Seite - 661 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

661Visual Documentation The Louvre owns a few more, closely related drawings in the same hand—at present all improbably attributed to Francesco Primaticcio—which are also copied in the Vienna codex.55 The verso of one of these sheets [Fig. 13.48; 55 Strada’s studio copy preserved in his Antiquarum statuarum tam deorum quam dearum, heroum et eorum coniugum, tum etiam imperatorum et eorundem uxorum formae, et effi- gies ex antiquis marmoreis et aeneis statuis quae et Romae et aliis in locis inveniuntur ad vivum depictae atque quam fidelissime repraesentatae, önb-hs, Codex miniatus 21,2; the relative drawings in Paris, Louvre, Cabinet des Dessins, inv. nr. 22.633 [Strada fol. 22], 22.634 [Strada fol. 86], 22.646 [not copied in Strada’s album], 22.647 [not in the album], 22.649 [Strada fol. 17], 22.650 [not in the album], 22.651 [not in the album], 22.652 [Strada fols. 97, 100, 142]; cf. Jansen 1991, pp. 59–76. Frits Lugt included them in his catalogue of the Netherlandish drawings in the Louvre, and saw a connection with the so-called Anonymous A, one of the draughtsmen of the Berlin Heemskerck sketchbooks (Lugt 1968, cat. nrs. 240–247) who has been tentatively identified with Hermannus Posthumus (Dacos 1989). Strada and Posthumus probably crossed paths during their partly parallel careers, in Mantua, in Rome and/or in Germany, and that Strada may have acquired or even commissioned antiquarian drawings from him and from other Netherlandish mas- ters working in Italy is perfectly plausible. In his Index sive catalogus [nr. 16] he refers to a large oil painting, a bird’s eye view of ancient Rome showing the different types of sports and entertainments, which he had commissioned from ‘quodam exellenti pictore belga’: a painting which was similar to, though not identical with Posthumus’ romantic view of Rome in the Liechtenstein collection (Rubinstein 1985; Dacos 1985). In his catalogue of the exhibition Primatice: Maître de Fontainebleau of 2004, however, Dominique Cordellier has reattributed these Louvre drawings to Francesco Primaticcio (PRIMATICE: Maître De Fontainebleau 2004, pp. 138–139 e 146–148, cat. nrs. 35–37), an attribution which is far from convincing also with respect to style and quality of the drawings. The valuable essay by Bernadette Py, ‘Histoire des dessins de Primatice du XVIe au XVIIIe siècle’ (ivi, pp. 54–59) Figures 13.43–13.46 Drawings from Strada’s Antiquarum Statuarum, Codex miniatus 21,2, fols. 204/97r., 207/100r., 250/142r. and 192/86r; Vienna, Österreichische Nationalbibliothek.