Ambrosius Petruzzy

Ambrosius Petruzzy (died 1652 in Kaisersteinbruch, Kingdom of Hungary) was an Italian master stonemason and baroque sculptor.

In December 1640, master Francesco Maderno and his wife Maria sold their house with a garden to master Ambrosius and Lucia Petruzzy. Petruzzy had already been a member of the Brotherhood of Stonemasons for a long time, because in the same year of 1640, he led the stonemason's and bricklayer's Viertellade in the imperial stonepit.

In the 1640s, the Vienna mason's lodge energetically demanded that the Kaisersteinbruch masters separate from the Wiener Neustadt guild and turn to the Viennese one, or else they would have big problems with their Viennese appointments. A letter from the Viennese master stonemason to abbot Michael Schnabel of Abbey Heiligenkreuz as the authority in March 1641 says about that: "...the Heiligenkreuz subject, Ambrosius Petruzzy, who was banished from Klosterneuburg, has now established a factory in front of the Carinthia gate...

The following masters were members of both the Viennese lodge and the Kaisersteinbruch brotherhood at the same time. In the records for November 1644, the fees for Viennese master stonemasons, as well as for journeymen, for the levy of the Neue Kayserliche Freyheiten (New Imperial Liberties) were established: 45 Kreuzer for a master, 15 Kreuzer for a journeyman. Thus it follow that:

In March 1643, Petruzzy wrote a petition to the abbot: "...the administrator desires 20 Gulden in interest for my small stonepit annually, ... other subjects, who have far larger stonepits, have to pay no more than 2 Gulden 30 Kreuzer..." The abbot decided that he would have to pay 15 Reichstaler every year or to give him a nice doorframe (which amounted to half).

In May 1644, the Viennese lodge decided in the conflict between the masters Ambrosius Petruzzy and Antonius Purisol, both of Kaisersteinbruch, that only master Petruzzy should remain in the stonemason works of St. Michael's Church. Henceforward, one master would not be permitted to have two works, nor would two masters be allowed in one work.

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