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813Student
of Antiquity
Strada did try—or at least pretended—to present historically valid images,
based on existing coins or—when these were lacking—on seals or other
material sources. This distinguishes both the contents and the readership
of his book from those of more fanciful bestsellers such as Guillaume Rouil-
lé’s Promptuarium. It is useful to compare Strada’s Epitome also with a more
serious competitor such as Enea Vico’s Le immagini con tutti i riversi trovati
et le vite de gli imperatori, printed in Venice in 1558. The latter is more elegant
and shows the images of many reverses, but it is limited to the first twelve
Emperors. Strada’s treatise is far more comprehensive: it provides a repertory
of all those individuals who had attained or pretended to the purple and their
dependents. Moreover, Strada’s compilations of their biographies, though emi-
nently readable, are more serious and far more detailed.
The apparatus which Strada’s adds to his volume corroborates its intended
function as a work of reference. Only the first of the three indices has a tru-
ly numismatic function: this is a list of the inscriptions of all those coins he
included which had not been published earlier [Fig. 15.15]. The other two are a
chronological index of all personages included and a very comprehensive al-
phabetical index, including references both to these personages again (printed
in capitals) and to events and objects discussed (printed in italics) [Fig. 15.16–
15.17]. This section closes with a page listing ‘Errata sic corrigito’.23
15.3 Strada’s Method
In addition to these indices, Strada also included a family tree clarifying the
genealogy of the Julio-Claudian dynasty into the Epitome. Though it cannot
compare in splendour and detail with Enea Vico’s huge print of 1555 show-
ing the genealogical ramifications of the first twelve Emperors with surprising
precision, Strada’s scheme shows that he was well aware of the use of such
up-to-date graphical aids to quick comprehension [Fig. 15.18].24
Strada owed such systematic rigour to his close connections with Hans Ja-
kob Fugger and the very learned men of his circle, such as the zoologist and
bibliographer Conrad Gesner and the Greek scholar Hieronymus Wolf, who
served as Fugger’s librarian and who developed the intricate and efficient
shelving system which was later adapted for use in the library of Duke Albrecht
23 Strada 1553(a), fol. B3r.–C3r.: ‘Index numismatum quae nusquam antea in lucem sunt
edita’; fol. Cv.–E3r.: ‘Index imperatorum seu caesarum, eo ipso ordine, quo sibi ipsis
invicem successerunt’; fol. E3v.–L3r.: ‘Index rerum, vocum et sententiarum maxime insig-
nium, ordine alphabetico digestus’.
24 I am grateful to Dr Ulrike Peter to have drawn my attention to the Vico print, on which see
Peter/Rubach 2011; Strada’s genealogy mentioned and illustrated on pp. 90–91.
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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