Page - 260 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1

Chapter 5260 13 The plaque was placed above a publicly accessible fountain located in the wall separating the garden of the Hofburg from the Burggasse; the dedication to Ferdinand as ‘Principe Nostro Gloriossisimo’ suggest that it was financed by the city council, in recogni- tion for the new facility; cf. Perger / Thomas 1998, p. 437; Holzschuh-Hofer 2014(b), pp. 206–208. 14 JdKS x, 1889, ii, pp. lxxvii–lxxviii, Regest 6000, 1 June 1538; cf. Simons 2009, pp. 88–89 p. 229, n. 261–263. least one sculptor who could handle the ornamental elements of the new man- ner, witness the beautiful plaque of the Imperial arms carried by two griffins topped by an inscription dated 1536, which commemorates his earliest inter- ventions in the fabric of the Hofburg [Fig. 5.14].13 The only commissions that transcend the immediately necessary and pre- suppose some personal motivation are the Summer Palace built for his wife, Queen Anne, the tomb for his wife and himself in St Vitus Cathedral, both in Prague, and the Vienna Hofspital. And of these it is only the Summer Palace that allows some conclusion as to his personal taste: it was built by Italians and in an Italian style, apparently from, or inspired by designs or a wooden model from Genoa brought back by the architect, the Milanese Paolo della Stella, who travelled to Genoa, in person in 1538 [Figs. 5.17].14 For that reason it is tempting to connect the Summer Palace with the seaside villa surrounded by arcades carrying open walkways that Perino del Vaga had just built for Andrea Doria at Fassolo, just outside the city walls of Genoa, which may have been known to Figures 5.12–5.13 Innsbruck, Hofkirche, built 1553 after designs by Andrea Crivelli to house the tomb of Emperor Maximilian i: entrance portal and interior with cenotaph and bronze sculptures of the Emperor’s ancestors and predecessors.