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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 14776 works to suggest him to offer at least some of them to Plantin, and to be willing to recommend them to the printer, a good friend and of course the publisher of his own famed Cruijdeboeck, one of Plantin’s first, finest and most perennially popular editions. At the time Strada did not avail himself of this offer, but once Dodonaeus had returned to Antwerp in March 1578, and Strada’s other attempts to realize his ambitions had foundered, he wrote to Dodonaeus reminding him of his prom- ise, and included a list of the books he asked Dodonaeus to present to Plantin. This list is an item by item paraphrase in Italian of the Index sive catalogus, and thus provided Plantin at one go with the entire publishing programme Strada had in mind, in case anything in it might appeal to his correspondent.115 But Strada singled out one item in which he thought Plantin might be particularly interested, and with which he himself had been strenuously occupied over the last year. This was an expanded, illustrated Latin edition of Leandro Alberti’s Descrittione di tutta Italia, which had been first published in Italian in 1550, two years before its author’s death. Though as item nr 44 it comes relatively late in Strada’s Index sive catalogus, it was nevertheless a project with which he had been involved for many years, since a Latin edition of the book is already men- tioned in the copyright privilege Strada obtained from Charles v in 1556: that is ten years before the first Latin translation, by the humanist lawyer Wilhelm Kyriander, would actually be printed in Cologne.116 Strada appears to have continued collecting material to illustrate it ever since, but in 1577 he undertook a concerted effort to complete the appendi- ces he envisaged. He wrote to the Dukes of Mantua and Ferrara, sketching his plans for the new edition in rosy colours and telling them exactly what mate- rials he intended to add to the original version. For each region he intended to add a precise geographical map, as well as views of its principal cities and fortresses. For every city he also intended to add images of the principal monu- ments, ‘that is, both the ancient buildings, and the modern, with their plans and elevations well measured’; then the ancient inscriptions ‘drawn exactly as in they are in the marble, with the figures and ornaments that are found around them’. Moreover he wanted to add appendices with the names of the il- lustrious men of letters of each city and the works they had written; and finally 115 Doc. 1578-08-13. 116 On Leandro Alberti, cf. Redigonda 1960. The first edition of the Descrittione di tutta Italia was published in Bologna in 1550. The Latin translation, Descriptio totius Italiae, was first published in Cologne 1566, and immediately reprinted. It might be worthwhile to inves- tigate how much this translation, by the German scholar and lawyer Wilhelm Kyriander, may have or may not have owed to Strada’s initiative. Strada intended to use Kyriander’s translation in his own edition (cf. Doc 1584-12-05).
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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