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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 16862 16.5.10 ‘Queste cose meglio si danno ad intender a bocca et con l’operare che con lettere’ Given the accessibility of Strada’s Musaeum, it can be concluded that its contents schooled the taste of his patrons, their courtiers, the artists they employed, and others having access to it. This included the members of the dynasty themselves, such as the young Rudolf ii and his brother Ernest, who appear to have learned to draw in Strada’s studio and after his models. The tone of the passage in Strada’s letter to Dietrichstein which allows this conclusion, shows how much Strada was convinced of the value of draughtsmanship, and of drawing as a source of knowledge and an aid to understanding. He trans- lated this conviction into practical didactic activity at least in the case of the two Archdukes and of his own sons Paolo and Ottavio—in the latter case with conspicuous success.44 Such didactic use, and more in general Strada’s own explanations of the materials of his Musaeum and his demonstrations of the use to which they could be put, were as important for the effect of his efforts as the presence of these materials in itself. Much of the material would not have been easily comprehensible to those who saw it for the first time: even the vaunted ‘sim- plicity’ of Serlio’s writings would become more accessible to local patrons and practitioners when the finer points were explained by Strada in person. When in December 1556, at Jamnitzer’s suggestion, Strada offered his services to Archduke Ferdinand, he said as much, offering to come to Prague for a per- sonal interview with the Archduke because ‘those things are better explained by word of mouth and in demonstration than by correspondence’.45 In a simi- lar way Strada’s comments on the history and iconography of the works of art he owned or had had documented, on the significance of the inscriptions and the images on the ancient coins he could show, on the rules of Vitruvius as applied in Serlio’s manuscripts, and on the designs he provided himself for projects at court, enhanced the value of his materials, as did his account of his first-hand experience of their context, his personal acquaintance with the authors and artists of such works, and often even with their patrons. All these contributed to the acceptance of his materials as authoritative models for em- ulation, as did the high standing of the magnates and princes who had patron- ized his own activities—the Marquis of Marignano, Hans Jakob Fugger, Vilém z Rožmberka, the Duke of Bavaria and the Emperor himself. Such patronage invested his expertise with a matchless authority—matchless at least among the artists active at court. 44 Cf. Chs. 11.5 and 14.2. 45 Doc. 1556-12-22.
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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