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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 16864 at first sight Strada appears to fit the prototype of the polyhistor, the prover- bial universal ‘Renaissance Man’. Certainly he displayed the wide interests, the erudition and the cosmopolitan outlook that were the consequence of his con- siderable intellectual and artistic gifts, his courtly education in Mantua under the aegis of the Gonzaga dukes and Giulio Romano, and the opportunity he had to travel widely even in his youth. His project for a polyglot encyclopaedia of unprecedented size likewise presupposes a universal interest in all sciences. Yet the survey I have given shows that—however wide his interests may have been—he specialized primarily in the history and the material remains of the classical past, and in the visual arts and the architecture of his own day. In fact many important disciplines, such as theology, law, medicine, most of the natural sciences, and music are conspicuously absent in his professional activi- ties, though they were probably amply represented in his library. And even his polyglot dictionary, based as it appears to have been on the written sources from Antiquity, probably would have resulted in a fictive reconstruction of the erudition of the Ancients, rather than a codification of contemporary science. Strada’s merits as a scholarly antiquary are modest: as one of the earliest au- thors of a more or less systematically ordered, illustrated numismatic treatise, he has a small but not unimportant place in the history of classical scholar- ship. But the greater part of the results of his numismatic research remained in manuscript, was relatively inaccessible and has hardly been studied. Much of the other antiquarian material he collected has been lost or is not as yet identified. 16.6.1 Strada’s Artistic Personality Nevertheless the fact remains that Strada is an unusual example of a person combining a serious and sustained scholarly interest in the history and cul- ture of the ancient world with a passionate love and great understanding of the visual arts. This was an unusual, though not unprecedented combina- tion, which was found earlier in Raphael and his pupils—in particular Giulio Romano—and in Sebastiano Serlio: three shining examples who provided the inspiration for Strada’s ambition, and helped him develop his procedures. This combination of interests was also found in other artist-antiquaries who were his more exact contemporaries—such as Pirro Ligorio, Enea Vico and Andrea Palladio—who were steeped in the antiquarian lore as practiced in Rome both before and after the Sack of 1527, as much as Strada himself. It should be said that—unlike Raphael, Giulio and Serlio or Palladio and Pirro Ligorio—Strada was no great artist. His own taste was what one could expect from a pupil of Giulio Romano and of Serlio: he preferred an elegant,
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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