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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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631Visual Documentation the High Renaissance. During his stay in Lyon he could buy both the manu- scripts of the architectural treatise of Sebastiano Serlio, and the collection of drawings he had brought together during his long life. When he subsequently arrived in Rome he likewise purchased the entire paper inheritance of his old friend Perino del Vaga, which included both Perino’s own drawings and many of other artists, including Raphael, who had been his teacher. On his way back to Germany Strada visited his hometown, Mantua, and persuaded Giulio Romano’s feckless son Raffaello—named after Perino’s and Giulio’s common master—to part with all the drawings he had inherited from his father. In the preface to his edition of Serlio’s Settimo Libro Strada provides a glowing ac- count of these acquisitions, of which he was very proud. Strada makes clear that these artists had collected not only their own works, but also that of their masters and of other artists, and also of other regions. For instance both Serlio’s collection—where one would expect it—and Perino’s—where it would be less obvious—included architectural drawings from France.2 Strada, in his pride of his Musaeum, might easily have overestimated the importance of his acquisitions. Therefore it is fortunate that his enthusiastic account is partly corroborated by a passage in Giovanni Battista Armenini’s De veri precetti della pittura. As a young painter, just arrived in Rome from his native Ravenna, Armenini was employed by Strada as a draughtsman. Living in the latter’s house in Rome, he was allowed to study the drawings from Perino’s estate at leisure. He also makes clear that Strada was quite open handed and paid high prices for the things he valued, and stresses that Strada paid ‘real- mente’ for his commissions.3 Strada’s strong financial position, coupled with his obstinacy and perfectionism, suggest that he did not greatly exaggerate when he claimed to have acquired not only Serlio’s entire collection, but also all of Perino’s and Giulio Romano’s graphic material that remained in the pos- session of their heirs—to the effect that <…>those expert in the arts can well judge how many beautiful things I have, having obtained the labours of three such great men.4 2 Serlio 1575, preface, fol. a iiii-r.: ‘Fra questi disegni [= Perino’s drawings] ne trovai una grandis- sima quantità d’Architettura, tanto di quegli di Roma, quanto di Francia, et altri luochi della Italia’. 3 Armenini 1587, p. 180; ibid., pp. 64–65, states that Strada paid Catarina Penni fifty scudi for her husband’s drawings. Is this the first sale of master drawings of which the price has come down to us? It seems a rather modest sum in view of what the purchase included; but Arme- nini may have witnessed the payment of one instalment of a cumulatively much larger sum. 4 Serlio 1575, preface, fol. a iiii-r.: ‘<…>a tale, che quelli de l’arte possono far giudicio quante belle cose mi truovo: havendo di tre tanto grand’ huomini havuto le fatiche’.
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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