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marketing, and show that he really thought the new ideas, forms and images
he proposed and worked with could, and should benefit his contemporaries,
and enrich their mental and artistic world.
Such an ambition to be useful to the world was often expressed in texts
published at the time, and Strada was no exception: it was repeatedly referred
to both in the prefaces to the books he published and in his correspondence.
Thus in the preface to his Epitome thesauri antiquitatum he castigated those
contemporary numismatist who ‘obstinately keep their labours hidden in their
studies, without wishing to share them with anyone’, and presented them his
book in order ‘to show the way to imitate it, or to surpass it, with the help of
God, their talent (“nature”), and their learning (“doctrine”)’.40 The very first line
of Strada’s dedication to Duke Albrecht v of his edition of Caesar’s Commentar-
ies referred to its public utility. He then added a two-page paean of the Duke’s
library and collections, not forgetting Fugger’s contribution, and ended com-
paring the Duke with Caesar as Pater Patriae, implying the utility to his people
of the Duke’s new institutions.41 In his introduction to Serlio’s Settimo Libro
he likewise stressed its use to the public in general, and to the practitioners of
building in particular:
Now examining this book, I judged it to be the most beautiful work, and
the most useful that he [Serlio] ever made, and I wished to benefit the
world with it, because of the facility he maintains in his writing, and
teaching the world how to build. For even though there are many and dif-
ferent methods [to build], he nevertheless teaches these (whatever their
difficulty) with such skill, facility, and good order, that any man, however
mediocre in his art, is made competent [in it] and can easily serve him-
self of these [methods].
He motivated his adding a Latin translation by a similar wish, not only to make
the work accessible, but also to have its precepts applied in ‘all the kingdoms
and provinces of the world’.42 The copyright privileges of Strada’s works and
40 Strada 1553(b), fol. Aa 4r.: ‘Car par ce qu’ilz detiennent obstinément tels labeurs cachez
en leur maisons sans en vouloir faire part à personne, ie leur presente cest Epitome, pour
montrer le chemin, pour le suivre, ou surpasser aydant Dieu, nature et doctrine’.
41 ‘Qui in lucem ad utilitatem publicam opus aliquod suum sunt edituri …’; Caesar 1575, fol.
*2r.; fols. *3v.–5r.; partial German translation in Hartig 1917, pp. 286 ff.
42 Serlio 1575, fol. a iii–v.: ‘Hor’ esaminando bene questo libro giudicai che fosse la più bella
fatica, e la più utile, ch’egli havesse già mai fatta, et io curioso di giovar al mondo con essa,
per la facilità ch’egli tiene nel suo scrivere, et insegnare il mondo di fabricare, le quali se
ben sono intante e varie forme (quantunque sono difficili) egli non dimeno le insegna con
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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
- 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