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attention to Titian’s ‘poesie’ and perhaps to Jacopo and Marietta Tintoretto, as
is suggested in Chapter 12.5.3. When Maximilian ii requested Veit von Dorn-
berg, his envoy in Venice, to go and find out more about the sculptor Ales-
sandro Vittoria and the architect or master mason Jacometto Tagliapietra, he
told Dornberg their exact addresses. Doubtless the Emperor had this detailed
information from Strada, who had just returned from Venice, where he had
been employing Vittoria in some project of his own.8 In fact, to provide such
information must have been one of Strada’s tasks at court, and he may have
recommended certain artists, or even have been instrumental in their employ-
ment, on other occasions. Therefore, the arrival of some of the artists at court
may have been due to their earlier acquaintance with Strada, or a connection
through one of his correspondents. A possible example is Giulio Licinio, who
left Venice to try his luck among the Augsburg patricians shortly after Strada’s
stay in Venice in 1556, and then soon followed in his footsteps to the Imperial
court.
The role and function—explicitly not the ‘profession’—of agents such as
Strada have been the subjects of the research project, ‘Double Agents: Cul-
tural and Political Brokerage in Early Modern Europe’.9 Both Strada’s activities
and his personal characteristics largely conform to the profile of the arche-
typal agent as formulated by Marika Keblusek: ‘To function successfully as
an agent depended first and foremost on one’s ability to build and maintain
two key relationships: with one’s employer—or patron—on the one hand,
and with one’s network(s) on the other’. Such capacity was dependent on
the agent’s background, his social standing, his education, his geographical
roots, his religious persuasion and, not least, his character. Keblusek quotes
David Howarth’s list of the ‘general talents’ an agent needed to have: ‘stamina,
organisational and social skills, and a command of foreign languages. These,
precisely, were qualities without which no agent could survive<…>’. Other
qualifications were a favourable geographical position and/ or easy mobility:
many of the agents of the type shared an immigrant background, or at least
were accustomed to travel.10 These were all qualities that Strada possessed.
Moreover, he succeeded in obtaining the fullest confidence of his patrons—a
confidence expressed in the many favours they granted him—and, at least in
the case of Hans Jakob Fugger, a considerable degree of intimacy and even
friendship.
8 Maximilian ii to Veit von Dornberg, Linz 18 December 1568; JdKS 13, 1892, ii, pp. xlviii–
xlxix, Regest nr. 8807.
9 It results published in Cools/ Keblusek/ Noldus 2006 and Keblusek/ Noldus 2011.
10 Keblusek 2006, p. 10–12.
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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
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038