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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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815Student of Antiquity V of Bavaria. This was done by Samuel Quiccheberg, who in his turn used his experience to develop his own treatise on the setting up and ordering of a uni- versal collection, the Inscriptiones vel tituli theatri amplissimi of 1565. Being so much at home in Fugger’s circle, Strada could fall back on such examples to develop some sort of ‘content-management’ system of his own to classify the vast quantity of documentary images he collected and exploited, in order quickly to find a particular text or image needed. A project such as the lost polyglot dictionary is inconceivable without some such filing system. To or- ganise the more than nine thousand drawings of coins included in Strada’s Magnum ac Novum Opus preserved in Gotha, he must have kept quite precise records, especially considering that he employed several draughtsmen in the manufacture of this and the various other numismatic manuscripts he offered to his patrons. The originals of the careful, rigorously uniform descriptions of obverse and reverse of each coin that his scribes copied into the versions of the A.A.A. Numismatωn Antiquorum Dιασκευη, the textual complement of the Magnum ac Novum Opus, must have been kept with the original drawings, or in a parallel, corresponding set of files or card index. The uniform formula Strada developed for these descriptions likewise prob- ably reflects methodical practice current in Fugger’s circle, in particular the uni- form entries on individual authors in Conrad Gesner’s Bibliotheca Universalis.25 Each entry gives a standardised methodical description first of the obverse, than of the reverse of the coin, always concluding with its inscription; the en- try always closes with a mention of the specimen on which the description is based, naming the metal, providing an indication of its size and sometimes its quality, and the collection in which Strada had seen it, for instance: ‘This most elegant and large coin was shown to us by Julius Romanus in Mantua’.26 The contents of these descriptions are as interesting for what they omit as for what they include. Strada must have been aware of the usage as currency of the coins he described, and he did at least distinguish the material of his exemplars. But he did not specify their exact size and weight; consequently the currency value of the coins are not noted. This suggests that his interest in them was primarily iconographical: his aim was to reproduce the images, to identify the portraits on the obverses and the objects on the reverses, and then to interpret their symbolism and to explain their historical significance. 25 On Fugger’s circle, see above, Chs. 3.1 and 3.2. Strada’s numismatic practice merits a more detailed investigation than is possible here; in addition the empirical, methodological aspects, it might be worthwhile to define the role played by the ekphrasis, the verbal description of a work of art (e.g. the shield of Achilles in the Iliad) that was an element in classical rhetoric, and of which Strada must have been very much aware. 26 A discussion of these descriptions and the drawings to which they relate in Jansen 1993(a), pp. 216–220; some examples are given in its annex 1 (pp. 227–230).
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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