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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 16850 Similar groups can be found elsewhere in Europe: the French patrons of Sebastiano Serlio provide another example. The characteristics of such groups conform rather neatly with those of the group of ‘innovators’ and ‘early adopt- ers’ postulated in the paradigm of the diffusion of innovations, as formulated in Everett Rogers’ classic study first published in 1962.29 Based on extensive empirical research in widely diverging disciplines and in widely diverging cul- tural contexts, this paradigm provides a robust model for the transmission of new ideas, practices and technologies introduced into a social system. At least to some extent, this model can be—though rarely has been—applied to the diffusion of new intellectual and artistic phenomena in a given environment. It is worthwhile to apply some of its postulates and generalizations to Strada’s and his patrons’ roles in this process.30 16.5.2 The Antique as Innovation In order to use Roger’s paradigm to better understand Strada’s place in the dif- fusion of innovations in sixteenth-century culture, it is first necessary to define those particular innovations that Strada may have helped introduce or dis- seminate in Central Europe. For the purpose of my argument, I have defined a complex of four closely related developments: – the most important innovation is the interest in the material remains of Antiquity, and the use of the results of the study of these in contemporary art and architecture; – closely related to this is Strada’s espousal of the style of the Roman High Re- naissance in architecture and decoration, which itself is strongly influenced by this study of the antique example; – the stress on preparing, collecting and diffusing visual documentation on these subjects is perhaps the most original aspect of Strada’s career; – the development of institutional and systematic collecting in Germany, as pioneered by Hans Jakob Fugger and his circle, was brought into practice in the complex of collections realized in Munich, and was codified in Samuel Quiccheberg’s Inscriptiones vel tituli Theatri. 29 Rogers 1962; I have used the fifth, extended edition of 2003, which includes an ample history of the research paradigm. I have treated the same theme, with a slight shift of emphasis, in Jansen 2015. 30 Rogers 2003 reviews thousands of studies in ‘the nine major diffusion research traditions’, a quantitative breakdown of which is given in table 2.1, pp. 44–45; history, the arts and culture in the narrower sense are conspicuously absent. An abstract of the following ar- gument was presented at the Colloquium Prag–Residenz des Habsburgers Ferdinand i, 1526–1564 (Prague, March 2015): Jansen 2015, pp. 205–207.
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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