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851Agent
of Change: Imperial Antiquary and Architect
16.5.3 Connecting Concepts: The ‘imperial theme’ and the Encyclopaedic
Mentality
These themes are closely connected: they can be considered as a coherent
complex or, as Rogers calls it, a ‘cluster’ of related ideas or ‘innovations’. The
first two both relate to the fascination Strada felt for the history and more in
general for the accomplishments of the Roman Empire, as evident in his nu-
mismatic researches and his Epitome thesauri antiquitatum. This included an
adherence to the version of the idea of the Translatio imperii that held that
the Holy Roman Empire and its current ruler were the natural successors
of the Roman Empire and its Emperors. As a vassal of the Gonzaga Duke of
Mantua—a Prince of the Holy Roman Empire who was closely tied to its rul-
ing dynasty—this would have come natural to Strada, and it would have been
stimulated by his contacts with Hans Jakob Fugger, whose fascination with the
Roman as well as the Holy Roman Empire did not preclude a very lively inter-
est and active role in the politics of the Empire of his own day. Needless to say,
this idea was shared by the Emperor and his court. The Imperial theme can be
considered the Leitmotiv of Strada’s career, as it is the basso continuo of much
of the intellectual and political endeavour in the Empire.31
All these themes are interconnected by Strada’s efforts to document and to
collect and organise information—especially the information from Antiquity,
which was accorded authoritative status. Such encyclopaedic ambition is typi-
cal of the sixteenth and early seventeenth centuries, and was expressed in the
editions of Opera Omnia of classical authors, the publication of voluminous,
often polyglot dictionaries, universal atlases and natural histories, the compil-
ing of bibliographies, and the creation of collections or Kunstkammern with
an erudite and scientific purpose. The activities of Hans Jakob Fugger, both be-
fore and after he moved to Duke Albrecht V’s court at Munich, and of Fugger’s
circle, provide an important example of this encyclopaedic mentality, to many
elements of which Strada, an early and active member of this circle, amply
contributed.32
16.5.4 Innovators, External Agents and Early Adopters: Key Roles in the
Diffusion of Innovation
Note that Strada was by no means the first, let alone the only innovator or agent
of change in any of the several developments listed above. Their introduction
31 Cf. above, Ch. 9.8.
32 Somewhat later Francis Bacon would include such activities among the opera basilica,
‘acts of merit truly fit for a king’, he considered conducive to the advancement of learning
(Bacon/ Johnston 1974, pp. 70–67); cf. Jansen 1993, pp. 74–75.
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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