Seite - 135 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

135In Hans Jakob Fugger’s Service sophisticated ornamental detail of this masterwork are entirely Italian in spirit and, as Henry-Russell Hitchcock has it, presuppose that the artist was an Ital- ian or, ‘if a Northerner, he certainly had a more thorough training in Italy than any of the native artists whose work in Germany of this years is recognizable’.47 Some of the elements in the Stübchen and two of the wooden portals [Figs.  3.41–3.42] appear to derive from Serlio, some of whose designs were al- ready printed (in particular in the Quarto Libro, first published in 1540). But these printed designs are not sufficiently close to the Donauwörth portals to have served as immediate examples; they could only have served as a source of inspiration to artists already thoroughly conversant with their underlying principles of design. Strada was trained in Italy exactly in the environment— Mantua, Rome—which appears to have inspired the style of the Stübchen, and he and his patron certainly had immediate access to Serlio’s printed vol- umes.48 By 1546, the date of these two portals and the Stübchen, Strada had already been working for the Fugger for some years, reason why I think it is warranted to propose a tentative attribution of the design of these to him. Such 47 One of the portals is dated 1546. On Donauwörth and the Stübchen, see lieb 1958, 2, pp.  223–240; Hitchcock 1981, pp. 124–125. 48 It cannot be excluded that Strada, whose close relationship to Serlio is documented for Lyon in the 1550s, had already met the master earlier in Italy or even in France and had had access to his work long before he acquired it for his own collection and publishing programme. Figures 3.39–3.40 A chimneypiece and a wooden portal still in situ in the Fugger house at Donauwörth.