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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 14726 hirnhauben’—ornamented helmets—which was doubtless similar or identical to the album Galearum antiquarum discussed above [Ch. 4.3.5, Figs. 4.26–4.31]. The commercial nature of such contacts is clear: Fugger subsequently wrote to an agent in Vienna to enquire, but cautioned him to dissimulate his interest, fearing that ‘should he know that I would like to have it, he would make me pay dearly for it’.18 By that time the affairs in which Jacopo employed Ottavio were mostly re- lated to his publishing project, as is evident from a long report Ottavio wrote in the late autumn of 1574, in response to a lost letter from his father, detailing his activities in Frankfurt and Nuremberg. This interesting document provides some information about Ottavio’s character, showing him in a not very favour- able light, for instance in his description of the treatment he meted out to a drunken servant and in his comment on the engraver Martino Rota’s wayward- ness.19 But it also provides some more general idea of the Stradas’ business interests, and of Ottavio’s role in his father’s concerns. 18 Hans Fugger to Hans Gärtner in Vienna, 29 April 1573: ‘Unnder ander gemalten büechern, so obgemelter Octavian Strada mir gezaigt, ist ainer, darin lautter Citata oder hirnhauben gemacht. Da ichs khündt umb ain billiges bekhummen, wollt ich mich mit im einlassen, ir müget mit geschicklichkhait solliches bei im anbringen. Er ist gar ein heelkonz, und da er merckhen solte, das ich das buech gern hett, wuerd er mirs theuer salzen’; quoted in Lehmann 1956–1960, i, pp. 264–265. 19 ‘Del mio servidor, lo caciarò al bordello, perchè non val nulla; io li ò basimato pareche volte, ma non iova niente. Io ne scrissi in Augusta per un ragazo fidato; costui non lasserebe se l’Imperatore lo vietasse di imbriecarsi, et quando lo imbriaco, vole bravar; in Francoforte ero sforzato di rumperli la testa in 3 lochi. Quando mi partirò de qui lo cac- Figures 14.3–14.4 Titlepage and dedication to Vilém z Rožmberka of Strada’s edition of Sebastiano Serlio, Settimo libro d’Architettura, Frankfurt 1575. Figure 14.5 Martino Rota, portrait of Ottavio Strada at the time he was overseeing the printing of the Settimo Libro, engraving, 1574; Windsor, Royal Library.
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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