Seite - 140 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Chapter 3140 Strada must have spent quite some time in adding the final touches to his manuscript, putting the illustrations together, organizing and supervising the printing, and obtaining a copyright privilege from King Francis i, which was granted on the 11th of July 1553.58 Yet in between he had sufficient time on his hands to engage in other activities. Part of the time he will have scouted the bookshops in search of items suitable both for the library of his patron, Fugger, and for his own growing collection. But he obviously also continued his antiquarian research. Lyon afforded him ample opportunity to establish contacts with local scholars who shared his antiquarian enthusiasm. Proudly indicated by the poet Jean Lemaire de Belges as ‘le second oeil de la France’, its foundation antedated—according to Charles Fontaine’s Ode de l’Antiquité et excellence de la ville de Lyon—not only that of Paris, but even that of Rome itself.59 Objects testifying to this honourable past were collected at least since Pierre Sala (1457-ca. 1530), a ‘varlet de chambre’ in the household of Louis xii, brought together a small collection of local finds in his country seat, which he appropriately named l’Anticaille [Fig. 3.50]. In addition to a version of the Tristan legend, he wrote a manuscript treatise on Les antiquitez de Lyon, the first of an ample series of texts devoted to the subject written—but not often published—in the sixteenth century.60 the actual block of the device used for the Lyon Epitome <…> and a variant version of the same size in a slightly different ornamental frame. 58 Doc 1553-07-11; it was included at the back of the volume (Strada 1553). 59 Bruyère 1993, pp. 100–102, 115; Cooper 1988, p. 161; on antiquarian studies at Lyon in the sixteenth century in general, see Varille 1923; Cooper 1988; Cooper 1990; Bruyère 1993; Guillemain 1993. 60 On Sala, see Renucci 1943; Sala 1958, pp. 9–10; Grünberg Dröge 1993; on antiquarian stud- ies at Lyon in the sixteenth century in general, see Varille 1923; Cooper 1988; Cooper 1990; Bruyère 1993; Guillemain 1993. Figures 3.46–3.49 Strada’s printer’s mark as used on the title page of the Epitome thesauri antiquitatum and the variant used in his edition of Caesar, Frankfurt 1575, compared to the printer’s mark of Thomas Guérin, on the title page of his edition of Plutarch, Basel 1570.