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for Duke Albrecht about the Vendramin and Mocenigo collections that were
on the market. But since at the beginning of this same letter Strada told Fugger
that he had decided to try and sell both his house and his studio, with every-
thing in it, this seems unlikely.61 It is much more probable that Ottavio was
sent to Venice to start negotiations with the Venetian printers and to commis-
sion illustrations for the several planned books from some of the famous Vene-
tian woodcutters and engravers. There seems little doubt that Strada originally
planned to have his books printed in Venice, for shortly after having obtained
the copyright privilege he not only requested and obtained a further, general
privilege for all the books and images he had collected and wished to publish
in future, but also asked for permission to travel to Venice ‘in order to have
his books printed’, as well as a passport and letters of recommendation to the
Doge and the Signoria.62 Strada opted for Venice probably both because of the
stature of Venetian humanist printing and the quality of its engravers, but his
wish to print some of his books in Italian must have been an additional motif.
Ottavio’s troubles in Frankfurt with the text editing and proofreading of Ser-
lio’s Settimo Libro show that printing serious works in Italian was not as yet
common in Germany, and far from simple:
It is quite something that in Germany, where there are no Italians, some-
one is printing Italian [books]; if Wechel had not accepted to print, you
wouldn’t have found any opportunity here, and certainly would have
wasted your time in wanting to print Italian in Germany, where there is
no one [to assist in that]: you would not believe how few learned men
there are in Frankfurt.63
So there must have been serious reasons for Strada to abandon his project to
print his books in Venice and to choose Frankfurt instead: perhaps German
printers were cheaper, or perhaps he thought he would have less competi-
tion for his type of books in Germany; certainly the Frankfurt book fair must
have provided a strong attraction. The suddenness of his decision in favour of
Frankfurt, however, suggests that it may have had to do with a failure to ob-
tain a safe-conduct from the Signoria that would protect him against the Papal
Inquisition.64
61 Doc. 1574-02-01.
62 Doc. 1574-00-00.
63 Doc. 1574-12-05 (transcribed in Appendix A).
64 When Strada returned to Venice in 1568, after his precipitate flight from the Papal Inquisi-
tion in Mantua the summer before, he took great trouble to obtain an Imperial safe-con-
duct, and through Maximilian’s intervention, a similar guarantee from Duke Guglielmo
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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