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of Change: Imperial Antiquary and Architect
They also confirm Strada’s wilful attitude to others:
Strada is not suitable to negotiate here [in Venice], because he is too
presumptuous and choleric, he immediately wants to pronounce a judg-
ment in his own way, and will sustain it [against all others] and then de-
parts in a huff.53
When Fugger asks Stopio what he knows about Strada’s flight for the Inquisi-
tion from Mantua, Stopio replies that out of respect for the Emperor the Signo-
ria would not let Strada be molested by the Holy Office in Venice,
<…>even though from his talk I have not understood that he is an enemy
of Rome, except that he is very free in his reasoning, and that when he
gets excited he has no respect for anyone whomsoever<…>.54
Reading these notes, some of which seem to be true to nature, Strada’s later
conflict with his son Ottavio becomes more comprehensible. All the same, in
his letters to Fugger Stopio was sometimes rather economical with the truth: in
fact he does everything he can to discredit his rival. The tone of his letters—the
content of which he begs Fugger to keep hidden from Strada—indicates that
his criticism was motivated not just by mercantile competition. Stopio is chok-
ing in his envy of Strada—whom he had known in less august circumstances
fifteen years earlier—because of his position as a nobleman and courtier, and
as the wealthy agent of the Emperor as well as of a major prince and of Sto-
pio’s own principal patron. And he did not want to believe Fugger’s assertion
that Strada was reputed to be ‘one of the first and most learned antiquaries of
Europe’:
53 Stopio to Fugger, Venice 7 March 1568, BHStA-LA 4852, f. 157/149: ‘<…>in effetto la sua ar-
rogantia è insupportabile, che quando parla dell’Imperatore o delli principi, par che loro
stanno con lui, et non lui con loro’; idem, Venice, 16 januari 1568: ‘<…>et certo in general
sento da tutti ch’il procedere del Strada non serve per negociare qui con costoro, perchè
è troppo presontuoso et colerico, subito vuol fare il giudicio a suo modo, et sustenarlo, et
con colera se ne parte<…> Andava qui per la terra<…>con le calze di scarlato, col figliuolo
per paggio et 3. o 4 di questi suoi sanzali appresso che pareva un conte et cavalliere, ma
prometto a V.S. che questa terra non vuol tal procedere<…>’.
54 Stopio to Fugger, Venice 5 Octobre 1567, BHStA-LA 4852, ff. 75/69: ‘[Strada] venne poi di
longo a Ven<eti>a, over per rispetto de l’Imp<erato>re non li haveriano lasciato dare mo-
lestia; benche non ho inteso al suo parlare ch’l sia contrario alle cose Romane, se non ch’l
è molto libero di ragionare, et intrando in colera non ha respetto alcuna sia di chi essere
si voglia<…>‘.
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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