Seite - 872 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
Bild der Seite - 872 -
Text der Seite - 872 -
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.’
zurück zum
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