As a former collegiate church, the Roman Catholic Mondsee basilica is structurally connected to the former Mondsee monastery in the market town of Mondsee in the Vöcklabruck district in Upper Austria . The church, consecrated to St. Michael the Archangel , is a parish church of the Frankenmarkt dean's office in the Linz diocese . Pope John Paul II elevated the church to a minor basilica in 2005 . The church building, along with the entire complex of the former monastery, is a listed building .
A Romanesque collegiate church was built under Abbot Rudbert (1072–1115) and consecrated in 1104. The Romanesque church was probably a three-aisled basilica with a choir crypt and probably had two west towers added later. Destruction and fire took place in the 13th and 14th centuries;
The Gothic church building that is preserved today was built under Abbot Benedict II. Eck von Piburg (1463–1499) from 1470 onwards. The Marienkapelle was consecrated in 1477, the main church with the high altar was consecrated in 1487, and further altars were consecrated in 1497. In 1493, Hanns Lenngdörffer, probably from Burghausen, was named as the master builder of the later construction period.
After 1600, the aisles in front of the choir were subdivided. Around 1670 the installation of the wooden gallery. Around 1674 further alterations were made, such as the removal of the rood screen and the closure of the pointed arched windows between the church choir and the library.
The towers and the facade were expanded after 1730, probably based on a design by Josef Munggenast with Antonio Salla; the portal is marked with 1737.
After a fire (1774) the church roof was rebuilt and new helmets were put on the towers.
In 1953 the windows of the southern upper wall of the central nave were reopened.
The basilica served as the backdrop in the final sequence for the film Sound of Music , although the actual wedding took place in a church in Salzburg.
The remarkable three-aisled staggered church with a basilica tendency has a long antechamber and an elevated choir. The Gothic building forms show the influence of the Braunau and Burghauser Bauschule. The four-bay nave has ribbed vaults in the central nave with the Wechselberger figuration , in the side aisles with a bent row. In the west bay there is a wooden gallery from 1670 through all three naves. The four bay antechamber has the same height and width as the central nave and a ribbed vault as in the central nave. On both sides of the vestibule - but wider than the aisles of the nave - are four-bay groin-vaulted chapels, which are connected to the vestibule with arched openings. Above the northern St. Peter's Chapel is a ribbed vaulted prayer choir, and above the southern St. Mary's Chapel is a gallery from the 17th century. The high choir, which is the same width as the fore choir and is raised by 14 steps, has two bays and net rib vaults and closes with a three-eighths closure. Under the high choir is a 15th century crypt. To the north of the choir is the sacristy, originally a Marienkapelle, also with two bays with a three-eighth closure, which is why the exterior of the church gives the impression of a two-choir church. The sacristy, vaulted with mesh ribs, has powerful buttresses, which are pierced like a gangway. Above the sacristy is the former ribbed vaulted library with access via a spiral staircase in a choir pillar. The buttresses of the basilica are largely retracted, the windows partly with old tracery. The richly profiled pointed and keel-arched sacristy portal around 1487 with stonemason's mark is particularly remarkable. Above, in canopy niches, seven contemporary late Gothic wooden statues, restored in 1938 and 1958/1959, have been restored. The sacristy door is a masterpiece of late Gothic wrought iron art, the richly openwork key plate and the pull ring are dated 1487. In 1955/1956 the original painting of the sacristy door with red ribbons and green fields was uncovered. The frescoes were uncovered in 1953 and show rich late-Gothic vegetal ornaments in the central nave of the nave. In the vault of the east yoke of the north aisle and on the partition wall to the Petruskapelle are ornamental and figurative frescoes from 1607. The whole church is covered by a mighty broken mansard roof and shows an attractive solution of the east end.
The west facade in its current form after 1730 is not in harmony with the structure of the church and in some cases has no structural connection at all with the nave. The facade is narrower than the nave and is shifted to the north to the longitudinal axis of the church. The towers are essentially medieval, their position allows conclusions to be drawn about the width of the previous Romanesque building. Between the towers there is a concave curved biaxial false facade with a flat triangular gable, the false facade is structured with pilasters, two cornices, window frames and window canopies as well as niches in the facade gable. The attic superstructures and the baroque spiers were probably built after 1774. The portal shows the year 1737. There is a vestibule on the ground floor.
The altars by Meinrad Guggenbichler , which have been preserved in the excellent original version, are particularly noteworthy .
The mighty high altar in black and gold was created by Hans Waldburger (1626). Reliquaries were built around the tabernacle (1757). On the side behind the altar are two oil paintings of St. Benedict and St. Scholastica from the second half of the 17th century. The tomb of Abbot Maurus I. Schaller, who died in 1652, has a marble altar structure and shows an oil painting on copper with a kneeling abbot. The wooden figures of St. Sebastian and St. Rochus (around 1685), which were transferred here from the former plague altar by Meinrad Guggenbichler and restored in 1957.
In the central nave and fore choir are lined up after a tour: A holy water font around 1670/1680. A tombstone for Abbot Chunrad II, died in 1145, an archaic, presumably late medieval replica. The Anna Altar by the sculptor Franz Anton Koch from Tyrol (1742) with a painting by Jakob Zanusi . The Holy Spirit Altar by Guggenbichler (1679–1781), the version by Matthias Wichlhamber, shows the Whitsun altarpiece by the painter CP List. The St. John the Baptist altar by Franz Anton Koch shows an image by Jakob Zanusi (1742). In the passage to the Marienkapelle there is a tombstone for Abbot Chunrad III., Died 1406. Franz Anton Koch created the Josef altar, the painting Jakob Zanusi (1741). The Wolfgang Altar (1679–1681) by Guggenbichler, has a version by Wichlhamber, and shows the painting Miracle of St. Wolfgang von List (1680). The pulpit (1682–1687) by Guggenbichler has statues on the parapet and a statue of the Risen on the sound cover. The Antonius Altar was created by Franz Anton Koch (1742). It shows a painting by Jakob Zanusi (1741).
There are four Roman stones in the church porch, the one to Claudia Praesentian shows two portrait reliefs. There is a stone with four superimposed arches. There is a tombstone for Abbot Johannes Hörmann, who died in 1569.
In the sacristy there is a lavabo from 1652. The sacristy cupboards are from the first half of the 17th century. In the prayer choir there is a late Gothic bench and an abbot. The statue of St. Benedict around 1692 is probably from Guggenbichler's workshop.
In the former library is a local history and church museum with remarkable Gothic lecture poles, with several statues from the Guggenbichler workshop, a painting Annunciation by Ämilian Rösch. Two panel paintings St. Elisabeth and St. Rosalia (around 1600) are probably altarpieces.
Organ and bells
The organ was built by Christoph Egedacher in 1678 , and Meinrad Guggenbichler took over the design of the organ case in 1690 . On May 7, 1857 a new instrument was inaugurated, the Johann Nep. Karl Mauracher from Braunau am Inn had created. Since 1999 the case has contained a work by Alfred Kern & fils .
The four bells in the towers were cast by the Oberascher bell foundry with the strike tone sequence as ° - c '- es' - gb'.
- Mondsee. Former Benedictine monastery. Former Stifts- today parish church hl. Michael. Pp. 200-202. In: The art monuments of Austria. Dehio Upper Austria. By Erwin Hainisch , reworked by Kurt Woisetschläger , prefaces to the 3rd edition (1958) and 4th edition (1960) by Walter Frodl , sixth edition, Verlag Anton Schroll & Co., Vienna 1977.
- Johann Offenberger: Archaeological investigations in the former Benedictine monastery of St. Michael . In: Austrian Journal for Art and Monument Preservation, 42.1988, pp. 82–85.