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Documentation
There is no evidence that the Grand Duke reacted to this proposal, but he did
remember Ottavio’s earlier offer of the drawings by Italian masters, as is clear
from a letter to Vinta from Niccolò Gaddi, dated ‘in Villa’ the 13th October fol-
lowing. Gaddi was himself a noted collector and connoisseur with a particular
interest in drawings, as his acquisition of Vasari’s ‘Libro di disegni’ indicates.
He was one of the principal artistic consultants of the Florentine court, and
in this capacity he had been asked to give an appraisal of the manuscripts that
Ottavio had sent. After responding to this request, he continues:
The most Serene Grand Duke some days ago told me that he [= Ottavio
Strada] also had a quantity of drawings by the hand of excellent painters
and sculptors, and that he was willing to send these; if one let them come,
and be told the price, having seen what they were, one could give him an
answer.19
This advice was taken, so in January following (1590) Ottavio sent a parcel of
two hundred and forty drawings of various sizes to Florence. These were the
drawings he had with him in Prague: the greater part of the collection, ‘<…>fra
li quali sono molti belle Historiae et inventione<…>’ was still in Vienna, where
he hoped to go the coming summer. In case this might please the Grand Duke,
he would also send ‘qualche cosa de bella’ from there. In his covering letter to
the Grand Duke himself Ottavio courteously refused to mention a price for the
drawings he sent: ‘tutto quello che me darà , accetarò in gratia, et cusì gli fo un
presente’; but in his letter to Vinta of the same date he was more business-like,
and valued them at one hundred gold scudi at least. He further offered to send
a series of drawings by Giulio Romano, bound in an album
<…>in which there is nothing else but extravagant inventions to grace the
sideboard of a great Prince, a thing quite wonderful to see.20
esso libro, che detto Alberto Durero ha fatto’. A day later Ottavio wrote a letter to Duke
Virginio himself proposing the Dürer album to him in almost the same terms, adding ‘io
so che in tutta Italia non sene trovara un simil libro, che è ben conservato et gli disegni
tanto politi che ben stampati che è una gioia a vedere<…>’ (Rome, Archivio Capitolino,
Archivio Orsini, serie i, vol. 124, nr. 198); I am grateful to Robert Lindell who found this let-
ter and communicated it to me.
19 asf, Medici del Principato 822, ii, fol. 876: ‘Il Serenissimo Granduca più giorni fa mi dette
che [Ottavio Strada] haveva ancora una quantità di disegni a mano di valenthomini pit-
tori e scultori, et che li voleva mandare; quando si facessino venire, et si intendesse il
prezzo, visti che fussino, se li potrebbe rispondere’.
20 asf, Medici del Principato 813, f. 110: Ottavio Strada to Ferdinando, Grand Duke of Tuscany,
Prague 15 January 1590: ‘Mi ritrovo un libro di mano di Julio Romano, dove in esso non c’
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Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2"
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
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038