Page - 319 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1

319Imperial Architect: Background 115 Dreger 1914, pp. 117, and Abb. 70; see also Holzschuh-Hofer 2010, who shows that similar surrounds with fire steels-and-flints were also used in the refurbishment of the castle at Pressburg/Bratislava. Perhaps one of the members of the Spazio family, Italian masons and architects active both in Prague and in Vienna, was responsible for the design. At least as far as the design of the window frames is concerned, this need not have implied any direct involvement in the actual building process, a drawing sent form Prague would have sufficed. Besides Ferrabosco, Bonifaz Wolmut, who had already worked in Bohemia, where he would later settle, is a likely candidate. Palace also was asked to provide designs for the Vienna facade, or at least that the Vienna designer was well informed about what happened in Prague. Who- ever he was—Pietro Ferrabosco remains a candidate—he must also have been responsible for the design of the Schweizertor in the same facade [Fig. 5.81].115 5.5 The Architectural Infrastructure at the Imperial Court: 5.5.1 Available Talent Once Maximilian was in a position to really start building, just like his rela- tives in Brussels and Jülich he needed at least one or two architects of the new, ‘Vitruvian’ kind: architects who preferably were born and bred in Italy or who would have visited Italy and were therefore aware of recent developments. Ex- cept for Bonifaz Wolmut and possibly Sigismund de Preda, he would not find Figures 5.79–5.80 Lintel and entablature of a window frame of Queen Anna’s Summer Palace, ca 1540–1545, compared to the Lintel and entablature of a window frame of the Schweizerische Trakt of the Hofburg, Vienna, ca 1553.