Seite - 662 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Chapter 13662 cf. Fig. 13.46] is actually blackened in charcoal in order to trace the outline of the invention on a clean sheet, a copying technique with which Strada had familiarized himself in Giulio’s studio, and which was the standard technique used in the production of the numismatic volumes and other libri di disegni from his workshop.56 13.6.4 Copies as Source for Reconstructing Strada’s Collection of Drawings: Vienna, Codex miniatus 21,3 The third volume of Codex miniatus 21 is of particular importance, since it con- tains miscellaneous material which provides some indication of the range of Strada’s interest. Its principal component is a further hundred and fifty cop- ies of designs for goldsmith work by Giulio Romano, Polidoro da Caravaggio, Francesco Salviati and others, very similar to those in the libri di disegni at Cambridge and Berlin studied by John Hayward and to the similar copies in- cluded in the Strahov codex. Some of them reproduce inventions the originals of which are included in the Strahov codex, but it must be assumed that in addition to these Strada also owned the originals, workshop copies or, in the unfortunately provides no elements that could help solve the earliest provenance of these sheets. 56 The practice is described in Armenini 1587, i, pp. 76–77 and many drawings from Strada’s workshop bear witness of it. Figures 13.47–13.48 Attributed to Francesco Primaticcio (?), drawings of antique statues in Rome that served as models for Strada’s Antiquarum Statuarum; Paris, Louvre.