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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter ��580 his house and collection in order to obtain the funds to finish his Dictionary and other publishing projects, going even so far as to try and make a lottery of it. All these efforts were wasted, for in his last will of 1583 he again determines that after his death the collection should be presented to some unspecified patron, and part of the proceeds used to finance the printing of his books.6 Though slightly varying according to their addressee, these three letters basically conform in their description of Strada’s collection. This consisted of three principal components: a collection of antiquities, a collection of con- temporary works of art, and a library. Neither the inventories Strada appears to have made in his lifetime, for his own use and that of his patrons, nor the settlement agreed among his heirs after his death have been preserved.7 To get a hint of the contents of the various sections we have to rely on the sparse concrete data provided by disparate contemporary and slightly later sources— chief among these the documents preserved in Munich relating to Strada’s acquisitions for Duke Albrecht V of Bavaria. These will be the subject of the following paragraph. 12.3 Strada’s Acquisitions for Duke Albrecht v of Bavaria Whereas Strada’s role as an architect has been referred to only very casually in earlier literature, reason why it was treated more extensively in the preced- ing chapters, his role as an agent or merchant of works of art in general, and of classical antiquities in particular, has always been considered a central ele- ment in his career. There can be no doubt that Strada himself considered it as such, witness the great pride with which, in the dedication to Duke Albrecht V of his edition of Caesar’s Commentaries (Frankfurt 1575), he described his acquisition—on behalf of Hans Jakob Fugger and the Duke himself—of the huge collection of classical statuary that filled the Munich Antiquarium: 6 ‘Doc 1584-07-01; discussed in greater detail below, Ch. 14.9. I have found no indication to which patron Strada referred with the term ‘Bewissten Ort’. 7 Strada refers to an inventory in his letter to Vilém z Rožmberka (Doc. 1573-12-18): ‘Euer Gnaden weren ein Inventari haben von meiner Liberay unndt Kunstkhamer, die ich Dero geben hab, wie Sie in meinem Haus gebesen sent, damals Euer Gnaden on mich begertt hatt; unndt Sich darinnen wol wissen zu erinnern, in was Gelt ichs Euer Gnaden ongeslagen hab’. But when he offered his Kunstkammer to August of Saxony (Doc. 1575-09-28) he had no up- to-date inventory available: ‘Ich hett darneben Eur C.F.G. gern ein Inventari der picher als wol der antiquitethen ges[c]higt, so ist es des dings so fil, das mir die zeitt zu kurz ist worden’. The copy of Strada’s testament preserved in the Österreichische Nationalbibliothek carries an annotation ‘die Vergleichung der Bruedern und Schwestern vide in S’—unfortunately that document has not been preserved. The testament was opened only on September 28, 1590, a year and a half after Strada’s death.
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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

  1. 11 The Musaeum: Strada’s Circle 547
    1. 11.1 Strada’s House 547
    2. 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
    3. 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
    4. 11.4 Intellectual Associates 556
    5. 11.5 Strada’s Confessional Position 566
    6. 11.6 Contacts with Members of the Dynasty 570
  2. 12 The Musaeum: its Contents 576
    1. 12.1 Introduction 576
    2. 12.2 Strada’s own Descriptions of his Musaeum 577
    3. 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
    4. 12.4 Strada’s own Cabinet of Antiquities 592
    5. 12.5 Acquisitions of Other Materials in Venice 599
    6. 12.6 Commissions in Mantua 610
    7. 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
    8. 12.8 Conclusion 628
  3. 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
    1. 13.1 Introduction 629
    2. 13.2 Strada’s Acquisition of Drawings 630
    3. 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
    4. 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
    5. 13.5 Later Fate of Strada’s Prints and Drawings 647
    6. 13.6 Drawings Preserved in a Context Linking Them withStrada 649
    7. 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
    8. 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
    9. 13.9 Images as a Source of Knowledge 711
    10. 13.10 Conclusion 717
  4. 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
    1. 14.1 Is There Life beyond the Court? 719
    2. 14.2 Strada’s Family 719
    3. 14.3 Ottavio Strada’s Role 725
    4. 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
    5. 14.5 The Musaeum as an Editorial Office? 739
    6. 14.6 Financing the Programme 752
    7. 14.7 The Index Sive Catalogus 760
    8. 14.8 Strada’s Approach of Christophe Plantin 775
    9. 14.9 The Rupture with Ottavio 781
    10. 14.10 Strada’s Testamentary Disposition 783
    11. 14.11 Conclusion: The Aftermath 786
  5. 15 Le Cose dell’antichità: Strada as a Student of Antiquity 799
    1. 15.1 Profession: Antiquarius 799
    2. 15.2 Strada’s Qualities as an Antiquary 807
    3. 15.3 Strada’s Method 813
    4. 15.4 Strada’s Aims 822
  6. 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
    1. 16.1 Strada as an Imperial Antiquary and Architect 830
    2. 16.2 Strada’s Role as an Agent 836
    3. 16.3 Strada as an Independent Agent 840
    4. 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
    5. 16.5 Strada’s Influence: An Agent of Change 849
    6. 16.6 Conclusion: Strada’s Personality 863
    7. 16.7 Epilogue: Back to the Portrait 868
  7. Appendices 877
    1. A Some Unpublished Letters 877
    2. B Strada’s Will 894
    3. C Strada’s Musaeum: Pleasant paintings 900
    4. D Strada’s Musaeum: The Index Sive Catalogus 902
  8. Chronological List of Sources 915
  9. Bibliography 932
  10. List of Illustrations 986
  11. Index 1038
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Jacopo Strada and Cultural Patronage at the Imperial Court