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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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841Agent of Change: Imperial Antiquary and Architect patron, the Emperor, to his officials, and to the artists employed, neither the extent nor the exact substance of this task is documented. Its extent should not be underestimated: there is sufficient reason to assume that it was more ample than the few documented instances would have us believe. As to their substance, the scope of Strada’s interventions, it is difficult to determine to what type of projects Strada was expected to contribute: did he have a finger in every pie, or was his advice only asked in connection with a limited, more or less clearly defined group of artistic endeavours? Though this question cannot be answered conclusively, it seems that his advice would have addressed either one or both of two principal aspects. The first aspect directly related to Strada’s antiquarian erudition, and involved providing iconographic information: examples are the tomb of Ferdinand i in Prague and the cos- tumes and decoration ‘all’antica’ for certain court-festivals. The second aspect involved giving more general artistic advice, for which Strada was qualified by his cosmopolitan cultural knowledge and his first-hand experience of the most advanced examples of the new style in Italy. In practice these two aspects often largely overlapped; it was Strada’s capacity to integrate these aspects that made him particularly attractive to his employers. Yet one should be equally wary of overestimating as of underestimating Strada’s tasks. There can be no doubt that Strada should not be considered as a minor court-official, earning his daily bread by his modest exertions for his Im- perial patron, under the day-to-day supervision of the department of one of the higher ranking courtiers, such as the Oberstkämmerer. He certainly was not the ‘Aufseher auf die Kunstkammer’ that Schlager held him to be, doubtless because of a misconception of Strada’s use of the term Antiquarius. If such had been the case, Strada would have been inscribed in the Hofstaat as a regular member of the Department of the Chamber, which was responsible for the maintenance of the movables in the Imperial residence. Instead, he was mentioned among a few ‘Diener von Haus aus’, implying that, even though he ranked with the other ‘gentiluomini’, a day-to-day attendance at court was not part of his duties. Moreover, Strada’s combined remuneration of three hundred Gulden annu- ally (which was almost always in arrears) bears no proportion to the expense and splendour of the house he built himself, at a cost he estimated at up to twelve thousand Gulden. An aristocratic residence built ex novo in the best part of town, it made him the neighbour of those scions of Austria’s feudal nobil- ity that filled the higher echelons of the Imperial court. We do not know what Strada, as eldest son, inherited from his father: the fact that he began building his house in Vienna almost immediately after Giovanni Rinaldo’s death, sug- gests that it may have been substantial. Part of his wealth may be explained by the generous patronage of Hans Jakob Fugger and the Duke of Bavaria—if he was paid the extraordinary sum of a ducat for each sheet of his Magnum ac
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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