Seite - 771 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

771Ambitions as a Publisher town, which Francis intended to use for the construction of two fortified places on the borders with Piedmont and Flanders (item 13). These were really huge objects of nine feet square, indicating that both lay-out and individual sec- tions—tents or army barracks—were shown in great detail. Some idea of its appearance can be had from the manuscript of Serlio’s so-called ‘Ottavo libro’ in Munich [Figs. 14.35–14.36].104 For Strada this still was not enough, since he explicitly commissioned Serlio to write a new book, which possibly may have been similar to the Munich manuscript (i.e. a description and illustration of a ‘cittadella murata’), but more likely was meant to be a more scholarly re- construction of Polybius’ description (item 33). Strada stated that he had the woodblocks for this publication ready, in the same size—and doubtless com- missioned at the same time and from the same artisans—as those used for his 1575 edition of the Settimo Libro.105 14.7.4 The Ottoman Army Strada shared an interest in the military strategy and technique of the Otto- man Empire with many of his contemporaries. It seems a conscious parallel that next to the images documenting the battle order of the Roman Emperors as depicted in the Column of Trajan, Strada intended to print similar docu- mentation of the manner in which the Sultan and his armies set out on their campaigns. He possessed two sets of documentation of this, both ‘tabulae’, the first of which had been reduced to a book format: this had been copied from a set of drawings which Antoine Escalin des Aimars, baron de la Garde, the legendary Capitaine Paulin or Polin, ambassador and admiral of the French king’s galleys, had brought back from Constantinople as a gift for his sovereign (item 10).106 104 bsb-hs, Cod icon. 190; described by Marianne Reuter, ‘Beschreibung der Handschrift Cod. icon. 190 Tresorhandschrift’, in: bsb-CodIcon Online (Tue Jul 24 22:24:34 Cest 2012). It was published together with the Munich manuscript of the Sesto Libro and the Vienna manu- script of the Settimo Libro by Francesco Paolo Fiore and Tancredi Carrunchio (Serlio 1994). 105 Strada’s manuscripts of these items are lost, as are the woodcuts he had made for item 33. Strada had also commissioned a set of woodcuts for the Sesto Libro, a set of proofs of which has been preserved in Vienna, which was published as an appendix to Rosenfeld’s facsimile edition of the Avery manuscript. The Sesto Libro remained unpublished until Rosci’s and Rosenfeld’s facsimile editions of the two preserved manuscripts (Serlio/Rosci 1966; Serlio/Rosenfeld 1978). It is not mentioned in Strada’s preserved correspondence and copyright privileges. Perhaps he abandoned its printing because of the damage to the woodblocks described in Ottavio’s letter, perhaps he thought it not sufficiently diverse, and less practical than the Settimo Libro. 106 Antoine Escalin des Aimars, baron de la Garde-Adhémar, Marquis de Brégançon (1498?– 1578), was a général des galères generally known as ‘le Capitaine Poulain’ (or Polin or