Page - 642 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

Chapter 13642 The volume of prints mostly by and after Italian masters, but also including prints by Lucas van Leyden, functioned as a pendant volume to the Dürer al- bum both in its make-up and in its contents. Figures 13.7–13.10 give an impres- sion of the type of material it will have included: prints after the most famous works by Raphael, Michelangelo and other great masters by engravers such as Marcantonio Raimondi, as well as some original etchings by Parmigianino and the famous woodcuts by Lucas van Leyden. Together the two albums provided a splendid survey not only of the graphic arts as such, but also of the pictorial inventions of both the Italian and the Northern Renaissance. Strada must have brought these prints together during his many travels, but in particular during his sojourn in Rome in the 1550s and his trips to Venice in the 1550 and the 1560s. Figures 13.7–13.10 Examples of the type of material in Strada’s print collection: Enea Vico, Lamentation, engraving after a design by Raphael; Marcantonio Rai- mondi, Nude soldiers, after a detail of Michelangelo’s Battle of Cascina, engraving; Parmigianino, Entombment, etching; Lucas van Leyden, Virgil suspended in a basket, 1525, engraving. Figures 13.5–13.6 Albrecht Dürer, The Triumphal Arch, a woodcut series commissioned by Emperor Maximilian I, showing the whole Ehrenpforte mounted as in- tended, and one of its 192 individual prints, depicting the double marriage arrangement contracted by the Emperor for his grandchildren Ferdinand and Maria with Anna and Louis ii, children of Vladislaus ii of Hungary and Bohemia. Figures 13.3–13.4 Examples of the type of material present in Strada’s print collection: Albrecht Dürer, Melencolia I and Knight, Death and Devil, engravings.