art of the eighties of the 14th Century, Sborník k šedesáti-
nám profesora dra V. Richtera 1961, p. 217; the same
author, České gotické sochařství 1350—1450, Prague 1962,
pp. 68—69. With respect to sculpture in the Týn Church
the year 1390 represents according to Prof. Kutal the
15 According to R. Krautheimer (Lorenzo Ghiberti,
Princeton 1956, p. 55) the portais originated in 1365—
1375. A. Feulner (Geschichte der deutschen Plastik,
München 1953, p. 212) gives for the gate of singers the
date 1375 and for the bishop’s gate approximately 1380.
E. Garger (Die Reliefs an den Fürstenthoren des Step-
hansdom, Wien 1926, p. 42/ fixes as the latest possible
date of origin the eighties of the 14th Century. H. Tietze
suggests in his topography (1. c., 159 sq.) for the tympa-
num of the Singerthor the year 1400. The dating of these
portais is, naturally, a décisive factor in an attempt to
explain the building process of the navě. W. Bucho-
wiecki (Die gotischen Kirchen Oesterreichs, Wien 1952,
p. 2541 assumes that at least a prospective design of the
south ducal portal must have existed before 1365, and
from this assumption he further concludes that the
peripheral walls must have attained by that time such
a height as to accommodate jambs.
16 W. Buchowiecki, 1. c., 137.
17 Der Wiener Stephansdom, 1. c., 209 sq.
l’a L. c., 243.
18 L. c„ 254.
19 L. c., 252.
20 On May 15th, 1417 St. Catherine’s altar is recorded,
placed under the new tower. (Zu der von dessen
(Jeronim Geuchramereen) Perchtold dem Geukramer
auf sand Kathrein altar under dem neun turn dacz
sand Steffan gestifteten Messe . . . Quellen Wien II/2,
reg. 2063). The date considered, it is evident that
the project in question is St. Catherine’s Chapel, com-
pletely finished, the apse including in which the altar
was situated, for at that time the definite building of the
tower was taking place under Peter of Prachatice.
Valuable is another record of the same year, which locates
this altar under the new tower in St. Stephen’s church-
yard (gelegen under dem neun türm auf sand Steffans
Freithof — Quellen II/2, reg. 2065). The background
of this formulation is the repeated localization of St. Cathe
rine’s Chapel in the churchyard, traceable since the 13th
cent, (in 1287; in 1361: sand Kathrein .chapellen darin
gelegen in sand Stephans friedhof; in 1380: sand Kathrein
Kappellen aud Sand Stephans friedhof). The same St.
Catherine’s altar, erected by Perchtold Geuchramer in
1348 stood at that time near the Apostles’ portal (auf
Sand Kathrein altar bei der zwelfpoten tuer, den ich
selben gestift han und gepaut han — Camesina, Reg.
11). The situation near the portal of the south Minster
choir may be identical with the later location “of the
tower in the churchyard”, and it is quite probable that
this St. Catherine’s altar had been put up in an older
chapel consecrated to the same saint. In 1396 an altar
of St. Catherine in St. Stephen’s is alluded to (auf sand
Kathrein altar dasz Sand Stephan ze Wien — Quellen
III/2, reg. 2305) and in the same year a mention is made
of St. Catherine’s Chapel being situated in the Minster.
(Gelegen in allerheiligen tumkirchen dasz Sand Stephan—
Quellen II/l, reg. 1350). Owing to the fact that, thanks
to these sources, we can progressively follow the relation
of the altar to the chapel, we may say that all we know
about the 1396 situation is that St. Catherine’s Chapel
was looked upon as somehow affiliated to the Minster.
And finally in 1417, when the Chapel was positively
already part of the Minster, its localization was again
the same, námely “auf sand Stephans freithof”. The
available historical records do not fix the locality of the
Chapel and the altar always with the same preciseness,
and I believe that so far it is not necessary to take the
year 1396 for terminus ad quem in reference to the
present lower parts of the tower chapel. As for the sty-
listic classification of the lower parts of the Chapel and
their association with the sixties of the 14th cent, on the
basis of rib supports corresponding with the style of the
west chapels in St. Stephen’s it may be pointed out that
we meet here not only with in-broken shafts but also
with Parlerian friezes of round trifoliated arches attached
to the stringcourse.
21 L. c., 19.
22 After acquiring autoptic knowledge of the situation
in the Vienna Cathédral I should like to return to this
problém, which is of basic significance for reconstructing
the beginnings of Bratislava late Gothic architecture.
23 G. Dehio, Handbuch der d. Kunstdenkmäller II,
Oesterreich 9, 1933, p. 345.
24 W. Buchowiecki, 1. c., 420.
25 W. Buchowiecki, 1. c., 417, tries to establish a
connection between the Franciscan tower and Strassen-
gel, which view may be supplemented with the obser-
vation that the present church tower is not an exact
copy of the original serving as basis for our discussion.
26 Bratislava (1961), 1. c., fig. 103 and H. Tietze,
Geschichte und Beschreibung, 1. c., Fig. 123.
27 L. c., 257; Fig. R. Feuchtmüller, Gothische
Baukunst in Gothik in Oesterreich, Wien 1961.
28 Die Kaschauer Kathedrale, Südostforschungen VIII,
1943, 110 sq.
29 „Olim combusta et de novo per christicolas inibi
commorantes erecta et nondum compléta existât, et pro
consumatione operis huiusmodi et reedificatione et
reparatione ecclesie predicte indigere videatur expensis
non modicum sumptuosis“. Monumenta Vaticana histo-
riam regni Hungarie illustrantia 1/4, Budapest 1889,
30 In the year 1431 the two preserved account-books
were deposited. One municipal register ends with the
year 1446, the other (Registrum creditorum) was carried
down to 1487. Printed by L. Kemény, Kassa vdros régi
számadáskonyvei 1431—1533, Košice 1892.
31 The King contributed with occasional gifts to the
building expenses. We are told in the account-books that
the municipal rémunérations which in accord with the
statute of Košice as a royal town were the King’s concern
represented a significant item in covering the building
expenses. This form of royal allowance is documented