Page - 597 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

597The Musaeum: Its Contents to Grand Duke Ferdinando i of Tuscany in 1600 may well be a copy of the ver- sion his father had intended for the press.49 12.4.3 Coins and Medals Titian’s and Tintoretto’s portraits of Jacopo Strada and his son both include antique coins, which constituted a separate section of Jacopo’s Musaeum [Figs.  12.19–12.20]. In his brief descriptions Strada generally distinguishes be- tween his medals and his other antiquities. It is natural that, as one of the fore- most numismatists of his generation, he would have owned a coin-collection of some note: a collection that was not large, he claims, but of exquisite quality. In the pursuit of his numismatic studies Strada had visited many cabinets of collectors in Italy, Germany and in France, and had carefully documented the best exemplars of individual issues he had seen. This documentation was the 49 Dresden, Kupferstich-Kabinett Ca 74 and Ca .75,76 and 77, see below, Ch. 13.7.1; the ver- sion Strada intended to have printed is described in the Index sive catalogus (Appendix D), nr. 6. The Florence manuscript is in Ottavio’s hand; it was accompanied by letters of presentation to Ferdinando i of Tuscany and his secretary Belisario Vinta, dated Prague 28 November and 16 December 1600 (asf, Medici del Principato 900, f. 218 and 311). Its two volumes are now in the Biblioteca Laurenziana in Florence, Med. Palat. 235a–b. It is illus- trated, but not discussed, in Marx 2007, pp. 213–214, figs. 52–53. Figures ��.�6–��.�7 Jacopo Strada or workshop, drawings of Roman portrait busts; Vienna, Österreichische Nationalbibliothek. Figure ��.�8 Jacopo Strada, Bust of the Emperor Hadrian, a drawing from the manuscript Strada lent to Elector August of Saxony in 1574; Dres- den, Kupferstich-Kabinett.