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Flemish poet and erudite Niccolò Stopio.11 Stopio’s regular reports provide a
lively, though rather one-sided impression of Strada’s occupations during his
sojourns in Venice, and it will therefore be useful briefly to sketch the context
of this correspondence.
Though a native of Aalst, in the Southern Netherlands, Stopio had been resi-
dent in Venice for at least twenty years.12 He provided Hans Jakob Fugger with
weekly news bulletins, in the spirit of the Fuggerzeitungen, and forwarded Fug-
ger’s correspondence to Bologna, Florence and Rome. He also purveyed books
and manuscripts—in particular manuscripts from Greece, relatively easy to
come by in Venice—and various luxury goods, such as gloves, soaps, and even
medicines made after his own recipes. His real speciality seems to have been
music: he not only sent instruments, but also contracted musicians and instru-
ment makers for the Bavarian court.13 And as a neo-Latin poet, he wrote texts
for Orlando di Lasso—such as the motet Gratia Sola Dei sung at the wedding,
in 1568, of Prince Wilhelm of Bavaria to Renée of Lorraine—and for other com-
posers at the Bavarian court. Thus he provided a laudatory poem on Duchess
Anna that was set to five voices for the same occasion by Caterina, the gifted
daughter of Adriaen Willaert.14 Though obviously neither wealthy nor partic-
ularly illustrious, he appears to have been respected as a man of letters, and to
have been at least acquainted with most of Venice’s leading artists and literati.
Yet it is clear that he strongly resented the contrast between his position and
that of Strada, whom he claimed to have known in different circumstances
many years earlier.
11 BHStA-LA 4851, 4852 (Stopio’s correspondence) and 4853.
12 On Stopio, see Von Busch 1973, pp. 116, n. 48. The Biblioteca Ambrosiana in Milan preserves
some of his poems in manuscript (Iter Italicum i, 1965, pp. 287, 302, 307). He provided
all manner of services and goods, such as books, but also cosmetics and medicines, cf.
BHStA-LA 4852, ff. 58, 49, 245 and 215: ‘Mando con quella un libro delle cose di Carolo V, et
un libretto del viaggio di Terra Santa, et doi pezzetti di sapone, biancho et verdetto<…>’.
13 These musicians were not always eager to remain in Germany: ‘<…>ma sopratutto com-
prendo che quel paese non fa per questi musici d’Italia, che sono tutti teste leggiere, et
sono usi di stare con le loro compagne et putane, che è il loro Paradiso, a tal che partendo
d’Italia pare che vadino al Purgatorio<…>et così quando uno vi è, cerca di persuadere al
compagno chel ci venghi, poi concludono a non volervi stare ne l’uno ne l’altro<…>’, ibid.,
ff. 71–72; on musical instruments, ibid. f. 64.
14 ‘Gratia sola Dei pie in omnibus in omnia adimplet’, in: Peter Bergquist [ed.], Orlando Di
Lasso: The Complete Motets, 7, Madison (wi) 1998, p. xvii and p. xxvii (its text and an
English translation). On Caterina Willaert’s madrigal, see Massimo Troiano, Dialoghi<…>
ne’ quali si narrano le cose piu notabili fatte nelle nozze dello illustriss. et eccell. prencipe
Guglielmo vi., conte palatino del Reno, e duca di Baviera; e dell’ illustriss. et eccell. madama
Renata di Loreno, Venice 1569, fols. 123v–124v.
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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