Seite - 670 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Chapter 13670 Vitruvius, the presence of which in Munich can be best explained in terms of the Strada-Fugger connection.68 13.6.5 The Christ Church Lion It was standard practice for apprentices and assistants in an artist’s workshop to copy designs: thus they could build up a personal stock of inventions to draw upon for future inspiration. Strada’s collecting habits may well have origi- nated in a similar manner in Giulio’s studio. But that makes it difficult to iden- tify the exact exemplar of a given invention that Strada may have owned. So here again the objects mentioned and illustrated are merely intended to pro- vide an impression of size, character and quality of his Musaeum. In the case of individual drawings the lack of collector’s marks and of autograph annota- tions makes it almost impossible to establish their provenance from Strada’s Musaeum with any certainty. At present there are only two drawings, now in Christ Church Picture Gal- lery, Oxford, which can securely be demonstrated to have been among Strada’s possessions. These are actually two halves of the same sheet bearing related inventions for a mural decoration, which were separated at a later date. One of them is still provided with an explanation in Strada’s hand, jotted onto a nar- row strip of paper attached to its bottom [Figs. 13.67–13.68]: 68 Cf. above, Chapter 3.6.1 note 85. Figures 13.64–13.65 Raphael, compositional study for the Disputà, Stanza della Signatura, 1509, and a figure study for The Battle of Ostia, Stanza dell’Incendio, 1515. At least some of such studies were in Strada’s possession, though these cannot be identified.