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727Ambitions
as a Publisher
Ottavio’s principal task was overseeing the printing of Sebastiano Serlio’s
Settimo libro d’Architettura. This implied preparing the definitive manuscript
of the text for the typesetters, and included dealing with an anonymous ‘Do-
tor Mantuano’—according to Ottavio the only learned Italian present in
Frankfurt—who was to correct the Italian text, and with the printer-publish-
er, Andreas Wechel, who had agreed to print the book. It also implied the
acquisition of the paper, which involved him in negotiations with the other
notable Frankfurt printer, Sigmund Feyerabend, who reassured him about the
quality of the paper he had acquired. Feyerabend also was instrumental in
finding a translator for a planned German edition of the book. For the Settimo
Libro Ottavio did not need to commission the illustrations, which the elder
Strada had had engraved in Venice, though a part of the woodblocks unfor-
tunately had been damaged in the transport to Frankfurt.20 Ottavio did, how-
ever, commission a new woodcut with the coat of arms of Vilém z Rožmberk,
to whom his father had decided to dedicate the edition. Moreover he was
engaged in the preparation of several other projects, likewise trying to find
a translator for the texts and commissioning the designs and overseeing the
execution of the woodcuts or engravings for these. He also bought a quan-
tity of books from Feyerabend, a few of which he thought to retain for the
Musaeum, but most of which he intended to use to pay the engravers in kind,
or which he suggests his father could use to barter against other books. At the
same time he was expected to maintain the network his father had built up
ciarò via’ and ‘Del Martino non è pacato, se ben è povero homo e superbo; Voi vedrete che
Dio lo castigar Et se lui non vi vole render quelli danari che li prestai bisogno far conto
che li abbia per ‘l mio ritratto. Quando havera fame ‘l vera a lavorare, et fate lavorare in la
Series se’l vora lavorar; più presto ci daria di più quache [sic] coseta per rame, acciò che
andasi inanti’. His profiting from Sigmund Feyeraend’s discomfiture by acquiring at half
its value a fur-lined chamber cloak, which the printer was not allowed to wear because
of the Frankfurt sumptuary laws, shows that he knew how to drive a hard bargain: ‘Io
comprai una veste di notte di lui per 20 Fl.; sapiate che li è costato a lui più che 40, quella
di tomascho fodrata davanti con mar[tora?] largo un palmo, et l`è bella nova; lui non la
pole portare perchè li signori li anno vietato, et lui non à portato 3 volte. S’avesse fatto far
una solum di Mochardo [? a type of fabric?] me havera costato quel danaro, et li pago in
due Fiera, hogni Fiera 10 Fl., et se non havesse trovato questa ventura, saria stato sforzato
di farmene una. Perchè la notte mi levo et lavoro, et la stufa è freda, mi bisogno provedere
d’una, se non havessi havuta questa<…>’ (Doc. 1574-12-05, Appendix A); the letter is dis-
cussed in detail in Jansen 2004, pp. 192–193).
20 In the published book the defects in the illustrations Strada signalled (‘per conto che
sonno mal stampate, et che non venghino ben negri’ are not really noticeable; though the
black fields filling the window frames are not always black through and through, I find it
difficult to imagine how this could have been the result of the damage caused by faulty
packing mentioned by Ottavio. Perhaps Strada had the damaged ones recut?
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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