Page - 150 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1

Chapter 3150 at Fourvière, and some sketches and more or less fanciful reconstructions of some of these have been preserved.76 Already in 1533 the young and gifted architect Philibert de l’Orme (ca 1515– 1570) [Fig. 3.64] had travelled to Rome, where he not only moved in the circle of the Sangallo cousins, but soon engaged in measuring and even excavating ancient ruins, employing a team of masons to such effect that his work drew the attention of Marcello Cervini, the librarian of the Vatican, who was closely involved in the study of Vitruvius and the remains of classical architecture that took shape in Rome in these years.77 On his return De l’Orme introduced a more pure form of classicist architecture in Lyon, designing in 1536 the famous Ionic gallery in the Hôtel Bullioud [Fig. 3.63]. De l’Orme left Lyon for good shortly after completing the Galerie Bullioud and it is improbable that Strada ever met him elsewhere in France. But he did meet another architect-antiquary whose published works, because of their wide dissemination, already were and would remain even more influential than De l’Orme’s. This was the Bolognese architect and theorist Sebastiano Ser- lio (1575–1555), who had retired from the French court in 1548, and had settled in Lyon where he hoped to publish the remaining books of his architectural 76 Bruyère 1993, fig. 1 (reconstruction of a ‘Palatium de Lugdunum’, engraving; fig. 7: drawing by Gabriele Symeoni of the ‘Reliquie del Palagio maggiore <…> sotto la vigna del Sagres- tano di Forviera’; and see Philibert De l’Orme Lyonnais 1993, pp. 31–32. 77 Philibert De l’Orme Lyonnais 1993, pp. 32–33. On the Vitruvian Accademia della Virtù, see below. It is likely that Strada, who was De l’Orme’s exact contemporary and lived in Rome for a considerable time in the 1530s and shared his interests, had known him well. Figures 3.63–3.64 The Ionic Gallery of the Hôtel Bullioud in Lyon (1536) designed by Philibert de l’Orme shortly after his return from Rome; and the woodcut portrait from the 1626 edition of his architectural treatise.