Page - 681 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

681Visual Documentation incorporated into his libri di disegni or to be engraved and published, as he indicates in his description of these volumes in his letter to Christophe Plantin just mentioned.87 A single drawing in a codex in the Vatican Library published by Hubertus Günther helps to illustrate Strada’s procedure [Figs. 13.84–13.85]. This draw- ing is based on a measured sketch of the Arch of the Sergii in Pula in Dalmatia [Fig. 13.82] included in the so-called sketchbook of Michelangelo in the Musée Wicar in Lille, which is nowadays attributed to Raffaele da Montelupo and itself goes back to earlier sketches from the circle of Antonio and Giovanni Battista da Sangallo [Fig. 13.86].88 The Vatican version can be attributed to Strada on the basis of the comment in his hand, and of the resemblance of its style to Strada’s autograph design for the Munich Antiquarium [above, Fig. 8.15]. Strada not only uses the same measure, the piede antico divided in 32 once, but also almost literally transcribes the legend of the Lille drawing.89 87 Doc. 1578-08-13: ‘Poi varii libri di dissegni per intaliare in ramè. Prima di cose di Archite- tura (della quale sempre mi son delettato e deletto), cose messe insieme e ritratte dal Anticho, che veramente che le stampasse sariano di grande Utilita al mondo’. 88 Biblioteca Vaticana, Cod. Rossi, 618, f. 42r; cf. Günther 1988, Fig. VI/10, pp. 208–211. 89 The drawing is itself a copy after Antonio or Giovanni Battista da Sangallo: Günther 1988, pp. 208–211. The Lille sketchbook is attributed to Raffaello da Montelupo, with additions by Aristotile da Sangallo (Nesselrath 1983). Figure 13.82 The Arch of the Sergii at Pula. Figure 13.83 Sebastiano Serlio, The Arch of the Sergii at Pula, woodcut from his Terzo libro, Venice, 1544.