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Auf Welsche Manier the Reception of Italian Architecture at the Neue Bau in Augsburg (1614)

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Auf Welsche Manier the Reception of Italian Architecture at the Neue Bau in Augsburg (1614) 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 ii To My family members and Uni-Prof. em. Dr. Dethard von Winterfeld at the Johannes Gutenberg-Universität Mainz iii iv 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 7. Conclusion ............................................................................................................ 103 8. Bibliography ......................................................................................................... 109 Figures ...................................................................................................................... 125 Photographic Credits ................................................................................................ 179 vi 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 re- searched 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 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 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 Johannes- Gutenberg 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. Shai- Shu 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
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