Page - 967 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2
Image of the Page - 967 -
Text of the Page - 967 -
967Bibliography
Nesselrath, Arnold, ‘I libri di disegni di antichità: Tentativo di una tipologia’, in SETTIS
1984–1986, vol. 3, 87–147.
Nolhac, Pierre de, La bibliothèque de Fulvio Orsini (Paris, 1887).
Nolhac, Pierre de, Un poète rhenan de la Pléiade: Paul Melissus (Paris, 1923).
Nouvelle biographie générale depuis les temps les plus reculés jusqu’à nos jours, avec
les reseignements bibliographiques et l’indication des sources à consulter, ed.
J.C.F. Hoefer (Paris, 1852–1856), s.v. ‘Strada’, in vol. 44 (1865), cols. 540–541.
Nova, Alessandro, The Artistic Patronage of Pope Julius iii (1550–1555): Profane Imagery
and Buildings for the De Monte family in Rome (Ann Arbor MI, 1988).
Nowotny, Ernst, Geschichte des Wiener Hofspitals: mit Beiträgen zur Geschichte der in-
korporierten Herrschaft Wolkersdorf (Vienna, 1978).
Noye, Sebastiaan van, Thermae Diocletiani imperatoris, quales hodie etiamnum exstant
sumptibus et ardenti erga venerandam antiquitatum studio Antoni Perenoti, episcopi
Atrebatensis, in lucem eductae, industria et incomparabili labore Sebastiani ab Oya,
Caroli v architecti, tanti herois impulsu quam exactitudine ad vivum a fundo usque de-
scriptae, ab uberiori prorsus interitu vindicatae et ab Hieronimo Coccio Antwerpiano
in aes incisae (Antwerp, 1558).
Nuremberg, a Renaissance City 1500–1618, ed. Jeffrey Chipps Smith (exh. cat. Archer M.
Huntington Art Gallery, Austin TX, 1983).
Nürnberger Goldschmiedekunst 1541–1868, 2 vols, (exh. cat. Germanisches Nationalmu-
seum Nürnberg, Nuremberg, 2007). Vol. 1: Meister, Werke, Marken, ed. Karin Tebbe,
et al.; vol. 2: Goldglanz und Silberstrahl.
Oberhammer, Vinzenz, Die Bronzestandbilder des Maximiliangrabmales in der
Hofkirche zu Innsbruck (Vienna and Munich, 1935).
Oberhuber, Konrad, Entwürfe zu Werken Raphaels und seiner Schule im Vatikan 1511/12
bis 1520 (Berlin, 1972) (= Oskar Fischel, Raphaels Zeichnungen, part 9).
Occo, Adolphus, Im Romanorum nvmismata a Pompeio Magno ad Heraclivum: qvibus
insuper additae sunt inscriptiones quaedam veteres, arcus triumphales, et alia ad
hanc rem necessaria (Antwerp, 1579).
O’Dell, Ilse, ‘Jost Ammans “Mummereyen” für Ottavio Strada’, in Zeitschrift für Sch-
weizerische Archäologie und Kunstgeschichte 47 (1990), 244–251.
Old Master Drawings: Auction in New York, Wednesday 27 January 2010 (auction cata-
logue Sotheby’s New York, New York, 2010).
O’Malley, Charles Donald, Jacopo Aconcio (Rome, 1955).
Ordenliche Beschreibung: see WIRRICH 1571.
Orella y Unzue, José, Respuestas catolicas a las Centurias de Magdeburgo (Madrid,
1976).
Orgeix, Emilie d’, ‘The Goldschmidt and Scholz Scrapbooks in the Metropolitan Mu-
seum of Art: A Study of Renaissance Architectural Design’, in The Metropolitan Mu-
seum of Art 36 (2001), 169–206.
back to the
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