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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter ��6�� Roman soldiers on horseback, that filled the spaces between the Historie [Figs. 12.31–12.32].82 Finally Strada had also copied the portrait of the twelfth Em- peror, Domitian, which Titian himself had never painted for lack of space, but with which Bernardino Campi had completed the series shortly before, when he prepared his first set of copies, commissioned in 1562 by the Marquis of Pescara. The Duke of Bavaria apparently already possessed copies of Titian’s originals of the other eleven, since a complete series of twelve is still preserved in the Munich Residenz: apart from the Domitian, these are probably identi- cal with the set painted by Campi for the Emperor Ferdinand i: they may have come to Munich as a gift on some festive occasion, or as part of Duchess Anna’s inheritance.83 82 Stopio’s Mantuan informer and Strada’s autograph note ‘Pitture che fo fare imitare’ (as in the preceding notes). On the Camerino dei Cesari, see Verheyen 1967, n. 31; Verheyen 1966, pp. 170–172, pl. 40–42; Wethey 1969–1975, iii, pp. 43–27 and 235–240; Splendours of the Gonzaga 1981, pp. 190–192; Harprath 1984, pp. 18–19; Giulio Romano 1989, pp. 400–405, and below. 83 On the many sets of copies after Titian’s Mantuan Emperors, see Wethey 1969–1975, iii, pp. 235–240; figs. 31–50. The Munich copies were later integrated as dessus-de-porte in the eighteenth-century boiseries of the so-called Reichen Zimmer of the Munich Residenz. Strada did in fact have copies made of the Titian Emperors’ portraits themselves, but not for Duke Albrecht (who already owned Campi’s series), for they are not mentioned in Strada’s account. They were probably intended for his own studio; as noted above (note 5), he presented them in 1575 to the Elector August of Saxony: ‘die ersten zwelf Römische kha[i]ser vom Julio Cesare bis auf den Domitianum, von elfarben gemalt, durch den besten maler, der heindtichs tag im Welzlandt ist’. [Doc 1575-09-28; printed in Lietzmann 1997, p. 396–397]. Figures ��.�9–��.3� (Workshop of) Giulio Romano, paintings from the Camerino dei Cesari in the Palazzo Ducale in Mantua: the scenes Nero playing the fiddle while Rome is burning and The Omen of Claudius; two Roman warriors on horseback; all Hampton Court, British Royal Collections.
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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