ABSTRACT
This chapter examines the role of features all’antica, especially on triumphal arches within the representatio maiestatis of the new Holy Roman Emperor, Habsburg Ferdinand I. It became certain after the late 1540s that Ferdinand I would be the next emperor after Charles V. The first significant artwork commissioned by him was the Swiss Gate (1552–1553). The entrance gate of the new wing of the Hofburg, his residence in Vienna, imitated a Roman triumphal arch crowned by a inlaid inscriptions in classical square capitals using all’ antica script made of inlaid metal letters and the coats of arms of the ruler. At the court festivals held in front of the Hofburg (e.g. the ‘Viennese Tournament’ of 1560), the Swiss Gate was altered to an imperial decoration for the events. In addition, the use of ephemeral triumphal arches emerged at festivities during the reign of the new emperor. For instance, various arches were erected at Ferdinand I’s entry into Prague after his proclamation as Emperor (1558); at the entry of his successor, the new king of the Romans, Maximilian II, into Vienna (1563); and at Maximilian II’s coronation as King of Hungary in Pozsony (1563).
