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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 14740 he remained involved in the book trade, as is clear from his trip to Frankfurt to collect his dues from Pietro Perna, and from the fact that in 1570 his was the address in Vienna where to buy copies of Castelvetro’s translation of Aristotle’s Poetics, published by the Vienna printer Kaspar Stainhofer, which suggest that Strada may have been instrumental in organizing and perhaps also financing the edition.41 Another indication is Niccolò Stopio’s remark in his letter to Hans Jakob Fug- ger of 15 June 1567, reporting on Strada’s activities in Venice: ‘Strada does not consort with sculptors here, but only with goldsmiths or engravers, or miniatur- ists, which is his business (‘mestiere’)’.42 Clearly Strada profited from his trips to Venice to commission the desired woodcuts and engravings for the voluminous illustrated books he projected. The quantity and quality of the illustrations he envisaged presuppose a considerable time for their realization, both because good engravers may have been rare, and because Strada would not have the capital to pay for all of them at once. We know that the illustrations for Serlio’s Settimo Libro Book were engraved in Venice, as were those for the Sesto Libro, which would never be actually published. It is conceivable that images for some of his other projects were likewise commissioned during his visits to Venice. Such commissions of course involved a lot of preparation. Strada had to pro- vide a carefully drawn exemplar of each illustration for the engravers. This he cannot all have done himself during his short and busy sojourns in Venice, so these were probably prepared beforehand, both by himself and by assistants he employed in his studio, among whom his two elder sons Paolo and Ottavio. Since he presented these illustrations as scientific documents, such assistants must have worked from Strada’s own sketches, and in any case under his close supervision. The same holds for the texts of the various books. These were not all writ- ten or even edited by Strada himself, but of course a definitive reading of the texts needed to be provided: Ottavio’s 1574 letter, discussed above, documents the care taken with the texts and the translations of the Serlio volumes. For 41 Lodovico Castelvetro, Poetica d’Aristotele vulgarizzata, et sposta per Lodouico Casteluetro, in Vienna d’Austria, per Gaspar Stainhofer, 1570. Reputedly Maximilian ii himself had supported its publication (Marchetti/ Patrizi 1979), and he may have appointed Strada to help Castelvetro realize it (even if only as an interpreter between author and printer). It is quite possible that Strada himself may have invested in the edition, which proved to be a bestseller, but in view of Castelvetro’s heretical reputation he would not have wished that fact to be advertised. A subsequent, posthumous treatise by Castelvetro, the presentation of which by Castelvetro’s brother Giovanni Maria is dated Vienna 15 January 1572, was printed by Strada’s old associate Pietro Perna, as was the second edition of the Poetica itself (both under Perna’s pseudonym Pietro de Sedabonis). 42 BHStA-LA 4852, fols. 35–36f.: ‘Il Strada non pratica qui con scultori, se non con orefici o disegnatori di stampe in rame, o miniatori, che è il suo mestiere’.
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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