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‘small but choice’ collection of ancient medals. His ambition as a patron of the
arts as indicated by his Prater Lusthaus, the Stallburg and the Neugebäude sug-
gests that he would have been interested in documentation of the projects of
other patrons, such as the documentary drawings of Raphael’s Vatican Loggia
and Giulio Romano’s Palazzo del Te.
Another fascinating passage in a letter by Strada explicitly states that
Maximilian ii highly esteemed the exercise of the arts, in particular draughts-
manship or design. The letter was written in November 1566 to Adam von Diet-
richstein, one of Maximilian’s most trusted courtiers, whom he had appointed
to oversee the education of his two eldest sons, Archdukes Rudolf and Ernest.
When these were sent to Madrid in 1563 to receive part of their education at
their uncle’s court, Dietrichstein was appointed to head their household, and
doubled as Imperial ambassador in Spain [Figs. 11.33–11.35]. Strada wrote to
thank him for having presented in his name a numismatic manuscript to Phil-
ip ii and to ask him to further his attempt to obtain a benefice or pension from
the king for one of his sons. The tone of the letter suggests that he had got to
know Dietrichstein quite well. As an afterthought he continues:
I don’t know if your lordship after his departure has continued the study
[‘delettatio’] of medals, and of drawing [‘dissegno’]; for certainly it would
be good not to abandon that, the more so because you made such a good
start; and also their Serene Highnesses the princes, it would be well if
they would be reminded of that practice [‘deletatione’]; for in truth, dear
Sir, by drawing one obtains knowledge of an infinite number of things,
and one’s judgment becomes much more excellent in all subjects, and
it far surpasses that [obtained by] other studies, the more so when prac-
ticed by a learned gentleman such as you are. Now if your lordship reas-
sures me of that, I will always send you something by my hand to draw
[‘ritrarre’ = to copy], begging you not to abandon a practice highly es-
teemed by many ancient emperors, as well as by our present Emperor
and patron.55
55 Doc. 1566-03-01: ‘Non so se Vostra Signoria Illustrissima doppo la Sua partita abbia contin-
uato la delettatio dele medaglie, et il dissegno, che certo sarebe bene a non lo abandonare,
e tanto più che avea un bonissimo principio; et anche le Maestà deli Serenissimi Principi,
saria bene che tal deletatione li fosse raccordata, che invero, Signore, per il dissegno si
viene in cognitione di infinite cose, et il giuditio è molto più eccelente in tutte le cose, e
sopravanza tutti gli altri di gran longa; e tanto più quanto è in un Signore litterato come
Lei. Ora Vostra Signoria me ne farrà certo, et io li manderò sempre qualche cosa di mia
mano da rittrare, suplicandoLa a non voller abollire quello che molti imperadori antichi,
et il nostro presente e padrone fa gran stima.’
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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
- 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