Seite - 531 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 1

531Other Patrons of Architecture its facade dates from the late seventeenth-century, its basic fabric dates back to the period when it was originally built by Christoph von Teuffenbach, Freiherr von Mairhofen, after his acquisition of the site sometime in 1568.24 Teuffenbach, a member of a Protestant Styrian noble family, studied with Melanchton in Wittenberg, where he matriculated in 1546. He began his mili- tary career under the aegis of the Imperial General Lazarus von Schwendi and fought against the Turks in Hungary. In 1567 he was sent, with Antun Vrančič and Albert de Wyss, as ambassador to the Sultan, Selim ii, with whom they negotiated the truce of Adrianople (1568). Upon his return he served as a dip- lomat and a military commander in Hungary, jobs in which he was quite suc- cessful. He died in 1596, only a year after Hans von Aachen had painted—as a gift to its sitter—a splendid portrait which is lost, but known through Sadeler’s attractive engraving [Fig. 10.24].25 Strada’s probable contacts with his near- neighbour may provide a neat solution to my problem: as Teuffenbach’s own Stammbuch is an early example of the type, he could well have provided the inspiration for Jacopo’s guest book and Ottavio’s album amicorum.26 It is very suggestive that Teuffenbach began building his house next door to Strada at a time when Strada’s own house neared at least partial completion. Though its facade dates from the late seventeenth century, from the research by Buchinger cum suis it results that its basic fabric dates back to the period when it was originally built. I have found no documents proving that the two neighbours and fellow-courtiers discussed their projects together, but some such informal exchange doubtless has taken place. Teuffenbach, who was a soldier, a diplomat and an intellectual, would have been curious to consult the architectural material in Strada’s possession and discuss his plans with him, while Strada would have been eager to merit the good graces of an influential courtier, as well as willing to oblige a respected neighbour. Such compliance may have remained limited to comments and advice. Yet from the point of view of Teuffenbach, it would have made sense to ask Strada to prepare the drawings: in this way he would be assured of a quite up-to-date design, of which Strada’s own house gave him already an idea. In view of his absence for 24 Buchinger/ Mitchell/ Schön 2006. But the Hofquartierbücher already mention it as the possession of ‘Herr von Tieffenpach. Freyhaus’ in 1863 [Birk 1869, p. 126]. 25 Joachim Jacoby, Hans von Aachen, Rotterdam, 1996, nr. 101, pp. 219–222. The inscription on the print states: ‘Sacra Caes: Mai.tis pictor Joan ab Ach pinxit, eidemque Fig. Dno. d<ono> d<edit>’, i.e. ‘The Imperial Painter Johannes von Aachen painted this and presented it as a gift to the same illustrious gentleman’. The print was often copied or adapted, among others for Dominicus Custos’ portrait collection, Atrium Heroicum … , of 1600–1602. 26 Salomon 1955; Klose 1989; Kurras 1989. On Teuffenbach: Schweigerd 1852, s.v. Teuffenbach, pp. 466–469; Wurzbach 1856–1891, 44, 1882, 44, pp. 63–65.