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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 14728 over the years, visiting or corresponding with business relations, patrons and potential collaborators.21 For many of these activities Ottavio needed ready money to pay his vari- ous contributors, and his letter includes much information about his expenses and a repeated request to send further funds as soon as possible: ‘Try hard, father, to send me as much money as you can, for when I can do little here, my staying is not worth the expense’.22 Ottavio was sufficiently in his father’s confidence to counsel him about the feasibility of various projects, and to be entrusted with these negotiations and with large amounts of money. Never- theless Jacopo followed Ottavio’s activities quite closely and critically: thus he appears to have objected to his departure from Frankfurt to Nuremberg, which Ottavio justified by an outbreak of the plague. Referring to testimony of his father’s business associate Paolino Nieri, Paolo stressed that it claimed over two hundred victims a week, and that Feyerabend himself had decided to flee to Nuremberg in Ottavio’s company. Yet Ottavio’s letter, business-like but at the same time chatty and intimate, as yet gives no inkling of the clamorous breach in the relations between father and son which took place a few years later, which led to Strada largely disinheriting his once favourite son, citing no less than sixteen alleged ‘crimes’. At least some of these related to a less than hon- est stewardship in the printing business, an allegation to which I will return later in this chapter. 14.4 The Publishing Project: Strada Ambitions as a Publisher 14.4.1 The Epitome Thesauri Antiquitatum Ottavio’s letter is a fascinating introduction to Strada’s ambitions as a pub- lisher. These were probably at least in part the result of his intimacy with the great book-lover and collector Hans Jakob Fugger and the many scholars in his 21 Ottavio mentions contacts with Paolino and Francesco Nieri or Neri, merchants from Luc- ca, his father’s business partners, and with the Werdeman, bankers in Nuremberg; Mino Celsi and Giovanni Bernardino Bonifacio, marquis of Oria, the two famous evangelical exiles from Italy who were involved in establishing the texts of the Serlio volumes; and the humanist Giovanni Battista Fonteo, employed to provide texts for another project; he promises to visit Vilém z Rožmberk in his father’s name. The level of Ottavio’s contacts at the Imperial court are indicated by his request that his father greet ‘Messer Martin’, doubtless Strada’s old acquaintance, Maximilian’s chamberlain Martín de Guzmán, and Alfonso ii del Carretto, marquis of Finale, at the time at court to plead the restitution of his territories. 22 doc 1574-12-05: ‘Circate, Signor Padre, di mandarmi più denari che potiate<…>, perchè facendo poco qui non merita la spesa’.
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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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