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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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867Agent of Change: Imperial Antiquary and Architect Panvinio, Pirro Ligorio and Enea Vico; in Mantua: Giovanni Battista Bertani, Giovanni Battista Scultori and Ippolito Andreasi; in Venice: Titian, Tintoretto and Alessandro Vittoria; in Vienna: Martino Rota; and in Frankfurt Andreas Wechel and Sigmund Feyerabend. Strada’s active talent spotting is mirrored by his extensive network of contacts, described in Chapter 11. His personal status as a nobleman, his rec- ommendations from the Gonzaga Dukes, and at least some financial indepen- dence even in his early days, all were necessary conditions to build up this network. But his personal talents, his curiosity, his cosmopolitan attitude and his self-confidence must have played at least as large a role. It was this that obtained him the patronage of such an extraordinary man as Hans Jakob Fug- ger; it was this that helped him to wed his noble bride; it was this that allowed him not only to attend the 1548 Imperial Diet at Augsburg, but also to land an important commission from one of Charles v’s principal supporters. It is clear that Strada sought such contacts actively, for the input they provided— knowledge, ideas, materials and further contacts—as well as for the output they allowed, by providing patrons to pay for the projects he planned, and an audience to insure their reception. Such active talent spotting and deliberate networking in the places Strada visited or where he settled, best show how consciously and conscientiously Strada attempted to disseminate the knowledge, the ideas and the artistic forms he admired. This is the principal reason why he is of significance for the cultural history of the sixteenth century: because he stimulated the awareness of the connection between classical erudition and the visual arts, and because he carried the paradigm of the pre-eminence of the classical example and of the Vitruvian precept in architecture for contemporary artistic creation across the Alps. Just as Serlio did in France, he propagated this paradigm in Central Europe, and stressed its suitability for local use. Like Serlio, he popularized the concept and the forms in which it was expressed among a select group of patrons, potential ‘opinion leaders’ and ‘early adopters’. He did this by bodily carrying both classical and contemporary examples with him, thus transform- ing his patrons’ collections and his own into centres of diffusion both of the antique example, and of the new style that was inspired by it. He did this by making available his huge collection of documentation of authoritative ex- amples from Antiquity, and of equally canonical contemporary achievements that had been inspired by it; and he did this by the example of his own designs. Last but not least, he did this most of all by his comments and explanations on all of these. There can be no doubt that some of Strada activities—in particular the ‘traffic’ in antiquities and works of art—were partly motivated by commercial
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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