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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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849Agent of Change: Imperial Antiquary and Architect other artists or dealers of his acquaintance. They would moreover consult his materials and his opinions when preparing their own projects, such as the houses they planned to build in town or on their estates, the decoration of some particularly representative rooms, the commissioning of a family por- trait or tomb, and so on. Such consultation increased Strada’s goodwill at court, and by exchange may have brought him other, material advantages—think for instance of hospitality extended by his patrons to himself and his companions on his travels to Munich and Prague.28 Direct financial advantage he gained only when he sold objects from his collection or stock-in-trade, or when he provided concrete services, such as preparing a set of designs and/or eventu- ally organizing and supervising an architectural or decorative project. In Chap- ter 12 it has been argued that such may have been the case for the design of the house of his Vienna neighbour, Christoph von Teuffenbach, and of the decora- tion of the suite of state rooms at Bučovice in Moravia. 16.5 Strada’s Influence: An Agent of Change 16.5.1 The Diffusion of Innovations In this way Strada’s Museum, both as an emporium of books, antiquities and works of art, and as a more general clearing-house of information about up- to-date ideas and artistic forms, therefore also as a source of inspiration, sup- plied the needs of a fashionable, cosmopolitan and intellectual elite. This elite consisted at least in part of an avant-garde of ‘early adopters’, in the anachro- nistic terms of modern communication: those who pick up new ideas, develop new tastes, try out new products, embrace new styles in the arts as well as in their way of life. Because of their curiosity, their intellectual flexibility, and their position, members of this group set the trends and exerted a certain influ- ence on the ideas and tastes of their peers in the region. The very existence of such an avant-garde might give rise to a conscious reaction among patrons of a more conservative stamp, expressly opting for a more familiar, conventional style, conforming to national prejudice (‘Teutsch’, German, as opposed to ‘Wel- sch’, Italian). The Laubenhof of the Schallaburg in Austria, with its rightly fa- mous terracotta decoration, may be an example of this: it seems to reflect such a conscious rejection of the new, Vitruvian principles as promoted by Strada and exemplified in some of the houses built for members of the cosmopolitan court-elite such as Schwarzenau, Bučovice and Kratochvile. 28 Thus on a trip from Vienna to Prague he could spend the night at Schwarzenau, belonging to Reichart Strein, and at Třeboň or Český Krumlov, seats of Vilém z Rožmberka.
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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