Seckau basilica

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Outer courtyard of the abbey and towers of the Seckau basilica
Towers of the basilica at night
Basilica of the Assumption - Interior view after the renovation in 2017.

The Basilica Seckau (Basilica of the Assumption of Mary) is the abbey church of the Benedictine abbey Seckau and parish church of the market town of Seckau in the deanery of Knittelfeld in Styria . It was the cathedral church of Styria from the foundation of the Salzburg suffragan diocese Seckau in 1218 until the bishopric was moved to Graz in 1782 . In 1930 it became the fourth church in Austria and the second church in Styria , after the Basilica of Mariazell (1907), the Sacred Heart Basilica in Hall in Tirol (1914) and the Basilica Maria Rotunda (Dominican Church ) in Vienna (1927) bestowed the title of papal minor basilica .

The floor plan of the Romanesque church , built from Seckau sandstone, shows an elongated, three-aisled interior with three apses in the east. A Romanesque wooden crucifixion group hovers above the high altar in a suspension combined with oak beams and iron chains. The Habsburg mausoleum in the front left aisle is one of the early Baroque main works of the Graz court. The Gnadenkapelle contains the Seckau miraculous image , the oldest miraculous image in Austria, which dates from around 1200: according to legend, the founder of the Seckau Abbey, Adalram von Waldeck, found this relief made of jade-like stone in a tree and built the church at this point. The alabaster relief was probably created in a Venetian workshop based on the Byzantine model of Nicopoia . A contemporary addition is the Engelkapelle , in which Herbert Boeckl 1952-1960 in his Seckau Apocalypse depicts themes from the Revelation of John in fresco technique .

history

Early baroque memorial plaque for the inauguration of the basilica (September 16, 1164) in the vestibule (with the incorrect name given to Hermann instead of Hartmann von Brixen)
Floor plan of the 19th century basilica, changed through renovations in 1891–1893
Interior of the basilica after the renovation in 2017: View of the chancel: Habsburg mausoleum, monk choir and high altar with Romanesque crucifixion group

The first provost of the abbey, Wernher von Galler, began in 1143 under the influence of Archbishop Konrad I of Salzburg with the construction of a three-aisled basilica, which was completed in 1164. On September 16, 1164, Bishop Hartmann von Brixen consecrated the Romanesque church. At the instigation of Pope Honorius III. and Archbishop Eberhard II of Salzburg , the Salzburg Suffragan Diocese Seckau was established in 1218. The collegiate church now also became a cathedral church (which is why it is still called the cathedral in the mountains today). With the abolition of the original canons of Seckau by Emperor Joseph II , the seat of the diocese was moved to Graz, and the church lost its status as a cathedral. In 1930 the church was elevated to a papal minor basilica .

Today's sacred building consists of different construction phases. The original south tower, built in the 12th century, was much older than the north tower from 1333. The vestibule of the basilica dates from the first half of the 13th century. In the 14th and 15th centuries, the aisles were vaulted. The vaulting of the central nave with a star rib vault took place around 1480/1500.

Between 1671 and 1677 the Romanesque basilica was partially redesigned in Baroque style. It was directed by builder Peter Franz Carlone . The far-reaching plans to completely redesign the interior of the church were never carried out. The basilica was given a baroque tower facade. The high altar and some side altars were built during this time. In 1886 the baroque north tower collapsed. In the same year the south tower was demolished before both towers and the west facade were rebuilt from 1891 to 1893. At the same time, the basilica was extended by an extension according to the plans of the Benedictine priest Pirmin Camani and under the direction of the Viennese cathedral builder Freiherr Friedrich von Schmidt . Between 1884 and 1900 the interior was restored and the baroque west gallery and the baroque altars were removed . In 1964 the architect Clemens Holzmeister redesigned the chancel.

Like the Romanesque core, the neo-Romanesque conversions of the 19th century are made of Seckau sandstone or clad with sandstone like the tower facade. The basilica originally had no transept and was similar in shape to the collegiate church of St. Peter in Salzburg . The eastern end was formed by three apses, which were moved further back during the renovation in 1891/93. A large altar and choir area was created. The renovations created a spacious monk area. The basilica is used as a parish and a monk's church.

A comprehensive interior renovation of the basilica, a backup, purification and desalination (disenfranchisement) of the sandstone of the Church or the Habsburg mausoleum, the new installation of the church floor, replacing the broken glass windows , the combined inventory and a new lighting and sound equipment included , at the beginning of the diocesan jubilee 800 years of the Diocese of Graz-Seckau was concluded on the 1st Sunday of Advent 2017 with the celebration of a pontifical ministry and the associated blessing by the Styrian diocesan bishop Wilhelm Krautwaschl .

Building description

Exterior construction

Neo-Romanesque towers of the basilica

The three- aisled basilica has a neo-Romanesque double tower facade.

On May 26, 1886, the Romanesque, baroque north tower collapsed. The baroque south tower was demolished from November 17th to the end of March 1887 due to dilapidation. Between 1891 and 1893 two neo-Romanesque towers with tent roofs were built using the material from the broken towers (height: 47.50 m). The papal tiara and the imperial crown were placed on the towers again. The crowns with the names 'Jesus' and 'Maria' as well as the tower buttons come from the baroque towers and were made by Matthias Schandernell from Augsburg (according to an invoice from the cathedral provost Maximilian von Gleispach from September 24, 1671). The largely original Gothic vestibule between the two towers was renovated. In 1986, Brother Bernward Schmid created the impressive church door from chased metal, which leads into the church vestibule and whose wings show themes from the New and Old Testament. An arched window illuminates the small vestibule halfway up with an arched frieze and a serrated band above. The interior, original church portal has a tympanum relief depicting the Virgin Mary with child (around 1260). It was moved to this location in 1964. The original Romanesque fittings were reused on the renewed door leaf.

The west facade and towers were redesigned in baroque style by Peter Franz Carlone from 1671 to 1677 and rebuilt from 1891 to 1893 in neo-Romanesque form. An exterior renovation of the two towers took place in summer 2019.

inner space

Romanesque portal to the main room of the basilica with tympanum relief of Our Lady Mary with child

The original Romanesque wooden ceilings of the ships were destroyed in the fire in 1259. The current vault of the side aisles dates from the 14th and 15th centuries, that of the main nave from the period between 1480 and 1500. In 1892, two additional bays with a neo-Romanesque wooden coffered ceiling were added to the east of the church .

lobby

Romanesque lion in the vestibule
Main nave of the basilica after the renovation in 2017, view from the organ

The vestibule is an almost square room from the 13th century with a cross vault . To the left and right of the main portal of the church are two Romanesque lions made of limestone. From 1893 to 1964 they stood on pedestals in front of the outside staircase. To protect them from the weather, they were moved to the vestibule in 1964 on the occasion of the 800th anniversary of the church's consecration.

Main room

The main nave is separated from the side aisles by a series of columns and pillars in the Saxon column change (1-2-1) with round arches. Columns, octagonal pillars, rectangular pillars and semicircular pillars alternate. One pillar is provided with reliefs. Another feature is the different capitals . The naves , which were formerly equipped with flat wooden ceilings, were given brick vaults, the aisles in the 14th century ribbed vaults , the central nave in the late Gothic (15th century) a ribbed vault resting on consoles. This is one of the most beautiful in Styria . Some keystones have coats of arms.

Furnishing

Romanesque crucifixion group

Romanesque crucifixion group in the high altar area of ​​the basilica redesigned by Clemens Holzmeister in 1964

The Romanesque crucifixion group in Seckau is one of the few rood screen groups that have survived in Austria. The three figures depict Christ crucified as the central figure and Mary and John as assisting figures on the side. Originally, the figures were on the stone rood screen, which was set up in Seckau approximately in the middle of the church. The current compilation was made around 1200. The three figures date from the middle of the 12th century. After 1200 the Seckauer Kreuz was created and replaced the first crucifix for unknown reasons. Before that, the Gaal crucifix , which is now kept in the Tyrolean State Museum in Innsbruck, was the central figure. The new figure is a three-nail type . Christ is only held on the cross by three nails, the impression of suffering and transience is emphasized by the expressive S-shape of the body. The face in its noble, pain-free execution and the absence of wounds emphasize the hope of resurrection.

Habsburg mausoleum

Access to the Habsburg mausoleum with access to the crypt lying in the ground
Habsburg mausoleum, cenotaph
Reclining figures of Archduke Charles II and his wife Archduchess Maria Anna of Bavaria on cenotaph
Habsburg mausoleum, view to the altar
Putti on cenotaph holding the coat of arms of Charles II, front (view from the entrance)
Putti on cenotaph hold the Wittelsbach coat of arms , reverse side

The mausoleum, a room in the basilica, is dedicated to the memory of Archduke Charles II of Inner Austria (1540–1590). His remains are not in the cenotaph , but in the crypt below, along with eight other members of the Habsburg family.

The mausoleum is considered to be an early Baroque main work of the Graz court. Along with the Ehrenhausen mausoleum and the mausoleum for Emperor Ferdinand II in Graz, it is one of the three large mausoleums in Styria from the age of the Counter Reformation.

The memorial is located in two of the front bays of the left aisle. It was built by Northern Italian masters between 1587 and 1611/12. Alessandro de Verda was in charge of construction from 1592 to 1597 . Sebastian Carlone completed the mausoleum from 1597 to 1611/12. White marble - it is dominant among other colors -, gilded bronze, wrought iron, stucco and painting have a special effect.

Charles II is buried in a tin coffin belonging to the tin caster Ulrich Perner . He was buried in the crypt on October 31, 1590.

The room is five steps higher than the church interior and is separated from the church interior by a so-called “barrier architecture” created by De Verda . The barrier architecture consists of a base zone, openwork marble fields and narrow marble pilasters with figural relief fields in which gold-plated brass columns are integrated. The entrance is marked with a coat of arms and a group of crosses. The gilded wrought iron grille (1604) comes from Sebastian Schreinlechner . In the groin vault there is stucco from 1605/06 by Sebastian Carlone . In the vaulted areas are wall paintings with various motifs. The altar table is dated 1598. The furnishings include some paintings. The floor consists of three different colored marble types. The marble cenotaph of De Verda, the archduke's memorial, is on the window wall. There is an armored reclining figure of Charles II and a reclining figure of his wife, Archduchess Maria Anna of Bavaria . Four angels hold the cenotaph with their hands. On the front walls are coats of arms of Charles II and the Wittelsbach family held by putti .

Buried people

Surname Born Died Buried note
Ferdinand July 15, 1572 July 31, 1572 August 1, 1572 Son of Karl II. And Maria Anna
Karl July 17, 1579 May 7 (or 17), 1580 July 10, 1580 Son of Karl II. And Maria Anna
Elisabeth March 13, 1577 January 29, 1586 ?? Daughter of Karl II. And Maria Anna
Charles II June 3, 1540 July 10, 1590 October 31, 1590 Archduke of Austria
Katharina Renata 4th January 1576 June 29, 1595 June 29, 1595 Daughter of Karl II. And Maria Anna
Gregoria Maximiliane 1581 1597 ?? Daughter of Karl II. And Maria Anna
Maximilian Ernst November 17, 1583 February 18, 1616 ?? Son of Karl II. And Maria Anna
Christine 1601 1601 ?? Daughter of Ferdinand II.
Karl May 25, 1603 May 25, 1603 May 25, 1604 Ferdinand II's son (half an hour old) buried here 1 year after his death

South Tower Chapel

South tower chapel, Altar of the sacrifice of Mary, Our Lady with Child (1488)

The south tower chapel is located in the south facade tower. It has a groin vault and, since 1950, has contained the parts of the sacrificial altar that were not damaged by the war , which originally stood in the central nave of the basilica. Next to it there is a stone canteen with tracery, Marian monogram and banners by the stonemason Markus Male, dated "1486". On the cafeteria there is a larger than life wooden statue of the Mother of God seated on a throne with child, dated “1488” on the back. The carved, baroque canopy dates from the 1st half of the 18th century.

organ

In 1500, the organ builder Hans Prunner from Sankt Veit an der Triesting completed a large organ with two manuals and a pedal . With its painted double doors it resembled a Gothic winged altar . The prospectus of the main work was divided into seven, that of the Rückpositiv into three fields. In the 16th, 17th and 18th centuries, various alterations and changes were made. In the Baroque era, the crowning keel arches and pinnacles were replaced by lush acanthus veils, and in 1778 the Rückpositiv was completely renewed by Franz Xaver Schwarz . The organ with 19 stops remained in this form  until it was demolished in 1886. The spectacular case was graphically documented in the 19th century by the English organ builder and draftsman Arthur Georg Hill , the case of the main work is stored in the Universalmuseum Joanneum and has been preserved, it is waiting to be re-erected. In the year the tower collapsed, Martin Schlimbach installed the first choir organ with 24 registers in the south apse. It was changed over to the south pore in 1897 and removed in 1998. In 1902, Matthäus Mauracher built a second choir organ with 18 registers and in 1907 created a two-manual main organ on the west gallery. A planned new organ by Rieger Orgelbau with 76 stops on five manuals was not carried out due to the Second World War. Since most of the registers of the two organs were sent to Jägerndorf for revision in 1938, the instruments were only playable to a very limited extent after the end of the war. In the choir organ built by Dreher and Reinisch in 1949, the five-manual console by Rieger from 1940 was used from 1957 to 1998 . Most of its 22 registers came from the two organ ruins.

Walcker organ, including three Pranckher death shields (west wall of the basilica)
Walcker organ

Since 1959, the collegiate church has had a unique “neo-baroque” organ with 41 stops, based on the sound concept of the north German organ landscape , built by Orgelbau Walcker -Mayer with the branch in Guntramsdorf . In accordance with the work principle , the various parts of the organ are set up in separate cases. The simple cabinet housing is three-axis in the two advanced plants and five-axis in the main plant. The rectangular side towers are elevated in the manual works and are connected by a trapezoidal central field in the two positives. The positive gospel left in front of the arch can be played from the first manual, the positive epistle front right from the second manual. The main work with a horizontal trumpet above the console is flanked by two free-standing pedal towers. In Seckau, Austria's first purely mechanical slide organ was built after 1945 with three manuals. Among other things, she gained national and international fame through organ competitions and world premieres of works by György Ligeti . The Seckau cathedral organ was last restored by the builder company in 2003 and can be heard regularly at Sunday services.

I positive C-g 3
Dumped 8th'
Quintatön 8th'
Prefix 4 ′
Reed flute 4 ′
Nasard 2 23
Octave 2 ′
third 1 35
Sif flute 1'
Scharff V 1'
Krummhorn 8th'
II Swell C – g 3
Double flute 8th'
Prefix 4 ′
Pointed flute 4 ′
Schwiegel 2 ′
Fifth 1 13
Mixture V 2 ′
Terzcymbel III 12
Rankett 16 ′
Rohrschalmei 8th'
III Hauptwerk C – g 3
Quintatön 16 ′
Principal 8th'
Reed flute 8th'
Willow pipe 8th'
Octave 4 ′
Night horn 4 ′
Octave 2 ′
recorder 2 ′
Mixture VI 1 13
Cimbel IV 12
bassoon 16 ′
Trumpet 8th'
Pedals C – f 1
Principal 16 ′
Sub-bass 16 ′
Octave bass 8th'
Thought bass 8th'
Octave bass 4 ′
Gemshorn 4 ′
Pipe whistle 2 ′
Mixture V 2 23
trombone 16 ′
Trumpet 4 ′

Bells

history

Data overview of former bells

No.
 
Surname
 
Casting year
 
Caster
 
Ø
(mm)
Weight
(kg)
Nominal
 
Inscription
original (translation)
1 Paul 1723 Franz Weier 1410 1700 d 1 “Dum audis hanc campanam tundi, Pro Paulo praeside fac preces fundi.”
(“When you hear this bell ring , for Paul the provost, you should say prayers.”)
“To God's honor I flowed - Franz Weier in Graz poured me in 1723. "
2 Heart of jesus 1924 Johann Graßmayer ? 1350 it 1 "Sanctissimo et amantissimo Cordi Jesu parochia grata Seccoviensis post belli tristes vicissitudines denuo dd anno Domini 1924."
3 Heart of jesus 1894 Perner bell foundry 1300 1290 it 1 "+ Sanctissimo et amantissimo Cordi JESU parochia grata Seccoviensis d. d. + S. P. Benedicte o. p. n. anno Domini 1894. "
4th John Baptist 1932 Johann Graßmayer ? 1000 f 1 “Vox clamantis in deserto, ready by viam Domini. Barbara Lang, Virgo quondam missionaria me fieri fecit. "
5 St. Ildephons 1906 Bartholomew Chiappiani ? 452 a 1
6th children 1932 Johann Graßmayer ? 400 b 1 "Sinite parvulos venire ad me." ("Let the children come to me.")
7th Augustine 1443 Hans Mitter 815 350 c 2 "O rex glorie Christe, veni nobis cum pace."
("O King of glory, Christ, come to us in peace.")
"Sancta Maria ora pro nobis." ("Holy Mary pray for us.")
"M + cccc + xliii. "(" 1443 ")
8th St. Joseph 1892 ? ? 100 f sharp 2

Present chime

Bell "Annuntiata" (1438, south tower)
Bell "St. Jakobus "(approx. 1260, north tower)

The basilica has a six-part bell with the tone sequence c 1 -d 1 -e 1 -g 1 -a 1 -c 2 . The oldest bell is called St. James. It dates from around 1260. The heaviest bell is called Annuntiata and was cast in Seckau in 1438. It weighs 4560 kg, making it the fourth largest bell in Styria. When the north tower collapsed in 1886, it survived its fall from a height of more than 40 meters without being damaged. The remaining four bells were purchased in 1950.

Data overview

No.
 
Surname
 
Casting year
 
Caster
 
Ø
(mm)
Weight
(kg)
Nominal
 
Inscription
original (translation)
1 Annuntiata 1438 Hans Mitter 1855 4560 c 1 “O rex glorie veni cum pace” (“O king of glory come with peace”)
“maria mater gratie mater misericordie tu nos ab hoste protege in hora mortis suscipe”
(“Mary, mother of grace, mother of mercy, you protect us before the enemy, receive us in the hour of death ”)
“ an (n) od (omi) ni m ccccxxxviii jar amen. ”(“ In the year of the Lord 1438 Amen. ”)
“ MISSVS EST GABRIEL ANGELVS ... ET DISCESSIT AB EA "
(" The angel Gabriel was sent ... and he parted from her ")
2 St. Benedict 1950 Bell foundry St. Florian 1390 1640 d 1 "OPERI DEI NIHIL PRESENTATION. ALLELUJA PAX ALLELUJA SANCTO BENEDICTO ABBATI DUCI ET MAGISTRO NOSTRO MONACHI SECCOVIENSES JUBILANTES 547-1947 SECKAU ANNO SANCTO 1950. "
3 St. Michael 1950 Bell foundry St. Florian 1240 1210 e 1 “SIGNIFER SANCTE MICHAEL DEFENDE POPULUM TUUM IN PROELIO. AMEN. PRO PATRIA MORTUIS. SECKAU ANNO SANCTO 1950 "
(" Standard bearer holy Michael defend your people in battle. Amen. Those who fell for the fatherland. Seckau in the holy year 1950 ")
4th St. James circa 1260 unknown 1100 about 700 g 1 "+ .AYOS.AYOS.AYOS.SC-S.SC-S.SC-S.AL-LA + IN NO-IE.DN-I.NR.I. IH-V +. "
5 St. John the Baptist 1950 Bell foundry St. Florian 930 494 a 1 "S. JOANNES BAPTISTA PARA DOMINO PLEBEM PERFECTAM. AMEN. SECKAU ANNO SANCTO 1950. "(" Saint John the Baptist make the people ready for the Lord. Amen. Seckau in the holy year 1950. ")
6th St. Augustine 1950 Bell foundry St. Florian 780 305 c 2 “FAC NOS SEMPER CANTANDO DEUM AMARE, AUGUSTINE. SECKAU ANNO SANCTO 1950. "

Attached chapels

Choir chapel

Choir chapel with mercy seat

The former Lourdes Chapel, today the choir chapel, is part of the monastery hall of worship. It has a groin vault that rests on two rectangular pillars. The wall painting shows the mercy seat (1908) by Martin Matousch . The furnishings of the choir chapel include the wooden altar and the choir stalls from the late 20th century, made in the in-house joinery.

Angel chapel

Angel chapel, fresco "Seckauer Apocalypse" by Herbert Boeckl, 1952–1960: altar wall (north wall)

The former Kreuzkapelle, now the Engelkapelle, was built after the Seckau tower fall, during which part of the monastery complex was destroyed. The hall, built in the former inner courtyard in 1893, houses the cycle of frescoes from the “Seckau Apocalypse”. Created by the artist Herbert Boeckl from 1952 to 1960 , the scene from the Revelation of John is one of the most important works of sacred art in Austria after 1945. The fresco cycle is considered the most extensive within modern monumental painting. The rest of the furnishings (altar table, cross, candlestick, door) were also made according to Boeckl's designs.

The artist began work on the Seckau Apocalypse (1952/53) in the Angel Chapel with the design of the northern altar wall. In 1954 Boeckl continued work on the east wall; this was not completed until 1958 after numerous changes. Boeckl's main painting was completed in 1960, after eight years of work, with the frescoing of the west wall. Two years after completing the work on the fresco, the angel chapel, including the gate and interior, was finally completed.

Boeckl interprets the Revelation of John very independently. The central theme, however, remains guilt and atonement. The lamb can be seen in the center of the altar wall. As a leaping lamb it symbolizes the victory of faith and the hope of resurrection. It is surrounded by angels and the four apocalyptic beings. Guilt is thematized in small depictions ( Cain and Abel , the head of the Baptist , Veronica's handkerchief ). The east wall addresses the end of the world. The center is the white woman (faith, the church, Mary) who is threatened by the dragon, but above her paradise is already opening. Human suffering is reconnected to salvation through a representation of Christ's suffering. The south wall shows the Last Judgment . Saints can be seen on the west wall.

Picture gallery of the angel chapel

Chapel of Mercy

Chapel of Grace, redesign 2005
Image of grace of the Mother of God with child , around 1200

Built in 1885, the Chapel of Grace, originally known as the Sacrament Chapel, consists of a room with a rectangular floor plan and a wooden coffered ceiling. The center of the altar wall in Beuron style is the image of grace (a small alabaster relief with Mary and Child ( Nicopoia ), from Veneto, around 1200), framed by Brother Bernward Schmid (1920–2010) in 1953 . Br. Bernward placed the small alabaster figure in a mandorla-shaped frame, under the figure the root of Jesse grows . The ceiling is made in coffers, seven rays symbolize the seven gifts of the Holy Spirit. Mary appears to be sitting in an apse, with columns accentuating the room. Above the figure there is a Latin slogan: AVE SPES MEA IESVS ET VIRGO MARIA (literally translated: Greetings, hope mine, Jesus and Virgin Mary ; known in the phrase: Greetings, you hope mine, Jesus and Mary pure. ) - That is the motto of Provost Dürnberger, the great art patron of the late Gothic. The metalwork is silver-plated and gold-plated and decorated with gemstones.

The larger than life crucifix on the western side of the chapel is from the middle of the 14th century. The remains of the Gothic stained glass in the east window show four scenes from the Albanus legend (around 1420) and an angel of the Annunciation. In 2005 the Gnadenkapelle was completely redesigned by the artist Adolf Bachler . Original windows from the 19th century were reopened and the walls were largely white. The two windows above the image of grace symbolize the Father (blue-yellow: the light that lives in heaven.) And the Son (red and blue: the one who connects God and man.). Below is the Holy Spirit. The altar made of Aflenz sandstone consists of three stones - the upper one is designed like a nativity scene (birth), the other two stones are reminiscent of the outstretched arms of the Lord on the cross (death). The Gothic cross and the altar recall the sacrifice of the cross and thus the central theme of the celebration of the Eucharist.

Some gravestones with relief figures are embedded in the side walls. The table contains the respective wall, names and titles of the deceased, the year of death and additions to the gravestones.

wall Surname date of death additive
west Bishop Friedrich von Perneck † 1414 heavily damaged incised figure
west Bishop Georg Lembucher † 1446
west Bishop Georg Agricola † 1584
west Provost Johannes Dürnberger † 1510
west Provost Andreas Ennsthaler † 1480
east Dean Georg Hubener † 1609
east Bishop Johann Markus von Altringen † 1664 with coat of arms stone
south Bishop Rudolf Josef Count Thun † 1702 with coat of arms stone and emblems

Episcopal Chapel

Episcopal Chapel
Coronation altar of the Virgin Mary
Epitaph for Bishop Martin Brenner
Coronation of Mary with the later forbidden representation of the Trinity as a figure with three heads and two arms (detail)

The bishop's chapel was consecrated before 1181 as the Romanesque St. Margarethen chapel originally belonging to the women's choir. In the 14th century there was an (early Gothic) renovation; around 1424 it was called the Barbarakapelle. In 1595, Bishop Martin Brenner designated the chapel as the burial place of the diocesan bishops of Seckau. Today it is the only surviving component that served the Augustinian choir women. The door leading into the church today comes from a renovation in the 20th century. The chapel was not accessible from the church - access was only possible from the former women's monastery.

The chapel has two bays with a ribbed vault on consoles and round keystones. The pointed arch windows are in the vault area; its panes are from 1885. At the end of the choir, where the Romanesque wheel window was walled in until 1950 (today on the west wall), a Romanesque keystone ( seraph ) from the Ulrich von Liechtenstein chapel, which was demolished in 1840 , adorns the masonry. The baroque wrought iron grilles by Philipp Gritsch around 1720 originally come from the chapter house and were moved here during a restoration in 1890. On the walls there is a series of frescoes (around 1595) with half-length portraits of the 33 bishops up to Martin Brenner.

The Gothic altar of the Coronation of Mary occupies a special position within the art of that time in the Austro-South German region . It was originally a trinity altar . Consecrated in 1489, it once stood in the middle of the church on the high choir, the place of prayer for the canons, and since 1950 in the bishop's chapel. The special thing about the completely openwork altar is not only its shape: neither shrine nor wings are present. A dual tire encloses the representation of the crowning Mary in the circular-shaped middle part through the Holy Trinity, here a not untypical in the Gothic style representation of the Trinity ; it depicts a body with two arms and legs on which three heads are enthroned. The representation of the Trinity as a figure with three heads - or with a three-faced head (tricephalus) - was later rejected by the church authorities as incompatible with the faith. B. by the prohibition of the depiction of the Tricephalus by Pope Urban VIII. 1628. Smaller figures crowned with canopies are placed in the spaces between the double hoop, which symbolize members of the family tree of Christ. The predella of the altar, adorned with a depiction of Anna herself and the kneeling donor, is dated 1507 on the back. The unknown creator of the sacred work of art is probably a master close to the art of the Brixen carver Hans Klocker .

Other features of the Gothic, created around 1439 brass chandeliers, a space created around 1580 include Balusterfuß with leaf ornament and provost coat of arms of Alexander de Verda , further the existing white marble epitaph for Bishop Martin Brenner, which as a high relief in a full-length figure is decorated with official costume.

Bishops of the Diocese of Seckau.

literature

  • Norbert Allmer: Seckau. In: Floridus Röhrig (ed.): The former monasteries of the Augustinian Canons in Austria and South Tyrol. Mayer, Klosterneuburg 2005, ISBN 3-902177-22-5 , pp. 503-556. (= Austrian Canons' Book).
  • Herbert Boeckl : The Apocalypse. The frescoes in the angel chapel of the Seckau Abbey. Introduction by Werner Hofmann. Text selection by Gernot Eder. Edition Christian Brandstätter, Vienna 1983.
  • Rudolf Flotzinger : Seckau. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
  • Otmar Heinz: Early Baroque organs in Styria . On the genesis of a southern German-Austrian type of instrument from the 17th century. Vienna / Münster 2012 (Research on the historical regional studies of Styria, published by the Historical Commission for Styria , Volume 53), ISBN 978-3-643-50232-2 .
  • Rudolf List : Styrian Church Leader. Volume 2: Oberland . Styria, Graz / Vienna / Cologne 1979, ISBN 3-222-11008-5 , pp. 210-218.
  • Benno Roth : Seckau, the cathedral in the mountains. Art topography from the 12th to the 20th century Styria, Graz / Vienna / Cologne 1984, ISBN 3-222-11313-0 .
  • Benno Roth: Seckau, the cathedral in the mountains . Styria, Graz 1995, ISBN 3-222-11313-0 . (Reprint of 1984 edition)
  • Benno Roth: Seckau, history and culture 1164–1964. For the 800th anniversary of the consecration of the basilica . Herold, Munich / Vienna 1964.
  • Benno Roth: Benedictine Abbey Seckau . Schnell & Steiner, Munich / Zurich 1965.
  • Benno Roth: Seckau Benedictine Abbey . Schnell & Steiner, Munich / Zurich 1976. (3rd edition)
  • Othmar Stary, Wim van der Kallen: For the life of the world. Meditations on the crucifixion group from Seckau with a cultural-historical contribution on the depiction of the crucifixion and explanations of the Seckau cross sequence . St. Gabriel, Mödling / Vienna 1985, ISBN 3-85264-248-5 .
  • Kurt Woisetschläger, Peter Krenn: DEHIO Steiermark (excluding Graz) . Schroll, Vienna 1982, ISBN 3-7031-0532-1 , p. 510-517 .
  • Othmar Stary: Benedictine Abbey Seckau (with photos by Father Severin Schneider and Christian Jungwirth), 43 pages. Self-published by Benedictine Abbey Seckau, Seckau 1999, ISBN 3-901500-03-0 .
  • Between the moment and eternity. A stroll through the Benedictine abbey of Seckau . Text: Rosemarie Eichwalder, photos: P. Severin Schneider, Christian Jungwirth. Edited by the Seckau Benedictine Abbey. Self-published by Benedictine Abbey Seckau, Seckau 2000, ISBN 3-901500-03-0 .

Web links

Commons : Basilika Seckau  - Collection of pictures, videos and audio files

Individual evidence

  1. a b Martin Bitschnau , Hannes Obermair : Tiroler Urkundenbuch, II. Department: The documents on the history of the Inn, Eisack and Pustertal valleys. Vol. 2: 1140-1200 . Universitätsverlag Wagner, Innsbruck 2012, ISBN 978-3-7030-0485-8 , p. 170-171 no. 603 .
  2. ^ Benno Roth: Seckau. The cathedral in the mountains . Styria, Graz 1995, ISBN 3-222-11313-0 .
  3. ^ K. Woisetschläger, P. Krenn: Dehio Steiermark (without Graz). P. 511.
  4. ^ K. Woisetschläger, P. Krenn: Dehio Steiermark (without Graz). P. 511f.
  5. a b K. Woisetschläger, P. Krenn: Dehio Steiermark (excluding Graz). P. 512.
  6. Church renovation. In: abtei-seckau.at. Retrieved February 28, 2019 .
  7. ^ Benno Roth: Benedictine Abbey Seckau . Schnell & Steiner, Munich / Zurich 1965, p. 11.
  8. ^ Benno Roth: Seckau. The cathedral in the mountains. P. 83.
  9. ^ Benno Roth: Seckau. The cathedral in the mountains p. 129ff.
  10. Horst Schweigert : Das Mausoleum Kaiser Ferdinand II. ( Online ), accessed January 11, 2015
  11. a b K. Woisetschläger, P. Krenn: Dehio Steiermark (excluding Graz). P. 514.
  12. Entry on Sebastian Carlone, Seckau Abbey on Artisti Italiani in Austria , a project of the University of Innsbruck , accessed on April 5, 2014.
  13. ^ Benno Roth: Seckau: History and Culture, 1164–1964 . for the 800th anniversary of the consecration of the basilica. Herold, Vienna-Munich 1964, p. 275 .
  14. ^ Benno Roth: Seckau: History and Culture, 1164–1964 . for the 800th anniversary of the consecration of the basilica. Herold, Vienna-Munich 1964, p. 204 .
  15. a b K. Woisetschläger, P. Krenn: Dehio Steiermark (excluding Graz). P. 516.
  16. Gottfried Allmer: Organ Moving Seckau. (= Publication of the Principal Association of Organ Friends of Southeast Austria 2 ). P. 3 ( online , PDF file; 339 kB), accessed on April 30, 2014.
  17. ^ Otmar Heinz: Early baroque organs in Styria. On the genesis of a southern German-Austrian type of instrument from the 17th century. Vienna / Münster 2012, pp. 43 and 94.
  18. Gottfried Allmer: Organ Moving Seckau. (= Publication by the Principal Association of Organ Friends of Southeast Austria 2 ), pp. 17, 20 f. ( online , PDF file; 339 kB), accessed April 30, 2014.
  19. Gottfried Allmer: Organ Moving Seckau. (= Publication of the Principal Association of Organ Friends Southeast Austria 2 ), p. 24 ( online , PDF file; 339 kB), accessed on April 30, 2014.
  20. Othmar Stary / Wim van der Kallen: The Seckauer Apocalypse by Herbert Boeckl , Graz 1989, p. 5.
  21. ^ Rudolf List: Art and Artists in Styria. P. 896. (Volume 3)
  22. Rosemarie Eichwalder: Between Moment and Eternity. Seckau 2000, p. 70 ff.
  23. Homepage of the Seckau Abbey, page about the Seckau image of grace ( memento from April 18, 2014 in the Internet Archive ), accessed on April 22, 2014.
  24. ^ Benno Roth: The cathedral in the mountains. Seckau, p. 255.
  25. a b c d e f K. Woisetschläger, P. Krenn: Dehio Steiermark (excluding Graz). P. 515.
  26. Abbot Johannes Gartner: The Chapel of Grace. Booklet Seckau, 15th year / No. 60 - 4/05, p. 15 ff.
  27. For the description described see also: Johannes Rauchberger: 1 + 1 + 1 = 1 TRINITY - A repiled narrative carpet for the exhibition , section Objections ( Memento from August 18, 2012 in the Internet Archive ): “In the Baroque - under Pope Urban VIII and later under Benedict XIV - but it was also banned for the first time: The representation of a man with three heads, which is an art-historical gem in the bishop's chapel in Seckau, is inappropriate for the representation of the Trinity. The so-called "three-face" also gets on the index of the magisterial image control. "

Coordinates: 47 ° 16 '26 "  N , 14 ° 47' 10"  E