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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 16842 Novum Opus, as appears to have been the case, this alone would have brought him in close to 9,000 ducats. Yet even this would not have sufficed to cover the cost of his aristocratic style of life, and his huge investments in his col- lection and in his publishing projects. If we had Strada’s private accounts, we could draw more certain conclusions. But even the little we do know strongly suggests that—besides being an artist, a scholar and a courtier—Strada was a merchant: a merchant trading on the level of the Nuremberg patricians and the Nuremberg bankers of Italian origin with whom he rubbed shoulders, though of course not on the grand scale of the Fuggers. Nevertheless, his intimacy with Hans Jakob Fugger suggests that they were more than just patron and client: Fugger actually addresses Strada as ‘compare mio’, which implies a high level of mutual confidence, and their relationship may well have been that of busi- ness relations, as well as that of friends sharing many interests. So Strada’s salaries at court should be considered as retainer fees, rather than as the remuneration for a full-time job. This implies that Ferdinand i and Maximilian ii were eager to have Strada at their disposal, but that he was left free to earn money in other ways. In fact, as we have seen, he was given ample opportunity to work for other patrons, such as the Duke of Bavaria. Moreover, Ferdinand i and Maximilian ii not only allowed him more than enough time to invest in his business-ventures, but also explicitly supported his ambitious editorial projects.15 16.3.2 By Appointment to His Majesty the Emperor, Purveyor of Erudite Counsel…and Luxury Goods? This indicates that the retainer fee was also motivated by the Emperor’s wish to secure the presence of Strada’s collection, his workshop, and his enterprise in the immediate vicinity of the court. Such seems to have been Strada’s un- derstanding from the start: when in February 1558 he asked Ferdinand i to be accepted among his ‘virtuosi’ he tactfully suggested that he would be bringing his collection and workshop with him: I believe Your Majesty has appreciated, and also in its effects, my ardent wish to serve the most powerful House of Austria, and in what veneration and honour I hold it, having brought together various beautiful and rare things to serve it, not without great expense, and of this Your Majesty has seen a large part, as has the most illustrious and reverend Lord, the Cardinal of Augsburg.16 15 Cf. Chs. 4.4 and 14.6. 16 ‘Creddo che la Maestà Vostra habbia visto in bona parte, et anche con gli efetti il mio bon volere ch’io tengo di servir la casa potentissima d’Austria, et in quanta veneration et honor
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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