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859Agent
of Change: Imperial Antiquary and Architect
his requests for subventions for these likewise stress their public utility: thus in
1573 he requested a privilege from Maximilian ii for his seven books of inscrip-
tions, which he wished to print ‘to the common utility of everyone’. In 1577,
after Maximilian ii’ death had ‘spoilt all his efforts’, he begged Francesco i to
revive his labours, hoping the Grand Duke were willing to ‘provide this benefit
to the world’.43
Of course these phrases were commonplaces, but they were not for that rea-
son less sincere: Strada appears to have practiced as he preached. The best in-
dication for that is the huge collection of visual documentation he built up in
those fields that most interested him. Partly this collection consisted of the ma-
terial he gathered on his travels, or could acquire by fortunate chance. Yet his
wholesale acquisitions of the complete graphic estates of Serlio, Perino del Vaga
and Giulio Romano—which might seem just so many lucky opportunities—
presuppose his active approach of their possessors: why did he buy just
these collections? In addition Strada developed a systematic programme of
acquisition of very precise, high quality documentary drawings of selected
monuments both of classical Antiquity and of its most illustrious modern re-
inventions, a project involving many draughtsmen and what must have been a
quite substantial investment. Some of these sets—notably the documentation
of Raphael’s Vatican Loggia and of the Palazzo del Te—were commissioned on
behalf of his patrons, but it seems rather likely that Strada had himself incited
their desire for these, before satisfying it.
tanta destrezza, facilità , e bell’ordine, che per huomo mediocre nell’arte che egli si sia, lo
fà capace, e sene può commodamente servire’; ‘Hora vedendo la utilità che questo libro
al mondo haverebbe potuto arrecare, se fosse inteso da ogniuno, lo feci tradurre in lingua
Latina, come quella che è più intesa di tutte le altre ch’hoggi dì si scrivono, e parlano fra
Christiani: accioche fosse da tutti li regni e provincie del mondo inteso, e posto in opera’.
43 Doc. 1573-00-00, Request for copyright privilege for a seven volume compilation of an-
cient inscriptions: ‘Mi trovo sette gran volumi scritti di lettere maiuscule, parte latine e
parte greche, dove sonno tutte le inscriptioni antiche, che in varie parte del mondo si
trovano; e perchè sonno molti anni che io le ò messo insieme, imperò con hanimo di
publicarle sotto il nome della Sacra Cesarea Maestà Vostra alla stampa a commune utilitÃ
di ciascheduno.’; Doc. 1577-10-04(d), Strada to Francesco i, Grandduke of Tuscany: ‘Ma la
morte à guasto hogni cosa, si che se Vostra Serenissima Altezza volesse far questo ben-
efitio al mondo, et lassar immortal nome et gloria di Lei con il fargli stampare, tutto sta
in quella.’; Doc. 1581-01-04, Strada to August, Elector of Saxony, request for subvention for
his polyglot dictionary: ‘Il Pr[esen]te, che V. Alt. Mi fece dei talleri 500 par aiuto del mio
Dictionario, che V.Alt. vide, tutti furono spesi con molti altri apresso in far scrivere; hora
tutta la mia fattico che io ho fatto, con tanta mia spesa, tutto dorme, et dormira per insino
che qualche Principe non si degnara di far le svegliare per publica utilità al Mondo’; there
are many other instances.
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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