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Armenini’s treatise. But Giulio himself had collected drawings and architec-
tural designs on a much grander scale, in particular materials documenting
the vestiges of classical art and architecture, which were particularly admired
by Vasari.131 It was this example that stimulated Strada to collect material on
a larger scale than was habitual for young artists and which, coupled to his
own antiquarian interest, led him to include material that had no immediate
artistic interest, but was a bearer of historical or philological information, such
as inscriptions.
13.9.1 Fugger, Quiccheberg and the Kunstkammer
Thanks to his subsequent contacts with Hans Jakob Fugger, who was more
interested in scholarship and science than in exclusively artistic matters and
who, in his huge library, attempted to build up a comprehensive survey of all
available learning, Strada became aware of the value of the visual material as
a source of knowledge, an alternative or complement to the available textual
sources. In his turn Strada influenced Fugger’s interest in the careful graphic
documentation of objects that were of historic, dynastic or artistic interest,
as evinced in the Gehaim Eernbuch—the genealogy of his own family—and
in the Ehrenspiegel des Hauses Österreichs—a history of Austria celebrating
the Habsburg dynasty—which were both written under his supervision by the
Augsburg ‘Stadtschreiber’ Clemens Jäger.132 A case can be made that the stress
on visual documentation in Samuel Quiccheberg’s museological treatise, In-
scriptionis vel tituli Theatri amplissimi of 1565, is the immediate consequence
of Fugger and Strada’s fruitful exchange of ideas: the treatise was written more
or less under Fugger’s supervision, and it refers repeatedly to Strada’s works,
in particular his corpus of numismatic drawings commissioned by Fugger.133
Quiccheberg underlines the value of a well-ordered collection of images:
With time assiduous patrons augment the quantity of albums and
[loose] materials [in such a collection] to such an extent, that it becomes
possible to master many disciplines solely from these images; for the
131 Vasari-Milanesi 1906, V, pp. 552–553.
132 Cf. above, Ch. 3.2.
133 Quiccheberg stresses Strada’s role in the genesis of this section of the Fuggers’ collections:
‘Raimundus [the Younger] vero cum eodem fratre [= Hans Jakob], antiquarum statuarum
librorumque in quibus innumera numismata privatim depingitur, tanta volumina ad-
hibito Iacob à Strada conquisivit, ut si asportandi sunt, eis aliquot clitellarii muli debeant
onerari, cuius argumenti exemplaria solum in Caesareis museis apud Maximilianum im-
peratorem conservantur augenturque’. (Quiccheberg/Roth 2000, p. 192); cf. above, Ch. 3.
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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