Page - 669 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

669Visual Documentation The context implies that Strada owned both a set of documentary drawings of the Stanze similar to those of the Vatican Loggia he had himself commissioned from Giovan Battista Armenini, and some of Raphael’s autograph designs for these—it is tempting to think that at least some of them may have been worked out modelli of the entire compositions. These have not been preserved and the few autograph studies for the Stanze that have survived have since been dis- persed all over Europe, unfortunately without any indications which of them may once have been in Strada’s collection—perhaps those from the Albertina illustrated here as randomly chosen examples? [Figs. 13.64–13.65]. The only con- crete object from Raphael’s Nachlass that can reasonably be assumed to have passed through Strada’s hands is the manuscript of Fabio Calvo’s translation of Figure 13.62 Perino del Vaga, sopraporte in the Sala Paolina, Castel Sant’Angelo, Rome, ca. 1533. Figure 13.63 Codex Miniatus 21,3, fol. 376/75: copy of a design for, or a drawing after Perino del Vaga’s sopraporte in the Sala Paolina. Figures 13.60–13.61 Ippolito Andreasi, documentary drawing of the west wall of the Galleria dei Marmi, Palazzo Ducale, Mantua, and detail showing the same relief still in situ. Figure 13.59 Codex Miniatus 21,3, fol. 305/22: Workshop of Jacopo Strada, Copy after a drawing by Giulio Romano or his circle for a stucco relief incorporat- ing an antique marble Venus in the Galleria dei Marmi in the Palazzo Ducale.