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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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649Visual Documentation Giulio’s own designs for elaborate goldsmith work that since have been dis- persed, and have found their way to half a dozen print rooms across Europe and the United States.38 13.6 Drawings Preserved in a Context Linking Them with Strada By the early seventeenth century collectors and perhaps dealers in drawings began to use collector’s marks, written initials or symbols, or little stamps placed on each sheet. Unfortunately in Strada’s day this admirable custom had not yet been thought of, and since he did only rarely scribble any attributions, explanations or remarks onto the sheets in his possession, it is possible to iden- tify individual sheets that passed through his hands in only a few cases. Strada’s collection of drawings was almost entirely dispersed in the decades after his death, and may have furnished material for the cabinets of many famous col- lectors of the seventeenth century, such as Paul von Praun, the Earl of Arundel and Everard Jabach.39 In the process most of the albums containing his collec- tion of original drawings were cut up, but fortunately two volumes survived more or less in their original form, both in Prague, and provide at least some concrete information about the contents of the Musaeum. 13.6.1 The Strahov Album The codex preserved in the library of the Strahov Monastery is the most impor- tant of these. A cut-out engraving of Ottavio Strada’s coat-of-arms pasted onto its title-page functions as an ex-libris, and demonstrates its provenance from Strada’s Musaeum.40 The binding in white leather is decorated with impressed portraits of Charles V and the Elector of Saxony, and appears to date from the 1570s. The codex itself consists of about eighty-five sheets of a paper pro- duced in Prague. Since these sheets where unmarked when they were bound, 38 Cf. Ugo Bazzotti in Giulio Romano 1989, pp. 454–457. 39 Later references in archival sources provide tantalizing hints about the possible later fate both of the volumes in Rudolf’s collection and of other graphic material from Strada’s Musaeum. 40 Prague, Strahov Monastery, Library, dl iii 3, Selectarum inventionum collectanum ex di- versis auctoribus; a cut-out of Ottavio Strada’s coat of arms pasted onto the title page con- firms its provenance from the Stradas’ workshop. This discussion is based on the splendid, integral edition of the codex by Beket Bukovinská, Eliška Fučíková and Lubomír Konečný (Bukovinská/ Fučíková/ Konečný 1984). Apart from this fundamental work, their personal interest, their hospitality and counsel during several visits to Prague have been invaluable for my research.
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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