Bautradition. Zeitschrift des deutschen Vereines für
Kunstwissenschaft X, 1943, 209 sq.; B. Grimschitz,
Hans Puchspaum, Wien 1947; W. Buchowiecki, Die
gotischen Kirchen, 1. c., 256 sq.; R. K. Donin, Meister
Michael Chnab. Zur Kunstgeschichte Österreich, Wien
1951, 202 sq.; J. Zykan, Der Stephansthurm — zu den
Problemen der Instandsetzung und zur Frage der Bau-
geschichte. Österreichische Zeitschrift für Kunst und
Denkmalpflege IX, 1955, 112 sq.; W. Buchowiecki,
Die Wiener Dombauhütte zwischen 1380 und
1430. Der Hochthurm von St. Stephan in Wien, Alte und
moderne Kunst VII (56/57), 1962, 4 sq.; R. Wagner —
Rieger, in Gotik in Österreich, 1. c., 344, 372.
64 “Maister Michel, Maurer von der Neuenstadt,
herzog Albrechts, des eitern, paumeister ze Lachsendorf”
and his wife Anna were selling their house in Vienna.
K. Uhlirz, Quellen II/l, Wien 1898, 30, No. 1303. Besides
the désignation the ducal architect we meet also with
another characterization of Michael, i. e. the mason
from Wiener Neustadt, which occupation, if mentioned
along with the former more représentative title, is to be
interpreted as a tautological formulation, while Wiener
Neustadt and the Habsburg Castle of Laxenburg were
places where Michael worked at the respective time. Even
if the terms “Maurer” (Caementarius) and “Baumeister”
(latomus, lapicida) implied different basic qualification
in the Gothic era they offen become identical as to
meaning, Cf. J. and W. Grimm, Deutsches Wörterbuch
X/II-2, Leipzig 1941, 2128, vol. Steinmetz (sub 3);
example: “Item am freitag nach Corpus Christi da trug
man einen stainmitz oder maurer zum Grabe (1505).
65 B. Grimschitz, Hans Puchspaum, 1. c.
66 R. K. Donin, Der Wiener Stephansdom, 1. c.
67 F. W. Fischer, Die spätgotische Kirchenbaukunst
am Mittelrhein 1410—1520, Heidelberg 1962, 47; R.
Wagner — Rieger, 1. c., 372.
68 A list of further monuments attributed to Chnab
and his architectural school is given by W. Buchowiec-
ki, Die Wiener Dombauhütte, 1. c.
89 “Pro quibus consumandis ex omnibus provinciis
famosus operarios accersivit, quorum omnium Magistrům
tandem in Neoburga — Claustral! comperit virům
mirae industriae in architectonico opere, opibus inopem,
sed ingenio darum: on cuius ingenium omneš latomi ex
imagine ipsius ecclesiae in stuporem verterentur, ut
cogantur profiteri, se non scire istius primi Magistři
ingenii subtilitates in operis déduction© comprehendere”.
Thomae Ebendorferi de Haselbach Chronicon Austriacum
LLV comprehensum, Pez Hieronymus, Scriptores rerum
Austr. veteres ac genuini II, Leipzig 1725, 805 f.
70 Basic interprétation of the text from R. K. Donin,
Der Wiener Stephansdom, 1. c., 241 sq.
71 Cf. M. Zykan, Zur Baugeschichte der Stephans-
kirche in Wien. Gotik in Österreich, Krems 1967, 407.
72 Seyfridus magister operis ad Sanctum Stephanum
vendidit domum loco operis sitam inter Seratores penes
Fridricum Phoderlein seratorem . . . pro 10 talentis
Chunrado Stayerer feria quinta post Dorothee 68. F.
Staub Quellen III/l, Wien 1892, 3, No. 20.

73 Der Wiener Stephansdom, 1. c., 242.
74 K? Uhlirz, Die Rechnungen des Kirchenmeisteramtes
von St. Stephan zu Wien II, Vienna 1902, XIX.
75 Cf. M. Aubert, La construction au moyen age.
Bulletin monumental CXVIII/4, 1960, 247 sq.; F.
Jänner, Die Bauhütten des deutschen Mittelalters, Leipzig
1876, 107 sq. Besides the désignation Magister operis -
the workmaster, which is ušed, let us say, for Peter
Parier of St. Vitus’ Lodge in Prague (J. Neuwirth,
Die Wochenrechnungen und der Betrieb des Prager Dom-
baues, Prague 1890, passim), there exists the function
“Magister operis vel operarum, cui operibus publicis
vacare incumbit” (Maigne d’Armis, Lexicon Manuale
ad scriptores mediae et infimae latinitatis, Paris 1890),
which may be documented in our geographical sphere
in the case of the Cistercian project of Velehrad from a
deed issued by the Archdeacon of Olomouc Radoslav
(before 27. 11. 1228): “Placuit etiam ad rei gestae cor-
roborationem praescripti pacti violatorem pena pecuniaria
V mar cis auri multari, nullo medio inter veniente, que
cedent in usus Magistři operis ad fabricas dicte domus
instaurandas et restaurandas”. G. Friedrich, CDB II,
No. 346.
76 Cf. R. K. Donin, Der Wiener Stephansdom, 1. c.,
243, Note 103.
77 Cf. R. K. Donin, Weg und Entwicklung der goti-
schen Baukunst in Niederösterreich. Zur Kunstgeschichte
Österreichs, 1. c., 165.
78 H. F o ci Hon, The art of the West in the Middle Ages
II, 1. c., 146.
79 The First Gothic choir of the Abbatial Church in
Montiérender of the 2nd half of the 12th Century, in-
troducing into West-European architecture the novelty
of statues with canopies in church inferior (H. Sedl-
mayr, Entstehung der Kathedrale, 1. c., 379; illustration
H. Focillon, 1. c., Tab. 11) opened for further planning
the way for the two main possibilities how to support
a statue — i. e. the situation of the statue on the colonnet-
te capital, which method was in principle adopted in
Vienna by the architect of St. Stephen’s choir, or making
the statue simply rest on a corbel.
80 This curving of the shaft made it possible in the
ducal chapels to introduce greater proportional varia-
bility in the arrangement of the members of the articulated
support.
81 Document in the profane room of the Monastery
in Fontaine — les •—- Blanches (Indre — et — Loire),
illustration in M. Aubert, U architecture cistercienne,
I. c., II, 216, Fig. 559.
82 The chancel of St. James’ Church in Levoča in Spiš
(in the lower parts about 1300 — J. Bureš, Středověké
stavby slovenských mendikantù, (Medieval churches
of the Slovakian Mendicants) dissertation work, Bratisla-
va 1965, 154); “Wallsserkapelle” of the Minoritě Church
in Enns from the early half of the 14th Century.
83 See W. Buchowiecki, Die Wiener Dombauhütte,
1. c., 4; R. Wagner -—- Rieger, 1. c., 344.
84 Illustration in H. Tietze, Geschichte und Beschrei-
bung, 1. c., 253, Fig. 230.

141