Seite - 465 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

465The Neugebäude Given that, it still remains the question what form such influence would have taken: it might, for instance, have remained limited to using the exact site of the Sultan’s camp for the Neugebäude. But the fact that Çelebi in 1665 and Kara Mustafa in 1683 saw a sufficient resemblance to Suleiman’s headquar- ters suggests at least some imitation of Ottoman models in its lay-out.52 It is here that the material collected by Jacopo Strada—some of it obtained with the help of Imperial envoys to Constantinople—may have played a role. In his Index sive catalogus, the list of works he hoped to publish or to sell, no less than five items relate to Ottoman military matters: a clear indication of the impor- tance of the theme for his patrons. They documented the battle-order of the Sultan and his ‘castrametatio’, the manner in which his armies organized their bivouacs. The first item in the list was ‘a large table or map of the castrametatio of Suleiman, the Emperor of the Turks, before the city of Vienna in Austria’. It was a detailed copy of a painting in the possession of the Duke of Mantua that had been painted by a Flemish master at the time of the siege, and showed the tents of the Sultan and the various ranks of the Ottoman army. It is perhaps significant that when Strada asked Guglielmo Gonzaga to borrow this painting in order to copy it, he explained his wish by the affection he had for it, because it documented ‘all these surroundings of the villa which I know particularly well’. His use of the word ‘villa’, rather than ‘città’ implies that he specifical- ly refers to the surroundings of Neugebäude or perhaps of Ebersdorf, rather than to those of Vienna in general. In any case his initiative makes clear that the historical significance of this particular spot had not yet been forgotten at court.53 52 During the 1683 siege of Vienna the Grand Vizier Kara Mustafa or his entourage explic- itly linked the Neugebäude with Suleiman’s camp, reason why he forbade his soldiers to plunder and damage it, this in contrast to other imperial castles and villas around Vienna (Lietzmann 1987, pp. 14–16). Veronika Szűcs has argued that Strada, to whom she attri- butes the concept for the entire complex, intended to represent the Sultan’s camp by using ‘units and forms of a Roman military camp, forms which generally can be observed in any—also Turkish—military camp or fortress’ (Sczűcs 2012). Her article contains other valuable ideas and insights, but her unquestioning acceptance of Strada’s single responsi- bility for the Neugebäude’s concept is at the least simplistic, and she is unaware of much essential background information, especially on Strada and his activities. 53 Index sive catalogus (= App. D), nr. 8. In March 1571 Strada had asked Duke Guglielmo to borrow the original, which he described as ‘una pittura in tela collorita a guazzo da un fiamingo, molto guasta per la vecchiezza, nelle quale viè l’assedio di Vienna dal Turcho, et io perché conoscho tutti quelli contorni della villa, li porto molta efitione’ (Doc. 1571- 03-19). Though Strada had to repeat his request (Doc. 1571-11-20), the loan was conceded (Doc. 1577-10-04: Strada to Duke Guglielmo, 4 October 1577: ‘Doppo ch’io mandai la pittura di Vienna costì a vostra altezza, al quale fu a me prestata da parte sua<…>’). The painting arrived in Vienna too late to have influenced the lay-out of the Neugebäude, but Strada