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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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609The Musaeum: Its Contents and Albrecht v on his own account, taking the responsibility for and the risk involved in their further sale on his own shoulders. Unfortunately there is only one other transaction involving both Strada and Titian that is securely documented. This had nothing to do with any of Titian’s own works, but instead concerned a small but very valuable casket in rock crystal set in a silver gilt mount and decorated with precious stones. This casket belonged to Carlo della Serpa, who had been First Chamberlain to Pope Julius iii. Della Serpa, who wished to sell it together with a variety of other pre- cious objects in his possession, had given the casket to Titian in security for a loan that the artist—‘la stessa avaritia et diffidentia’, according to Stopio—had made him. Titian showed it to Strada, who thought it might be a suitable pre- sent for Prince Wilhelm of Bavaria, Albrecht’s son and heir, to give to his bride. Through Strada’s mediation Titian finally did succeed in selling the casket to the Duke, placating its owner, who had hardly been consulted, by arguing that this transaction would open up opportunities to dispose advantageously also of his other ‘galanterie’.78 In this way Titian was enabled to demonstrate his goodwill towards the Duke and doubtless also to make a considerable profit on the transaction: so at least on this occasion Strada’s interference was to his im- mediate advantage. Strada himself will likewise have gained financially from the deal; yet it must be kept in mind that—just as in the acquisition of the Loredan collection—he did not act as a merchant—who would have bought the casket on his own account, to sell it at a possibly large profit—but merely as an agent for Albrecht V.79 78 On this transaction, see BHStA-LA 4851, fols. 325–326; 348–349; and BHStA-LA 4852, fols. 56, 83, 91, 97–98, 100–102, 111–112; 119; 131 and 142. Among the other objects owned by Della Serpa was found ‘la sua tavola’, possibly identical with the table top in pietre dure men- tioned in Strada’s account (BHStA-LA 4853, fol. 16–20; Stockbauer 1874, p. 33). The casket does not figure in the inventory of the Munich Schatzkammer, but it may perhaps have looked somewhat like the beautiful casket consisting of rock-crystal panels by Annibale Fontana depicting biblical scenes bought by Duke Albrecht for 6.000 scudi (Brunner 1970, pp. 158–159, cat. nr. 321). 79 Whatever Stopio in his envy of Strada may have insinuated, Titian must have had good reasons for painting Strada’s portrait and presenting him with the Pomona. Apart from whatever services in profitable transactions he expected Strada to perform, he may well have appreciated the acuteness, energy and enthusiasm that he caught so well in his por- trait. Moreover, in view of Strada’s affluence at the time, it remains perfectly possible that he actually paid for them.
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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