchases in the 1550s from Serlio and the
heirs of Perino del Vaga and Giulio Romano and his commissions of documen-
tary drawings of the mid-1550s in Rome, in Mantua in the late 1560s and in
Mantua and perhaps Ferrara in the 1570s. Doubtless it is no coincidence that it
were these spectacular acquisitions which left some traces in the sources, and
there is a good chance that they constituted the most spectacular components
of Strada’s graphic collection. Yet it is also clear that they must be considered
as the tip of the iceberg, and that they represent only a small part of Strada’s
holdings.
Strada’s documented acquisitions formed part of a conscious and focused
programme to collect visual documentation. This programme was already un-
der way in the late 1540s, when Strada had begun collecting the numismatic
material he used for the manuscripts he presented to Hans Jakob Fugger and
to Ferdinand i and Maximilian ii, for his own Epitome Thesauri Antiquitatum
of 1553, and to help out Guillaume du Choul with the illustrations of his Dis-
cours de la religion des anciens Romains printed at Lyon in 1556 [above, Figs.
3.55–3.57]. It was a sustained programme, continuing at least until the late
1570s, and there can be no doubt that he was constantly alert to opportunities
to enrich his holdings.
It is likely that Strada’s preoccupation had originated in his early experi-
ence in Giulio Romano’s studio. It was common practice for young artists to
collect drawings or to copy them, in order to lay in a stock of suitable motifs
and compositional ‘inventions’ for later reference: the practice is described in
130 Index sive catalogus, Appendix D, nr. 35.
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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