Seite - 288 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Chapter 5288 Such examples entailed the building of large residential buildings in an ad- vanced, correct and relatively sober, classical style, a style which was derived from the Italian, particularly Roman, architecture of the first decades of the sixteenth century. But such emulation did not always extend to stylistic de- tail. It may have been the procedure that served as an example, as much as any individual design. It is striking that the patrons commissioning the most advanced, avant-garde projects all employed artists that either were Italian or had studied in Italy: Charles v, Mary of Hungary and Jean de Hennin-Liétard all employed Jacques Du Broeucq; Count Henry iii of Nassau-Breda employed Tommaso Vincidor from Bologna, a pupil of Raphael; Maximilian van Egmond, Count of Buren and later Wilhelm v, Duke of Jülich, Cleves and Berg both em- ployed Alessandro Pasqualini, also from Bologna, and Granvelle employed an as yet unidentified but certainly Italian or Italianate architect. It should be noted that none of these architects were master masons, none of them were menial craftsmen: they all were painters or sculptors, sharing a common artistic and intellectual training, and therefore were capable of ex- changing ideas and advice directly with their patrons. That is, they were ar- chitects more or less conforming to Vitruvius’ ideal type of the architect as an intellectual. Apart from Boussu, which was not yet finished when he saw it last, Maximil- ian could inspect the beneficial effect of employing such learned architects at least in one instance in great detail. This was in Jülich, where Maximilian twice visited his sister Maria and her husband Wilhelm v, Duke of Jülich-Cleves-Berg [Fig. 5.48], with whom Maximilian always maintained a good personal rela- tionship. Under Duke Wilhelm’s aegis the small fortified town was completely remodelled and fortified in the modern manner by Alessandro Pasqualini, who also designed the town hall and the church steeple. Most imposing was the huge citadel Pasqualini added on one side of the town, within which he constructed a residential palace, realizing the arche- type of the ‘palazzo in fortezza’ as proposed by Serlio [Figs. 5.49–5.53].64 The actual palace is very reminiscent of Boussu both in choice of material and in lay-out, four wings around a courtyard lined with colonnades carrying galleries. The architectural detail, in particular of the chapel, but also of the staircases and door surrounds both inside and outside, is of an astonishing sophistication [Figs. 5.49, 5.52 and 5.53]. There can be no doubt that Maximil- ian was impressed by Jülich’s fortifications and by the ducal residence, both 64 Maximilian visited Jülich twice in 1556, from 12–14 July and from 10–13 August (Holtzmann 1903, pp. 276–277 and 288–289); on the fortifications and the Residenzschloß at Jülich, a.o. Büren/Kupka 2005; on Pasqualini, Büren 1995.