Franciscan Church (Salzburg)
The Roman Catholic Franciscan Church is one of the oldest churches in the old town of Salzburg and belongs to the Franciscan monastery . It stands in the space between Franziskanergasse in the south and Sigmund-Haffner-Gasse in the west. The Franciscan Church consists of two parts: the original Romanesque nave basilica with its ribbed vault and then, in the same width as the nave, a delicate late Gothic choir with star rib vault.
history
The first church “To Our Lady” is probably older than the cathedral of St. Virgil. It was built on an early Christian place of worship. In the first half of the 8th century, under Abbot Bishop Virgil (745–784), the church consecrated to Our Lady with the name “Our Lady” is documented to be restored for the first time. It initially serves as a baptismal and synodal church. Until 1139 it belonged to the Benedictine monks monastery of St. Peter , between 1130 and 1583 it was then the monastery church of the St. Peter's Wives of the Benedictine Sisters, after 1189 it was also the parish church of the city until 1628.
A new consecration of the church in 1223 suggests a new building that was just completed at the time, but today's church is likely to date back to the 12th century in the nave area. This Marienkirche was also largely destroyed in the city fire of 1267. After 1408 a major new building was considered again, which began a few years later under Master Hans von Burghausen and was finished by Stephan Krumenauer after his death in 1432 .
In 1592 Wolf Dietrich von Raitenau handed the church over to the newly called Franciscans as a monastery church. In 1635 the cathedral became the new parish church. For a long time the Romanesque-Gothic style of the church was considered backward and degenerate. Only the "Roman style" (Renaissance and its further development in Baroque and Rococo) were considered aesthetic (the "barbaric" Goths had once defeated the "noble" Romans, only Goethe called for a return to the artistic value of the Gothic). Archbishop Colloredo wanted to have the “unsightly” church torn down completely and to rebuild a “rotunda in Roman Arth” as a court chapel and as a mausoleum for the archbishops. In 1793 Colloredo gave up this plan on the one hand because of inadequacies of construction workers in the demolition of the nearest Dietrichruh of the Salzburg residence and on the other hand for general "economic reasons".
Architecture and equipment
tower
The current tower of the Franciscan Church was built in 1496/98 according to plans by a Nuremberg builder and thus bears features of the Franconian Gothic . In 1670 the Gothic spire was removed. Archbishop Max Gandolf von Kuenburg had considered it improper that the tower of the Franciscan Church was higher than the cathedral. This baroque spire was regotified by Josef Wessicken in 1866/67 .
Bells
In 1999 and 2001, the Grassmayr bell foundry from Innsbruck cast seven bells in addition to the three historic church bells. The ten-part bell hangs in a multi-story wooden bell chair on wooden yokes. The five large bells have a clapper . The large Marienbell is a masterpiece of Gothic bell casting and rings every Friday at 3 p.m. to commemorate the hour of Jesus' death. The little armies bell rings daily after the evening bell and cannot be heard when the bell is full. The two bells from 1468 were welded.
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No. |
Surname |
Casting year |
Caster |
Diameter (mm) |
Mass (kg) |
Strike tone ( GT -16ths) |
| 1 | Maria | 1468 | Jörg Glopptischer | 1,480 | 2,650 | e 1 +3 |
| 2 | Joseph | 1999 | Grassmayr , Innsbruck | 1,160 | 1.012 | f sharp 1 +2 |
| 3 | Assumpta | 1468 | Jörg Glopptischer | 1.010 | 680 | g sharp 1 +2 |
| 4th | Antony | 1999 | Grassmayr, Innsbruck | 810 | 309 | h 1 +2 |
| 5 | Clare | 750 | 248 | c sharp 2 +2 | ||
| 6th | Trinity | 2001 | 640 | 151 | dis 2 +2 | |
| 7th | Francis | 1999 | 605 | 131 | e 2 +2 | |
| 8th | Heart of jesus | 2001 | 550 | 106 | f sharp 2 +2 | |
| 9 | Christmas | 480 | 64 | g sharp 2 +2 | ||
| 10 | Poor souls | 1684 | Johann Nusspicker | 650 | ≈180 | e 2 +2 |
Romanesque nave
The west facade of the Romanesque nave, consecrated in 1223, was redesigned in Baroque style around 1700. The structure of the window openings in the front facade is reminiscent of the facade of the Basilica Santa Maria degli Angeli near Assisi, in which the Portiuncula chapel is located. The depiction of Maria Immaculata on the facade is a copy of the Immakulata by Bartolomé Esteban Murillo in El Escorial from 1660/65. Here Maria is not dressed in red and blue as usual, but in white and blue robes. She stands on a crescent moon, the angels carry symbols of Mary: lilies, roses, palm branches. The Romanesque step portal made of white and red marble is partially preserved on the outer facade. This portal was greatly simplified around 1700 in the course of the Baroque style in the spirit of the times. The tympanum above the portal, which is characteristic of the Romanesque, is missing today, the feet of the pillars have also been lost, so that the pillars look like piles that have been driven in. The hand of the oath, incorporated in the lower right of the portal, has led to many popular interpretations and legends. It may represent a medieval symbol for church asylum or a defense against all evil outside the church.
The outer and inner Romanesque south portal (step portal) with two incorporated figures is also preserved. The grotesque human and animal figures there are also symbolically intended to keep all evil away from the sacred church. The entrance to the Inner Gate is separated by a Gothic arched gate with 19th century garments. Here you can see a vine frieze and two warriors. The figure of Christ is enthroned in the tympanum, surrounded by two saints who hold church buildings in their hands.
Inside there is a tall, narrow three-bay central nave, which is surrounded by six-bay side aisles. This nave emerged from the original late Romanesque basilica. In the central nave there are rectangular ribbed vaults, in the side aisles cross ribbed vaults.
The church is connected to the Franciscan monastery via an old corridor across the Franziskanergasse.
Gothic hall choir
The late Gothic choir is two steps higher than the Romanesque floor level. The dark Romanesque nave forms a charming contrast to the higher, light-filled Gothic hall choir. A neat star rib vault forms the ceiling here. The column capitals are richly decorated with leaves and plant motifs, as well as birds and mythical creatures.
The builder Hans von Burghausen and his journeyman Stephan Krumenauer were immortalized on a pillar of the high choir. The pulpit, built on the southern triumphal arch pillar, dates from the late Gothic period and is made of red marble. A Romanesque figure from the 13th century can be seen at the approach of the stair parapet, which originally served as a column carrier. It shows a lion with threatening eyes and a mighty mane standing over a lying warrior. This warrior thrusts a sword into the lion's body with his right arm. The struggle of man with his wild environment, with hostile powers, or with evil itself is represented symbolically.
In 1606, when the church briefly served as a parish church during the construction of the cathedral, Prince Archbishop Wolf Dietrich von Raitenau had a side oratory built into the first choir yoke , which was given a palace facade in the style of the late Renaissance. Equipped with a gable and basket window grilles, the oratory in the church looks like a small house. Wolf Dietrich had the oratory connected to the residence via a connecting building. The originally free-standing church was thereby connected to the building complex of the old residence .
High altar
The high altar created by Johann Bernhard Fischer von Erlach has stood here since 1709/10 , in which the Madonna and Child from the former Gothic winged altar by Michael Pacher is integrated. The baby Jesus was added by Johann Piger in 1890. This Gothic high altar, once one of the largest and most magnificent of its kind in Central Europe, has only been preserved in parts scattered across Europe. It was created 1495–98. The Madonna with her intimate facial expression, her long, blonde locks of hair and the wrinkled blue coat is considered one of Michael Pacher's most accomplished works.
The baroque high altar has a concave wall structure and is bordered by double columns. The figures of Saints George and Florian are by Simeon Fries . The excerpt shows the figure of God the Father.
In front of the altar is a magnificent, filigree rococo grille, which was created by Thomas Reckseisen in 1790 . Tendrils and angel figurines are incorporated into the lattice. The grille was originally polychromed. The spiral grating on both sides of the altar dates from the 17th century.
Choirs
- The Fatima Chapel is located on the ground floor of the Residence Oratory. The altar of the chapel was made according to a design by Otto Prossinger in 1957. At the edge of the church there are a number of other choir chapels, some of which are provided with old marble tombstones:
- The Karl Borromäus Chapel was donated by Prince Archbishop Markus Sittikus von Hohenems in 1613 . The painted altarpiece shows the assassination attempt on Karl Borromeo .
- The Nativity Chapel was donated by Wolf Dietrich von Raitenau. The altarpiece (1600) is by Francesco Vanni .
- The Rochus Chapel was donated by the city in fulfillment of a vow at the time of the plague and was built around 1625. The altarpiece shows St. Rochus. The ceiling paintings show scenes from the life of the saint as a Francis cycle and are probably made by Theophil Pollak .
- The cruciform chapel dates from 1670. The marble altar is attributed to Hans Asslinger and may have been transferred here from the old cathedral.
- The Joseph Chapel was built in 1704 and also donated by the city and shows a portrait of St. Joseph as an intercessor in the altar sheet. There is also an old view of the city of Salzburg here.
- The Sebastian Chapel (donated by the city) was built around 1625 and shows the torture of St. Sebastian in the altar panel.
- The Anna Chapel from 1679/71 was donated by Archbishop Max Gandolf von Kuenburg and has a stucco altar. The picture of the death of St. Anne in this chapel was painted by Christoph Lederwasch .
- The Franziskuskapelle was donated by Prince Archbishop Johann Ernst von Thun in 1690 and has wall paintings by Johann Michael Rottmayr . The altarpiece with St. Francis as a helper for the poor and sick also comes from the same artist.
Organs
The church has three organs : the Marien-Organ, the Antonius-Organ and the Heilig-Geist-Organ.
The Marien-Organ was built in 1989 by the organ building company Metzler (Dietikon, Switzerland). The slider chest instrument has 49 stops on three manuals and a pedal . The playing and stop actions are mechanical.
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- Coupling: I / II, III / II, I / P, II / P
The Heilig-Geist-Organ was built in 2003 by the organ builder Metzler (Dietikon, Switzerland). The instrument is arranged and voiced in the French-Romantic style . The slider chest instrument has 50 stops on three manuals and pedal. The game actions are mechanical, the stop actions are mechanical and electrical.
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The Antonius organ was built in 2004 by the master organ builder Roland Hitsch. The purely mechanical instrument has eight registers on a manual (covered 8 ′, gamba 8 ′, principal 4 ′, transverse flute 4 ′, doublette 2 ′, cornett II, mixture III) and a pedal (subbass 16 ′).
literature
- Petrus Martyr Haberleitner: The Liebfrauenkirche (so-called parish church) in Salzburg. In: Gregor Reitlechner: Marianisches Salzburg. Kinderfreundeanstalt, Innsbruck 1904, pp. 30–56 (also self-published as a separate text).
Web links
- Franciscan monastery Salzburg
- Archdiocese of Salzburg
- and monastery / Franciscan church Salzburg tour: Franciscan church
proof
- Lieselotte v. Eltz-Hoffmann: The churches of Salzburg . Verlag Anton Pustet, Salzburg 1993, ISBN 3-7025-0308-0 , p. OA
- Bernd Euler, Ronald Gobiet, Horst Huber: Dehio Salzburg - City and Country . Verlag Anton Schroll & Co, Vienna 1986, ISBN 3-7031-0599-2 , p. OA
- Monikas Oberhammer: Pustets monastery guide . Verlag Anton Pustet, Salzburg 1998, ISBN 3-7025-0374-9 , p. OA
- ^ Jörg Wernisch: Bell customer of Austria . Journal-Verlag, Lienz 2006, ISBN 3-902128-10-0 , pp. 789-791.
- ↑ Thomas Weidenholzer; City archive and statistics Salzburg, Gerhard Ammerer (Ed.): Town hall - church - host: public spaces in the city of Salzburg. Issue 26 of the series of publications of the Archive of the City of Salzburg, Archive Salzburg , Verlag Stadtgemeinde Salzburg, 2009 ISBN 978-390021311-4 , p. 104 ( limited preview in Google book search)
- ↑ Beatrix Holzer: Two altarpieces by Francesco Vanni (1563–1610) in Salzburg and Höglwörth. Reflections on their historical background . In: Upper Bavarian Archive . tape 132 , 2008, p. 207-224 .
- ↑ More information about the organs
- ↑ Petrus Martyr Haberleitner . In: Salzburger Nachrichten: Salzburgwiki .
Coordinates: 47 ° 47 '53.4 " N , 13 ° 2' 38.7" E