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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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785Ambitions as a Publisher one of his children who had a bad relationship with their father.131 Though Ottavio, next mentioned in the document, likewise was given a small legacy of fifty Rhenish Gulden, Strada explicitly excluded him from any further share in his inheritance, and then began summing up the list of his crimes which has already been referred above. Then he reiterated his intention to disinherit Ottavio entirely, underlined that Ottavio should have no power to challenge Paolo’s and Tobia’s legacies, and begged the local authorities to ensure that his children be protected against Ottavio’s possible pretensions and that his will be executed to the letter. After this follows the most astonishing clause in this extraordinary docu- ment: Strada stipulated that all the manuscripts from his library that were listed in the attached survey—this is a fair copy of the Index sive catalogus— should be handed over to his legitimized son Tobia, ‘because my legitimate son Paul has no interest in them’. Tobia—or rather the trustees that were to be appointed for him, for at this time Tobia was at most seven years old— were to have these printed without delay by Strada’s printer at Frankfurt. To finance this, Strada had already instructed and authorized Paolo to execute a deed of gift immediately after his death, donating his entire Musaeum to a predetermined recipient. This gift should include both the library and the Kunstkammer, but of course it excluded the manuscripts listed in the Index sive catalogus: together with the illustrations—drawings, woodblocks and engraved plates— belonging to them, these should be placed under seal immediately after Strada’s death. Tantalizingly the intended recipient was not identified, but it must have been a rich and powerful prince—such as the Em- peror, the Elector of Saxony or the Duke of Bavaria—if Strada thought the gift he expected in return would be amply sufficient to pay for the printing.132 It is then only that Strada finally arrived at actually bestowing his remaining property, his ‘houses and gardens, together with all moveable goods, and the cash value of all assets due to him, both in writing and otherwise’. After due 131 Ibidem. It should be noted that Lavina in fact gets the biggest of these preliminary lega- cies. Strada’s housekeeper and mistress, Margaretha Hummerin, merely gets her wages for the seven years she had lived with him and her clothes, and an extra legacy of only ten Gulden. His servant Christoph Sartor from Rosenheim got likewise ten Gulden. His young illegitimate daughter Sicilia was to receive a legacy of hundred Gulden when she came of age, and until that time was to be dressed from the interest of that sum. The two daughters of his late legitimate daughter Anna, who had both already taken religious orders, got twenty-five Gulden each. Strada’s testament makes it quite clear that he made a strict distinction between his children born within and out of wedlock (perhaps also in recognition of his legitimate children’s rights in respect of their mother’s inheritance?) 132 In fact Strada assigns half of these proceeds to Paolo himself, while the other half should be made available to Tobia’s trustees to finance the printing.
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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