Seite - 329 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

329Imperial Architect: Background 135 Serlio 1575, p. 97; Dreger 1914, pp. 103–104; p. 158; Kühnel 1956, p. 258; on the Salle de Bal in Fontainebleau, see Frommel 2002, p. 252, 254–258. Though its design was published only in Strada’s edition of the Seventh Book, Frankfurt 1575, it might have been known in Vi- enna through the contacts between Ferdinand and his sister Eleonora, Francis i’s widow. 136 Sigmund de Preda’s defence against the critics included the structural function of these piers, which were to support the outside wall of three stories, leaning against the façade of the chapel. The critics held that the windows—‘dj fenster am Gwelb so nun im ersten gaden gemacht seinn’—gave the facade ‘ein sölche ungestalt unnd nit annders ansehen, als obs ein gefenkhnus sein sol’ (Kühnel 1956, pp. 258). Instead of a blind arcade, perhaps a rustic podium including small windows lighting the vaulting of the ground floor was envisaged. In response to the criticism of the ‘unfinished’, rustic effect of the piers, De attempt to construct a rustic socle zone, with blind or open arches, in the man- ner of Florentine or Roman palace architecture. Perhaps it was even planned to carry an open loggia or a blind arcade on the piano nobile, the level of Fer- dinand’s apartment: a similar solution had been proposed a few years earlier in Sebastiano Serlio’s project for the Salle de Bal in Fontainebleau [Fig. 5.88].135 The first designs and models, as well as the first section, when it began to rise above its foundations, incited voluble resistance both from the local of- ficials and from some of Pozzo colleagues: the piers were considered unfin- ished and took up too much space of the courtyard; the first floor windows (or rather non-preserved mezzanine windows giving into the vaulting of the ground floor?) were unsightly and the whole thing looked more like a prison than an Imperial residence. The critics’ lack of understanding is clear from their abhorrence of the ‘unfinished’ stone of these piers, that is, of its ‘rustic’ quality.136 This standard element of Italianate classical architecture was quite Figure 5.87 Rusticated pilasters at the entrance to the Burgkapelle, Vienna, Hofburg. Figure 5.88 Sebastiano Serlio, Fontainebleau, project for the Salle de Bal, 1545–1546, wood- cut from the Settimo Libro (Frankfurt 1575).