Page - 713 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 713 -
Text of the Page - 713 -
713Visual
Documentation
contemplation of one single image often more enriches the memory than
several days reading of many pages [of text].134
This passage is echoed in Strada’s admonition to Adam von Dietrichstein to
continue the practice of drawing after examples, and to ensure that his young
charges, the Archdukes Rudolf and Ernest, likewise continued this practice,
which shows how seriously he took the didactic and scientific aspect of the
image, and more in general of visual stimuli:
<…>for in truth, dear Sir, by drawing one obtains knowledge of an infinite
number of things, and one’s judgment becomes much more excellent in
all subjects, and far surpasses that [obtained by] other studies, the more
so when practiced by a learned gentleman such as you are.135
These ideas were shared or taken up by other collectors of the time, and it is
surely no coincidence that the three princely collections most closely connect-
ed to Fugger and Strada, those of the Duke Albrecht V of Bavaria, his brother-
in-law Archduke Ferdinand ii of Tirol and their nephew the Emperor Rudolf ii
each included huge collections of documentary images: illustrated books and
manuscripts, atlases, albums of heraldry, portraits, technical inventions, in
short every conceivable subject which could profitably be illustrated by drawn
or engraved images.136
13.9.2 The Material: Intended for Publication
Strada’s interest in images as sources of information is one of the recurring
themes in his ambitious publishing programme, which will be surveyed in the
next chapter. All the books that Strada published in his lifetime were illustrat-
ed, as were Ottavio Strada’s Series of Lives of the Roman Emperors, based on
Strada’s own manuscript version, and Jacopo’s technical designs which were
published by his grandson, Ottavio Strada the Younger, in 1617.137 Next to Ser-
lio’s Settimo libro d’architettura the most striking is doubtless Strada’s edition
134 Quiccheberg/Roth 2000, p. 138: ‘Subinde ergo huius instituti fasciculi et materiae à diligen-
tioribus patronis adeo augentur, ut quam plurimam disciplinarum ex his solum imagini-
bus cognitio acquiri posse videatur, plus enim quandoque praestat memoriae inspectio
solum alicuis picturae quam diuturna lectio multarum paginarum’.
135 Doc. 1566-03-01, quoted above, Ch. 11.6.
136 Fickler’s inventory published in Diemer/Diemer/Sauerländer 2008; Archduke Ferdinand’s
1596 inventory in Boeheim 1888, pp. cclxxxviii–ccxciii, Regest 5556, fols. 382–401; Ru-
dolf’s 1607 inventory: Bauer-Haupt 1976, pp. 130–139
137 Cf. Bibliography, s.v. Strada, Jacop0; Strada, Ottavio [I] and Strada, Ottavio [ii].
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