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physician Girolamo Donzellini, whose contacts with supposed heretics had
forced him to flee Venice in the mid-1550s. At the relatively safe haven of Fer-
dinand’s court he was helped by, among many others, Antun Vrančić, and by
Strada himself. A few years after his contacts with Castelvetro Strada employed
two other famous, learned and noble exiles, the Sienese reformer Mino Celsi
and the vagrant prince, Bernardino Bonifacio, Marquis of Oria, in his editions
of Serlio’s manuscripts. In his youth Celsi had commissioned Baldassare Peru-
zzi to build a villa and a beautiful circular chapel at Sovicille, near his home-
town Siena. So he was sufficiently conversant with architectural terminology
to edit Serlio’s Italian of the Settimo Libro. The prodigiously learned Bonifacio
[Fig. 11.19] likewise had some architectural experience as the patron of the re-
structuring of the castle and fortress of Francavilla Fontana (1547), his princi-
pal residence before his flight from Italy; he provided the Latin translation of
Serlio’s text.31 Such services were doubtless rendered not only out of mutual
sympathy, but also because—apart from a possible financial remuneration—
Strada had offered help, advice or hospitality, and had used his own formal and
informal contacts on behalf of such friends.
Strada’s circle was not limited to his compatriots. Thus he had contact and
employed scholars elsewhere, such as the Italians Fulvio Orsini and Aldo
Manuzio the Younger, the Swiss Henricus Glareanus, and the French François
Hotman [Fig. 11.29], all humanists who contributed to Strada’s edition of Cae-
sar’s Commentaries.32 In the summer of 1578 he wrote a letter to the famous
Flemish botanist Rembertus Dodonaeus, who had been appointed Imperial
physician at the end of 1574, but had recently returned to the Netherlands
[Fig.
11.21]. Earlier he had advised Strada to contact the Antwerp printer Chris-
tophe Plantin, whom he thought might be persuaded to print some of Strada’s
projected publications, and he was willing to serve as an intermediary. Strada
took him up on this offer, and his letter, though addressed to Dodonaeus, was
really directed at Plantin [Fig. 11.23].33 Dodonaeus’ offer was made after in-
specting or even studying the materials relating to Strada’s projects in his Mu-
saeum. Another Netherlandish friend was the Imperial librarian, the Dutch-
man Hugo Blotius, who had been appointed early in 1575, and had briefly
visited Vienna some years previously: Strada trusted him sufficiently to serve
as reference for Plantin as to the quality of the books Strada proposed to have
31 On Celsi: Bietenholz 1979; on Bonifacio and his incredible travelling library, see Caccamo
1970; Welti 1970; Welti 1976; Welti 1983; Welti 1985(a).
32 Below, Ch. 14.5.3.
33 Doc. 1578-08-13. It was Plantin, rather than Dodonaeus who answered him (Doc. 1578-10-
10); on Strada’s publishing projects, see below, Ch. 14.
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Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Band 2
- Titel
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Untertitel
- The Antique as Innovation
- Band
- 2
- Autor
- Dirk Jacob Jansen
- Verlag
- Brill
- Ort
- Leiden
- Datum
- 2019
- Sprache
- englisch
- Lizenz
- CC BY-NC-ND 4.0
- ISBN
- 978-90-04-35949-9
- Abmessungen
- 15.8 x 24.1 cm
- Seiten
- 542
- Kategorien
- Biographien
- Kunst und Kultur
Inhaltsverzeichnis
- 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