Seite - 286 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Chapter 5286 61 De Jonge / Capouillez 1998, pp. 31–32 and 167–168. 62 According to a list of architectural material in the Munich Hofbibliothek predating Fick- ler’s Kunstkammer inventory of 1597, bsb, Cbm. cat. 114, p. 20 f, cited in Diemer/Diemer/ Sauerländer 2008, i,1, p. 57, nr. 148 (147); unfortunately these drawings have not been preserved. Maximilian saw few, if any, of these earlier buildings in the new style in per- son: during his first prolonged visit to the Brussels court, in 1544–1545, Binche and Mariemont had not yet been begun, but by 1556 they had been plundered and destroyed by the French, and his stay in any case was too short and too busy to travel far outside Brussels. But he had seen Boussu during his earlier stay, when Charles and his court paid a visit to see the newly built palace of his old friend in February 1545. Jean de Hennin-Liétard had been one of Charles’ commanders in Italy in the late 1520s, and had been present at the Sack of Rome, when he had been impressed by both ancient and contemporary Ro- man architecture. His creation predated anything similar commissioned by Charles and Mary in the Netherlands, and its influence on their patronage should not be underestimated. This is underlined by the fact that Philip ii, impressed by Boussu during his own visit in 1549, sent one of his architects, Gaspar de Vega, to study and draw it while he was building his first palace in Spain, Valsaín near Segovia (1552–1556), which still shows the influence of such Netherlandish forms of the High Renaissance style.61 Moreover Maximilian’s other brother-in-law, Duke Albrecht v of Bavaria, owned the ‘Ichnographiae zwayer palatien der grossen herren im Niderland Possu und Bins’, that is a set of measured drawings of both Binche and Boussu.62 In the Netherlands the interest in correctly designed classical architecture was not limited to the court of Charles v and Mary of Hungary. Even more than in their residences at Brussels and Binche, this was exemplified in the festive decorations for the joyeuses entrées of Philip ii in the various towns of Brabant and Flanders on his arrival from Spain in 1549, which were commis- sioned by the town-councils and the guilds of the respective towns. Of course Maximilian, who was replacing Philip as regent in Spain at that time, had not seen these extraordinary examples of dynastic and political propaganda with his own eyes, but in view of their dynastic importance, and given the inten- sive contacts between his court and those of Charles and Philip, he must have been informed about them. Moreover he could see what they had looked like through a series of detailed descriptions accompanied by splendid woodcut il- lustrations, again prepared by Pieter Coecke van Aelst [Figs. 5.46–5.47]. Though occasionally overloaded with typically Flemish strap work decoration, in their structure all the triumphal arches, theatres and other temporary decorations lining the streets of Philip’s progress, displayed the correct application of the