Auf welsche Manier: The Reception of Italian Architecture at the Neue Bau in Augsburg (1614)

全文

(1)National Taiwan Normal University Graduate Institute of Art History 國立臺灣師範大學藝術史研究所 Master’s Degree Thesis 碩士論文. Auf welsche Manier The Reception of Italian Architecture at the Neue Bau in Augsburg (1614). Advisor: Dr. Candida Syndikus 指導教授: 辛蒂庫絲博士 Graduate Student: Lu-Yen LU 研究生: 盧履彥 January 2015 中華民國 104 年 1 月.

(2) ii.

(3) To My family members and Uni-Prof. em. Dr. Dethard von Winterfeld at the Johannes Gutenberg-Universität Mainz. iii.

(4) iv.

(5) TABLE OF CONTENTS. Abstract ...................................................................................................................... vii Acknowledgement ....................................................................................................... ix List of Figures ............................................................................................................. xi. 1. Introduction .............................................................................................................. 1 2. State of Research ...................................................................................................... 7 3. Elias Holl and High Renaissance Architecture in Italy .......................................... 13 3.1 Holl’s Journey to Venice (1600–01) ................................................................... 13 3.2 The Study of Italian Architectural Treatises …...…………................................ 20 4. Building History ..................................................................................................... 33 4.1 The Building of the Neue Bau ............................................................................ 33 4.2 Later Alterations ................................................................................................. 37 5. The Neue Bau and the Italian Architecture of the Cinquecento …......................... 43 5.1 Formal Analysis .................................................................................................. 43 5.2 The Façade Design of the Neue Bau and the Italian Cinquecento Architecture .51 5.2.1 The Impact of the Cinquecento City Palace ................…….......................... 51 5.2.2 The Loggia Models …………………………………................................... 61 5.2.3 The Neue Bau and Italian Architectural Treatises ......................................... 65 5.2.4 The Urban Context of the Perlachplatz ......................................................... 72 6 The Architectural Orders at the Neue Bau .............................................................. 81 6.1 The Superposition of Orders at the Neue Bau …................................................ 81 6.2 Ground Story: Rustication and Tuscan Order. ................................................. 84. 6.3 Upper Story: The Ionic Order ............................................................................. 93 6.4 Orders as Bearers of Meaning at the Neue Bau …........................................... 101 v.

(6) 7. Conclusion ............................................................................................................ 103 8. Bibliography ......................................................................................................... 109. Figures ...................................................................................................................... 125 Photographic Credits ................................................................................................ 179. vi.

(7) ABSTRACT Auf welsche Manier—The Reception of Italian Architecture at the Neue Bau in Augsburg (1614) The Neue Bau or New Building is an architectural showpiece in the very heart of Augsburg, which evidences the influence of the Italian Renaissance on southern German architecture. At the time of its creation, in 1614, the city’s urban structure was still predominated by the late Gothic style. The building was erected by Augsburg’s chief architect Elias Holl (1573–1646) in the immediate neighborhood of his Italian-style City Hall (1615–20). Both projects, the Neue Bau and the City Hall, belonged to a sophisticated program of the city center’s renovation around 1600. This master thesis studies the building’s appearance under the special aspect of the influence from the Italian Cinquecento architecture. The structure of the thesis is divided into three parts: The first part focuses on the cultural relationship between Augsburg and Italy and reconsiders Holl’s contacts with Italian Renaissance architecture, from visual experience on his journey to Venice in winter 1600/01 and from major Italian treatises of the time. Holl’s Italian journey, albeit very short, represents an important parallel to the two trips undertaken by his famous English colleague Inigo Jones (1573–1646). The importance of Holl’s Italian travel and its influence on the Neue Bau will be researched in detail. The second part reviews the building’s history. Its original appearance will be reconstructed, which also means to consider the rebuilding after World War II. The third part analyzes the form and order system and re-examines the important Italian Cinquecento city palaces, which influenced the building’s design. In particular, Bramante’s Palazzo Caprini in Rome (ca. 1510), the Venetian city palaces and edifices designed by Michele Sanmicheli (1484–1559), Jacopo Sansovino (1486–1570) and Andrea Palladio (1508–80) will be discussed. As another principal source for the Neue Bau, Sebastiano Serlio’s architectural treatise (Venice 1584) will be surveyed. To understand the meaning of the façade design of the Neue Bau and its significance in the urban context of the Perlachplatz, the similar square renovation of the Italian Renaissance and the early seventeenth-century urban renovation program in Augsburg will be also reviewed in this chapter. Keywords: Architecture, architectural treatise, Augsburg, city palace, German Renaissance, Neuer Bau, Elias Holl, Italian High Renaissance, Venice. vii.

(8) 中文摘要德國奧克斯堡 Neuer Bau（1614）中的義大利文藝復興建築風格（auf welsche Manier）概念位於德國南部奧克斯堡（Augsburg）的 Neuer Bau（1614）為見證義大利文藝復興藝術轉化至阿爾卑斯山以北地區的經典代表建築。在建築形式尚為晚期哥德式風格主宰的奧克斯堡當地，Neuer Bau 的設計更具展現歐洲南北藝術交流意義。這棟座落於奧克斯堡培爾拉赫廣場（Perlachplatz）的文藝復興城市宅邸式建築（city palace），為德國文藝復興建築師 Elias Holl（1573–1646）所興建。Holl 不僅為奧克斯堡的首席城市規畫建築師，更以其興建、宏偉壯觀的奧克斯堡市政廳建築（City Hall，1615–1620）而名留於西方建築史中。雖然該建築坐落於奧克斯堡市中心精華地帶，但該建築迄今尚未以專論方式研究之。本篇論文即以該棟建築為研究主體，嘗試由建築史、立面設計及義大利十六世紀建築形式之影響等觀點進行首次深入探討。本篇論文由下列三部分組成：第一部份聚焦奧克斯堡與義大利間文化交流歷史背景之探索並重建建築師 Holl 領受義大利文藝復興建築之方式：1600 冬季進行之威尼斯之旅及其對義大利建築理論之研究。如同與 Holl 同時代的英國建築師 Inigo Jones（1573–1646）二度赴義大利研究文藝復興藝術（1598–1603；1613–14）一般，在義大利當地進行實地建築研究已成為十六世紀阿爾卑斯山以北文藝復興建築師重要學習過程。而 Holl 威尼斯學習之旅的重要性及其對 Neuer Bau 造型影響將於此詳細探討。第二部份將以歷史回顧為主，檢視 Neuer Bau 興建起因、各時期建築變更及建物主體之損失。鑒於二次大戰後對 Neuer Bau 所進行之改變性重建工作影響現今觀者對該建築外觀形體之領受，此結構性改變對整體建築形式之影響亦將於本章進行探討。第三部份以 Neuer Bau 立面設計及柱式系統進行分析並重新檢視十六世紀義大利代表性城市宅邸建築對本棟建築立面設計之影響。而 Bramante 位於羅馬的 Palazzo Caprini（約 1510）、威尼斯市中心及建築師 Michele Sanmicheli（1484– 1559）、Jacopo Sansovino（1486–1570）、Andrea Palladio（1508–80）設計之城市宅邸建築更為檢視重點。同時藉由對 Serlio 建築理論（Venice 1584）文本內容研究，建構文藝復興建築理論對 Neuer Bau 立面設計之影響。另外，並將由文藝復興時期市政廣場規劃及奧克斯堡十七世紀初市中心廣場總體整建角度，檢視對 Neuer Bau 設計、柱式採用之影響及在 Perlachplatz 周遭建築環境中代表之意義。關鍵字：建築、建築理論、奧克斯堡、城市宅邸、德國文藝復興、Neuer Bau、 Elias Holl、義大利盛期文藝復興、威尼斯. viii.

(9) ACKNOWLEDGEMENT. The idea of writing an art historical study on the German Renaissance architecture can be traced back to my study at the Institut für Kunstgeschichte of the JohannesGutenberg Universität in Mainz, Germany. The former institute director Uni-Prof. Dr. Dethard von Winterfeld has aroused my strong interest to study the architecture and current director Uni-Prof. Dr. Matthias Müller has inspired my special favor in dealing with the German late Gothic and early Renaissance art, whom I shall address my gratitude. For the completion of this study I am deeply indebted to my thesis advisor, Professor Candida Syndikus at the Institute of Art History/NTNU, who gave me many suggestions and indications to develop the structure and content of this research. Without her kind and patient help this research might not have been well completed. Hereby, I would also like to thank Prof. Bernd Roeck at the Universität in Zürich and PD Dr. Christoph Hölz at the Universität in Innsbruck for their helpful recommendations to this topic, which is related to detailed points in this study. I also express my gratitude to all members of the GIAH at NTNU, Prof. Dr. ShaiShu Tzeng and Dr. Valentin Nussbaum, for their kind deepening of my knowledge in the field of art history, Ms. Yun-Yun Tsou for her nice helps in the institute office. Moreover, the professors and teachers in my study years in Mainz are quite important for forging my knowledge on the art history: Prof. Dr. Michael Bringmann, Prof. Dr. Wolfgang Brönner, Prof. Dr. Elisabeth Oy-Marra, PD Dr. Claudia Annette Meier, Dr. Günther Stanzl, Dr. Klaus T. Weber, Dr. Gabriele Kiesewetter, Dr. Christoph Reske and Lorenz Frank MA. The whole team of the Staats- und Stadtbibliothek Augsburg, particularly Ms. Uta Wolf, has offered me great help in literature study. I never forget their hospitality and kind assistance during my visit there in 2012. Twelve years between Mainz and Taipei are a long study period. Especially, I would like to dedicate this study to my parents and my aunt. They raised me up and were quite tolerant with my long-term study. Though in the heavenly world, they might be happy to know the finish of this study. My full gratitude goes also to my sister, nephew Thorsten and Mr. and Mrs. Kühl in Bad Wörishofen for constantly giving me the encouragements during the writing. Moreover, I will address my thanks to Daisy Lee and Nai-Yu Jan for their correction and the study mates at the institute NTNU for their supports: Irene Wu, Bin-hsun Huang, Elmer Tu, Li-ying Yang, Yung-chien Tsao, Shu-lin Huang and the friends in the class of 2012. My warm thanks, finally, go to Ms. Iris Lai for her always lovely accompaniment. Lu-Yen Lu/ 盧履彥 Taipei, January 2015 ix.

(10) x.

(11) LIST OF FIGURES. 1. Elias Holl, Augsburg, Neuer Bau, 1614, façade (2012) 2. Perlachplatz with Neuer Bau, Perlach Tower and City Hall (2010) 3. Via Claudia Augusta and reconstruction of Holl’s possible traveling route from Trento, Bassano, Castelfranco, Treviso to Venice after Lionello Puppi (1985) 4. Josef Furttenbach, An entirely new and useful route direction in chronological order, from and to the prominent places [of ] Italy (Ein neüe ganz Nuzliche chorografische Wegweisung, von und zue den namhafftesten örtern, Italiae), engraving, from: Newes Itinerarium Italiae (Ulm 1627), pl. N. i 5. Simon Grimm, Siegelhaus, detail, from: Weinsiegelhaus und Salzstadel, ca. 1680, engraving 6. Elias Holl, Sketch of a Roman relief with depiction of a wine transport, brown ink with pen on paper, 133 x 196 mm, Städtische Kunstsammlung, Augsburg, inv. G 1660 7. Elias Holl, The Barfüßer Bridge in Augsburg, ca. 1611, pen in brown ink on parchment, 288 x 474 mm, Städtische Kunstsammlungen, Augsburg, inv. 1655 8. Andrea Palladio, Rialto Bridge in Venice, elevation and plan, 1581, from: I Quattro libri dell’archittetura, Book III, chap. XIII, pp. 26-27 9. Antonio da Ponte, Venice, Rialto bridge on the Canal Grande, completed in 1591 10. Elias Holl, Siegelhaus. Design of a column base, 1604, brown ink with pen on paper, 319 x 335 mm, Städtische Kunstsammlungen, Augsburg, inv. G 1660 11. Giacomo da Vignola, Ionic order (Ordine Ionico), from: Regola delli cinque ordini d’architettura, pl. XVI, Rome 1640, engraving 12. Elias Holl, Calculation of material quantity needed for a Tuscan column, from: Geometrie- und Meßbuch, ca. 1620-1644, pen in ink on paper, 418 x 285 x 55 mm, Graphische Sammlung, Schaezlerpalais, Augsburg, inv. 11216 13. Giacomo da Vignola, Tuscan order (Ordine Toscana), from: Regola delli cinque ordini d’architettura, pl. II, Rome 1640, engraving 14. Reconstruction of the Perlachplatz in Augsburg (ca. 1620) after Hermann Kießling (1997); 1: Neuer Bau xi.

(12) 15. Plan of the Perlachplatz (now Rathausplatz) in Augsburg (since 1950) after Handbook Dehio (2008); green color: Neuer Bau 16. Elias Schemel, The Perlach Square in Augsburg (Der Perlachplatz in Augsburg), 1599, oil on panel, Maximilianmuseum, Augsburg, inv. 3825 17. Palladio-Model, ca. 1607–09, pine and cedar, 85 x 161.5 x 81 cm, Augsburg, Maximilianmuseum, inv. 3454 18. Sansovino- or Italian Loggia Model, ca. 1607–09, pine, cedar and walnut, 117 x 156 x 81 cm, Maximilianmuseum, Augsburg, inv. 3455 19. Elias Holl or Johann Matthias Kager (?), Neuer Bau, Façade elevation I (with round arched mezzanine window in the first right bay), ca. 1614, drawing, brush, chalk and watercolor on paper, washed in grey, brown, black and red, 337 x 565 mm, Augsburg, Städtische Kunstsammlungen, inv. G 1656 20. Elias Holl or Johann Matthias Kager (?), Neuer Bau, Façade elevation II (with square mezzanine window in the first right bay), ca. 1614, drawing, brush, chalk and watercolor on paper, washed in grey, brown, black and red, 339 x 568 mm, Augsburg, Städtische Kunstsammlungen, inv. G 1656 21. Wolfgang Kilian, Neuer Bau (r) on the Perlachplatz with building’s east side, detail, engraving, from: Augusta Vindelicorum (Augsburg 1626), Städtische Kunstsammlungen, inv. G 12071-75 22. Heinrich Jonas Ostertag, View of Augsburg showing the City Hall and Perlachplatz (Curia Reipublicae Augustanae), 1711, engraving, 550 x 800 mm, Augsburg, Städtische Kunstsammlungen, inv. G 12093 23. Georg Balthasar Probst, View of the so-called Mahler-Gasse on the Perlach towards the Cathedral of Augsburg (Prospect der so genandten Mahler-Gasse von dem Perlach gegen der Dom Kirche zu Augspurg), 1743, engraving, 340 x 260 mm, Augsburg, Städtische Kunstsammlungen, inv. G 774 24. Simon Grimm, The City Hall in Augsburg with the Perlachturm and the Neue Bau (Augsburger Rathaus mit Perlachturm und dem Neuen Bau), 1678, engraving 25. Augsburg, Neuer Bau, façade and the west side after renovation 1876 (ca. 1900) 26. War damages on the Neue Bau (l.), Perlachturm (m.) and the Bäckerzunfthaus (r.), after bombardment in 1944 27. Augsburg, Neuer Bau, façade reconstruction after World War II (1951) xii.

(13) 28. Augsburg, Neuer Bau, plan of the ground floor, reconstruction after the World War II with indication of the original area of the Neue Bau (diagonal hatchings) 29. Augsburg, Neuer Bau, façade, southwestern corner (2012) 30. Augsburg, Neuer Bau, ground story, Tuscan capital 31. Augsburg, Neuer Bau, ground story 32. Andrea Palladio, Doric order, engraving, from: I Quattro libri dell'Architettura (Venice 1581), Book I, chap. XV, p. 27 33. Giacomo da Vignola, Doric capital, engraving, from: Regole delle cinque ordini d’architettura, (Rome 1640), pl. XI 34. Andrea Palladio, Bagnolo, Villa Pisani, ca. 1540s, ground story, Doric capital, water façade 35. Augsburg, Neuer Bau, upper story, southwestern corner 36. Augsburg, Neuer Bau, upper story, Ionic capital, western side 37. Augsburg, Neuer Bau, upper story, wall compartment at the piano nobile, façade 38. Andrea Palladio, Vicenza, Palazzo Iseppo Porto, 1550s, upper story, Ionic capital, façade 39. Andrea Palladio, Vicenza, Palazzo Chiericati, 1550s, upper story, Ionic capital, façade 40. Andrea Palladio, Ionic order, engraving, from: I Quattro libri dell'Architettura (Venice 1581), Book I, chap. XVI, p. 36 41. Bernhard Zwitzel, Landshut, Stadtresidenz (City Residence), Deutscher Bau (German Building), 1536–ca. 40, façade 42. Master Sigmund (?), Landshut, Stadtresidenz (City Residence), Italienischer Bau (Italian Building; r), ca. 1540–43, façade 43. Antoine Lafréry, Palazzo Caprini (House of Raphael), 1549, engraving, 250 x 380 mm, from: Speculum Romanae Magnificentiae (Rome 1549), Huelsen, no. 104a 44. Elias Holl or Johann Matthias Kager (?), Staple House (Reichsstädtisches Kaufhaus), ca. 1611, pen and gray ink on paper, 85 x 110 mm, Augsburg, Städtische Kunstsammlungen, inv. G 4493 45. Michele Sanmicheli, Verona, Palazzo Bevilacqua, ca. 1530, façade xiii.

(14) 46. Augsburg, The Neue Bau, double Ionic corner pilasters, southeastern corner 47. Anonymous, Palazzo Caprini, detail, pen and on paper, washed, 270 x 375 mm, London, Royal Institute of British Architects, Drawings Collection, RIBA XIV/11 48. Jacopo Sansovino, Venice, Zecca (Mint), 1535–66, façade 49. Jacopo Sansovino, Venice, New Market (Fabbriche Nuove), ca. 1554– 58, façade 50. Antonio da Ponte, Venice, New Prisons (Palazzo delle Prigioni), begun 1589–1600, façade 51. Leon Battista Alberti, Florence, Palazzo Rucellai, begun ca. 1453, façade 52. Elias Holl, Combined Façade Plan of the Baker’s Guild House, 1602, pen and brown ink on paper, 397 x 667 mm, Augsburg, Städtische Kunstsammlungen, inv. G 844 53. Elias Schemel, Old City Hall in Augsburg, detail from: The Perlach Square in Augsburg (Der Perlachplatz in Augsburg), 1599, oil on panel, Maximilianmuseum, Augsburg 54. Elias Holl, City Hall, Elevation in the style of a Roman palace façade, dat. 27 March 1614, pen and brown ink on parchment, 302 x 414 mm, Augsburg, Stadtarchiv, Sammlung Elias Holl 55. Elias Holl, City Hall, Elevation with three gables, dat. 13 November 1614, pen and brown ink on parchment, 624 x 801 mm, Augsburg, Städtische Kunstsammlungen, inv. G 11993 56. Jacopo Sansovino, Venice, Palazzo Dolfin-Manin, begun 1536, façade 57. Bartolomeo Manopola (attr.), Venice, Palazzo Priuli-Ruzzini, ca. 1570, façade 58. Michele Sanmicheli, Rovigo, Palazzo Roncale, begun in 1555, façade 59. Andrea Palladio, Vicenza, Basilica, begun in 1549 60. Sebastiano Serlio, Two-storied loggia with Serliana motif, woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, fol. 154r 61. Jacopo Sansovino, Venice, Biblioteca Marciana, 1537–88 62. Jacopo Sansovino, Venice, Loggetta, 1537–40 63. Filippino de’ Grassi, Brescia, Loggia, begun in 1492, façade. xiv.

(15) 64. Giovanni Maria Falconetto, Padua, Loggia Cornaro, dat. 1524, façade 65. Jacopo Sansovino, Rome, Palazzo Gaddi, ca. 1518, first courtyard façade 66. Giulio Romano, Rome, Palazzo Stati-Maccarani, 1519–24, façade, destroyed 67. É tienne Dupérac, Piazza del Campidoglio, 1569, engraving 68. Michelangelo, Rome, Palazzo dei Conservatori, 1563–84, the second and third right bay 69. Elias Holl or Joseph Heintz (?), Façade elevation at the Zeughaus, 1603, pen and black ink on paper, 553 x 374 mm, Augsburg, Städtische Kunst- sammlungen, inv. G 846 70. Elias Holl, Façade elevation at the Siegelhaus, 1604, pen and brown ink on paper, 399 x 231 mm, Augsburg, Städtische Kunstsammlungen, inv. G 843 71. Elias Holl, Scheinfeld, Schloss Schwarzenberg, 1607–18, courtyard, inner façade of the southeastern wing 72. Andrea Palladio, Façade of Palazzo Thiene, engraving, from: I Quattro libri dell'Architettura (Venice 1581), Book II, p. 14 73. Andrea Palladio, Façade of Palazzo Iseppo Porto, engraving, from: I Quattro libri dell'Architettura (Venice 1581), Book II, p. 9 74. Sebastiano Serlio, On a habitation to be built inside the city on a noble site (D’una habitatione dentro alla Città in luogo nobile), woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book VII, chapter XXV p. 63 75. Sebastiano Serlio, A loggia for Merchants in which to trade (una loggia da’ mercanti per negotiare), woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book VII, chapter LXXIII, p. 165 76. Wolfgang Kilian, Kanzlei and Geschlechterstube on the Perlachplatz, detail, from: City Plan of Augsburg (Augusta Vindelicorum), 1626, engraving, Augsburg, Städtische Kunstsammlungen, inv. G 12071-75 77. Jacob Christoph Weyermann, Geschlechterstube in Augsburg, detail, engraving, from: Prospecte der fürnehmsten Ö ffentlichen Gebäude und Pläze in u. ausserhalb d. Fr. Reichs. Stadt Augspurg (Augsburg 1741), fol. 2, fig. XIX 78. Elias Holl, Augsburg, Bäckerzunfthaus, 1602, façade (with gable) and south side, damaged in 1944, destroyed in 1946 xv.

(16) 79. Augsburg, Augustusbrunnen on the Perlachplatz (l.), against the northwestern corner of the City Hall (2010) 80. Florence, Fountain of Neptune on the Piazza della Signoria (l.), against the northwestern corner of the Palazzo Vecchio (2014) 81. Venice, Piazatta, Biblioteca Marciana (l.) with Loggetta under Campanile (r.) 82. Simulation and reconstruction of the Sansovino-Model on the Perlachplatz after Pfister (1925): Sansovino-Model as Neuer Bau (l.) with Perlachturm (r.) 83. Augsburg, Neuer Bau, east side, view from Perlachberg, simulation and reconstruction of original situation, after Wolfgang Kilian (1629) 84. Augsburg, Neuer Bau, west side, view from Steingasse, simulation and reconstruction of original situation, after Simon Grimm (1678) 85. Aegidius Sadeler, Theater of Marcellus in Rome, from: Vestigi delle antichita di Roma (Prague 1606), fol. 36 86. Andrea Palladio, Venice, Convento della Carità, cloister, elevation, ca. 1560–62 87. Sebastiano Serlio, The Five Architectural Orders, woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, p. 127r 88. Andrea Palladio, Venice, Convento della Carità, ca. 1560–62, Tuscan column in the sacristy 89. Michele Sanmicheli, Venice, Palazzo Corner-Spinelli, renovated in 1542, Tuscan portico 90. Elias Holl, Augsburg, Zeughaus, 1602–07, Tuscan columns in the entrance hall 91. Elias Holl, Section and elevation of a Tuscan column for the Stadtmetzg, ca. 1606–09, Augsburg, Stadtarchiv 92. Elias Holl, Augsburg, City Hall, 1615–20, Tuscan pillars in the entrance hall 93. Michele Sanmicheli, Venice, Fortezza di Sant’Andrea, begun 1535, water façade with rusticated Doric columns and blind arcades 94. Michele Sanmicheli, Venice, Palazzo Corner S. Polo, begun ca. 1545, ground story, rusticated Doric window pilasters. xvi.

(17) 95. Sebastiano Serlio, Tuscan pilasters in banded rustication (Dell’ornamento rustico), woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, chap. V, fol. 132v 96. Sebastiano Serlio, Rusticated Doric portal headed with a triangular pediment, (Dell’ornamento rustico), woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, chap. V, fol. 134r 97. Jacopo Sansovino, Venice, Palazzo Corner della Ca’ Granda, begun in 1545, façade, banded rustication at the basement 98. Jacopo Sansovino, Venice, Zecca, 1535–66, second story, Doric order 99. Antonio da Ponte, Venice, Palazzo delle Prigioni, begun 1589–1600, west wing façade, Doric pilasters with banded rustication 100. Augsburg, Neuer Bau, ground story, Tuscan pilasters with banded rustication 101. Elias Holl, Augsburg, Gießhaus, 1602, rusticated Tuscan portal 102. Elias Holl, Augsburg, Zeughaus, 1602–07, ground story, façade, Doric order with banded rustication 103. Sebastiano Serlio, Ionic capital at the Marcellus Theater in Rome (l.) and Ionic capital attached to a decorative frieze (r.), woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, chap. VII, p. 160r 104. Rome, Theater of Marcellus, ca. 44–11 BC, first upper story, Ionic columns 105. Rome, Temple of Fortuna Virilis, 1st century BC 106. Andrea Palladio, Temple Fortuna Virilis, engraving, from: I Quattro libri dell'architettura (Venice 1570), Book IV, chap. XIII, p. 50 107. Giacomo da Vignola, Ionic capital, from: Regole delle cinque ordini d’architettura, pl. XVII, Rome 1562 (Version 1640), engraving 108. Walther Hermann Rivius, “Figure of totally exact symmetric division of the Ionic capital with its volutes and belonging structural members” (Figur gantz gerechter Symmetrischer abtheilung der Ionischen Capiteel/ mit iren wurblen und angehörigen glidern), woodcut, from: Vitruvius Teutsch (Nuremberg 1548), Book III, chap. III, fol. 126r. xvii.

(18) 109. Andrea Palladio, Temple of Fortuna Virilis with section of a Ionic corner volute, engraving, from: I Quattro libri dell’architettura (Venice 1570), Book IV, chap. XIII, p. 51 110. Andrea Palladio, Malcontenta di Mira, Villa Foscari, ca. 1559–60, water façade with Ionic portico 111. Mauro Codussi, Venice, Palazzo Corner-Spinelli, 1497–1500, Ionic corner volute 112. Elias Holl, Elevation of the lateral side at the Siegelhaus, detail, pen in brown ink on paper, 399 x 231 mm, Augsburg, Städtische Kunstsammlungen, inv. G 1657 113. Sebastiano Serlio, The shape of Ionic capitals and their volutes: A. Corner in a courtyard; B. Outer façades, woodcut, from: Tutte l’Opere d’Architettura (Venice 1584), Book IV, chap. VII, fol. 160r 114. Walther Hermann Rivius, “Actual plan-making of an artificial and right Ionic corner column” (Eygentliche fürreissung des grundts einer künstlichen und gerechten Ionischen Eckseulen), woodcut, from: Vitruvius Teutsch (Nuremberg 1548), Book III, chap. III, fol. 126v. xviii.

(19) 1. Introduction The Italian Renaissance had a huge impact on the art and architecture of the countries north of the Alps since the late fifteenth century. Elias Holl (1573–1646), chief architect (Stadtwerkmeister) of the Free Imperial City of Augsburg, is one of the main promoters of the new style in southern Germany. In his family chronicle (Hauschronik), Holl mentioned that some of his buildings were erected “in Italian style” (auf welsche Manier).1 He became the protagonist in the transformation process of Augsburg from a late Gothic to a Renaissance city. The Neue Bau (1614; fig. 1), a representative secular building erected on the Perlach Square (Perlachplatz) in the immediate neighborhood of the Italian-style City Hall (1615–20; fig. 2), is a key work in this development. As a show piece in the very heart of the city, the building was designed in ‘modern’ forms inspired by the Italian High Renaissance, thus not only contributing to the dignity of the site, but also to the sublime image of the city. Augsburg was a significant transfer station of the Italian Renaissance culture in the German territory. Her relationship to Italy can be traced back to Roman antiquity. The city, which was originally called Augusta Vindelicorum, was founded in ca. 15 BC under Emperor Augustus, from whom the name derives.2 Augsburg became the capital of the Roman province Raetia in ca. 120/121.3 The Via Claudia Augusta, the. 1. 2. 3. The expression auf welsche Manier is found in Holl’s description of the Bakers’ Guild house (Bäckerzunfthaus, 1602) and the Barfüßer Bridge (Barfüßerbrücke, 1610). Christian Meyer (ed.), Die Hauschronik der Famile Holl (1487–1646), insbesondere die Lebensaufzeichnungen des Elias Holl, Baumeisters der Stadt Augsburg, Munich 1910, pp. 45 and 56. The Roman origins of Augsburg can be traced back to a Roman military station, founded under the Roman generals Drusus (38 BC–AD 9) and Tiberius (42 BC–AD 16) during their invasion in the northern foothills of the Alps in 15 BC. Alois Schmid, “Bayern und Italien im frühen und hohen Mittelalter,” in: Rainhard Riepentinger [et al.] (eds), Bayern – Italien. Die Geschichte einer intensiven Beziehung, Stuttgart 2010, pp. 18-27, here p. 18; Wolfgang Wallenta, Augsburg & Italien. Eine 2000jährige Beziehung, Mering 2009, p. 5. Bernd Roeck, Geschichte Augsburgs, Munich 2005, pp. 15-16. 1.

(20) old Roman military and business route, connecting southern Germany with northern Italy, had already been used in antiquity by Germanic tribes.4 Located on the northern part of this traditional traveling route, Augsburg became a major gate to Italy. The merchants of Augsburg had developed an intensive network in Venice since the fourteenth century and installed their headquarters in the German Warehouse (Fondaco dei Tedeschi) at the Rialto.5 Thanks to the intensive commercial links between Augsburg and Venice, the Italian Renaissance was established here long before Holl’s time. With the Fugger Chapel in the Protestant Church St. Anna (1502–09) the Italian Renaissance style had reached Germany;6 the Fugger Palace (1512–15) was the first representative dwelling of a merchant family inspired by models from south of the Alps. 7 Moreover, Augsburg as an important center for printing was stimulated by Venice.8 After 1500, collecting Italian printed books became in vogue in Augsburg. 9 Numerous northern art works were intentionally described by artists or patrons as made auf welsche Manier.10 As early as in 1472, Günther Zainer (†1478), an incunabular printer of Roeck 2005 (as note 3), p. 14; Reinhard Stauber, “Bayern und Italien – Aspekte ihrer Beziehungen in der Neuzeit,” in: Riepentinger (as note 2), p. 38. For the Via Claudia Augusta, see below chapter 3.1. 5 Since the early fifteenth century, the merchants of Augsburg played a leading role in the management of the business activities of the Fondaco dei Tedeschi. Bruno Bushart, “Venice and Augsburg: Architecture and Sculpture in Sixteenth Century,” in: Bernard Aikema and Beverly Louise Brown (eds), Renaissance and the North. Crosscurrents in the Time of Dürer, Bellini and Tizian, exhibition catalog, Venice, Palazzo Grassi, 5 September 1999–9 January 2000, London 1999, p. 166. 6 Norbert Lieb, “Augsburger Baukunst der Renaissancezeit,” in: Hermann Rinn (ed.), Augusta 955-1955. Forschungen und Studien zur Kultur- und Wirtschaftsgeschichte Augsburgs, Munich 1955, pp. 229-247, p. 229; Christoph Bellot, “‘Auf welsche art, der zeit gar new erfunden.’ Zur Augsburger Fuggerkapelle,” in: Gernot Michael Müller (ed.), Humanismus und Renaissance in Augsburg: Kulturgeschichte einer Stadt zwischen Spätmittelalter und Dreißigjährigem Krieg, Berlin and New York 2010, pp. 445-489. 7 The Fugger were the predominant merchant family in Augsburg and the patrons, especially with regard to Italian Renaissance culture. Their palace was designed by the local architect Hans Hieber (ca. 1480–1521/22). Italian influence can be observed in the so-called Ladies’ Courtyard (Damenhof), which is designed as a Renaissance cortile. Wallenta (as note 2), pp. 38-43. 8 Bernd Roeck, “Kulturtransfer zwischen Bayern und Italien in der Renaissance,” in: Riepentinger (as note 2), pp. 28-39. 9 For collecting Italian books and architectural treatises in Augsburg at Holl’s time, in particular, see below chapter 3.1. 10 The Fugger Chapel in Augsburg, for instance, is registered in the Fuggers’ Book of Honor (Ehrenbuch) in 1564 as built “in Italian style, which is a newly invention of the time” (auf welsche art, der zeit gar new erfunden). Bellot (as note 6), p. 446. The term auf welsche Manier is 4. 2.

(21) Augsburg, had chosen the phrase “lest we seem to give primacy to the Italian” (Ne Italo cedere videamur) as a motto,11 which bears further evidence of the positive attitude of Augsburg’s artists toward southern culture. As an Augsburg-based architect Holl was under the spell of the Italian Renaissance since the beginning of his career. The influence of the Italian Renaissance on his buildings derives from various sources: the observation of the monuments on the one hand and the study of architectural theory on the other. Holl’s reference to Italian Renaissance architecture is, more precisely, to be understood on the background of a journey to Venice, he had undertaken in winter 1600/01, and the contact with Italian architectural treatises of the sixteenth century. The Neue Bau is an example par excellence of his mature work, as it also shows the intensive research on Italian Renaissance architecture. The choice of this building as key object of research and the exclusion of other early architectures are principally based on the following reasons: During his early years as Stadtwerkmeister of Augsburg, Holl was still shaping his personal style, which was inspired by Italian Renaissance models. At this early stage of his career, the emulation of features from Italy was a significant task. Erected shortly before Holl’s masterpiece, the City Hall of Augsburg, the Neue Bau can be regarded as a. problematic as it could also indicate an artistic influence derived from French Renaissance under King Francis I (1494–1547). For the various meanings of the word welsch as used for German Renaissance architecture, see Matthias Müller, “‘Welsche Manier’ und territoriale Konkurrenz. Zur Funktion eines gestalterischen Leitbildes im Mitteldeutschland Schlossbau zu Beginn der frühen Neuzeit,” in: Anke Neugebauer and Franz Jäger (eds), Auff welsche Manier gebauet. Zur Architectur der mitteldeutschen Frührenaissance, Bielefeld 2010, pp. 107-127. 11 Carl Wehner, “NE ITALO CEDERE VIDEAMUR: Augsburger Buchdrucker und Schreiber um 1500,” in: Augusta 955-1955, Augsburg 1955, pp. 148-149; Bushart (as note 5), p. 168. Many printers of Augsburg expanded their business to Venice or stayed there for learning Renaissance typography, such as the printer Erhard Ratdolt (1447–1528). Roeck 2010 (as note 8), pp. 27-34; Christoph Reske, “Erhard Ratdolts Wirken in Venedig und Augsburg,” in: Klaus Arnold, Franz Fuchs and Stephan Füssel (eds), Venezianische-deutsche Kulturbeziehungen in der Renaissance. Akten des interdisziplinären Symposions vom 8. und 10. November 2001 in Centro Tedesco di Studi Veneziani in Venedig, Wiesbaden 2003, pp. 27-34. 3.

(22) mature work based on his studies of Italian Cinquecento architecture.12 Other early buildings of Holl, instead, such as the Baker’s Guild house (Bäckerzunfthaus, 1602) and the House for controlling and preserving the wine barrels (Siegelhaus, 1607), which would have been relevant for a better understanding of his style of those years, were completely demolished in the past centuries. As we are lacking sufficient historical sources to allow conclusions on their original form, our means for detailed analysis are limited. A concentration on these buildings had to be ruled out, though they will serve, as far as it is possible, as examples of reference. Finally, the use of the architectural orders should be considered more in detail, as Holl applied them in his early buildings closely referring to the Italian Cinquecento architecture. The orders displayed at the Neue Bau demonstrate his particular interest in this aspect of the buildings’ decoration. This makes the Neue Bau an appropriate object for researching the Italian influence on Holl’s architectural language. The building is literally overshadowed by Holl’s masterpiece, the City Hall of Augsburg, and has not yet been given adequate attention by the researchers. The main purpose of the present study is, therefore, to reevaluate the Neue Bau by delineating the influence of the Italian Cinquecento architecture stemming from architectural theory and practice. Since the architectural order is one of the fundamental features of the Italian Renaissance concerning the buildings’ physical appearance and iconographic meaning, this aspect will be thoroughly analyzed. The Neue Bau and its connection to the Italian Cinquecento architectures are the focus in the following study, for which two methodic ways will be adopted. The formal analyses and comparisons will be applied to examine the influences, originated from the Italian architectures and treatises, on the Neue Bau; while the textual review on the Cinquecento treatises, Sebastiano Serlio (1475–1554) and Andrea Palladio 12. Julius Baum, Die Bauwerke des Elias Holl, Straßburg 1908, p. 126. 4.

(23) (1508–80) in particular, will be undertaken regarding the façade designs and orders at this building.13 Art historian like Erik Forssman mentioned once that the German architects of the early seventeenth century were quite relied on the texts of architectural treatises for their project designs. He further recommended the methods of reviewing and comparison for studying the archiectures of German Renaissance and Elias Holl.14 With its help these methods could prove the influences of the Italian treatises on the façade designs of the Neue Bau and how are these texts transformed into building’s configuration. Before undertaking the study, there are two aspects, which make research on Elias Holl in general and on the Neue Bau in particular very complicated. At first, scholars have to deal with architecture partly or totally rebuilt after World War II, and this also applies to the Neue Bau, which had been partially damaged in 1944.15 It is therefore necessary to reconstruct a monument’s original state, before real formal analysis can be started. Despite its moderate volume, the material, presented in 1951 by Raimund von Doblhoff (1914–93), architect-in-chief at the Neue Bau in the years 1946–52, is therefore extremely precious for this present survey.16 The second and even more serious problem concerns the question of authorship. As Holl had major collaborators, such as the “painter-architect” Johann Matthias Kager (1566–1634), the attribution of a building’s original design is often difficult.17. 13. The reason for the selection of these treatises as studying objects is based on the fact that Serlio’s and Palladio’s treatises were generally familiar to Holl and other German architects of early seventeenth century. 14 Erik Forssman, Der Dorische Stil in der deutschen Baukunst, Freiburg im Breisgau 2001, p. 101. 15 Bernd Roeck, Elias Holl. Ein Architekt der Renaissance, Regensburg 2004, p. 109. 16 Raimund Freiherr von Doblhoff, “Zum Wiederaufbau einiger nichtöffentlicher historischer Bauten in Augsburg,” in: Zeitschrift des Historischen Vereins für Schwaben 58, 1951, pp. 141-143; Gregor Nagler, “‘Das Wegwerfen ist ja ein Irrglaube.’ Raimund von Doblhoff und der Wiederaufbau der Fuggerei, der Fuggerhäuser und des Neuen Baues in Augsburg,” in: Winfried Nerdinger (ed.), Raimund von Doblhoff (1914–1993). Architekt zwischen Rekonstruktion und Innovation, Berlin 2008, pp. 53-84, here 74-77. 17 For different opinions on the attribution of the Neue Bau and Kager’s relationship to Holl, see chapter 2. Ingeborg Albrecht, “Elias Holl. Stil und Werk des ‘Maurmeisters’ und der Augsburger Malerarchitekten Heinz und Kager,” in: Münchner Jahrbuch der bildenden Kunst 12, 1937/1938, pp. 5.

(24) The present research is based on the fact that the architect in his autobiography considered the Neue Bau as his own work.18 The year 2014 is the four-hundredth anniversary of the completion of the Neue Bau. It is significant to give a throughout study on this edifice at this moment. In research of the building’s connection with the Italian Renaissance architecture it is expected to evidence the intensive influences from the South on the architectures of Elias Holl, not only with regard to the form but also to his reception of the new style.. 101-136, here p. 132; see also Rudolf Pfister, “Die Augsburger Rathaus-Modelle des Elias Holl,” in: Ibid., pp. 85-100. 18 Hauschronik (as note 1), p.61. 6.

(25) 2. State of Research The influence of the Italian Renaissance on Elias Holl’s œuvre in general and on the Neue Bau in particular is a major issue in the studies on the architect. Actually, Holl’s relationship to Italy was already acknowledged by his contemporary, the German painter and art historian Joachim von Sandrart (1606–88). In the latter’s biographies of northern artists, the German Academy (Teutsche Academie der Elden Bau-, Bildund Malerey Künste; 1675 Nuremberg), Sandrart insinuated the presence of the Italian idiom in Holl’s buildings, reducing the architect’s style as a combination of the Italian “preciousness” (Kostbarkeit) with German “sobriety” (Sparsamkeit).19 Systematic research on Holl started in the late nineteenth century with Christian Meyer’s editions of the Hauschronik in 1873 and 1910.20 This important source, which combines the architect’s autobiography with an account on his main achievements, provides a detailed authentic reference to the Neue Bau.21 As a literary form stemming from the late Middle Ages, the Hauschronik connects characteristics of an account book with individual memoirs.22 Not only does Holl’s chronicle display rich information on the buildings’ history and original condition, but it also reveals an “[...] Elias Holl / der seine gute Wißenschaft in der Architectura mit unterschiedlichen schönen Proben dargethan / und aller Welt gezeiget / wie der Italiänischen Gebäude Kostbarkeit mit einer Teutschen Sparsamkeit vernünftig untermänget werden möge.” The German sobriety is uttered by Sandrart due to the economical application of ornament and the use of cheap materials, which were rooted in the local architectural tradition. Joachim von Sandrart, Teutsche Academie der Elden Bau-, Bild- und Malerey Künste, Nuremberg 1675, book III, p. 352; Thomas Kirchner [et al.], Teutsche Academie der Elden Bau-, Bild- und Malerey Künste. Wissenschaftlich kommentierte Online-Edition, 2008–2012, http://ta.sandrart.net/edition/text/view/ 580#idx580.3 (accessed on 15 February 2013). 20 Christian Meyer, Die Selbstbiographie des Elias Holl, Baumeister der Stadt Augsburg (1573–1646), Augsburg 1873 (Jahresbericht des historischen Vereins von Schwaben und Neuburg; vol. 36); id., Die Hauschronik der Familie Holl (1487–1646), Munich 1910. The original manuscript is lost. A copy of ca. 1656 is preserved in the Staats- und Stadtbibliothek Augsburg (Chroniken: 2 oCod. Aug. 22II). A new critical edition of the chronicle remains one of the main desiderata of the research on Elias Holl. For an analysis of its textual structure and content, see Benedikt Mauer, “Die Hauschronik des Elias Holl – Autobiographie eines Renaissancearchitekten?” in: Gunter Schweikhart (ed.), Autobiographie und Selbstportrait in der Renaissance, Cologne 1998, pp. 193-201, here p. 194. 21 Hauschronik (as note 20), p. 61; English translation below on chapter 4.1. 22 Mauer (as note 20), p. 198. 19. 7.

(26) insight into the construction process and the architect’s ideas.23 Its publication is useful for the reconstruction of Holl’s buildings, which were destroyed in the late nineteenth century and by the bombing of Augsburg during World War II. The first analysis of the building history and style is owed to Julius Baum, who in his monograph of 1908 dedicated a paragraph to the Neue Bau.24 Based on stylistic comparisons with Italian Cinquecento city palaces, Baum fit Holl’s œuvre in a three-stage system of stylistic development, distinguishing an early “uncertain style,” a “pure style” under Italian influence and a mature “free style.”25 Benchmark is Holl’s relationship to Italy, clearness and unity of composition as well as formal purity are the quality criteria. Regarding its closeness to the Italian High Renaissance, the Neue Bau is classified as a mature work of Holl’s “pure style” (im reinen Stile), which means that the building’s style faithfully reveals authentic characteristics of the Italian Cinquecento architecture. 26 Although Baum’s classification derived from stylistic analysis and subjective observation, this preliminary classification meant a first attempt to evaluate Holl’s stylistic development and the architect’s positive attitude towards the Italian Renaissance. In the early twentieth century, studies mainly focused on the attribution of the Neue Bau and of other buildings connected with Holl’s name, while the question of the influence from Italy was rather neglected. Ingeborg Albrecht and Rudolf Pfister denied Holl’s authorship as designer of the Neue Bau and his early public buildings 23. Particularly, the first monograph on Elias Holl, published in 1890 by Wilhelm Vogt, is also written based on the information in the Hauschronik and emphasizes the predominance of the Italian style in Holl’s architectures. Wilhelm Vogt, Elias Holl. Der Reichsstadt Augsburg bestellter Werkmeister, Bamberg 1890. 24 Julius Baum, Die Bauwerke des Elias Holl, Straßburg 1908, pp. 78-80, 126. 25 Baum (as note 24), p. 126. In the phase of the so-called “uncertain style” (im befangenen Stile; Zeughaus, Siegelhaus), Holl was still in the study of correct applications of Italian forms based on his previous learning and not yet in the right handling with the new Italian elements, while Holl’s buildings in the “free style,” (im freien Stile; Stadtmetzg, City Hall) he was capable to use the Italian form freely and mature in the design of his architectures. This value system seems to be derived from concepts evolved by his teacher Heinrich Wölfflin (1864–1945). 26 Ibid. 8.

(27) before 1614,27 but attributed them to the local “painter-architects” (Malerarchitekten) Joseph Heintz the Elder (1564–1609) and Johann Mathias Kager (1566–1634).28 Albrecht underlined the stylistic incoherence of the drawings in the Augsburg city archive, which were traditionally attributed to Holl. She pointed out that in some drawings the hatchings were rendered as shadows inside the windows in order to show the depth of space and decorative details were sophisticatedly depicted,29 while other drawings represent the edifices incorrectly foreshortened and use a simple orthogonal form for the windows. 30 She attributed the latter group to Holl and distinguished them from the “picturesque” (malerisch) skill of the painter-architects Heintz and Kager.31 According to Albrecht, the two elevations of the Neue Bau, preserved in the Städtische Kunstsammlungen (figs. 19-20), represent the “picturesque” style and should be consequently attributed to Kager.32 Albrecht’s and Pfister’s refined differentiation of the drawings produced by Holl and his circle, which were based on stylistic considerations, exercised a significant influence on later. Ingeborg Albrecht, “Elias Holl. Stil und Werk des ‘Maurmeisters’ und der Augsburger Malerarchitekten Heinz und Kager,” in: Münchner Jahrbuch der bildenden Kunst 12, 1937/1938, pp. 101-136; Rudolf Pfister, “Die Augsburger Rathaus-Modelle des Elias Holl,” in: Münchner Jahrbuch der bildenden Kunst 12, 1937/1938, pp. 85-100. 28 Heintz and Kager were both Holl’s architectural collaborators in the beginning of his career as Stadtwerkmeister in Augsburg. Both of them were trained as painter and active in the city’s architectural affairs. Especially, Kager was also hired as city painter (Stadtmaler) and later responsible for the interior design in the Golden Hall of Holl’s masterpiece, the new City Hall in Augsburg. However, Kager’s concrete activity in architecture is not yet provable in historical sources. For possible influences of Heintz’s architecture on Elias Holl, see Jürgen Zimmer, “Joseph Heintz als Architekt,” in: Wolfram Baer, Hanno-Walter Kruft and Bernd Roeck (eds), Elias Holl und das Augsburger Rathaus, Regensburg 1985, pp. 98-118. 29 Albrecht mentioned the façade designs for the Zeughaus (1603, pen and black ink on paper, 553 x 374 mm, Augsburg, Städtische Kunstsammlungen, inv. G 846) and the Siegelhaus (1604, pen and gray ink on paper, 561 x 389 mm, Augsburg, Städtische Kunstsammlungen, inv. G 843); Albrecht (as note 27), pp. 117-120. 30 See the example of an drawing of the City Hall’s façade (ca. 1616–18, pen and gray ink on paper, 433 x 714 mm, Augsburg, Städtische Kunstsammlungen, inv. G 850); Albrecht (as note 27), p. 117. 31 Albrecht (as note 27), p. 117. 32 Heintz was already dead, when the Neue Bau was being planned; Albrecht, however, attributed the design of the Zeughaus, Stadtmetzg and Siegelhaus to Heintz. Albrecht (as note 27), pp. 130-132. Two façade sketches showing the front of the Neue Bau are preserved in the Städtische Kunstsammlungen of Augsburg. For the history and stylistic analysis of these preserved sketches, see chapter 4.1. 27. 9.

(28) generations.33 In the twentieth century, the Neue Bau has never been studied monographically, but the building was occasionally discussed in articles and books as a minor topic.34 Based on formal comparison, these studies put their main focus on the identification of the building’s Italian prototypes. In the past, scholars generally agreed that the design of the Neue Bau was heavily influenced by Roman and Venetian palaces of the Cinquecento;35 rather than providing convincing evidence, research was so far based on vague presumptions. On the occasion of the bimillennial celebration of the foundation of Augsburg in. For a discussion of Albrecht’s influence on the study of Holl and different reception models of his architecture, see Bernd Roeck, “‘AMPLISS: REIPVB. AVGVSTANAE ARCHITECTVS.’ Augsburg und sein Stadtwerkmeister: einige Anmerkungen zum Forschungsstand,” in: Markus Hörsch and Elisabeth Oy-Marra (eds), Kunst – Politik – Religion. Studien zur Kunst in Süddeutschland, Ö sterreich, Tschechien und der Slowakei. Festschrift für Franz Matsche zum 60. Geburtstag, Petersberg 2000, pp. 69-76, here pp. 71-74; Thomas Fichtner and Kain Wenzel, “Elias Holl,” in: Arnold Bartetzky (ed.), Die Baumeister der deutschen Renaissance. Ein Mythos der Kunstgeschichte?, Beucha 2004, pp. 213-236, here pp. 224-229. 34 Norbert Lieb, “Augsburger Baukunst der Renaissancezeit,” in: Hermann Rinn (ed.), Augusta 955-1955. Forschungen und Studien zur Kultur- und Wirtschaftsgeschichte Augsburgs, Munich 1955, pp. 229-247; Eckhard von Knorren, “Die Augsburger Baukunst des Barocks,” in: Bruno Bushart (ed.), Augsburger Barock, exhibition catalog, Augsburg, Rathaus and Holbeinhaus, 15 June–13 October 1968, Augsburg 1968, pp. 53-54; Henry-Russell Hitchcock, German Renaissance Architecure, Princeton 1981, pp.320-322; Bernd Roeck, Elias Holl. Architekt einer europäischen Stadt, Regensburg 1985; Sylviane Dequet, “Fassadenentwurf zum Neuen Bau am Perlachplatz in Augsburg,” in: Baer, Kruft and Roeck (as note 28), pp. 343-344; Johannes Erichsen, “Überlegungen zum Augsburger Rathaus anläßlich der Ausstellung ‘Elias Holl und das Augsburger Rathaus’,” in: Kunstchronik 38, 11, 1985, pp. 486-502, here pp. 494-495; Georg Skalecki, Deutsche Architektur zur Zeit des Dreissig jährigen Krieges. Der Einfluß Italiens auf das deutsche Bauschaffen, Regensburg 1989, pp. 72-73. For articles, which focus merely on the reconstruction and renovation of the Neue Bau after the World War II, see Raimund Freiherr von Doblhoff, “Zum Wiederaufbau einiger nichtöffentlicher historischer Bauten in Augsburg (Fuggerhaus, Neuer Bau, Fuggerei),” in: Zeitschrift des Historischen Vereins für Schwaben 58, 1951, pp. 127-156, here pp. 141-143; Peter Böttger and Severin Walter, “Zur ursprünglichen Farbigkeit der Bauten Elias Holls,” in: Kunstchronik 38, 11, 1985, pp. 520-525, here p. 253; Bernt von Hagen and Angelika Wegener-Hüssen (eds), Stadt Augsburg. Denkmäler in Bayern Denkmaltopographie der Bundesrepublik Deutschland: Ensembles – Baudenkmäler – Archäologische Denkmäler, vol. 7: Oberbayern, Munich 1994, pp. 382-384; Werner Lutz, Augsburgs Weg zur modernen Großstadt 1970–72. Die Künstlervereinigung Augsburg “Die Ecke” als kritischer Wegbereiter, Augsburg 2001, pp. 134-139; Gregor Nagler, “‘Das Wegwerfen ist ja ein Irrglaube.’ Raimund von Doblhoff und der Wiederaufbau der Fuggerei, der Fuggerhäuser und des Neuen Baues in Augsburg,” in: Winfried Nerdinger (ed.), Raimund von Doblhoff (1914–1993). Architekt zwischen Rekonstruktion und Innovation, Berlin 2008, pp. 53-84, here pp. 74-77. A doctoral thesis encompassing a catalogue raisonné entitled Der Augsburger Stadtwerkmeister Elias Holl (1573–1646). Werkverzeichnis by Eva Haberstock has not yet been published (expected in May 2015). 35 For the influence of the early Roman Cinquecento palaces, especially the Palazzo Caprini in Rome, on the Neue Bau, see below chapter 5.2.1. 33. 10.

(29) 1985, an exhibition entitled Elias Holl and the City Hall in Augsburg (Elias Holl und das Augsburger Rathaus) was organized.36 The accompanying catalog represents a milestone for the research on Holl. For the first time, scholars such as Erik Forssman and Hanno-Walter Kruft examined the influence from the architectural treatises of the Italian Cinquecento as important sources of inspiration besides architectural practice. 37 Consequently, the illustrations of Serlio’s Tutte l’Opere d’Architettura (Venice 1584) were considered as particularly stimulating for the Neue Bau.38 As in the recent decade architectural theory of the Italian Cinquecento was generally acknowledged as an important source of Holl’s style, scholars put a strong focus on the study of the literature on architecture known in the architect’s time.39 More recently, Julian Jachmann discussed the significance of the architectural orders and their representative meaning in Holl’s œuvre in general and at the Neue Bau in particular. Jachmann’s point of departure is the renovatio of Augsburg during the early seventeenth century; it is against this background that the author also evaluated Holl’s application of orders and the significance of the Perlachplatz as the most important and most noble site of the city.40. 36. Wolfram Baer, Hanno-Walter Kruft and Bernd Roeck (eds), Elias Holl und das Augsburger Rathaus, Regensburg 1985. 37 Erik Forssman, “Architekturtheorie im Zeitalter Elias Holls,” in: Baer, Kruft and Roeck (as note 36), pp. 7-20; Hanno-Walter Kruft, “Vorbilder für die Architecktur von Elias Holl,” in: Baer, Kruft and Roeck (as note 36), pp. 20-28. In the same year, 1985, Kruft published a second article focussing on Holl’s theoretical manuscript, the Book of Geometry and Measurement (Das Geometrie- und Meßbuch), which was written after 1620. Kruft identified similarities between Holl’s text and Serlio’s and Vignola’s treatises. The study proves that architectural treatises are major sources for Holl’s knowledge on the Italian Renaissance architecture. Hanno-Walter Kruft and Andres-René Lepik, “Das Geometrie- und Meßbuch von Elias Holl,” in: Architectura. Zeitschrift für Geschichte der Baukunst 15, 1985, pp. 1-13. 38 For relationship between Serlio’s illustrations and the Neue Bau, see below chapter 5.2.3; Kruft (as note 37), p. 22. 39 Julian Jachmann, Die Kunst des Augsburger Rates 1588–1631. Kommunale Räume als Medium von Herrschaft und Erinnerung, Berlin 2008, pp. 90-91; Renate Miller-Gruber, Elias Holl. Der geniale Augsburger Baumeister der Renaissance, Augsburg 2010, pp. 56-57; Elisabeth WünscheWerdehausen and Klaus Kratzsch, Italien in Bayern. Kunst und Künstler, Lindenberg im Allgäu 2010, p. 43. Bernd Roeck, “Kulturtransfer zwischen Bayern und Italien in der Renaissance,” in: Rainhard Riepentinger [et al.] (eds), Bayern – Italien. Die Geschichte einer intensiven Beziehung, Stuttgart 2010, pp. 28-37, here pp. 32-33. 40 Jachmann (as note 39), p. 86. 11.

(30) Based on the reviews of past studies, the influences of the Italian Cinquecento architecture on Holl’s buildings are already accepted by the scholars, though either his style or the design of the Neue Bau has not yet been sufficiently researched. The previous studies are, mostly, only focused on the identification of probable prototypes of the Neue Bau without giving the reasons, meanings of Holl’s reception of the Italian architecture and his adoption of these modern motifs into his own architectural designs. These aspects should be more emphasized in the further studies.. 12.

(31) 3. Elias Holl and High Renaissance Architecture in Italy The architectural language of the Italian High Renaissance is a predominant element of Holl’s buildings, which indicates not only his acquaintance with sixteenth-century Italian architecture, but also a confidence in applying the new repertoire from the South. Holl’s Italian-inspired architecture is primarily acquired by the intensive learning of the Renaissance architectures from two sources: the built Italian architectures visited during his Venetian travel in late 1600 and study of Cinquecento architectural treatises available in Augsburg.. 3.1 Holl’s Journey to Venice (1600–01) The journey to Venice, which between November 1600 and January 1601 Holl undertook, was an important chance for him to study Cinquecento architecture in situ.41 The trip was sponsored by the merchant Anton Garb (1557–1616), for whom Holl had completed a family palace in the city center of Augsburg (Haus Garb, now Maximilianstraße 79) just one year before, in 1599.42 According to the Hauschronik a traveling party, composed of twelve people on horseback, 43 left the city on 18. 41. According to Renate Miller-Gruber, in ca. 1590 Holl had already received a chance to accompany Georg Fugger, a member of the important merchant family in Augsburg, for his traveling to Venice. The invitation was finally refused by Elias’s father, Hans Holl (1512–94), a mason of Augsburg. However, Miller-Gruber does not give the reasons for the rejection. Renate Miller-Gruber, Elias Holl. Der Geniale Augsburger Baumeister der Renaissance, Augsburg 2010, pp. 36-37; Eva-Maria Seng, “Elias Holl,” in: Killy Literaturlexikon, vol. 5:Har – Hug, Berlin 22009, p. 558. For Holl’s Venetian tour, see Christian Meyer (ed.), Die Hauschronik der Famile Holl (1487–1646), insbesondere die Lebensaufzeichnungen des Elias Holl, Baumeisters der Stadt Augsburg, Munich 1910, p. 42; Bernd Roeck, Elias Holl. Architekt einer europäischen Stadt, Regensburg 1985, pp. 66-67. 42 Bernd Roeck, “Venice and Germany: Commercial Contacts and Intellectual Inspiration,” in: Bernard Aikema and Beverly Louise Brown (eds), Renaissance and the North. Crosscurrents in the Time of Dürer, Bellini and Tizian, exhibition catalog, Venice, Palazzo Grassi, 5 September 1999–January 2000, London 1999, p. 53. For Haus Garb, see Julius Baum, Die Bauwerke des Elias Holl, Straßburg 1908, pp. 33-34, cat. D 284; Roeck 1985 (as note 41), pp. 62-63; Miller-Gruber (as note 41), pp. 30-32. 43 Holl’s other fellow travelers, most probably also merchants like Garb, are unknown. Lionello Puppi, “Elias Holl und Italien,” in: Wolfram Baer, Hanno-Walter Kruft and Bernd Roeck (eds), Elias Holl und das Augsburger Rathaus, Regensburg 1985, pp. 30-31. 13.

(32) November 1600. They reached Bolzano (Bozen) towards Saint Andrew’s feast (30 November) and arrived at the lagoon city five days later.44 In Venice, Holl and Garb were welcomed by a fellow countryman from Augsburg, the merchant Christoph Helbig45 and hosted in the Fondaco dei Tedeschi.46 They stayed there for nearly two and a half months and returned to Augsburg at the end of January 1601.47 In the Hauschronik, Holl gives a brief account of his experience of the trip: “And [I] beheld all well and [saw] wonderful things in Venice, which were useful for my building” (Und besahe zu Venedig alles wohl und wunderlich Sachen, die mir zu meinem Bau-Werk ferner wohl ersprießlich waren).48 He presumably wrote these sentences years after the trip, a fact that might explain his dry comment. 49 Nevertheless, it reveals his desire to learn from the local monuments, which helps us to understand the meaning of studying the modern Italian architecture among Northern architects at that time and its importance to Holl’s career as an architect. For a young talented architect of that time coming from the north it was necessary in terms of education and artistic promotion to study modern architecture in Italy. What is more, several territorial lords and merchants in Germany were willing to The duration of Holl’s journey to Venice is mentioned in the Hauschronik in the following way: “Mit diesem Hrn. Garben den 18. November 1600 auf den Andreas-Markt nacher Bauzen und nach 5 Tagen von dar mit Herrn Garben selbs zwölf nacher Venedig geritten.” Hauschronik (as note 41), p. 42; Puppi (as note 43), p. 30; Roeck 1985 (as note 41), p. 66; Miller-Gruber (as note 41), p. 32. 45 The welcome reception is described as follows in the Hauschronik: “Geschah mir durch Hrn. Holwig daselbst große Ehre.” Hauschronik (as note 41), p. 42. Holwig could be identified as Christoph Helbig, who was the consul of German merchants at the Fondaco dei Tedeschi since 1598; Henry Simonsfeld, Der Fondaco dei Tedeschi in Venedig und die deutsch-venetianischen Handelsbeziehungen. Eine historische Skizze, Stuttgart 1887, p. 210; Roeck 1985 (as note 41), p. 67; Puppi (as note 43), p. 31. 46 Simona Valeriani, “Behind the Façade: Elias Holl and the Italian Influence on Building Techniques in Augsburg,” in: Architectura. Zeitschrift für Geschichte der Baukunst 38, 2008, p. 103. 47 The return is also briefly recorded in the Hauschronik: “Machte mich also nach diesem auf meine Heimreise und kam durch Gottes Seegen den letzten Januarii 1601 mit guter Gesundheit wieder nacher Haus.” Hauschronik (as note 41), p. 42. 48 Ibid. 49 Based on the textual and narrative structure presented in the writings, Mauer asserted that the chronicle should be written after 1620. Holl himself mentioned in his Book on Geometry and Measurement (Geometrie- und Meßbuch) that he had more time for his writing only after the City Hall was completed (1620). Benedikt Mauer, “Die Hauschronik des Elias Holl – Autobiographie eines Renaissancearchitekten?,” in: Gunter Schweikhart (ed.), Autobiogrphie und Selbstportrait in der Renaissance, Cologne 1998, pp. 194-195. 44. 14.

(33) support their private or court architect, sending him to visit Italy.50 Some of the most distinguished noblemen not only wished to closely cooperate with their architects in order to apply the new Italian style at their building projects thus giving them a more representative appearance, but also to demonstrate their artistic taste as cultivated connoisseurs and patrons of the arts. Holl’s contemporaries Heinrich Schickhardt (1558–1635), court architect at the Duchy of Württemberg, as well as the great Inigo Jones (1573–1652), favorite architect of the British high nobility, for example, reached Italy in a similar way.51 Holl’s brief account articulates his positive judgment of the journey’s significance and results, which were advantageous both for his designs and his career as Stadtwerkmeister. This might be a reason why Holl characterized the experience as “useful” (ersprießlich) instead of giving a detailed description on his sojourn in Venice. As a persuasive evidence of the benefit gaining from the trip, Holl also mentioned that he had received a higher payment from the city than the fixed amount in the contract for erecting the Bäckerzunfthaus, the Baker’s Guild house (1602; demolished after 1945), “because of the elaborate cornices in Italian style on this [building]” (wegen der mühsamen Gesims, so auf welsche Manier daran).52 Most scholars interpret his Venetian tour as a decisive prerequisite of his appointment as 50. Simon Paulus, Deutsche Architektenreisen. Zwischen Renaissance und Moderne, Petersberg 2011, pp. 19-20. 51 Between 1598 and 1600, Schickhardt undertook two journeys to Italy, which were supported by Duke Friedrich of Württemberg (1553–1608). Nearly at the same time, that was between 1598 and 1603, Inigo Jones also went to Italy as a courier of Lord Roos, and with the Earl of Arundel, Thomas Howard (1585–1646), between 1613 to 1614. Paulus (as note 50), pp. 22-26; John Harris, “Heidelberg, Holl, Jones und das serlianische Zwischenspiel,” in: Baer, Kruft and Roeck (as note 43), pp. 118-121; Christy Anderson, Inigo Jones and the Classical Tradition, New York 2007, pp. 35-36. 52 The Bäckerzunfthaus was a four-storied building. Its façade and side were characterized by pilasters in superposition above a rusticated basement. According to the building contract, to which he alludes in the chronicle, the city government promised Holl in the project beginning to grant 1,750 florin as reward for his work. While the administrative leader of the city’s office for architectural affairs (Baumeister) was satisfied with using the modern Italian on its façades, they later offered 250 florin extra to Holl as honorarium. Hauschronik (as note 41), pp. 44-45. For the Bäckerzunfthaus, see Baum (as note 42), pp. 45-50; Baer, Kruft and Roeck (as note 43), p. 338; Georg Skalecki, Deutsche Architektur zur Zeit des Dreißigjährigen Krieges. Der Einfluß Italiens auf das deutsche Bauschaffen, Regensburg 1985, p. 67. 15.

(34) Stadtwerkmeister of Augsburg in 1602.53 Since the humanists Octavian Secundus Fugger (1549–1600) and Marcus Welser (1558–1614), both fervent advocates of the Italian culture, obtained the position as Stadtpfleger in 1594 and 1600, the Italian forms entered the stylistic repertoire of the city’s new buildings.54 In the Hauschronik, Holl insinuated that Welser and other gentlemen, probably the leading figures in the city council, had known that he “had recently made a journey to Italy, had visited buildings in Venice and [...] had learned from them.”55 They were obviously satisfied with his experience and promised if Holl had informed him before his returning, Welser would like to send him back to Augsburg in his costs. 56 Based on this description, Miller-Gruber assumed that Holl before his departure might have discussed with his later patron on his role as Stadtwerkmeister. She put forward the hypothesis that the tour could have been financed by the city.57 Due to the lack of a more detailed documentation, it is difficult to reconstruct Holl’s exact route to the South; hence, we can only assume, which buildings he had See also Roeck 1985 (as note 41), p. 68; Dirk Jonkanski, “Oberdeutsche Baumeister in Venedig: Reiserouten und Besichtigungsprogramme,” in: Klaus Bergdolt, Andrew John Martin and Bernd Roeck (eds), Venedig und Oberdeutschland in der Renaissance: Beziehungen zwischen Kunst und Wirtschaft, Sigmaringen 1993, pp. 32-33; Valeriani (as note 46), pp. 99-100; Miller-Gruber (as note 41), p. 37. 54 Fugger was Stadtpfleger from 1594 until his death in 1600. Welser became his successor from 1600 to 1614. It was under Fugger’s leadership that the Italian-style fountains were installed on important sites of the city. Julian Jachmann, Die Kunst des Augsburger Rates 1588-1631. Kommunale Räume als Medium von Herrschaft und Erinnerung, Berlin 2008, pp. 15, 209-210. 55 “Herr Welser meldet auch, meine Herren hetten verstanden dz Ich Kurtzlich eine raise in dz welschlandt gethon hatte, die Gebew zue venedig besichtiget, und außer Zweifel darvon wol waß abgesechen, und erlernet hette, dz habe meine Hrn. Wolgefallen, wann Ich damehlen zuvor bej Meinen Herren vor meinem dahin raisen mich angemeldt hette, wollten sye mich auf Ihren Costen hinein verlegt haben, und anders anerbieten mehr.” Hauschronik (as note 41), p.44, old edition after Roeck 1985 (as note 41), p. 68. 56 Ibid. 57 It is questionable, whether Holl’s tour was really sponsored by the city. However, his close acquaintance both with the Fugger and Welser family was an important factor for this young architect’s appointment to the Stadtwerkmeister immediately after his return to Augsburg. Elias’s father, Hans Holl, was the house architect of the Fuggers, while the Garb family had a matrimonial relationship with the Welsers. Like Miller-Gruber’s assumption it is possible that Holl’s journey to Venice might become a prerequisite for his career as city’s architect. Miller-Gruber (as note 41), p. 37. For the Garb family in Augsburg, see Reinhard Hildebrandt (ed.), Quellen und Regesten zn den Augsburger Handelshäsern Paler und Rehlinger 1539–1642, vol. 2: 1624–1642, Wiesbaden 2004, p. 144; Mark Häberlein, “Garb. Kaufmannsfamilie,” in: Augsburg Stadtlexikon Online, http://www.stadtlexikon-augsburg.de/index.php?id=114&tx_ttnews[swords]=garb&tx_tt news [tt_ news]=3862&tx_ttnews[backPid]=115&cHash=5394371ae2 (accessed on 4 August 2014). 53. 16.

(35) visited during the journey. It has to be taken into account that the architect was invited by the merchant Garb. Since the early fourteenth century the Via Claudia Augusta (fig. 3), the ancient Roman business and military route connecting the southern German territories with northern Italy, was frequently taken by businessmen from Augsburg.58 It is probable that Holl’s group followed this way, which the merchants among them certainly knew. Starting from the area of Augsburg, the Via Claudia Augusta was composed of two routes.59 The main road went along the Lech to the Tyrolean Alps, going through the Val d’Adige past Bolzano, Trento and Verona to Ostiglia, while an alternative route began in Trento and lead through the Valsugana, turning eastwards after Primolano over the mountains to Feltre, following the Piave valley towards Treviso and finally Venice.60 In the sixteenth century, the journey from Augsburg to Venice normally took eight to ten days on horseback.61 It was possible to travel to Venice along the Roman trade route via Verona, Vicenza and Padua.62 If we, though, take into consideration that the group travelled in winter time and reached Venice from Bolzano in only five days, as Holl reports, he and Garb must have chosen the shortest itinerary. The detour from Trento, following the Val d’Adige to Verona and then turning eastwards to Vicenza and Padua, seems therefore to be out of question. As an experienced businessman and leader of the touring group Garb must have chosen the most familiar. Reinhard Stauber, “Bayern und Italien – Aspekte ihrer Beziehungen in der Neuzeit,” in: Rainhard Riepentinger [et al.] (eds), Bayern–Italien. Die Geschichte einer intensiven Beziehung, Stuttgart 2010, p. 38; Bernd Roeck, Elias Holl. Ein Architekt der Renaissance, Regensburg 2004, p. 14; Roeck 1999 (as note 42), p. 48. 59 The Via Claudia Augusta was built under the Roman Emperor Claudius (10 BC–AD 54) for securing the military control over Roman provinces Rhaetia and Noricum. See “Claudische Straße,” in: Brockhaus Enzyklopädie, vol. 4, Wiesbaden 1968, p. 78; Michael Rathmann, “Via Claudia Augusta,” in: Hubert Cancik [et al.] (eds), Der Neue Pauly. Brill Online, http://referenceworks.brill online.com/entries/der-neue-pauly/via-claudia-augusta-e12203180 (accessed on 5 August 2014). 60 In the Roman antiquity, this alternative route starting from Trento was merely reached to Altino on the Adriatic Sea. Brockhaus Enzyklopädie (as note 59), p. 78; Simonsfeld (as note 45), p. 97. 61 Simonsfeld (as note 45), p. 102; Roeck 1999 (as note 42), p. 48. 62 The German architect Heinrich Schickhardt, for instance, had traveled along this route on his return from Rome to Stuttgart. Paulus (as note 50), p. 26. 58. 17.