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son Paolo—and as a loyal subject or ‘vasallo’ of his liege lord: as such Strada
habitually indicated himself in his letters to Duke Guglielmo. So it must be
concluded that, in contrast to most of the ‘double agents’ studied in the epony-
mous project, Strada was employed primarily or even exclusively by virtue of
his professional accomplishments and his specialist expertise.
Such an appointment for specialized services is not unusual in itself. By its
nature, the appointment is similar to that of a court chaplain, a court physi-
cian, a musician, an architect or a court-painter: all functionaries expected to
exert their particular specialism on behalf of their patron. It is just that Strada’s
specialism is rather more unusual; but even then his position in Vienna can
be compared to that of other scholars or scientists at court, such as Carolus
Clusius, appointed for his specialist knowledge of botany, or Joannes Sambu-
cus, appointed for his literary talent and historical knowledge. Just like Strada,
Clusius travelled and used his network to collect rarities for his patron, in his
case of a botanical nature. Such instances provide the perfect illustration of
Samuel Quiccheberg’s advice to princes and great noblemen desirous to build
up a universal collection: these should employ ‘ingenious men which they
send to various countries to look for wonderful things [rerum miraculosarum]’.
In fact, Strada’s activities on behalf of Hans Jakob Fugger, Quiccheberg and
Strada’s common patron, may have provided the concrete example on which
Quiccheberg based this ‘admonition’.14 Both in Munich and in Vienna Strada
was employed for his expert knowledge of antiquities, for his competence in
translating these into contemporary works of art, as well as for his experience
and his network in these two fields, which covered half of Europe.
16.3 Strada as an Independent Agent
16.3.1 No Full-time Job
In Munich, Strada’s situation was relatively well defined, and it is well docu-
mented: he was engaged for a limited time, for a particular job, and with some-
thing of a fixed budget. His position in Vienna is less clearly defined: formally,
it consisted of two components. The first of these was his job as an architect:
as we have seen, this was mostly of a consultative character. Except for the
albums of numismatic drawings he provided, this was also the case for Stra-
da’s second job as an antiquary. Because he gave such advice in person to his
14 ‘Optimates in his colligendes decebit habere homines ingeniosos quos ad diversas re-
gionum mittant inquirendarum rerum miraculosarum gratia’ (Quiccheberg 1565, D ii, a;
Quiccheberg/Roth 2000, p. 92).
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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