Page - 829 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2

829Student of Antiquity credentials these objects, though in an ‘all’antica’ style, were all clearly derived from mannerist designs of Giulio Romano and other contemporary masters— the originals or copies of which could be found in Strada’s Musaeum. Combining antique precept and models with contemporary examples, and combining both in new creations, was by no means rare in the sixteenth cen- tury. Strada shared this practice with many of his fellow artists—one thinks of Pirro Ligorio’s Casino built for Pope Pius iv in the Vatican gardens. It also appealed to the patrons commissioning building such as the Casino, though it appealed perhaps less to Strada’s scholarly acquaintances such as Agustín, who more clearly distinguished between a sixteenth-century Christian present and a glorious, but distant, pagan past that was irrevocably lost. can be related to several other albums of similar designs from the Stradas’ workshop; cf. Hayward 1970; Bukovinská/Fučíková/Konečný 1984; Fuhring 2003; Taylor 2014. Figures 15.41–15.42 Workshop of Jacopo Strada, two designs of an ornamental ewer and a vase; Wolfegg, Kunstsammlungen der Fürsten Waldburg-Wolfegg.