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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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Chapter 16872 I would be astounded if he would have studied so much in 12 or 15 years; he has well studied how to serve his own interests, and how to deceive in places where he has found good-natured, credulous and sympathetic people, God forgive him<…>55 It is this same sentiment—or resentment—which Stopio later ascribed to Ti- tian in an often quoted passage describing Strada’s dealings with Titian: ‘two gluttons at one plate’, as Stopio has it.56 In view of Strada’s occasionally extreme behaviour, it is perfectly possible that Titian had mixed feelings about Strada, and expressed his reservations to some of his friends. But one should note that Stopio only reported this at second hand, and that he only reported what he had wished to hear; he would have ignored anything positive Titian may also have said about Strada. The very fact that Titian conceded to paint Strada’s portrait—his very last—and that he presented him with another painting ap- parently as a gift, and engaged in other business transactions with him, are sufficient indication that he in fact must have respected and trusted Strada. Pope-Hennessy’s discussion of the portrait follows Stopio’s suggestion that he deceived his patrons for financial gain, laying it on thickly, using words as ‘duplicity’ and ‘guile’. There can be no doubt that Strada expected to make mon- ey by his transactions, as any merchant would have. It is also true that there ap- pears to have been a rumour that he made Duke Albrecht pay prices that were too high. This rumour was probably started by Stopio, who in his letters to Fug- ger constantly claimed that he could have bought the same or similar things for less money. But the shipments he himself did provide turned out to be very 55 Stopio to Fugger, Venice 8 June 1567, BHStA-LA 4852, f. 32/26: ‘<…>Tutto questo dico sol perche Vostra Signoria mi scrisse già, che’l e tenuto per uno de primi antiquarii intelli- genti di Europa. Mi maravegliaro se in 12 o 15 anni haveva studiato tanto, l’ha ben studiato ch’l ha saputo fare il fatto suo, et cacciare carotte in luoco dove ha trovato le persone di buona natura creduli et amorevoli, Iddio li perdoni<…>‘. 56 Stopio to Fugger, Venice 29 February 1568, BHStA-LA 4852, f. 153/145: ‘Il Titiano et lui sono doi giotti a un tagliero: Strada li fa fare il suo ritratto, ma vi stara sopra ben ancora un anno, et se in questo mezzo il Strada non li farà li servicij che desidera, non l’havera mai compito: già S. Titiano ha affectato per havere ò in dono ò per li suoi dinari una fodra di gibbelini, et per questo vorrebbe mandare non so che a l’Imperatore; il Strada li da spe- ranze per cavarli il ritratto dalle mani, sed surdo narrat fabellam. Ma ben è da ridere che l’laltro giorno dimandando un gentilhuomo molto intrinseco di S. Titiano, et mio amicis- simo, che cosa li pareva del Strada; rispose subito il S. Titiano, il Strada è uno delli solenni ignoranti che si possa trovare, lui non sa niente, ma bisogna haver ventura, et sapersi accomodare alle nature delle persone, come ha fatto il Strada in Alemagna, dove caccia tante carotte a quelli Todeschi quanto si può imaginare, et loro come reali di natura non conoscono la dopiezza di questo galant’huomo. Queste furono le parole di S. Titiano, hora V.S. consideri in che conto l’habia ancora lui.’
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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