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775Ambitions
as a Publisher
14.8 Strada’s Approach of Christophe Plantin
Summarizing, one must conclude that, though Strada may have ultimately in-
tended to publish all of the works listed in the Index sive catalogus, some of
them were nevertheless closer to his heart than others. Moreover Strada was
not completely destitute of a sense of reality, and in his less sanguine moments
he realized that not all his projects were feasible. Thus in his letter to Grand
Duke Francesco of Tuscany he showed that he knew that the printing even of
the letter A only of his Dictionary really was a practical impossibility—though
he continued to hope to have at least its indices printed. As we have seen, Stra-
da had hoped the Grand Duke would himself undertake to have this and other
items from his programme printed at Florence.113 At the Grand Duke’s polite
refusal, Strada decided to approach a professional publisher. Characteristically
he opted for the biggest professional publisher in Europe: the Antwerp ‘Arch-
printer’ Christophe Plantin [Fig. 14.41].
Through his connection with the book trade Strada was well aware of Plan-
tin’s productions: thus when in 1573 he had requested Maximilian ii to recom-
mend his fundraising to print the letter A of his Dictionary, he had explicitly
compared it with the concordances of Plantin’s famous Polyglot Bible, which
was just coming out at that time.114 When Rembertus Dodonaeus, the well-
known Flemish botanist, came to Vienna in 1574 to serve as Maximilian’s phy-
sician [Fig. 14.42], he appears to have been sufficiently impressed by Strada’s
113 Doc. 1577-10-04/d: ‘Il mio Dictionario delle undeci lingue, ci è latina, grecha, hebrea, tur-
cha, araba, persiana, spagnola, francese, tedescha et italiana. Questa si è fattica et spesa
incredibile a chi non lo vede. Tutte queste lingue si parlano secondo le frases di Cicerone
et altri huomini dotti; alli suoi lochi è posto le medaglie antiche, li marmi scritti, le statue,
edifitii, et altre cose che sariano troppo longa matteria a volergli tutti nominare. La let-
tera A è scritta et sonno volumi 14; gli indici sonno volumi 18. Questi indici si potriano
stampare, che secondo il calculo che sopra ne ò fatto sariano dui gran tomi simili a quelli
del Thesaurus Linguae Latinae di Roberto Stefano di Paris; in questi indici vi sonno nomi-
nate tutte le cose che sonno al mondo di hogni genere. Ma la lettera A su nominata, ques-
to saria impossibile a stamparla, ma si potria scrivere con dessignarvi le figure, et fargli
ben legare in varii volumi, et porgli nella Sua libraria de Medici tanto famosa al mondo’.
114 Doc. 1573-00-00: ‘Questo Dictionario si trova adessa la lettera A al fine, e perchè, egli
volendola far stampare, ci va grandissima spesa negl’intagli delle figure, le quali sonno
medaglie antiche di hogni genere, et statue, inscriptioni, sepulture et altre cose, le quali
sonno tutte ritratte da le vere antiquità , fedelmente et benissimo immitate, egli non si
truova il modo del danaro di metterlo alla stampa. Et questa lettera A come sia stampata
saranno parecchi tomi, o volumi, et sarra poco manco della Biblia Complutensi che in
questo anno il Plantino à stampata in Anversa, la quale la Maestà del Serenissimo Re Ca-
tholico a sue spese et liberalità à fatto stampare’. In 1577 Strada proposed a selection from
his programme to Francesco i (Docs. 1577-10-04/a and 1577-10-04/b).
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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