Seite - 316 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

Chapter 5316 110 Francolin 1561, §ii, ‘Vom Gebew’, describes some of the preparations for the festival: ‘Ehe man die Schrifftliche Verkhündung der Thurnier Publiciert / hat man in der Burckh und auff der Platz vor dem Kayserlichen Pallast / sich gerüstet mit allerlay notdurft zum handel tüchtig und füglich’; he mentions in particular the construction of the temporary Tanzsaal, basically a huge tent or marquee located on the bastion in front of the Alte Burg (cf. below, ch. 6.4), and of the various boats used for the planned naval battle, but does not refer to specific adaptations of the Hofburg itself. In the beautifully illuminated version from the copy presented to the Emperor, illustrated in Holzschuh-Hofer 2014(a), p. 128, Abb. iv.39, the ceiling is coloured light grey, blue and pink, with gilt rosettes filling the compartments. element in the fixed interior of the Taflstube. The room probably was adapted, or at least its ceiling created, expressly in anticipation of the festivities organ- ised by Maximilian to add lustre to this family gathering.110 A good impression of the appearance of another important reception room is given in a painting by Wolfgang Heimbach of a festive banquet at night [Fig. 5.76]. On the basis of a detailed examination linked to structural research of the south-west wing of the Hofburg, Walter Gerhardt has demonstrated that the painting gives a detailed and exact image of the ‘Saal’ adjoining Ferdinand’s chamber, which would later be known as the ‘Ritterstube’, Knights’ Chamber. Though the painting is dated 1640, the interior appears to have been main- tained in its mid-sixteenth century state, which closely resembles that of the Taflstube: windows in deep round-headed niches, a similar monumental green Kachelofen in the corner, even the same type of Flemish tapestries covering the Figure 5.76 Wolfgang Heimbach, Nächtliches Banquet, Vienna, Kunsthistorisches Museum.