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dispersed, floors in mosaic in black and white, various and spacious
rooms, and in some spots deep basins full of water conducted by the Ap-
pian aqueduct now mostly damaged or ruined.18
In view of Strada’s later involvement in festivals organised at the Imperial
court, it is of some significance that he also paid detailed attention to public
festivities in classical Rome. Thus for Vespasian [Fig. 15.9] he selected a reverse
illustrating the Emperor’s triumph after having subdued the Jewish revolt,
using an example close to a type actually struck under Titus, interpreting it
as the triumphal curricle carrying the Emperor and his son Titus preceding
a procession of the spoils of war [Figs. 15.10–15.11].19 Strada then added two
and a half pages describing the triumph, a passage taken straight from Book
vii of Flavius Josephus’ Judean War.20 Though he did not mention it, he may
well have selected this event because it is so well documented in the beautiful
reliefs of the Arch of Titus in the Forum Romanum.
For Trajan [Fig. 15.12] he selected not one of the coins illustrating the famous
Column, still standing in the centre of the remains of that Emperor’s forum,
as might have been expected in view of his later interest in that monument,
18 Strada 1553(a), p. 105.
19 Here, as elsewhere in this chapter, I have presented coin images of which the visual quali-
ties are such that they may have served as Strada’s sources; I have not attempted a defini-
tive identifcation of the particular coin types Strada used. Such an identifcation has been
undertaken by Volker Heenes, whose findings and critical analysis of Strada’s numismatic
practice will become available with the results of our collective research project, Jacopo
Strada‘s Magnum ac Novum Opus: A Sixteenth-Century Numismatic Corpus, which is fi-
nanced by the Deutsche Forschungsgemeinschaft and based at the Gotha Research Cen-
tre of the University of Erfurt (fzg). Not wishing to anticipate his findings, I have not
revised this section of my thesis, except as to find better exemplars of the coin-types I
discuss.
20 Strada 1553(a), pp. 50–52; the text corresponds to Flavius Josephus’s Jewish War, Book viii,
116–155, cf. Josephus/ Thackeray 1961, pp. 538–551.
Figures 15.12–15.14 The image of Trajan from Strada’s Epitome, and an exemplar of the coin
type on which he based his description of a reverse.
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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