Seite - 317 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

317Imperial Architect: Background 111 Gerhardt 1995; the precision of the painting is shown by the fact that Guy Delmarcel could identify two of the tapestries (ibidem, p. 272, n. 8); Karner 2014, pp. 168–169. 112 bsb-hs, Cod. Icon 189, f. 17r. walls.111 Only the coffered ceiling is of a different type: it seems to be a flat tim- ber ceiling, resting on a cornice carried on stone brackets. Its triangular, rect- angular and square compartments appear to be superimposed on this ceiling, and they probably contain panels painted with suitable mythological scenes. In fact, it strongly resembles the description of the ceiling of the Goldene Saal in the Hofburg at Innsbruck, decorated with ‘fantasies’ painted by Domenico Pozzo, which has already been discussed in detail in the preceding chapter. 5.4.2 Work in Progress At the time Strada arrived in Vienna some of these projects were still under way. Ferdinand’s accession to the Imperial throne greatly increased his need for a residence sufficiently representative to reflect his exalted status. Several other projects were being planned, the principal one being the construction of the Stallburg, a separate residential building for the household of King Maxi- milian, as heir to the throne. For such projects Strada’s specific competence must have been particularly welcome: at this time his theoretical knowledge and practical experience of the most up-to-date architectural and decorative design was probably unique at court. Few of the artists in Ferdinand’s employ were capable of such avant-garde design: that is of classical architecture in which the Vitruvian precept was correctly applied and decorative elements were designed in the manner of the Italian Renaissance. Initially this manner was fashionable at the princely courts of Europe—Fontainebleau is the most obvious example—and with a small cosmopolitan and intellectual circle con- sisting mostly of aristocrats closely connected with these courts. It did allow the inclusion of local, traditional or ‘vernacular’ forms and elements: again Fontainebleau is an obvious example, but it is perhaps best illustrated by a comparison between Serlio’s two designs for the Château of Ancy-le-Franc, an ideal, classical, Italian version [Fig. 5.78] as opposed to an equally classical, but less strict and quite French version, the one which was actually executed [Fig. 5.77].112 Even in such cases, however, the designer was expected to dem- onstrate a perfect command of the rules governing the application of the Vit- ruvian orders and the proportional systems that were derived from these by Renaissance theorists and practitioners. By the 1550’s, north of the Alps, such reliance on theory gave this manner a particular appeal to highly educated, intellectual patrons, who had been in- troduced to it during their travels. Moreover it would be exclusive because its