Page - 273 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1

273Imperial Architect: Background ways the Weiß-kunig can be considered as an educational treatise for princes, a Fürstenspiegel, because Maximilian paid as much attention to the stages in his intellectual development as to his adult prowess. The Weißkunig explicitly documents and illustrates his learning, not only the rudiments of the noble art of painting, but also those of several manual crafts, including those of the stonemason and the carpenter [Fig. 5.25–5.26]. Recent research has indicated that Maximilian i in fact did possess certain competences in this field and that his contribution to the design of the tomb he planned for himself in Innsbruck was of greater impact than had been re- alized.43 His grandson, Ferdinand i, who commissioned Melchior Pfintzing Hans Springinklee. Ferdinand i engaged himself to continue it, but it was first published only in the eighteenth century (Vienna 1778). But the text and illustrations (or proofs of the woodcuts based on them) were kept in Innsbruck and thus were available to the young Archdukes and their tutors, cf. Werke für die Ewigkeit 2002, pp. 11–12. Both the authors of this catalogue and Simons 2009, pp. 32–34 have discussed the influence of the example of Maximilian i and the various works he had commissioned on the younger generations of the House of Austria. Gottlieb 1900, p. 109 has shown that many of the over three hun- dred books and manuscripts from Maximilian’s library that were kept in the Hofburg at Innsbruck, of which an inventory was made in 1536, were actually used by members of the dynasty in the 1530s and 1540s. 43 Günther 2002. Figures 5.25–5.26 Leonhard Beck (ca 1475/80–1542), ‘How the young White King learns to build in carpentry’ and ‘How the young White King learns to build in stone’, woodcuts first published in Marx Trautsauerwein, Der Weißkunig, Vienna 1775.