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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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801Student of Antiquity But this is a very specific use of the term. The very fact that several individuals such as Strada were proud to consider themselves ‘antiquaries’, show that such a negative connotation was in fact rare.4 The second significance given by Stephanus is much more general: ‘Anti- quaries are also called those who are assiduous students and experts of Antiq- uity’. So the word antiquarian, used both as a noun and as an adjective, could very generally indicate someone interested and, or knowledgeable in ancient things, including the writings of the past. In this sense the Renaissance human- ists all were ‘antiquarians’: Stephanus did not distinguish between students of the texts and students of the material remains, and that distinction would have made no sense to a Renaissance antiquary. Though doubtless there were many scholars exclusively devoting themselves to literary testimonials of the past, there were no antiquaries exclusively studying its material remains. After all their interest in such objects was kindled by what they had read in the ancient historians; they needed the texts to identify and explain the objects, and used the objects to interpret or even correct the textual traditions. When Antonio Agustín speaks of Lazius as ‘Volfango è molto antiquario, et buona persona et dotta’, he used it in this general sense—perhaps even implying some of the positive moral qualities the term also could denote, as ‘representing the simple virtues of the Ancients’. Yet we will see by the very example of Wolfgang Lazius and Jacopo Strada that in the sixteenth century the study of the material remains did develop into a specialized field of expertise. In the Renaissance the term ‘Antiquity’ most often implied ‘classical’ Antiq- uity, the ancient civilizations of Greece and Rome; but that is not self-evident from Stephanus’ lemma. In fact many antiquaries followed the precept of the classical study of ‘antiquitates’ in also devoting attention to other civilizations and epochs, in particular to the past of their own home towns, fatherlands or peoples. One example is the self-styled antiquarius John Leland, who laid the foundations of British historiography under the aegis of Henry viii. Certainly interest in the one did not exclude a lively interest in the other, witness the various references to Spanish history in Antonio Agustín’s correspondence.5 That Leland styled himself ‘antiquarius’ implies that he must have had a clear concept of its meaning and that he expected others to share this—an 4 S.v. in: Robertus Stephanus, Dictionarium seu latinae linguae thesaurus non singulas modo dictiones continens sed integras quoque latine et loquendi et scribendi formulas (etc.), Editio secunda, Tomus 1, Parisiis (Robertus Stephanus), 1543. For other examples of the use of the word, see Momigliano 1950, p. 290, n. 1. 5 Cf. his discussion of the origin of the title of grandee of Spain in his letters to Onufrio Pan- vinio of 14 and 28 August 1557: Agustín 1980, nrs. 185–186.
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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