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Chapter
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On the other hand Strada may have had some sympathy for the Reforma-
tion: as we have seen, he maintained contacts with many Protestants, and in
particular with Italian Evangelical exiles, such as Mino Celsi and Giovanni
Bernardino Bonifacio, Marchese di Oria—both of whom collaborated on his
edition of Serlio’s Settimo Libro—the printer Pietro Perna in Basel and the
humanist Lodovico Castelvetro, whose translation of Aristotle Strada sold and
may have been instrumental in publishing. The extent of such sympathy is in-
dicated by his attempt to enlist Antun Vrančić to provide counsel and support
to Girolamo Donzellini, in order to help Donzellini to return to Italy and clear
himself with the Holy Office.50
Summing up, a preliminary conclusion could be that Strada participated
to some extent in the confessional debate of his time. He had both lived in a
largely Protestant environment in Germany and moved in the circle of prelates
who represented or at least tried to formulate the Catholic response to the
Reformation, in Rome in the 1550s. In contrast to Hans Jakob Fugger, whose
orthodoxy was never doubted notwithstanding his ample patronage of Prot-
estant scholars, Strada must have expressed his doubts about ‘le cose Romane’
sufficiently often and openly to have attracted the attention of the Inquisition.
Taken altogether, it seems likely that Strada may have shared a certain confes-
sional leniency with his patron, Maximilian ii.
11.6 Contacts with Members of the Dynasty
Together with Strada’s erudition, his curiosity and his enthusiasm, it was per-
haps also his moderation in the confessional field that gained him Maximil-
ian’s sympathy: a sympathy which was expressed in the Emperor’s enduring
patronage, and which is reflected in Strada’s own letters.51 There is little or no
evidence of a direct contact with Empress Maria and the members of her own
immediate circle, but other members of the dynasty did frequent his house—
or at least wrote their motto in his ‘memoria di casa mia’.52 Chief among
50 On these contacts, see above, Ch. 11.4; on Donzellini, see Jacobson Schutte 1992.
51 Maximilian’s intervention with the Duke of Mantua in the affair of Paolo Strada’s ben-
efice in Mantua Cathedral is a case in point, involving an explicit motu proprio to Duke
Guglielmo, impressed by an accompanying letter by no less a personage as Vratislav z
Pernštejn, the Bohemian Chancellor, and presented to the Duke in person by Paolo Emilio
Bardelone, the Mantuan envoy at the Imperial court (Docs. 1565-05-12 and 1565-05-15).
52 It is difficult to say whether the rumour of Strada’s alleged heresy as reported back to
him by Dani in 1576 circulated widely. In Mantua it remained alive, given the fact that
in 1583 both Strada and his son Paolo, as canon of San Pietro, were burned in effigie as
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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