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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter ��598 basis for the sets of splendid numismatic drawings he made for Hans Jakob Fugger and his other patrons. That these were serious studies is borne out by the verbal descriptions with which Strada intended to accompany them, preserved in two bulky sets of manuscript volumes in Vienna and in Prague, the A(ureum) A(rgentum) A(eneum) NumismatΩn Διαςκευέ, i.e. a ‘Description of gold, silver and bronze antique coins’. Because in these entries he always mentioned the collection where he had seen the best exemplar, it is possible to reconstruct at least part—and probably the best part—of his own collection, and to compare it with those of some of his contemporaries. From this it results that, at least as to its size, Strada’s description of his own coin cabinet is overly modest: except for those possessed by Antonio Agustín, Strada’s own medals are most often used as the source for his descriptions. Even taking into account that Strada would have had a bias for his own coins, or that he may have possessed relatively many rare issues of which he had seen no other exemplars, one can conclude that his collection must have consisted of at the very least about two thousand coins, and probably many, many more.50 50 A[ureorum] A[rgenteorum] A[ereorum] Numismatωn Antiquorum Διασκευέ, Vienna, Uni- versitätsbibliothek, Ms iii—160898 (old shelf mark iii 483); Prague, University library, ms. vii A 1. It is discussed in Jansen 1993, pp. 215–220; some examples of the descriptions and the breakdown of the provenance of the coins listed in the first five volumes, ibidem, annex 1a, pp. 227–230 and 1b, pp. 231–232. These five volumes (out of eleven) describe a total of 4430 coins, owned by about 50 different collectors: Agustín (942 entries) and Strada (883 entries) each correspond to about a fifth of this total. This does not neces- sarily imply the other collections were smaller or of lesser quality, but it does imply that Strada had studied these two collections in greater depth. All the same it is clear that Strada possessed a huge collection of coins; so his note in his letter to Jacopo Dani of 1581 ‘le mie medaglie, le quali, se ben non son molte, sonno però exquisitissime’ (Doc. 1581-11- 02) probably indicates that by that time he had already sold a large part of them to one or more of his patrons, but had kept the best ones for himself. The Διασκευέ would make it Figure ��.�9 Titian, Portrait of Jacopo Strada [Fig. 01], detail showing antique coins. Figure ��.�0 Tintoretto, Portrait of Ottavio Strada [Fig. 0.2], detail showing a cornuco- pia showering a profusion of antique coins.
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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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