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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
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Chapter 14734 Panvinio, a prodigiously learned young Dominican working in the orbit of Car- dinal Farnese and a good friend and protégé of Antonio Agustín. Doubtless it was through Agustín that Panvinio and Strada met; in any case he was involved in drawing up the contract which gave Strada the right to publish Panvinio’s efforts.27 Since the copyright privilege indicates Panvinio’s Fasti as ‘Tomus Primus’, Strada appears to have conceived it as a companion volume of his own numis- matic compendium of the Roman Empire, which follows it in the copyright privilege and is indicated as Tomus Secundus. This was a ‘universal description’ of all the coins issued by the Roman Emperors and their successors from Julius Caesar up to the ruling Emperor, Charles v.28 It is in fact the numismatic cor- pus announced in the preface to the Epitome thesauri antiquitatum, which, as its title indicates, is a resumé of this more ambitious work. It was based on the collections of sketches, casts, descriptions of Roman coins Strada had brought together: the same material on which he drew for the Magnum ac novum opus, the corpus of numismatic drawings commissioned by Hans Jakob Fugger, and the accompanying volumes of detailed descriptions of obverses and reverses of each individual coin-type.29 In the following years it would grow in am- bition and size, but it would never be printed, though it doubtless provided the basis for Ottavio Strada’s De vitis imperatorum et caesarum Romanorum, posthumously published in three volumes in Frankfurt in 1615–1618 [below, Figs. 14.47–14.48].30 That Strada conceived Panvinio’s Fasti et triumphi and his own numismatic corpus as complementary volumes is not illogical: the huge epigraphic state calendar, listing all the magistrates of the Roman Republic and the Empire, and the coins issued by the Emperors, together provide the principal authentic, contemporary sources on the chronology and the political history of the Roman Empire. The ecclesiastical history of the Empire was to be served by the publica- tion of another work that Strada had obtained from Onofrio Panvinio, a ‘brief description’ of the Popes from St Peter up to the ruling pontiff, Paul iv Ca- rafa, giving a summary survey of the election, the principal acts and death of each Pope, and a list of the cardinals they created. It is a work of reference 27 Doc. 1557-11-27; cf. above, chs. 3.6.2 and 4.2. 28 Doc 1556-01-08: ‘Universalis descriptio numismatum omnium imperatorum ex aere, ar- gento et auro a Julio Caesare usque ad Carolum Quintum imperatorem augustum, que quidem hodie in Italia, Gallia, Germania variisque hinc inde locis inveniri potuerunt, Ja- cobo de Strada, Mantuano antiquario, aucthore, tomus secundus’. 29 Described above, Ch. 3.3. 30 Cf. below, Ch. 14.5.4.
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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

  1. 11 The Musaeum: Strada’s Circle 547
    1. 11.1 Strada’s House 547
    2. 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
    3. 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
    4. 11.4 Intellectual Associates 556
    5. 11.5 Strada’s Confessional Position 566
    6. 11.6 Contacts with Members of the Dynasty 570
  2. 12 The Musaeum: its Contents 576
    1. 12.1 Introduction 576
    2. 12.2 Strada’s own Descriptions of his Musaeum 577
    3. 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
    4. 12.4 Strada’s own Cabinet of Antiquities 592
    5. 12.5 Acquisitions of Other Materials in Venice 599
    6. 12.6 Commissions in Mantua 610
    7. 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
    8. 12.8 Conclusion 628
  3. 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
    1. 13.1 Introduction 629
    2. 13.2 Strada’s Acquisition of Drawings 630
    3. 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
    4. 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
    5. 13.5 Later Fate of Strada’s Prints and Drawings 647
    6. 13.6 Drawings Preserved in a Context Linking Them withStrada 649
    7. 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
    8. 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
    9. 13.9 Images as a Source of Knowledge 711
    10. 13.10 Conclusion 717
  4. 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
    1. 14.1 Is There Life beyond the Court? 719
    2. 14.2 Strada’s Family 719
    3. 14.3 Ottavio Strada’s Role 725
    4. 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
    5. 14.5 The Musaeum as an Editorial Office? 739
    6. 14.6 Financing the Programme 752
    7. 14.7 The Index Sive Catalogus 760
    8. 14.8 Strada’s Approach of Christophe Plantin 775
    9. 14.9 The Rupture with Ottavio 781
    10. 14.10 Strada’s Testamentary Disposition 783
    11. 14.11 Conclusion: The Aftermath 786
  5. 15 Le Cose dell’antichità: Strada as a Student of Antiquity 799
    1. 15.1 Profession: Antiquarius 799
    2. 15.2 Strada’s Qualities as an Antiquary 807
    3. 15.3 Strada’s Method 813
    4. 15.4 Strada’s Aims 822
  6. 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
    1. 16.1 Strada as an Imperial Antiquary and Architect 830
    2. 16.2 Strada’s Role as an Agent 836
    3. 16.3 Strada as an Independent Agent 840
    4. 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
    5. 16.5 Strada’s Influence: An Agent of Change 849
    6. 16.6 Conclusion: Strada’s Personality 863
    7. 16.7 Epilogue: Back to the Portrait 868
  7. Appendices 877
    1. A Some Unpublished Letters 877
    2. B Strada’s Will 894
    3. C Strada’s Musaeum: Pleasant paintings 900
    4. D Strada’s Musaeum: The Index Sive Catalogus 902
  8. Chronological List of Sources 915
  9. Bibliography 932
  10. List of Illustrations 986
  11. Index 1038
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