monung von euch nye kain antwort briefleych oder
anderlay geschehen ist. Geschriben auf der Cremnicz am
nechsten freytag vor Gregorii anno domini etc. XLVII
mo. Lodowicus plebanus in Kremnicia vester ad omnia
beneplacita. The municipal archive in Bratislava, No.
2195.
48 Fürther financial source sprang up in 1457, when
a town councillor Claus Lemel bestowed upon the parish
church one half of his baths as a donation. Nu hab ich
Claus Lemel dy padstuben suff gebn der Kirchn dy helft
czu unser liben frawn pfarr kirchn auf der Kremnicz
und by ander helft czu der pruderschaft corporis christi...
Archiv Kremnica I, 19, 1, 15/16.
49 The year, which was mentioned by M. Matunák,
1. c., 308, cannot be verified at present because the building
was covered with plaster.
50 L. Šašky, Kremnica. Pamiatky a múzeá (Monu-
ments and muséums) V, 1956, 57.
51 V. Buchowiecki, Die Gotischen Kirchen Österreichs,
Wien 1952, 295, Fig. 83. Important stylistic features are
the presence of curved ribs (cf. St. Margaret’s Chapel
in St. Peter’s in Salzburg, 1485) and also the occurrence
of pairs of figures, whose iconography is not quite clear;
the figures are attached to the ribs in the termination of
the chancel on the level of the tasde-charges.
52 The projected works of the 3rd stage were accom-
plished in the eighties of the 15th Century — according
to preserved data between 1485—1489.
53 W. Buchowiecki, Die gotischen Kirchen, 1. c.,
217; H. Sedlmayr, Die Entstehung der Kathedrale,
Zürich 1950, 445. If the double-nave plan is substantiated
for this early period in Imbach on the basis of the vaulting
shafts supported by corbels, some doubts may be ex-
pressed with reference to the original form of the axial
piers, and above all to the relation of the vaults to these
piers, as the vanishing of the ribs by penetrating the
piers implies a much more advanced development than
the late Cistercian resting of vaults on the cylindrical
shafts next to the walls. Yet, the octogonal form of the
supports of the sacral space was used in the Danubian
area, the Lilienfeld choir to begin with, and as for the
direct pénétration of ribs into the octogonal pier, this
significant progressive feature can be identified in the
capitular hall in Stein, which belongs to the second stage
in the building of the Minorité architectural complex
about 1300. (R. K. Donin, Die Bettelordenskirchen in
Österreich, Baden 1935, 124, Fig. 176). The early appli-
cation of the double-nave type to the design of the
Dominican Church in Imbach is sometimes interpreted
as an influence of the French Dominican architecture,
particularly of the Jacobine Church in Toulouse. In
Toulouse the double-nave conception was explainable
as the outcome of the desire to adapt the twin-naved
monasterial spaces to sacral use (R. Rey, L'art gothique
du Midi de la France, Paris 1934, 51 sq.), and it manifes-
ted itself in 1230 already (E. Lambert, L'eglise et le
couvent des Jacobins de Toulouse et Varchitecture domini-
caine en France. Bulletin monumental CIV, 1946, 168,
M. Prin, Annales du Midi LXVII, 1957). We may admit

that it was the South-French influence which might hâve
contributed also in the Danubian area towards creating
conditions favourable for an altogether new formulation
of the relation between the vault and its support, similar
to that which is found in Imbach. Even though the above
conception cannot be denoted as particularly typical
of the French Gothic art before the 15th Century, while
it was only towards the close of the Gothic period that
it gained a wider base in ecclesiatical architecture (cf.
R. de Lasteyrie, L'architecture religieuse en France
á l'epoque gothique I, Paris 1927, 290 sq.; H. Focillon,
Art d'Occident; the title of the English translation The
art of the West II, London 1963, 146 sq.), architectural
schools in the south of the Romance Europe were favour-
ing this method since the late Romanesque era. By way
of example we may point out the Cistercian monasterial
hall in Silvanés (Aveyron), dated back to 1151—1171,
which is quite a unique and very early instance (M.
Aubert, L'architecture cistercienne en France II, Paris
1943, 78, Fig. 390).
54 W. Buchowiecki, Die gotische Kirchen, 1. c., 100.
55 Apart from the Danubian area we find these curved
shafts in the choir of the parish church in Klatovy in
West Bohemia, which piece of architecture belongs to the
same chronological set. F. Vaněk —- K. Hostaš,
Politický okres klatovský (Thepolitical district of Klatovy).
Soupis památek v Cechách VII, Prague 1899; V. Mencl,
Czech Architecture of the Luxemburg Period, Prague
1955, 44, Fig. 142, 143.
56 Cf. H. Tietze, Geschichte und Beschreibung des
St. Stephansdomes in Wien, Vienna 1931, 190, Fig. 142.
57 The triangular half-stellar vaults in Austria erected
before the arrivai of the Parlerians can be found in the
choirs in Pöllauberg (3rd quarter of the 14th Century)
and in St. Lambrecht (the eighties of the 14th Century).
58 It might be quite useful to carry out a comparative
study of the twin-naved western parts of the church in
Pöllauberg. R. Wagner — Rieger, Architektur, in Gotik
in Österreich, Krems an der Donau, 1967, 342.
59 The financial subsidy granted in 1380 by Peter of
Rožmberg to meet the expenditure connected with the
vaulting of the Augustinián Church in Třeboň V. Birn-
baum (History of the Fine Arts in Bohemia I, Prague
1931, 136) associâtes with the double-nave vaulting of
the church. There are numerous indications in favour
of the assumption that the prototype of composition
may have originated in St. Vitus’ Lodge. Cf. V. Mencl,
Czech architecture, 1. c., 27; E. Bachmann, Petr Parier,
Kitzingen 1952, 15 sq.
60 This treatment in our areas can finally be recognized
as continuation of the 13th Century traditions (the
arcades separating the nave from the aisles in the Cis-
tercian-nunnery Church in Tišnov).
61 Illustration in V. Mencl, Czech architecture, 1. c.,
Fig. 77.
62 The West-European Gothic architecture, University
lectures in Brno.
63 On the work of master Michael: R. K. Donin,
Der Wiener Stephansdom als refstes WerÄ; bodenstündiger

140