Seite - 145 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

145In Hans Jakob Fugger’s Service other collectors mentioned in the Διασκευέ include Carolo à Porta, indicated by both Strada and Goltzius as ‘Germanus’, but probably the second son (ca 1532–1558) of the marchand-libraire Hugues de la Porte (ca 1500–1572) who himself owned a collection of classical sculpture.69 The ‘Abbot of St. Irenaeus’ mentioned by Strada can be identified with François Laurencin († after 1584), prior of the monastery dedicated to Lyon’s local saint: in his house Beaure- gard on the Montée du Gourgillon he kept ‘two thousand [ancient coins] both in bronze and in gold and silver, with infinite curiosities of statues, engraved stones and other antiquities, so that one could value his cabinet as a treasure- house of Antiquity’. Later Laurencin would acquire the house of Du Choul, near his own, together with the inscriptions it contained.70 Finally Strada men- tions some Italian collectors: ‘Tomasso Sartinum Florentinum’ and ‘Annibale da Verona’, and some others who cannot be identified. On the other hand, if Strada ever actually met one of the brightest stars of the Pléiade, Joachim du Bellay, as is suggested by his possession of a manuscript by the latter’s uncle Guillaume, this probably happened in Rome a year later, where the poet acted as intendant of the household of his uncle Cardinal Jean du Bellay.71 Contacts with Gabriele Symeoni are not documented, but very likely, in view of their sharing both antiquarian and technological interests. Symeoni’s anti- quarian interest is apparent in the epitaph he devised for himself [Fig. 3.58]. His expertise in the field appears in his many publications, such as Illustratione de gli epitaffi et medaglie antiche, printed by de Jean de Tournes, Strada’s print- er, in Lyon in 1558, or his detailed description of the Auvergne,the Description de la Limagne d’Auvergne en forme de dialogue, which was published by Guil- laume Rouillé in 1561. An indication of their possible contact is the extremely complex allegory of the printer’s mark that Strada chose for himself for his book printed in Lyon [Fig. 3.61]: one of its motifs, the butterfly kept in the claws of a crab with the device Festina Lente was derived from a coin of Augustus, 69 Bruyère 1993, p. 110. 70 ‘<…> deux mille [monnaies antiques] tant de cuivre que d’or et d’argent, avec infinies singularitez de statues, graveures et autres antiquitez qu’on pouvoit estimer son cabinet un trésor pour une antiquité’, anonymus notes in a copy of Guillaume Paradin, Mémoires de l’histoire de Lyon (Lyon 1573) in the Bibliothèque municipale at Lyon, quoted in Bruyère 1993, p. 112. 71 On sixteenth century collectors of antiquities in Lyon, see now Bruyère 1993 and Guille- main 1993. Sartino probably was a member of a Florentine merchant family whose pres- ence in Lyon (under the names of Sertini or Seratini) goes back at least to 1502 (Gascon 1971, pp. 846 and 907). On Strada’s possible contact with Du Bellay, see below.