Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (4.1970)

amore dei Artificis primi Michael sed manus ipsum dat
fundamentům porro locando limen Mille CCCC ti IIII
minus sex modo lapsi Cum litera domini prineipiatur ibi
Sed septingenti modo bis sunt bis quoque šeptem cum
datur expleri sic retinete pii . . . J. Löw, 1. c., 19.
108 R. Wagner — Rieger, 1. c., 19.
109 Illustration, J. Löw, 1. c., Fig. 21.
110 In 1392 the foundation stone of the nave was laid,
while work in the south tower could not begin before
1396, since it was only in this year that St. Vojtëch’s
relies were transfered from the locality of the tower to
the east part of the nave just under construction. (V.
Birnbaum, Dějepis (History), I, 1. c. 130.) It is quite
probable that the designs of St. Vitus’ tower were to be
had in the Prague lodge at the time when Václav was
departing for Vienna.
111 Illustration J. Zykan, Der Stephansthurm, 1. c.,
118, Fig. 189. The state of the Hasenburg Chapel prior
to restoration was dealt with by A. Podlaha — K.
Hilbert, Metropolitní chrám sv. Vita (St. Vitus' Ca-
thédral), 1. c., Fig. 103, 104, Tab. VIII.
112 J. Löw, 1. c., Fig. 5.
113 Closely related rest motifs, held in rectangular
frames are made use of by the ornamental fillings of the
spandrels in St. Steven’s Chapel in Westminster Palace
in London, dated from the 2nd quarter of the 14th
Century. G. Webb, Architecture in Britain, The Middle
Ages, Harmondsworth (Pélican History of Art), 1956,
134, Fig. 130/b.
114 Taking for granted that the ornamentations under
the Windows are conceived as variable details, we may
admit that the background of the present treatment
might hâve actually been the first Chnab’s design of
Maria am Gestade, submitted to Liechtenstein in 1394.
115 Illustration M. Váross, 1. c., Fig. 103.
116 Illustration, Gotik in Österreich, Krems 1967, Fig. 79.
117 The simplifîed composition of the Bratislava
treatment consists in its bipartite character when com-
pared to the tripartite gable in St. Stephan’s. The tracery
of the triangulär frames in Bratislava miss the flame -
like motifs.
118 On the analogies of the cupola-shaped roofing see
F. V. Fischer, Die spätgotische Kirchenbaukunst ,\. c., 47.
119 Item Meister Lorentz Spenning, Werkmeister des
Baues zu Sant Steffen zu Wien, dem gehört zu: Lampach,
Styren, Werckhusen, Ungern aus und die Donau abhin.
F. Jänner, 1. c. 48.
120 P. Frankl, The Gothic, Literary Sources and In-
terprétations through eight centuries, Princeton 1960,
127 sq.
121 N. Kovács, Anjoukori Ománytár, Budapest 1884,
IV, 33—35.
122 F. Staub, Quellen III/l, 127, No. 800.
123 L. c., 302, No. 1795.
124 In 1467 there is a mention of “Hanns Kanstorfer,
kamergraf auf der Krembnicz und burger zu Wien”,
Quellen II/3, 115, No. 4196.
125 A. Güntherova — J. Mišianik, Illuminierte
Handschriften aus der Slowakei, Bratislava 1962, 25-

Fig. 82—84; G. Schmidt, Neues Material zur österrei,
chischen Buchmalerei in slowakischen Handschriften,
ÖZKD 1964, 37.
126 “Andre von der Chremnicz 7 y2 eilen phosten per
2 gr.” K. Uhlirz, Die Rechnungen, 1. c. I, 4, dated 12.
1. 1404. From the information contained in the first
entry concerning Andrew of Kremnica in the Cathedra!
accounts it cannot be direetly concluded how extensively
he had worked prior to this date in the lodge. On the basis
of the wages put down to his name we feel induced to
believe that he certainly was not classified as a beginner.
And as for the sequence of the stonemasons’ names in the
list, it appears to be more a matter of chance than of any
artistic or social hierarchy.
127 L. c. II, 517; Urkunden und Regesten aus dem
Archive der k. k. Reichshaupt- und Residenzstadt Wien
I, Jahrbuch der kunsthist. Sammlungen XVI, 1895.CV sq.
128 Cf. O. Brunner, Die geschichtliche Stellung der
Städte Krems und Stein. Krems und Stein, Festschrift
zum 950 jähr. Stadt jubileum, 1948, 38.
129 “Andre von der Chremnicz 1 Capital und 1 pogen-
stuekch pro 19 gr. 2 dn.” K. Uhlirz, 1. c., I, 19. Cf. the
description of the Querfurt lodge ordinance: “So ein
Gesell were, der zuvor umb das Handtwerk genugsam
gedient hatte, und wollte ferner einem Meister umb
Kunst, als ausszugen, Steinwerg, Laubwerg oder Bildnüss
dinen, so soll derselbige auffs wenigste zwey Jahre darumb
lernen.” F. Jänner, 1. c., 152.
130 Shortly antedated account of 1403/04 mentions
two stonemasons of the same Christian name —• Andre
von der Kremnicz and Andre Ruelandt. Since we are
free to choose, let us adhéré to the spécification introdu-
ced by Uhlirz. The same holds good for the year 1415.
(K. Uhlirz, Die Rechnungen I, 1. c., 61 sq.
131 On the stonemason family of Kremsers see F.
Dworschak, Krems, Stein und Göttweig in der Kunst
des Ausgehenden Mittelalters. Krems und Stein, Fest-
schrift, 1. c., 180 sq.
132 On November 6th 1421 Catharina, wife of the
Vienna citizen Andreas Chremnitzer sold her vineyard
to a Viennese citizen Niclas Chrombser and his wife
Margaret, while the mediator of the transaction was an
official of the Klosterneuburg économie administration.
A. Mayer, Quellen 1/4, Vienna 1901, 128, No. 4038.
133 The year 1468 may be taken into considération as
a not very probable “terminus ad quem” for his death,
that is as far as Andre Krembnitzer is still documented
to be a “weilent mitburger zu Wien”. That same year
Dorothe, former wife of the goldsmith Andre Krem-
nitzer, authorized her husband Zeisslmaurer to seil
a house situated “am alten Kolmarkt ze Wien”, which
she had inherited by virtue of Kremnitzer’s bequest
entered in the town register. The first question to be
answered is whether goldsmith Andre Kremnitzer is
identical with the stonemason of the same name. If we
conceived his character in the spirit of Renaissance, as
that of an artist working along several lines of artistic
production, we might ascribe the identification some
probability. Yet, the allusion may just as well refer to the

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