Seite - 633 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

633Visual Documentation Guillaume du Bellay which Strada intended to add to his planned edition of Serlio’s Castrametatio.8 Likewise I suspect that some of the material by Serlio’s French colleague and rival, Jacques Androuet du Cerceau, which is preserved in the Munich Staatsbibliothek, was supplied by Strada to his patron, Hans Jakob Fugger, together with the Munich versions of the Sesto Libro and the Cas- trametatio. Strada could have obtained these together with Serlio’s effects, or have acquired them independently during his stay in France.9 Among the drawings Strada acquired from the heirs of Perino and Giulio the proportion between figure-drawings and architectural and decorative designs will have been more even. Strada claimed that, in addition to their own work, the collections of both Perino and Giulio included many drawings by Raphael, whose pupils and assistants they had been. The tale of Raphael’s drawings after his death has been summarized by Konrad Oberhuber in his preface to the ninth volume of the Corpus of Raphael’s drawings of 1972.10 Vasari states that the drawings left at Raphael’s death were divided between two of his collaborators, Giulio Romano and Giovan Francesco Penni. It is not known what happened to Penni’s share when he died, but it is likely that part or all of it ended up with his one-time partner Perino, who had married his sister Catharina. This implies that by means of his purchases from Perino’s and Giulio’s heirs Strada reunited the greater portion of the drawings of Raphael’s later period, the years 1511–1520 covered by Oberhuber’s volume of the Corpus. At a later date Strada in fact made special mention both of Raphael’s original drawings for the Vatican Stanze, and of Giulio’s designs for the double frieze in the Camera degli Stucchi in the Palazzo del Te that were among his pos- sessions.11 The presence in Munich of the manuscript translation of Vitruvius, made on behalf of Raphael by his humanist friend Fabio Calvo, is likewise best explained by the supposition that Strada supplied it to Fugger or to Duke Al- brecht, having acquired it with Perino’s or Giulio’s Nachlass.12 The mere fact 8 According to the copyright privilege Strada obtained from Maximilian ii in May 1574 [Doc. 1574-05-30]. 9 Various volumes including drawings and prints in the Bayerische Staatsbibliothek in Munich are now accessible through the website of Codicon, such as Cod. Icon. 191, attrib- uted to Du Cerceau, and Cod. Icon. 195, attributed to Jean de Chenevières; these give an impression of the type of material Strada acquired. 10 Oberhuber 1972, pp. 18–20. 11 Index sive catalogus, Appendix D, nrs. 43 and 14. Many of Giulio’s original designs are now in the Louvre; the complete set in the Albertina doubtless is the copy Strada prepared or commissioned for the engraver (cf. below, Ch. 13.7.3). 12 bsb-hs, Cod. ital. 37. The supposition by the modern editors of Calvo’s manuscript that it had been acquired in 1770 by Elector Carl Theodor with Piero Vettori’s library (Fon- tana/Morachiello 1975, pp. 15 ff. ) is contradicted by its presence among the architectural