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Strada’s editions of his works: he almost immediately brought out his own,
more correct editions of both: Romani pontifices et cardinales S.R.E. ab eisdam
a Leone ix ad Paulum papam iv per quingentos annos posteriores a Christi natali
annos creati (Venice, M. Tremezzino, 1557) and Fastorum libri V a Romulo rege
usque ad Imp. Caes. Carolum V Austrium (Venice, V. Valgrisi, 1558).
As on his own Epitome thesauri antiquitatum, on the title page of his edi-
tions of Panvinio’s works Strada proudly marks their provenance ‘Ex Musaeo
Jacobi Stradae, Mantuanae, Civis Romani, Antiquarij’. This probably implies
that he had acquired the manuscript copies, but it is clear that his purchase
had been made with the express intent to publish them. This is clear from
AgustÃn’s advising Panvinio that he was allowed to have his own versions print-
ed if he wished, but that he ought to wait with actually selling copies of the
titles he had sold to Strada until a decent time span had passed, say three to
four years.37 So Panvinio had actually been paid for his work, which then as
now was not always the case with authors of scholarly works. Moreover Strada
had attempted to do Panvinio proud: the splendid execution of the Fasti et
triumphi must have required a quite considerable investment. Panvinio under-
standably was more concerned with scholarly correctness than with splendid
type and unnecessary imperial portraits, and certainly Strada’s carelessness
in not correcting the mistake in the Fasti cannot be condoned. Yet Panvinio’s
subsequent discrediting of Strada’s editions—he actually accused Strada of
having printed the Epitome pontificum without his consent—probably caused
Strada the loss of almost the whole of his investment. Strada sold his volumes
of both titles to Pietro Perna, the well-known Italian printer and bookseller
from Basle, who was to market them, and would pay Strada in instalments, but
even in 1564 Strada had not yet received anything at all.38 So it is not surprising
of course to have been reprinted entirely; even worse, he did not indicate what had hap-
pened, so that unsuspecting users would never notice the discrepancy. I am grateful to
William McCuaig for having explained the nature of the mistake to me, published in his
discussion of the Fasti editions (McCuaig 1991, pp. 153–154).
37 Doc. 1557-11-27, AgustÃn to Panvinio: ‘Quanto alle cose del Strada mi rincresce assai che
la sua stampa riesca così male come ditte; et essendo tanto differenza, potrete stam-
par il Vostro libro senza pericolo, presertim con tante altre cose che fanno non esser il
medesimo libro; et fatte prima sopra questo diligenza con quelli che costì se ne inten-
dono, perchè mi par cosa chiara poter Voi provar non esser quel libro suo questo Vostro.
Quanto al patto farò io fede di quanto mi ricordo; di privilegi non potro farla, ma si bene
che Vi fossi lecito stampar Voi i Vostri libri, ma non vender quello che vendesti a lui infra
un certo tempo, mi par di tre o quatro anni. Poi che ogni sabbato mi potete scriver, et io
rispondervi avisateme di quanto accade et occorre’.
38 In 1564 Strada asked Maximilian ii for a letter of recommendation to the City Council of
Frankfurt, to help him obtain his outstanding dues from Perna. One suspects that Perna’s
unwillingness to pay may have been partly or wholly due to a failure to actually sell the
volumes (Doc 1564-00-00). On Perna, see Perini 2002, who does not mention Strada.
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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