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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter ��600 Fine craftsmanship was represented by a silver crucifix, a looking glass in a richly decorated gilt frame and a black marble basin.53 Of special interest is a tabletop—which came provided with a finely wrought base—executed in the technique often indicated as commesso di pietre dure, a term that was lit- erally translated into German in the account: ‘1 Tisch mit zusammengesetzten Steinen’. Apart from these finished specimens of the technique, Strada also bought a quite considerable quantity of semiprecious stones.54 These may have been intended merely as raw material for the manufacture of similar objects by the Duke’s own artists, but it is also thinkable that at least the larger plaques were meant to be used in interior decoration, in particular of the Munich Antiquar- ium itself. Such a display of rare and precious sorts of marble, many of which came from Greece and Asia Minor, had been realized in those rooms of his palace at Santa Maria Formosa in Venice where Giovanni Grimani, Patriarch of Aquileia, housed his collection of antiquities. This was very famous at the time and well known both to Stopio and to Strada himself.55 [Fig. 12.21] Finally part of the stones may have been acquired for the Duke’s Kunstkammer by virtue of their mineralogical interest, such as the fossilized piece of wood and the thirty- four balls (‘Kugeln’) of ‘all sorts of rare and oriental stones’.56 Certainly intended for the Kunstkammer were the various items of archaeo- logical, historical or ethnological interest that Strada provided: in the first place the numerous ancient coins and medals, including those from the Lore- dan collection, but also two cameos or intaglios, either antique or at least ‘all’ 53 BHStA-LA 4853, fols. 11–21; Stockbauer 1874, p. 33: ‘1 silbernes Crucifix v 30. <…> 1 runde länglichte Schale von schwartzen Stein sammt 2 anderen Steinen v 30 f 4 st 10’; p. 34: ‘1 Spiegel mit vergoldeten Angesichtern v 6’. 54 BHStA-LA 4853, fols. 11–21; Stockbauer 1874, p. 33: ‘1 Tisch mit zusammengesetzten Steinen und feinem ausgearbeiteten Fuss v. 80’; the pieces of semiprecious stones listed pp. 33–34. 55 BHStA-LA 4852, fol. 150; Stopio to Fugger, 22 February 1568: ‘Io haveva invitato il Strada <…>ma l’ha mandato ad scusare, che ha tanto da fare tutto il dì con il patriarca che a pena ha tempo da mangiare<…>’. Stopio also knew the Palazzo Grimani and its collections, and sent a design of its ‘tribuna’ to Munich, cf. above, Ch. 8; on the Palazzo Grimani, see Perry 1981; Tafuri 1985, pp. 15–17 and figs. 7–10; Bristot 2008. The palace and its restoration were the subject of a colloquium, Il Palazzo e le collezioni Grimani a S. Maria Formosa, Venice, 4–5 October 1985; on its marble decorations a communication was made by L. Lazzarini, ‘I marmi di Palazzo Grimani’. It is now a museum. 56 Strada also ordered stone slabs for the inscriptions for (the bases of) the statues, as re- ported in his letter from Mantua to Duke Albrecht: ‘De li tavole di paragone ne ordinaro a la suma di cento, computando le prime, le quali in mia absenza si metranno a la fine, e lassaro buon ordine che si mandaranno’. (Doc. 1567-07-12); they cannot be the stones mentioned in Strada’s account, for these were all coloured, whereas ‘pietra di paragone’ is a black marble.
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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