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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 14782 by the intervention of his sister and brother-in-law; Strada even felt that, had Ottavio had had a dagger at hand, he would have been attacked in person. For these reasons Strada even suspected his son of a plot to have him assassinated together with his mistress and his elder son Paolo. Obviously something had gone very, very wrong between father and son. On the one hand Ottavio may have reacted unkindly to the low-born servant who replaced his late mother in his father’s affections.124 On his part the elder Strada may not have easily brooked the fact that Ottavio appeared to have taken over his position with Rudolf ii, who largely ignored the elder Strada. What at most can be said is that Strada very likely exaggerated Ottavio’s crimes, and that his own authoritarian and uncompromising behaviour may have contributed to his son’s rebellion. Yet there can be no doubt that Ottavio’s behaviour towards his father, if not criminal, at least was reprehensible and possibly inexcusable. Some of Ottavio’s transgressions were in fact criminal in nature, such as when, on two occasions, he forged his father’s signature in order to obtain money from his business associates. Even worse, when he pocketed the pro- ceeds of the two books he had had printed in Frankfurt at his father’s expense, he not only made out a false document stating that his father had made over these proceeds to him, but also spread the report that his father had died, which caused Strada endless trouble with the local magistrate to have himself acknowledged when arriving in Frankfurt in person. Or such as when Ottavio stole directly from his father’s Musaeum: not only hundred ducats’ worth of high quality Venetian paper, which he sold at his own profit to a local book- binder, but also a beautiful clock, the masterpiece of the famous engineer Hans Gasteiger which had been a gift from Duke Albrecht v of Bavaria, and even part of Strada’s famous collection of Roman Imperial coins and some of his best drawings, which Ottavio likewise sold for his own benefit.125 Some of Ottavio’s ‘crimes’ were directly related to his acting as his father’s agent, and may have been his business decisions with which his father did not agree—perhaps even only in hindsight. When he claims that Ottavio had col- lected the subventions accorded by Elector August of Saxony and had kept these for himself, we cannot be certain that Ottavio did not invest them at least in part in the projects he was managing for his father.126 Moreover, when Strada reproached him to have spent money without his father’s knowledge 124 Ibidem, points 3 and 5: Ottavio’s stole thirteen golden rings with precious stones from his mother’s chest after her death; cut off the pearls and the golden buttons and other orna- ments from his mother’s clothes and hats and took some ready money. He had opened the chest by means of a key he had previously stolen from his father’s safety box, of which he had obtained a forged key. 125 Ibidem, points 2 and 9, point 4, points 6, 7 and 8. 126 Ibidem, point 1.
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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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