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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 13672 copied in Strada’s libri di disegni—an example is the ewer in the form of a dol- phin [Figs. 13.69 and 13.70]—were acquired by General Guise from the same source. This is a virtual certainty for a design for a candlestick of which the (trun- cated) inscription seems to be in Strada’s hand as well [Fig. 71].70 In the same way Giulio’s autograph designs for similar inventions found elsewhere and of which copies are included in Strada’s albums must once have made part of Stra- da’s holdings.71 Apart from the Strahov codex the Oxford drawing provides the only ma- terial evidence of the way Strada organized his material. It suggests that he kept the drawings he most valued in albums which were probably thematically arranged—thus he probably kept all the original designs for the Palazzo del Te together in a separate volume—and shows that at least occasionally he identi- fied the invention and recorded its original purpose. Whether all his drawings were so carefully stored and annotated must remain an open question: after all this one instance may have been exceptional, since it concerns a drawing by the master whose work and example had profoundly influenced his artistic education and which related to a building he had known and admired even as a youngster. 70 The Dolphin ewer: Byam Shaw 1976, i, p. 131, cat. nr. 429, pl. 236; a very primitive copy from Strada’s workhop in ÖN-HS-21,3, fol. 432/148; the candlestick Byam-Shaw, 1976, i, p. 131, cat. nr. 424; ii, pl. 232; a related version in the Strahov Codex, cf. Bukovinská/Fučíková/ Konečný, 1984, pp. 81 and84, cat. 7/10. 71 Even then it is difficult to be certain, since many of these inventions had already been copied in Giulio’s own workshop, and many versions of them may have circulated at the time; in future Valerie Taylor’s research will throw light on this issue. Figure 13.71 Giulio Romano, design for a candlestick, Oxford, Christ Church. Figures 13.69–13.70 Giulio Romano or workshop, designs for a ewer in the form of dolphin (Oxford, Christ Church) and the copy from Strada’s workshop, Vienna; önb-hs, Cod. min. 21,3, f. 438/148r).
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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