IMPORTANT MEDAL BOOK THAT DISCUSSES GROLIER'S LIBRARY

STRADA, JACQUES de. Epitome thesauri antiquitatum, hoc est, Impp. Rom. Orientalium & Occidentalium iconum, ex antiquis numismatibus . . .Lyon (Jean de Tournes for) Jac. de Strada & Th. Guerin, 6.11.1553. 4to. (88) + 339 + (3 +) pp. With Guerin's large mark on the title; full-page woodcut of Fugger arms on verso of title; and 491 white-on-black medallion portraits. Limp vellum, boards separated, lacking spine, text block shaken and loose, with pages starting to detach. Complete, but in need of restoration. One Medal filled in with a 16th CETURY MANUSCRIPT PORTRAIT OF CHARLES V Ref: Mortimer, Harvard French 502; Adams S1916.

This first edition is among the most significant medal-books ever created. Dedicated to J. J. Fugger, it features an intriguing introduction about Strada's journeys and scholarly pursuits, making numerous references to Jean Grolier's enduring library and coin collection. Boasting an unparalleled number of illustrations, this edition includes an 8-page list of previously unpublished coins.

Two primary trends have emerged in the reproduction of Roman coins: the archeological medal-book initiated by Fulvio and Mazochius in 1517, and the pattern-book designed for other artists, exemplified by the Huttich-Weiditz series from 1525 and 1534. Strada's accomplishment lies in his unique ability to excel in both domains, possibly due to his extraordinary attention to the aesthetic qualities of his models. This led to two completely distinct sets of illustrations accompanying his comprehensive and erudite text.

The edition in question is a genuine medal-book, showcasing exquisitely engraved intaglio illustrations by Bernard Salomon, as confirmed by Strada in the preface. With white figures set against a deep black background, these images appear more refined than the Weiditz cuts executed in a similar style. In 1559, the same text would serve as the foundation for a pattern-book, necessitating the creation of new illustrations specifically for that purpose by another esteemed artist, Niklaus Manuel Deutsch. These fewer, larger, and cruder yet dynamic illustrations provide essential details without the delicate embellishments characteristic of Salomon's work.