Seite - 139 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

139In Hans Jakob Fugger’s Service number of renowned printers and publishers, themselves often humanists: such as Gryphius, the poet Etienne Dolet, Jean de Tournes, Luxembourg de Gabiano, the De la Porte family, specializing in jurisprudence, and the very productive marchand-libraire Guillaume Rouillé, himself the author of anti- quarian works. The printing industry, flourishing thanks to the four interna- tional trade fairs that took place every year, traditionally offered employment to many artists, among them Geoffroy Thory, Georges Reverdy, Pierre Eskrich, Corneille de Lyon and the best known of all, Bernard Salomon.56 3.5.2 Strada’s Contacts in Lyon: Engravers, Printers and Humanists Booksellers Strada’s first contacts in Lyon of necessity will have been with this circle: for the execution of his Epitome he needed to find a printer and an engraver who would be capable and willing to produce the book according to his wishes. He probably dealt with several printers and artists before settling with De Tournes and Bernard Salomon: a choice dictated by a desire for the highest possible quality rather than the lowest possible expense. Likewise it may well have been one of the Lyon publishers who provided him with the names of poten- tial translators of the book, a job which was finally given to a humanist from Orléans, Jean Louveau. Possibly inspired by the success of the enterprise of the marchand-libraire Guilaume Rouillé Strada decided to publish the book at his own expense, instead of placing it with a professional publisher. It was a quite expensive project: a quarto volume of over four hundred pages, including close to five hundred woodcut images of medals, and published simultaneously in Latin and in a French translation. Doubtless this expense was partly borne by Hans Jakob Fugger, to whom Strada dedicated the book. Strada was of course aware of at least some of the ins and outs of the book trade; yet apart from financial considerations, his relative inexperience in pub- lishing will have contributed to his decision to enter a partnership with the marchand-libraire Thomas Guérin. There is no doubt, however, that Strada was the senior partner, since it is his printer’s device [Figs. 3.18 and 3.46–3.47] that figures on the title-page, rather than Guérin’s [Figs. 3.48–3.49].57 di Compiano—a member of one of the leading families of Piacenza, he was no relation of Ortensio—would publish a learned numismatic treatise in Lyon in 1560 (Landi 1560). 56 For a general review of printing at Lyon in the sixteenth century, see Davis 1983 and Sebas- tiano Serlio a Lyon 2004. 57 The device is habitually considered as Guérin’s mark; but though Guérin did occasionally use a similar device of a smaller size in other books, he generally used another device with a palm tree, whereas in the books Strada published in Rome in 1557 (Panvinio 1557<a> and Panvinio 1557<b>) and in Frankfurt in 1575 (Serlio 1575; Caesar 1575) he used both