Page - 612 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

Chapter ��6�� Roman soldiers on horseback, that filled the spaces between the Historie [Figs. 12.31–12.32].82 Finally Strada had also copied the portrait of the twelfth Em- peror, Domitian, which Titian himself had never painted for lack of space, but with which Bernardino Campi had completed the series shortly before, when he prepared his first set of copies, commissioned in 1562 by the Marquis of Pescara. The Duke of Bavaria apparently already possessed copies of Titian’s originals of the other eleven, since a complete series of twelve is still preserved in the Munich Residenz: apart from the Domitian, these are probably identi- cal with the set painted by Campi for the Emperor Ferdinand i: they may have come to Munich as a gift on some festive occasion, or as part of Duchess Anna’s inheritance.83 82 Stopio’s Mantuan informer and Strada’s autograph note ‘Pitture che fo fare imitare’ (as in the preceding notes). On the Camerino dei Cesari, see Verheyen 1967, n. 31; Verheyen 1966, pp. 170–172, pl. 40–42; Wethey 1969–1975, iii, pp. 43–27 and 235–240; Splendours of the Gonzaga 1981, pp. 190–192; Harprath 1984, pp. 18–19; Giulio Romano 1989, pp. 400–405, and below. 83 On the many sets of copies after Titian’s Mantuan Emperors, see Wethey 1969–1975, iii, pp. 235–240; figs. 31–50. The Munich copies were later integrated as dessus-de-porte in the eighteenth-century boiseries of the so-called Reichen Zimmer of the Munich Residenz. Strada did in fact have copies made of the Titian Emperors’ portraits themselves, but not for Duke Albrecht (who already owned Campi’s series), for they are not mentioned in Strada’s account. They were probably intended for his own studio; as noted above (note 5), he presented them in 1575 to the Elector August of Saxony: ‘die ersten zwelf Römische kha[i]ser vom Julio Cesare bis auf den Domitianum, von elfarben gemalt, durch den besten maler, der heindtichs tag im Welzlandt ist’. [Doc 1575-09-28; printed in Lietzmann 1997, p. 396–397]. Figures ��.�9–��.3� (Workshop of) Giulio Romano, paintings from the Camerino dei Cesari in the Palazzo Ducale in Mantua: the scenes Nero playing the fiddle while Rome is burning and The Omen of Claudius; two Roman warriors on horseback; all Hampton Court, British Royal Collections.