Seite - 659 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

659Visual Documentation – The inscription, likewise disappeared or never realized, which was intended to comment the stucco double frieze in the Camera degli Stucchi, a text of capital importance for the dating and the disputed interpretation of this most archaeological of Giulio’s creations [fol. 42v].52 13.6.3 Copies as Source for Strada’s Collection of Drawings: Vienna, Cod. min. 21,1 and 21,2 The two volumes in Prague both contain much original material, and can be considered as the principal more or less intact relics of Strada’s graphic col- lection. The Strahov codex also included copies of some of these and of other drawings, copies that were produced in Strada’s own workshop. The Öster- reichische Nationalbibliothek in Vienna owns another miscellaneous item that consists almost entirely of similar workshop copies. This item, Codex min- iatus 21, consists of three huge separate folio volumes, the first two of which are finished albums in themselves, each provided with a title page stating their subject and their provenance from Strada’s Musaeum.53 These two are both libri di disegni, similar in make up to Strada’s numismatic albums. The first album, Codex miniatus 21,1, is dedicated to helmets and other head- dresses in the ‘antique’ style, but actually copied from designs by contemporary mannerist artists and intended to be used in costume designs for contemporary festivals. Though its title, Ancient helmets and crests such as once were used by the Greeks and the Romans, and also by other peoples, both in spectacles and public games, and in war <…>, suggests that it presents reliable images of real antique Roman helmets and other headgear, in fact it contained almost exclusively decorative headdresses intended as costume accessories for courtly festivals such as tournaments, masques and theatre performances. Careful comparison of these designs with those preserved elsewhere might throw some light on Strada’s sources. Here I will merely show one helmet, perhaps part of a costume for an actor impersonating a Greek hero, based on an invention known from an as yet anonymous drawing in a private collection.54 [Figs. 13.41–13.42] 52 Hartt 1958, i, p. 58; Verheyen 1977, p. 124; Juřen 1986, p. 148. 53 onb-hs, Codex miniatus 21, 1–3. The last drawing (fol. 460/190) bears an annotation ‘Seindt in disen Buch gerissen Pletter und Khunstuckh [sic] Pey Hand 230 Stuckh. 1629. Jars / js [?? or abbreviation for: Christoph?]. Ranfft d. Elter von Wiessendal’, which suggests that it had remained in the possession of Ottavio Strada’s illegitimate daughter Anna Maria, Rudolf ii’s mistress, who had married Rudolf’s chamberlain Christoph Ranfft, ennobled as Freiherr von Wiesenthal, and died in 1629. Still in the 1640s contacts between Ranfft and his brother-in-law Ottavio ii, already long resident in France, are documented. 54 önb-hs, Codex miniatus 21,1: Galearum antiquarum cristatarum quibus olim Graeci et Ro- mani, atque alii etiam populi, tam in spectaculis et ludis publicis, quam in bellis usi sunt,