Seite - 321 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

321Imperial Architect: Background 118 Kühnel 1959, pp. 311–316. 119 Exempla aliquot s. vetustatis Rom. in saxis quibusdam, opera nobilis viri D. Hermetis Schal- lauczeri <…> his Viennae erutis una cum interpretatione Wolfgangi Lazii medici et historici, Viennae Austriae 1560; Kühnel 1959, p. 315; Von Busch 1973, pp. 19–21. 120 On Ferrabosco, see Kühnel 1958, pp. 272–276; Kühnel 1964, p. 41; Krčalová 1969; Lietzmann 1987, pp. 107–110. Podewils 1992, pp. 165–168; his role at Kaiserebersdorf documented in Müller / Krause 2008, pp. 44–46. 121 Krčalová 1969, p. 184. projects.118 It is not surprising that his name turns up in the documents relat- ing to most of the projects in hand at the time. Schallautzer, moreover, was an intellectual, and he was sufficiently historically interested to collect a num- ber of stones with Roman inscriptions that had come to light during building works on several locations in Vienna. He set them up in his garden, creating a small lapidarium which can count as perhaps the earliest collection of an- tiques in Austria, and published a note on his finds illustrated by Hans Sebald Lautensack and including comments on them by his nephew, Wolfgang Lazius, both of whom we have met earlier.119 Most of the architects employed appear to have been technicians, compe- tent builders or master-masons, rather than artists. Exceptions were the Italians Pietro Ferrabosco and Domenico dell’Allio and the native Viennese Bonifaz Wolmut. Pietro Ferrabosco was born at Laino near Como in 1512 or 1513; he had trained as a painter and had first been employed by Ferdinand in that capacity (1547). After 1551, when he was forced to take over the management of the re- structuring of the castle at Kaiserebersdorf from his brother Lorenzo, who had suddenly died, he was soon also charged with often quite important architec- tural commissions.120 Unlike Wolmut he had never trained as a master-builder, but appears either to have learned the job on site, for instance when execut- ing commissions of painted decoration, such as the ceiling of the new ‘Saal’ and ‘Zimmer’, a reception hall and -chamber of the Vienna Hofburg for which he was paid in 1549, or—more likely—during the five years that he accompa- nied the Imperial commander, Eck von Salm, to the Turkish border, doubtless initially acting as surveyor and draughtsman, but soon making designs and models of projected fortifications. Ferrabosco certainly was an architect in the fullest sense, not only providing designs, but also organizing and supervising their execution: he is first men- tioned in an architectural capacity as ‘Meister Peter Fero Boschko Maller, so über die Gesellen Baumeister’. It is clear that he was really supervising these masons, at work at the Imperial castle at Pressburg in 1563, because it was stipulated that he should not absent himself from the site for longer than two weeks.121 In a request for increase of his salary from 1559, Ferrabosco claimed