Seite - 1036 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2
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1036 Illustrations
15.23 Pirro Ligorio: reconstruction of a Roman Naumachia, detail of his
Anteiquae Urbis Imago (1561); image from GASTON 1988, p. 81, Fig.
67    818
15.24 Reverse of a bronze coin of Nero showing a triumphal arch (RIC I, 2nd
ed. 148); image MANTIS, acc. nr 1937.158.472 (CC BY-NC 4.0)    818
15.25 Strada’s design of an unidentified coin he assigned to Vespasian, show-
ing his recontruction of a similar triumphal arch, in his Magnum ac
novum opus; FBG, Ms. Chart. A 2175-11, f. 27r. (CC-BY-SA-4.0)    818
15.26–15.28 Jacopo Strada, drawings of the reverse of a coin of Vespasian showing
a triumphal arch, and details of its socle zone including free versions
of the reliefs on the inside of the the Arch of Titus in the Forum Roma-
num, from the Magnum ac novum opus, FBG, Ms. Chart. A 2175-11, f. 17r.
(CC-BY-SA-4.0) 
  819
15.29 A spurious medallion of Hadrian showing the Pons Aelius, probably
sixteenth-century, Venice, Museo Correr; image from GASTON 1988,
p. 75, Fig. 33    820
15.30 Workshop of Jacopo Strada, drawing of the reverse of a coin of
Hadrian showing the Pons Aelius; ÖNB-HS, ms. 9414, f. 27; image
author    820
15.31 The Pons Aelius, now Ponte Sant’Angelo, in Rome (second century AD,
balustrade and sculptures seventeenth century); image Wikimedia/
AngMoKio (CC BY-SA 2.5)    820
15.32 Giulio Romano, the Pons Aelius, detail of his fresco The Vision of the
Cross in the Sala di Costantino, Vatican Palace; image Wikimedia/
pd 
  821
15.33 Pirro Ligorio’s reconstruction of the Pons Aelius in his Anteiquae Urbis
Imago; image from GASTON 1988, p. 74, Fig. 32    821
15.34 Giulio Romano: detail of the garden facade of the Palazzo del Te, detail
of ill. 8.28, image Wikimedia/ MarkusMark (CC BY-SA-3.0)    821
15.35 Giulio Romano and Giovanni Battista Bertani, the Pescheria or
covered fish market in Mantua; image from RAKATANSKY 2018, Fig.
14    821
15.36–15.37 Details from the ‘Specimen exile’ of Wolfgang Lazius’ planned cata-
logue of the Imperial coin collection; from LAZIUS 1558, A iii-v.; image
BnF/Gallica    823
15.38 Workshop of Jacopo Strada, drawing of a round or tetrastyle temple,
reconstruction on the basis of a coin-reverse in the Magnum ac Novum
opus; FBG, ms. A 2175-05, f. 41r    823
15.39–15.40 Workshop of Jacopo Strada, designs for a helmet in the ‘antique’ style
and for a turban; ÖNB-HS, Cod. min. 21. 1, ff. 15/14 and 63/61    828
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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