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The drawings soon arrived in Florence, and seem to have been eagerly ex-
pected, since already on 11 February Vinta could communicate the reactions
to Ottavio. Though this letter has not been preserved, from Ottavio’s reply it is
clear that its contents rather upset him. And this is not surprising, since he was
told that in Florence all the drawings he had sent were held to be mere copies.
Ottavio was offended, and said so; though he admitted that there might well
be one or two copies among them, ‘sia come si voglia’, he strongly asserted his
good faith:
I swear on my honour as a gentleman that my father valued them so
highly that he would not have given them for 300 gold scudi, and he has
lived at the time when these excellent masters were alive and he bought
[the drawings] from them. Here [in Prague], before I sent them over there
[to Florence] a Frenchman has offered me hundred Thaler, and I did not
want to give them to him [for that price].21
Therefore in case his drawings did not please the Grand Duke, they should
be sent back well wrapped: in Prague there were people eager to have them,
and prepared to pay a good price. This suggestion was accepted in Florence,
and less than a month later the secretary of the Tuscan envoy in Prague had
handed over a sealed parcel of drawings to Ottavio.22
After this disappointing experience, Ottavio did not attempt to interest the
Grand Duke in the remainder of his father’s drawings, that is, those that had
remained in Vienna. By a curious coincidence, however, the Florentine State
Archive contains one more letter of Ottavio’s that gives further information of
what at that time was still left of Strada’s graphic collection. This letter, dated
Prague, November 1st of the same year (1590), was addressed to Prospero Vis-
conti, a Milanese nobleman whom we have already met in the last chapter. As
an expert and agent in antiquities and works of art Visconti had been a col-
league and acquaintance of the elder Strada and had visited his studio when in
è altro, solum inventioni stravaganti per far una credenza di un gran Principe, cosa molto
bella da vedere<…>’; Medici del Principato 814, f. 40, Ottavio Strada to Belisario Vinta, 15
January 1590.
21 asf, Medici del Principato 814, f. 343, Ottavio Strada to Belisario Vinta, Prague 10 April 1590,
‘gli giuro da gentilhuomo che mio padre non haveria dati per 300 [scudi] d’oro, in tanto
reputatione le tenevi, et gli’è stato vivo nelli tempi di quei valenthuomini che gli hanno
fatti, et da loro comprati. Qui, avanti che gli mandai costì, un francese me offerse cento
tallerij, non gli volse dargli<…>’
22 asf, Medici del Principato 817, fol. 72, Ottavio Strada to the Grand Duke of Tuscany, Vienna
17 June 1590.
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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