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583The
Musaeum: Its Contents
Though not in the first place considered as a man of letters, as was Stopio,
Strada was a nobleman, was quite wealthy, held an officially recognized posi-
tion in the first secular court of Christianity, and was reputedly considered to
be among the finest antiquaries of Europe.15 He was, moreover, charged with
a very lucrative commission which Stopio had had some illusions of securing
for himself. As Strada appears also to have been rather overbearing, if not at
times outright arrogant in manner, it is not really surprising that Stopio did
not greatly take to him. But his dislike soon developed into a vicious envy of
Strada’s accomplishments and successes, and in his almost weekly reports to
Fugger he left nothing unsaid which he thought might discredit Strada in the
eyes of their common patron, and thus indirectly in those of Albrecht V. He
accused Strada of paying exorbitant prices for the antiquities he acquired on
behalf of the Duke; of a tactless highhandedness with the Venetian noblemen
from whom he often made his purchases; and of a lack of professional judg-
ment and general erudition. He even went to the childish extreme of reproving
Strada for a supposed spelling mistake in one of his letters, and rubbed that
in even in successive reports to Fugger.16 Finally he dwelt on the low esteem
which, he claimed, was accorded to Strada by the Venetians, and he contrasted
this with Strada’s high reputation on the other side of the Alps: being more re-
liable and more honourable—‘reali di natura’ is Stopio’s term—than the Ital-
ians, he explained, the Germans were more easily taken in.17
Stopio’s negative judgment of Strada’s character is known only from the few
published excerpts from his correspondence, chiefly relating to Strada’s deal-
ings with Titian which have already been cited in my introduction. This may
well be the reason why it has so often been taken at face value. This confidence
15 BHStA-LA 4852, f.15; ibid., f. 32: ‘<…>et tutto questo dico solo perchè Vostra Signoria [=
Hans Jakob Fugger] mi scrisse già , chel è tenuto per uno de’ primi antiquari intelligenti di
Europa<…>’.
16 BHStA-LA 4852, ff. 32, 62, 231, 280. That it was properly the word with which Strada de-
clared himself Stopio’s affectionate friend says something about the latter’s character:
‘<…>et certo mi stupisco come un simil grossolone [= Strada] ha acquistato tanto credito
in Alemagna, fra tali huomini dotti e giudiciosi; Vostra Signoria [= Hans Jakob Fugger]
puo considerare la sua scientia in questa lettera ch’l m’a scritto di Mantua, dove in loco di
affett.mo scrive efitionatiss.mo; chi vide mai simil ignorantia in persona chi fa professione
di sapere, a non haver fin in questa sua età mai misso a mente il significato ne ortografia
di tanto comune vocabolo<…>’. It is true that Strada’s usage is very unusual—it cannot
be found in the Vocabolario della Crusca—yet in general Strada’s Italian, including his
spelling, is polished, clear, elegant and self-assured: certainly not that of a ‘grossolone’. Of
course Fugger, a consummate speaker of Italian himself, was very well aware of that, and
paid no attention to Stopio’s ravings.
17 BHStA-LA 4852, ff. 114, 125, 136.
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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