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<…>as to Strada, is seems he behaves as usual, and if he was not so secretive,
and instead showed himself more friendly, he would increase his stature;
for in truth, one wonders what he would be if he was not more expert in
antiquities than anyone else; for the rest it seems he is rather insufferable
to those who do not do exactly as he wants. Enough; he is gone to Vienna,
and has left me a note which I wish had been kinder and more friendly; but
this is the way he is made, and he loses more than he gains by it<…>.
Fugger continues to tell Stopio that Duke Albrecht intends to use Strada’s con-
cept and designs for the new Antiquarium, adding, with a touch of irony, ‘if
at least he will deign to come here’.51 ‘Obsequious’ is not exactly the qualifi-
cation which I would apply to someone displaying such behaviour. Yet for all
his reservations, Fugger squarely chose Strada’s side when he became aware of
Stopio’s own incompetence in antiquarian matters, and realized how viciously
he had attempted to blacken Strada’s name. He would remain on good terms
with Strada until his death in 1575, the same year that Strada published his
enthusiast account of Fugger’s contribution to the Munich collections—an
account which again does not sound ‘obsequious’, but rather reflects Strada’s
own happy memories of—and pride in—the share he had been given in the
realisation of Fugger’s and Duke Albrecht’s ambitions.52
Stopio himself certainly did not accuse Strada of undue servility towards his
patrons: ‘in fact his arrogance is insufferable: if he talks about the Emperor or
the princes, it seems that they are staying with him, instead of he staying with
them’. If his descriptions have any kernel of truth in them, they indicate that
Strada took a lot of trouble to present himself as a nobleman and courtier, and
as an independent agent, rather than as a servant:
<…>he went about here<…> in scarlet hose, with his son as a page and
accompanied by three or four of these appraisers, so that he looked like a
nobleman with his suite<…>.
51 Copy of Fugger’s letter to Stopio, Ingolstadt 25 August 1568, BHStA-LA 4852, fol. 165–166:
‘<…>Quanto al Strada me pare che luy tenga al solito suo, et se non si simulse tanto, anzi
se dimostrasse piu amorevole, si faria maggior assai di quello che è, che in verita si [puo ?]
dir quanto se ne vagli esso se non intende circa l’antiquaglie quant’ un altro; del resto pare
che sia assai insuportabile a chi non fa tutto a modo suo; basta, egli è ito a Vienna et mi
ha lassiato una sua che voria fusse piu dolce, et amorevole; ma egli è pur fatto cosÃ, et con
questo perdene p[er]de assai piu che non guadagna.<…>S. Ecc. è deliberata di fabricare
una stanza p[er] le sui antiquaglie, et circa l’ordinare vuol usare il disegno et parere d[e]l
Strada, se pero si vorra degnare di venir in qua<…>.
52 Caesar 1575, ff. *3v.–5r.
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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