Page - 68 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1

Chapter 268 had gone to look for them ‘in quite distant places, both in Italy and elsewhere; such as are Rome, Naples, Venice …’2 It is likely that the young Strada indeed spent an increasing amount of his time on purely erudite studies of a geographical, topographical and antiquar- ian character, and may well have begun to specialize in numismatic research already at an early date. Yet I suspect that by 1553, when he had developed his ambition to be regarded as a man of letters and a learned antiquary rather than as an artist, he exaggerated their importance when he claimed these studies to have been the exclusive motive for his travels. It is more likely that his trip was intended at least in part to increase his artistic skill and experience, and he may occasionally have actually worked as an assistant or apprentice, in the traditional manner of the wandering journeyman. As a direct or indirect mem- ber of Giulio’s circle he would have had easy access to the artistic circles of the towns he visited, and this appears to have been the case with Giulio’s former colleague, Perino del Vaga, whom Strada describes as ‘in vita sua amicissimo’.3 Since Perino had died in 1547, when Strada had already been in Germany for some years. Strada must have got to know him either in Genoa, where Peri- no had worked for Andrea Doria until his return to Rome by the end of 1537, or during a sojourn in the Urbs after that date. It is very likely that Strada re- mained in Rome for a long period, perhaps even for some years, but it remains an open question whether he also worked for Perino, who in fact employed a great number of assistants. Strada certainly was sufficiently interested in Perino’s work later to acquire a large quantity of his drawings from his widow.4 On the other hand, Strada, being relatively well-to-do, had less need to earn his living than other young artists and craftsmen, and his itinerary certainly was much more extensive than was usual. Apart from Rome, Venice and Na- ples, which he mentions explicitly, he probably visited the other principal cen- tres of culture in Italy, such as Milan, Bologna and Florence, possibly Genoa, and, nearer home, Verona and Ferrara. It is less certain that he also visited the 2 Strada 1553(b), p. aa 4 v: ‘en lieux fort lointains, tant en Italie, qu’autre part; comme est Rome, Naples, et Venize <…>’. 3 Strada’s preface to Serlio 1575, fol. a iiii-r. 4 On Perino del Vaga’s return to Rome and the work he did there, see Elena Parma Armani in Polittico di Sant’erasmo 1982, pp. 7–10, and Parma Armani 1986, pp. 176–236. It is of course not impossible that Strada had first met Perino earlier in Genoa, which he may well have visited; though it is possible that he visited Rome in the 1540s as an agent of Hans Jakob Fugger and may have got to know Perino only then, this seems unlikely. Among the Strada material in Vienna there are some copies of Perino’s designs for the sopraporte in the Sala Paolina in the Castel Sant’Angelo; on these and on Strada’s acquisition of Perino’s drawings, see below, Ch. 3.7.