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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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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
- 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