Seite - 178 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Chapter 3178 Figures 3.94–3.95 Unidentified draughtsman, mid sixteenth century, an image from the Codex Coburgensis (Veste Coburg, Cod. HZ ii), compared to a detail from the title page of Strada’s Series Imp[eratorum] Ro[manorum] (Gotha, Forschungsbibliothek, Ms. A 1243a), shows both the correspondence in approach in mid-sixteenth-century antiquarian drawings, and the differ- ence in manner between individual draughtsmen. drawings, or a copy of it, for himself, as well as of much of the other material he acquired, and he would later include it in the ambitious programme of publica- tions he failed to realize.127 This material consisted of the measured drawings of the principal antique monuments of Rome—such as the Columns of Trajan and Marcus Aurelius—executed in part by the artists Strada employed, and in part, he claims, prepared by himself; and of similar documentation of the most important achievements of the architecture of his own century—such as Raphael’s Loggia [Figs. 3.92–3.93 and below, Figs. 13.1019–13.107]. In addition to the Loggia drawings, a beautiful large drawing in pen and wash documenting Polidoro da Caravaggio’s frescoes decorating the facade of the Palazzo Gaddi in Rome can be connected with Strada’s commission, and provides a good idea of what such documentation must have looked like [below, Fig. 13.108].128 Apart from Armenini, only one of the ‘più valenti giovani’ mentioned by Armenini can be identified with some degree of certainty. This is Giovanni Antonio Dosio, who noted in an album of drawings of antique cinerary urns which ones he had copied out on behalf of Strada.129 Strada’s compatriot 127 önb-hs, Cod. min. 33. 128 Vienna, Albertina, inv.nr. 15.462; Birke/Kertész 1992–1997, 4, pp. 2104–2105. In view of its close resemblance to the Loggia drawings—note for instance the realistic detail of the tears in the waxed paper filling the window frames—and its present location, it may have been among Strada’s commissions; the topic is discussed in greater detail below, Ch. 13.8.1. 129 Giovanni Antonio Dosio’s sketchbook preserved in the Kupferstichkabinett in Berlin; fol. 8v contains a note ‘tutti quegli che avran[n]o u[na +] per contrasegno so fatti [per