Augustinian Church (Korneuburg)
The Roman Catholic Augustinian Church is a late Baroque hall church in the city center of Korneuburg in Lower Austria at the confluence of Laaer Strasse (B6) and Donau Strasse (B3). It is oriented to the northeast and forms the southeastern front of the former Augustinian monastery.
The church belongs to the dean's office in Korneuburg in the vicariate Unter dem Manhartsberg and according to the decision of the Federal Monuments Office is under monument protection ( list entry ). The Augustinian Church is not a branch church of the Korneuburg parish, it is owned by the Archdiocese of Vienna and has been looked after by the canons of Klosterneuburg Abbey since the end of the 17th century .
Building history
The Augustinerkirche was the monastery church of the former Augustinian monastery and shares its history. The previous building from the 14th century was demolished in 1745 and a new building was erected in its place by 1758 according to plans by the Viennese master builder Johann Enzenhofer . Enzenhofer, who died in 1755, never saw the completion. The interior design took several years to complete, so that the consecration did not take place until 1773. In 1898, as part of a restoration, the tower was built in its current form according to plans by the architect Max Kropf . Another restoration took place in 1927.
In 1945 the church was damaged during fighting in World War II and was restored by 1966.
Building description
Outside
The three-axis facade with a central tower is set back from the adjoining wing of the former monastery. The middle part is structured by double pilasters and rises above a high base zone with plastered fields. Above the main portal is a slender arched window with a roof . In the side parts, at the level of the arched window, there are niches with figures of St. Augustine and his mother, St. Monika .
The middle part of the facade is closed off by a triangular gable, in the gable field of which there is a relief showing a host in the halo of a monstrance flanked by two praying angels.
In the parapet above the triangular gable is an oculus framed by ornamented pilasters . The outer pilasters carry figures of Saints Thomas of Villanova and Nicholas of Tolentino . That of Nikolaus von Tolentino is labeled " Bernhard Schilcher 1758 ".
The parapet is closed off at the side by volutes with crowning decorative vases. The central tower is structured by pilasters and has sound windows with richly cranked beams into which the tower clocks are integrated. Max Kropf changed the original simple closure in 1898 and reworked the sculptures.
The other facade areas are divided by pilaster strips and plastered fields and have high-set arched windows with stone reveal . The keystones of the window arches are in the entablature below the eaves.
A three-storey extension on the left side of the chancel with a richly profiled eaves, in which the access to the sacristy is located, is likely to be the fragment of an extension for the monastery that was not implemented.
Inside
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The spacious 37.70 meters long, 15.80 meters wide and 18.85 meters high nave is divided by double pilasters on pedestals and a richly cranked surrounding entablature. It has two yokes with domed square vaults and double belt arches . The triumphal arch and the gallery arch are fluted, the choir and gallery are slightly drawn in. The gallery is vaulted under a square and has a curved parapet that is stepped several times, the choir is slightly raised with deep niches on the side walls. The oratorios have an aedicular frame and a curved parapet, similar to the gallery with recessed ornamental fields.
Between the columns of the high altar there is a door below the oratorios on either side. The right door is a blind door, through the left one reaches the sacristy behind the choir via the square vaulted corridor to the northwest. The sacristy is a two- bay room with a square vault marked “ 1748 ” and a wide arch. In the rich stucco decoration, frescoes with the monograms of Christ and Mary in angelic glory, which were painted around 1773 by Franz Anton Maulbertsch and later painted over by Josef Zykan, are in profiled frames .
On the narrow side of the sacristy is a lava niche with rich, partially damaged stucco . A bas-relief in the niche depicts the ship with which Saint Monika drove after her son Augustine on the Mediterranean Sea to save him from disbelief (sea legend). To the side of it are relief figures of Saints Augustine and Monika, both in the habit of the Augustinian hermits. The representations are crowned by a trinity group named " FEIP 1756 " .
Furnishing
In a niche on the right side of the choir, opposite the Marien Altar, hangs a painting by Martin Johann Schmidt ( Kremser Schmidt ), which is dated 1779 and depicts the miracle of the portiuncula of St. Francis of Assisi . It illustrates the artist's late style, which tended towards classicism.
The two pictures "Maria Freud" and "Maria Leid" come from the school of Kremser Schmidt, which are attached to the right and left of the incline of the beginning presbytery. Next to it, on the shield walls of the presbytery, facing the nave, hang two small oil paintings from 1752 in rococo frames depicting Saints Thekla and George .
Next to the pulpit hangs a baroque picture of St. Anthony, opposite the pulpit is a large wooden crucifix from the third quarter of the 18th century.
In a glass showcase at the altar of the poor souls is a skull with a painted inscription “ Quando apparebo ante faciem Dei ” (Psalm 41: 3 : When will I appear before God's face).
Under the gallery is a lattice that was made in 1990 according to plans by the Federal Monuments Office. Behind it are copies of the Way of the Cross by Martin von Feuerstein .
pulpit
On the middle pillar of the nave is the rococo pulpit with the inscription “GA Scheffler chamfered here in 1764–20. October ". It is not clear whether Scheffler is the creator of the pulpit or whether he was only involved as a barrel painter . The pulpit does not yet show any features of classicism, the curved staircase with rococo frame structure is richly carved, marbled and gilded. The two reliefs show the sermon of John the Baptist on the back wall of the multi-curved pulpit basket and the twelve-year-old Jesus in the temple on the pulpit parapet. The symbolic figures of faith, hope and love sit on the parapet. The sound cover is crowned by a group of figures of St. Augustine in the habit of the Augustinian hermits in angelic glory.
High altar
The monumental marbled and gilded classical high altar from around 1770 is integrated into the surrounding cornice. Four mighty columns are backed by pillars and pilasters. The front ones are crowned by adoring angels on volutes , the rear ones have a coffered half-dome with a group of figures depicting God the Father in angelic glory. The apex area of the dome arch is covered with rich gilded clouds and an inscription cartouche , which is crowned with the name of God in Hebrew script ( יהוה ), surrounded by a halo.
On the end wall is the large-format altarpiece, one of Maulbertsch's main works, which marks his turn to classicism. It depicts the Last Supper and was painted in 1773. Painted columns continue the column architecture and convey the spatial illusion that the flat choir wall is optically extended to the rear. The tempietto- shaped tabernacle shows the Lamb of God and is flanked by adoring angels.
Side altars
- Mary Altar
In the left niche of the choir is a small altar structure made of stucco marble with double columns, the capitals and candlesticks of which have been modernized. On the altar is a copy of the miraculous image “Black Madonna of St. Thomas ”from the Abbey of St. Thomas in Old Brno . This oil painting in rococo frame was brought to the Augustinian Church in Korneuburg in 1773.
Between the pillars of the nave are four large, uniformly designed side altars from 1764. They have rich stucco marble superstructures with pilasters and columns and are flanked by life-size figures on volute plinths. Your extensions protrude into the surrounding beams. The altars in the first yoke have blown gables with angels, rococo candlesticks and richly ornamented tabernacles. The altarpieces come from Maulbertsch and his workshop, are significantly darker than the high altar image and show an even stronger connection to the Baroque.
- Monika Altar
The altar is in the nave on the left between the choir and the pulpit. The main picture, which was probably made by Felix Ivo Leicher from the Maulbertsch school, shows the Virgin Mary handing over a belt to St. Monika as a sign of the third order of the Augustinian hermits. Saint Andrew is shown in the upper picture . The altar is flanked by statues of Saints Joachim and Anna .
- Plague altar
After the pulpit follows on the left the plague altar with a main image of St. Rochus von Maulbertsch, a top image of St. Rosalia and a tabernacle image of St. Thekla. The altar is flanked by statues of Saints Sebastian and Charles Borromeo .
- Augustine altar
Opposite the Monika altar is this altar on the right side of the nave with St. Augustine von Maulbertsch in the main picture, the Immaculata around the upper picture and the body of Johannes Nepomuk on the tabernacle picture . Flanking figures are statues of Saints Maria Magdalena and Catherine .
- Poor souls altar
Opposite the plague altar is the altar with St. Nicholas of Tolentino painted by Maulbertsch in the main picture and scenes from his life in two small pictures. Statues of Saints Florian and Donatus flank the altar.
sacristy
In the sacristy there are late Baroque confessionals and sacristy cabinets, one of which has a sunken oil painting from the mid-18th century showing the body of Christ weeping by angels. A small console figure of St. Augustine completes the sacristy furnishings.
Several late Baroque paraments are kept in glass cabinets in the vestibule . At the entrance from Laaer Straße (B6) is a late baroque lecture cross from around 1770.
organ
The organ with mechanical action and 17 stops was built by Gregor Hradetzky in 1970 . Their sound corresponds to the soft and delicate prospect in the rococo style . The prospectus, in green, white and gold, is arranged on both sides of the window and, in the same way as the gallery parapet, is richly decorated with decorative vases and putti making music .
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- Coupling : II / I, I / P, II / P
Bells
The tower houses a four-way bell. The big bell was cast by Theresia Scheichel in 1791 and sounds almost like an octave bell. The smallest bell is the oldest and was created by Franz Josef Scheichel in 1763. These two baroque bells are believed to be dedicated to St. Francis and St. Joseph and Anna . The two middle bells, the larger Augustine bell and the smaller St. Mary's bell, which were cast in 1972, come from the bell foundry Rudolf Perner . The four-note chime sounds in the motif “Christ has risen” on the notes g 1 , a 1 , c 2 and d 2 .
literature
Web links
Individual evidence
- ↑ a b c d e f Korneuburg Church Leader on the parish website, accessed on December 18, 2014.
- ↑ a b Dehio Lower Austria north of the Danube 1990. p. 541
- ↑ a b Dehio Lower Austria north of the Danube 1990. p. 542
- ^ Dehio Lower Austria north of the Danube 1990. p. 543
Coordinates: 48 ° 20 ′ 42.7 " N , 16 ° 19 ′ 53.7" E