Web-Books
im Austria-Forum
Austria-Forum
Web-Books
Biographien
Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
Seite - 837 -
  • Benutzer
  • Version
    • Vollversion
    • Textversion
  • Sprache
    • Deutsch
    • English - Englisch

Seite - 837 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Bild der Seite - 837 -

Bild der Seite - 837 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Text der Seite - 837 -

837Agent of Change: Imperial Antiquary and Architect Emperor was probably less interested in the extreme visual splendour aspired to by Francesco and Federico Gonzaga. But it was also due to Strada’s own pref- erences: Giulio’s antiquarian studies, however serious, were basically engaged in to serve his artistic ends; whereas Strada considered the artistic use that he could make of them as a spin-off, perhaps as a justification for his more purely antiquarian pursuits. He engaged in these for their own sake, as the big propor- tion of his time, energy and patrimony he invested in them make clear. When Strada represented his patron’s interest in supervising such projects in Vienna itself, his function did not fundamentally differ from that of any other court official charged with a particular task. But Strada also represented his patrons’ interests abroad, acting as an agent acquiring books, antiquities and works of art. Because this aspect of his services to his patrons involved travel, for which expenses were paid and which gave rise to consultative cor- respondence, it is much better documented than what he did for them when at home. Even so, this is only true for Strada’s trips to Venice in 1567–1569, when he was explicitly commissioned by Duke Albrecht v of Bavaria to buy antiquities and works of art: there can be little doubt that his acquisition of the Loredan collection for Munich was the most important transaction of his career.7 But it is only in the margin of this huge project that we are informed about the wide range of other activities—they are described in chapter 13—that Strada engaged in during these trips, acting both on behalf of his known patrons as well as for himself and perhaps for other, as yet anonymous patrons. We know that Strada was an indefatigable traveller, and in the 1560s he made at least two other trips to Italy before being sent to Venice by Duke Al- brecht; he also regularly travelled in Germany (to Munich, to Augsburg, to the Frankfurt book fair) and to Prague. During such travels he doubtless engaged in similar activities as those documented for his trips to Venice: picking up antiquities, works of art, books and other objects for which his patrons had expressed an interest, or which he thought might appeal to them. In addition, he may have scouted for talent: if he signalled a well-known troupe of Italian commedia dell’arte actors to Maximilian ii, it is quite likely that he would have done the same when meeting architects and artists whom he thought might be useful in Vienna or Munich. He certainly acted as an intermediary between Titian and Duke Albrecht v and Hans Jakob Fugger. He drew Maximilian ii’s 7 It is in this context that Strada described himself as an agent of the Duke, in his defence in the Senate of Venice against accusations borught against him by Andrea Loredan: ‘Io son gentilhuomo di S. M. e son al presente agente dl S.mo Ducha in questo negotio, come fanno le mie lettere testimonio’, ‘Risposta ala Callumnia’, Doc. 1568-00-00, fol. 36/134v.
zurück zum  Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2"
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
Web-Books
Bibliothek
Datenschutz
Impressum
Austria-Forum
Austria-Forum
Web-Books
Jacopo Strada and Cultural Patronage at the Imperial Court