Sacred Heart Church (Augsburg)
The catholic town parish church Heiligestes Herz Jesu in Augsburg 's Pfersee-Süd district is the largest Art Nouveau church in southern Germany. The church building association was founded in 1892 and the foundation stone was laid in 1907 . The consecration took place on May 29, 1910 by Bishop Maximilian von Lingg .
Herz-Jesu has a neo-Romanesque facade and is built in the inner nave in Art Nouveau style. The church tower is 72 meters high and has a 6.50 meter high cross on it. The three-aisled basilica measures 72 meters in length . The interior attracts nationwide attention because of its outstanding Art Nouveau design. No other sacred building in Germany was furnished in Art Nouveau style so early, so modern and so consistently .
Building history
In the course of industrialization in the second half of the 19th century, the population of the artisan and farming village of Pfersee, grouped around the parish church of St. Michael, multiplied within a very short period of time (approx. 900 inhabitants in 1850, approx. 1850 in 1870, approx. 3400 in 1880, and in 1890) approx. 5300, 1900 approx. 7000, 1910 approx. 11000). Various factors had promoted the rapid settlement of factories: the proximity to the city of Augsburg while being independent from the industrial circles there, cheap labor with craftsmanship experience, the hydropower of the Mühlbach and the connection to Augsburg main station through the local railway. Companies from the textile industry (Spinnerei Weberei Pfersee, JP Bemberg , Dierig), the metal industry (Eberle) and the chemical industry were represented. Since the immensely growing village could not cope with the problems resulting from the sudden increase in population alone, Pfersee was incorporated into Augsburg in 1911. This was the only way to ensure flood protection measures, the laying of drinking water pipes and sewerage, and the construction of a new school building.
Since the pastoral needs had also increased, two additional chaplains were established (1890, 1904). In order to overcome the spatial confinement in the parish church (with 4700 believers, including about 2740 church visitors, the church only accommodated about 700 people), those responsible initially planned to expand the existing church of St. Michael. City pastor Josef Dirr (1870–1893) founded a church building association that was supposed to secure the financing. After he died the following year, it was decided in 1894 under the energetic city pastor Anton Schwab (term of office 1893–1912, died 1927) to build a new building. The following year, a suitable building site was found on Augsburger Strasse, which the Kirchbauverein bought. With great effort an immense sum was collected from this.
The first designs by the Munich architect Johann Marggraff (1830–1917) from 1894 showed a neo-Romanesque three-aisled basilica . On the recommendation of the Benedictine Father Paulus Sauter (1862–1944) from St. Ottilien , the Göggingen architect Michael Kurz (1876–1957), who was born in the Bavarian Forest and trained at the Technical University of Munich , was awarded the contract for his neo-Romanesque designs. The not even thirty-year-old developed this further in the course of the building in the spirit of the beginning modernism. With this he was able to realize his first work of a modern church building in Swabia and became a pioneer in progressive church architecture. Over the course of time, he also presented drafts for details of the furnishings (e.g. confessionals and sacrificial vines), creating a total work of art . In his program on the artistic equipment of the new cath. Church in Pfersee on January 26, 1909, he laid out the concept: “The style of the building is based on Romanesque, but the spatial effect and the detail are modern. The furnishing and painting should, as far as the purpose u. Mood allow us to become modern. "
Other works by this architect in Augsburg are St. Anton (1924–1927), St. Joseph in Oberhausen (1927–1930), St. Konrad im Bärenkeller (1937–1938), the reconstruction of the Holy Cross Church (1948–1954 ), the reconstruction of the Trinity Church in Kriegshaber (1950) and the new St. Elisabeth building in Lechhausen (1951–1952).
After a short construction period ( laying of the foundation stone on July 7, 1907), the shell (master builder Hans Pauler, Augsburg) and the roof structure were completed on January 18, 1908, the church tower and windows in 1909, and the tabernacle altar in early 1910. On May 29, 1910, Bishop Maximilian von Lingg (1902–1930) was able to consecrate the church.
The painter Christoph Böhner (1881–1914), winner of a corresponding competition, began painting the choir in the summer of 1912 using the casein technique and completed it the following year. In the meantime, pastor Schwab had moved to Augsburg as a nurse pastor for health reasons, and pastor Georg Wagner (1912–1933) was in charge of further interior work. The Munich painter Theodor Baierl (1881–1932) painted the Way of the Cross from June 1912.
He was only able to complete this work at the end of 1918, as the execution of the individual stations was only possible after secure funding. His frescoes over the side altars were created in 1914, the wall and ceiling paintings in the Marienkapelle did not follow until 1930/1931.
The left side altar by sculptor Hans Miller was acquired as an exhibit at the Munich trade exhibition in 1912. He also made the bronze reliefs on the right side altar (1908) and the sculptures on the tower. The dome over the high altar was built in 1914. Karl Baur adorned the pulpit, which was not erected until after the First World War, with a large high relief. The sound cover was only manufactured by Jakob Rehle (1881–1968) in 1927/1928. He also designed the crucifixion group executed by Karl Baur on the west side of the tower (1937).
Georg Lill, as director of the Bavarian State Office for the Preservation of Monuments (1929–1950), pointed out that the peculiar new style had only found little approval with the government agencies, so that they soon refused to approve further buildings in this direction.
This is all the more astonishing since the Ministry of Culture has repeatedly approved funds from the fund “for the promotion and maintenance of art by the state” for interior painting. The government of Swabia and Neuburg had stated in a letter dated December 22, 1912: "The church has succeeded in its new formal language according to general judgment." And pastor Wagner's opinion in a letter to the Ministry of Culture of November 2, 1912 remained unchallenged: " The community of Pfersee […] has like a high K [öni] gl [ichen]. Ministry known, a splendid modern house of God built, which, despite its peculiarity, impresses even those who do not want to know anything else about the influence of the old church styles by modern ideas. The painting and the unnecessary furnishings correspond to the building. "
The art glazing , which was destroyed in the Second World War in 1944 , was restored by Wilhelm Pütz in 1947 .
The exterior was restored in 1955. The modern four-tier altar island with a celebration altar and ambo by the sculptor Blasius Gerg (Glonn) was made in 1970/1971 based on designs by Theo Wieland (Weilheim) and diocesan architect Valentin Müller (Augsburg).
Since the same limestone was used as in 1914, and the shapes adapt to the building without incorporating ornamental details, this solution is considered successful, especially since the believers came closer to the altar from three sides. The interior restoration of 1970/1971 was completed in 1975 with the renovation of the Lady Chapel. After repairs to the tower (1983), the aisles (1986) and the foundation (2000), the roof structure was renovated in 2008/2009, the roof turret secured and the roof re-covered. The windows were redesigned and the facade was given a friendly, light paint job in an ocher tone.
Architect, artist and craftsman
In 1910 Jakob Rehle from Augsburg created the tabernacle. In the same year, the goldsmith Friedrich Pöhlmann from Munich formed the crucifixion group. A year later, Hans Miller took over the sculpting work on the high altar, Georg Vogt from Munich contributed two paintings to the tabernacle and Christian Winkler from Munich created the crucifixion group in the Marienkapelle. In 1914, Hans Rehle covered the high altar with a canopy . The choir was designed by Christoph Böhner, the Way of the Cross and other sculptures by Theodor Baierl . The pulpit was built in 1919, in 1930 and 1931 Karl Baur from Munich painted the Marienkapelle and the Baur brothers from Pfersee carried out the stucco work. In 1937 Karl Stengele exhibited his stone figures of St. Anthony of Padua and St. Joseph and a crucifixion group to the west of the tower.
Exterior description
The richly structured, brightly plastered church building rises in the center of Pfersee dominating the entire district. The square west tower with its high curved hood in the shape of a helmet is 72 meters high (plus the 6.50 meter high cross) visible from afar. It once towered above all factory chimneys and still dominates the entire west of Ausburg - in perfect harmony with the tower of the St. Ulrich and Afra basilica, which also has a lasting impact on the cityscape. The assembly of the three-aisled basilica rises in an extremely skilful manner over a length of 72 meters from east to west: the semicircular apse in the east rests on the mighty nave (36 meters high), that of the two extensions of the Marienkapelle and the sacristy including smaller ones Apses are franked.
Over the projecting transept system (36 meters wide) with the adjacent stair tower, which is emphasized by a roof turret with an onion dome, the system leads to the steeply rising west tower with helmet, which is integrated into the nave. The side aisles are bordered by small apses.
The five-storey tower with the stepped strut pillars at the corners increases the height. These buttresses also result in the tripartite division of the western front with the main portal and the two secondary portals. The crucifixion group, which was only added in 1937 but was planned from the start, increases the monumental character. The arcade-shaped sound holes are on the top floor, and the clock faces of the tower clock are on the floor below. Noteworthy details are also the two small sculptures made of shell limestone: an angel with a torch and a dove in the nest.
Individual elements are taken from the Romanesque style forms, but greatly simplified, monumentally streamlined and thus an expression of the beginning modernism. The arched windows are aligned in a balanced way in groups of two, three and four and are also arranged on the monumental tower; the round windows of the central nave correspond to the central rosettes in the transept fronts.
During the multi-day hurricane “Niklas” at the end of March / beginning of April 2015, the roof of the church was severely damaged and the surrounding area was cordoned off for several days because of the risk of falling shingles and flying insulation parts.
Inside description
The uniform, largely preserved furnishings are among the earliest and rare examples of Art Nouveau in sacred architecture. The closed Art Nouveau dress is unparalleled in the sacred area of Germany. The free ornamentation of the capitals, the ceiling panels and the wall paintings show the break with historicism.
Layout
The floor plan shows a three-aisled basilica with a four-bay nave. The vestibule moved into the interior of the church occupies the first yoke and carries the gallery. The broad central nave leads over the projecting transept into the two-bay choir of the same height with a retracted apse. The sacristy connects to the north and the Marienkapelle to the south. Above are the oratorios, which can be reached via the stair towers, the one above the chapel originally being used by the nuns. The aisles are considerably lower and end in the transverse arms. They originally housed the baptismal font in a round chapel in the north under the gallery and a confessional chapel in the south. The originally two galleries, one for the congregation, one above it for the choir and organ - each with its own entrance accessible from the outside - are now combined into a single organ gallery.
Interior design
While the outside of the church is an increase from east to west, inside it is exactly the other way round: the arched arcades of the central nave develop into full shape only when stepping out of the gallery area. They rest on square pillars made of artificial stone with half-columns placed on the sides, which end in basket capitals with varied ornamentation made of stone or which are drawn up to the statues of the Apostles. They reach their climax in the wide arc of the crossing. With the slightly lower area under the gallery, the five-bay aisles form a spatial unit. The generous space always leads to the center. The interior of the church has an elegant and amiable appearance.
Painting
The apse and choir paintings show a rich ornamentation and are held in the colors gold, violet, olive and white typical of the Art Nouveau. The rich program of images is self-contained by the client, pastor Anton Schwab: The human race, sinful since Adam and Eve and in need of redemption, was saved through the merciful love of the divine heart of Jesus. The invitation of Jesus, which is affixed to the choir arch on a gold-colored background, applies to all people: “Come to me, all you who are troublesome and burdened.” (Mt 11:28) In the apse Christ is enthroned with outstretched, inviting arms on a chair, each of the supports form two lions. The dove of the Holy Spirit hovers above him with outspread wings. This area is heavily gilded and surrounded with ornaments in glazed tones.
The people turn to Christ (from the left in the description): On the wall of the choir, Eve with the snake around her leg and Adam with an apple in their contrition are shown bent over. Four pardoned sinners about Eve: on the far right the thief Dismas with the cross of dew, Mary Magdalene with the anointing oil vessel, Peter with the keys to heaven and King David with the harp. From the other side come people seeking salvation: a caring mother with her child, a lame man with a stick, a crying woman and a depressed worker. Above them the heavenly hosts with burning lamps and golden wreaths. They bring all the hardships of men to the cross. This carries a heart within itself from which blessings flow.
In the apse, other people strive for the Savior who hope for liberation from him: an idol priest, a pagan philosopher with his pupil in search of truth, a Roman woman who has been neglected in her position as a woman, a slave family and an Indian threatened with extermination. The prophet Isaiah promised all these seekers: “Your God himself will come and redeem you” (Is 35.4). This cheering message is placed among the people as writing and is supplemented by an encouraging quote from the first Servant Song under the windows: "He will not break a kinked reed, he will not extinguish the smoldering wick" (Isa. 42: 3). The entire room seems to float above the purple-tinted base.
This promise of messianic salvation in Isaiah corresponds to the depiction of the two white stags at the golden well with seven springs on the left side of the choir. Salvation through God enables new life: “Then the lame leaps like a deer […]. Fountains break out in the desert and brooks flow in the steppe ”(Isa. 35,6). The longing of people for God is also expressed in Psalm 42: 2: "As the deer thirsts for fresh water, so my soul, God, thirsts for you." The right panel shows the apocalyptic lamb with the book seven seals (cf. Rev 5: 6-10) buried on the altar with the rod cross. The lamb lies in the middle, shining with gold, and is flanked by two seven-armed candlesticks. Jesus conquered sin and death through his sufferings: “Behold, the Lamb of God who takes away sin from the world” (Jn 1:29). On the right side of the choir, the wise and foolish virgins strive to Christ in the apse in long, falling white robes. They warn the viewer to remain vigilant.
The other furnishings of the church are also integrated into the overall program: As forerunners of salvation, the wall paintings above the side altars (from left) depict Moses and Elijah, as well as Joachim and Anna, the parents of Mary, the mother of God, and an angel. In the side aisles, in addition to the stations of the cross, martyrs are depicted as witnesses and fighters of the faith: St. Sebastian and St. Michael (right), St. Afra and St. Georg (left). The evangelists - they appear in the apse windows - proclaim the message of salvation; The content of this message is the love of the heart of Jesus, as it shines in the Beatitudes of the Sermon on the Mount (windows of the aisles). The incarnate love of God comes into the world with the birth of Jesus (right side altar: Christmas altar), manifests itself in the cross and suffering of Jesus (Stations of the Cross frescoes) and finds its exaltation in the death and resurrection of Jesus (left side altar: Easter altar).
Room color
The color of the room serves to align with the choir and the luminous painting of the apse. The walls of the aisles and the transverse arms were originally tinted purple. Above that, the painting turned into a lighter violet, which in the transverse arms reached up to the upper window. The wall surfaces above were kept white like in the central nave and corresponded to the natural stone tone of the pillars and columns. This colourfulness, which realized the unified space in the spirit of Art Nouveau, was abandoned during the interior restoration in 1970/71. The original impression of the room is thus greatly changed. The purple tint remained only in the choir and in the base of the apse . Originally, gray-brown wood paneling with red and black inlays and gold metal buttons was planned, but - probably for reasons of cost - it was not implemented.
The central nave and transept have a flat wooden ceiling in a strictly geometric grid. It is decorated with stucco and gilded wood decorations. The side aisles are closed off by a cross vault. The pavement consists of Solnhofer slabs .
Altars
The tabernacle altar is vaulted by a magnificent domed structure on nine columns made of Calacatta marble with bronze capitals (designed by Michael Kurz 1914/15). The gilded tabernacle (Jakob Rehle, Augsburg, 1910) is decorated with enamel inlays on the ebony doors, which represent four symbols of Christ: Phoenix (resurrection), Easter lamb (sacrificial death), unicorn (invincibility and purity) and pelican (surrendering love). The tabernacle structure made of gray-blue Jura marble finds its conclusion in a crucifixion group (Friedrich Pöhlmann, Munich, 1910).
The shiny gold dome made of wood with copper sheet cladding is covered with opal-colored glass gems. Eight brass lamps with opal blue glasses hang between the pillars. A heart in a richly decorated wreath forms the upper end. When looking from the middle of the crossing (where the people's altar is erected today) to Christ enthroned in the apse, it appears in the “right place”.
The left side altar made of Treuchtlinger marble has an angel frieze on four columns with a tabernacle as the back wall . Above it, in the arch, the scene is shown in which Jesus appears as the risen one to the unbelieving Thomas. The inscription quotes the Gospel of John: “Because you saw, you believed. Blessed are they who did not see and yet believed ”(Jn 20:29). During the interior renovation in 1970/71, the cafeteria and the steps of both side altars were moved back and the bench turned to the new people's altar.
On the right side altar, also made of Treuchtlingen marble, bronze reliefs are embedded in the structure. They show Christ as the friend of the children and the youth patrons Aloisius and Agnes. The fresco above the right side altar, the birth of Christ, has bright colors. A shepherd kneeling in the center; the Holy Family has moved out of focus. Originally, instead of the wall paintings, mosaics were planned, which were probably not implemented for cost reasons.
Way of the Cross
Theodor Baierl's frescoes of the Stations of the Cross, influenced by Italian Renaissance painting, are based on simple drawings. This is particularly clear in the figure of Jesus, in which almost any color accent is dispensed with. His majestic size in the sense of the Johannine exaltation of Jesus on the cross clearly comes to the fore, but the shocking pain is also visible. The equestrian figure of the captain is particularly impressive. A lot of the mood of the scene can be read from the reactions of the horse. On the whole, only a few colors are used, some green and, very sparingly, a particularly bright red. The central perspective is emphasized by the checkerboard pattern (stations 1, 2, and 14). The Way of the Cross begins with the left fresco on the front of the right transept, continues in the right aisle, continues in the left aisle and ends in the left transept.
pulpit
The strong shape of the pulpit made of Treuchtlinger marble shows in the high relief of the substructure how the Savior with the bread in his right hand draws Adam and Eve , man and woman, youth and soldiers (uniform of the First World War) to himself. He gives comfort and strength through the bread of life . The figures are excellently worked out in their physicality. The inscription at the entrance “Continue to build with trust in God: then God will save you from dire need 1914-1919” also identifies the pulpit as a war memorial . On the pulpit there is Noah's Ark and the symbols of the four evangelists as a relief . The figure of the Good Shepherd stands on the gilded sound cover made of brass -mounted wood , on the underside the dove of the Holy Spirit is attached in a star-shaped wreath.
Figures of apostles and Madonna
The larger-than-life Baroque apostle figures on the raised half-columns, bought in 1909, come from the Jakobskirche in Straubing (Josef Matthias Götz, 1742). There they were removed from the church as part of the regotization. They are characterized by their powerful, sometimes far-reaching gestures, but predominantly static, self-contained physicality and fit well into the overall complex.
The figure of Mary on the pillar to the side in front of the choir was only erected in 1990. It was created in northern Italy or Liguria at the beginning of the 18th century and thus corresponds to the figures of the apostles created only a little later. The Mother of God holds a rosary in her right hand , in her left the blessing Child Jesus with a bunch of grapes, which indicates the sacrifice of the Eucharist. She stands on a cloud-like pedestal with three angel heads and thus embodies the queen of heaven. When the original setting was restored, the silver crowns were newly added. An Art Nouveau Virgin Mary (Aloys Mayer, 1910; executed by Max Grübel, 1912) that was set up in earlier times by the May tarry is kept in the upper sacristy .
window
The almost completely at least slightly colored windows give the church plenty of but atmospheric refracted light. The Munich court glass painting Hans Bockhomi took over the design of the windows in 1908/09. After their destruction in World War II, they were restored in 1947.
Inscription plaque 1
Inscription plaque 2
Inscription plaque 3
Inscription plaque 4
Inscription plaque 5
Inscription plaque 6
Inscription plaque 7
Inscription plaque 8
The eight large windows in the side aisles indicate the eight Beatitudes in the Sermon on the Mount. They are held in the colors silver gray, violet and smoky topaz brown. Each window has another strong color tone.
In the arched ends, angels hold corresponding inscription panels with radial decoration, further down the content is shown in each case in a symbol.
Right aisle (from the transept):
1 "Blessed are the merciful, for they shall receive mercy"
Hand giving alms in offering box
2 "Blessed are the pure in heart, for they will look at God"
Vase with lilies
3 "Blessed are the peaceful, for they will be called children of God"
Palm branches with sun and stars
4 "Blessed are those who suffer persecution and for righteousness sake, for theirs is the kingdom of heaven"
Chains, arrows and bows
Left aisle (from the transept):
5 "Blessed are the hungry and thirsty for righteousness, for they will be satisfied"
Cross with scales
6 "Blessed are those who mourn, for they will be comforted"
Weeping willow with thistles
7 "Blessed are the meek, for they will own the earth"
Two pigeons
8 "Blessed are the poor in spirit, for theirs is the kingdom of heaven"
Vase of violets
Glass window to No. 1
Glass window to No. 2
Glass window to No. 3
Glass window to No. 4
Glass window to No. 5
Glass window to No. 6
Glass window for No. 7
Glass window for No. 8
The two mighty wheel windows on the front of the transept are divided into a cross. Two circular shapes, one inside the other, are in graduated yellow tones, with small circles in green and purple tinted between them, each representing the face of angels. The crosses themselves are made in red (right transept) and green (left transept).
The arched windows below the Way of the Cross take on this element of the wheel window again in their upper half in the crosswise division of the double circle. The two wheel windows above the two side portals on the west side are designed in a similar way.
Wheel window on the west portal
Angel faces in the wheel window
Detail window choir apse
In the choir apse, in the upper area of the four arched windows, the symbols of the four evangelists are incorporated into curved, colorfully decorated frames.
The beginnings of the Gospels are quoted below (from left): Matthew: “Book of the descent of Jesus Christ, the son of David, the son of Abraham (1,1)”, Mark: “Voice of the one who calls in the desert: Prepare the way for him Lords, make his paths (1,3) ", Luke:" In the time of King Herod there was a priest named Zacharias (1,5) ", John:" In principio erat Verbum - in the beginning was the word ( 1.1) ".
In the Lady Chapel, the three divine persons were originally depicted in the five windows next to ornaments. These colored glass windows have not been preserved and were replaced by simple windows by architect Kurz in 1954.
lighting
Endowed by the bronze factory LA Riedinger 1909 centrally in the crossing Inappropriate powerful chandelier (having a diameter of 3.6 m) was added in the course of interior renovation 1970/1971 and redesign the crossing suspended with altar island and Volksaltar. Since then, the main lighting has been provided by ceiling spotlights. At the chandelier, three brass hoops tapering downwards carried 72 candles and eight electric lamps. On the top hoop there were eight “chapels” with silver-plated bronze statues (Christ, Mother of God, St. Joseph, St. John the Baptist, St. Michael, St. Anthony, St. Sebastian and St. Catherine). The individual “floors” were connected by curved brackets and the hemispherical lower end gave the harmonious image of a grape. While the remaining parts are lost, the statues (with the exception of St. Michael) are kept in the upper sacristy.
The six ornamentally decorated hanging lamps in the arched arcades of the central nave are still preserved (Eugen Ehrenböck, 1910). Also during the interior restoration, the wall sconces were no longer attached to the half-pillars of the arched arcades of the crossing room and in the chancel. These ten lamps in total have been preserved in excellent condition.
In the transept there are three grape-shaped lamps between the four arched windows on the half-columns just below the capital . Finally, the twelve candlesticks of the apostles should be mentioned, which are attached to mosaics below the stations of the cross. They remind of the places of the anointings at church consecration.
Organs
- The Koulen Organ
The first organ was built in 1909 by the Augsburg organ builder Max Koulen ( Oppenau im Renchthal). The instrument had 45 registers on three manuals and pedal and was distributed over the upper middle singing gallery and two swellings set into the west wall of the church to the right and left of it .
- The Steinmeyer organ
In 1966 the Koulen organ was replaced by an instrument that had been built in 1915 by the Steinmeyer (Oettingen) organ building company for Ludwigsbau . The instrument donated by the factory owner Clemens Haindl was built with 44 registers on three manuals and a pedal; in 1936 the disposition was expanded to 61 registers. In 1966 the instrument was expanded to four manuals and the disposition was supplemented by 11 stops. The side arch arcades were clad, the entire upper gallery and the middle passage of the lower gallery used for the construction of the organ. In the 1990s, the decision was made to replace the instrument, which was urgently in need of restoration, with a new one. The Steinmeyer organ was expanded from October 1997 and rebuilt in the cathedral of Szombathely (Hungary).
- The Sandtner organ
The organ building company Sandtner (Dillingen) received the order to build the new organ . The instrument (op. 271) was inaugurated in 1999 after two years of construction. It has 58 stops on four manuals and a pedal. The game actions are mechanical, the stop actions mechanical and electrical. The organ case was made of oak . It blends in harmoniously with the church interior - in some elements leaning against the confessionals.
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(* = not yet installed)
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Pairing :
- mechanical coupling: II / I, III / II, I / V / I, I / P, II / P, IV / P
- electrical coupling: III / I (also as sub- and super octave coupling), III / P (also as super octave coupling)
- Playing aids : setter system , crescendo roller , swell kick,
- Choir organ
In the choir area there is a two-manual choir organ with a free-standing console by Max Offner from 1983 with nine registers. It is used for smaller forms of worship.
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- Coupling : II / I, I / P, II / P
More pieces of equipment
Two confessionals are fitted under the gallery to the right and left of the main portal. The oval paintings (Christoph Böhner, 1913) show the penitents Petrus and Maria Magdalena.
In memory of the church building pastors Josef Dirr and Anton Schwab, the figures of St. Joseph and St. Antonius attached (by Karl Baur).
Many of the furnishings are in Art Nouveau style, even if some of them were added later. The communion bench made of oak is characterized by black polished pilasters , silver and mother-of-pearl inlays as well as maple and ebony fillings. It opens through the forged and driven passage grille (vase with ears or flower stalks) made of gilded Duran bronze (Josef Frohnsbeck, 1909).
The wooden priest's seats with leather upholstery and mother-of-pearl inlays, the pews and the doors with inlays and fittings go well with this.
The baptismal font (Hans Miller, 1908) with Christ as Pantocrator on the throne, the Twelve Apostles and the inscription “Go, teach all nations and baptize them in the name of the Father, the Son and the Holy Spirit” is used today as a holy water font. the lid is still kept and could be put on when it is reused as a font.
Further details are the bell holder by the sacristy door (Josef Frohnsbeck, 1910), the sacrificial canes and the two ever-light traffic lights.
The excellent furnishings in the sacristy deserve special attention.
In addition to the extremely magnificent monstrance (Jakob Rehle, approx. 1910), the foundation chalice with rich ornamentation and eight medallions should be mentioned, which children and young people of the parish saved from 1900 to 1903.
The font stand, created on the occasion of the 100th anniversary in 2010, fits perfectly into the existing Art Nouveau furnishings.
The tympanum relief "Last Judgment" above the main portal is still outstanding. A model for this was made by Karl Baur in 1942 and has survived, but was no longer executed because of the war. A mount of olives was planned for the niche in the south aisle.
Lady Chapel
The chapel with the slightly drawn-in chancel has a flat ceiling over a hollow in both areas. In the hollow of the chancel there are stucco symbols for Our Lady from the Lauretanian litany on a purple background (from left): ivory tower , gate of heaven , spiritual vessel , mysterious rose , vessel of devotion, mother of the Redeemer , morning star .
The painting of the Marienkapelle with depictions from the life of the Blessed Mother by Theodor Baierl twelve years after the completion of the Way of the Cross shows a considerable change. The solid drawing basis was deepened, but now we encounter modern colors. The angel appears on the ceiling in the ship, bringing the good news to the shepherds that Mary gave birth to the Son of God to humanity. The three wise men set out to pay homage to the baby Jesus. The coronation of Mary can be seen in the chancel, the flight to Egypt in the side arched backwards , and the Holy Family with Saint John the Baptist in the carpenter's workshop in the front panel .
The wooden altar (1911) made by the sculptor Hans Miller is crowned by Our Lady with the baby Jesus (model Aloys Mayer , 1910; executed by Max Grübel , 1912) and two angels with rosaries (Christian Winkler, 1911).
On both sides of the tabernacle there are paintings with the offering in the temple (Georg Vogt, 1911). On the left wall hangs a crucifix with the painful Mother of God (Christian Winkler, 1911), on the entrance wall a baroque painting of the Assumption (donated in 1704 for the centenary of the Assumption Brotherhood ).
swell
- Parish archives Sacred Heart of Jesus: Church building invoices with receipts; Diaries of the church building association; Plans; Correspondence; Files for repair and interior renovation.
- City archive Augsburg: Magistrate of the city of Augsburg 151/0521 (parish church Herz Jesu 1907–1974).
- Augsburg City Archives: Government, Chamber of the Interior 12168 (Herz-Jesu-Pfarrkirche 1911–1942); Real estate tax cadastre of the tax community Pfersee 1898 vol I and other volumes; Land registry Augsburg-Stadt, latest renovation: paraphrase books Pfersee.
- Stadtvermessungsamt Augsburg: measurement of the church tower (558.35 meters above sea level).
- Schematics of the Diocese of Augsburg, 1870–1933.
literature
- Official Journal for the Diocese of Augsburg , No. 10 of July 1, 1897.
- Andreas Müller: Local history of Pfersee. Mayer, Lechhausen 1896.
- Andreas Müller: Short local history of Pfersee. In: Address book for the municipality of Pfersee 1904. Hieber, Pfersee 1904, p. I VI.
- Neue Augsburger Zeitung of July 9, 1907 and No. 122 of May 31, 1910.
- Augsburger Postzeitung , No. 151 of July 9, 1907, No. 120 of May 31, 1910, No. 130 of June 11, 1910.
- Michael Kurz: The new parish church for Pfersee near Augsburg. In: Süddeutsche Bauzeitung , Volume 19, 1909, No. 10, pp. 73–75.
- Anton Schwab: Herz-Jesu-Kirche in Pfersee. Built 1907–1910. Building history and description of the church. Hieber, Pfersee 1910.
- Augsburg Latest News , No. 123 of May 31, 1910 and No. 287 of December 9, 1915.
- Andreas Müller: From the Herz-Jesu-Kirche in Pfersee. In: Der Schwäbische Postbote, entertainment paper of the Neue Augsburger Zeitung , No. 29 of July 22, 1922, pp. 225–227.
- Georg Lill (inlet): Michael Kurz. (= Neue Werkkunst .) FE Hübsch, Berlin / Leipzig / Vienna 1929, pp. VIII-IX, illus. P. 12.
- Hugo Schnell, Peter Balleis: Church leaders Herz Jesu, Augsburg. (= Schnell Kirchenführer , No. 201/208.) Dreifaltigkeitsverlag, Munich 1937.
- Norbert Lieb: Nekrolog on Michael Kurz. In: Das Münster, magazine for Christian art and art history , 10 (1957), p. 140 f.
- Oberhausen and Pfersee. 50 years with Augsburg. Special supplement, Augsburger Allgemeine Zeitung from 20./21. May 1961.
- Karl Kosel: Josef Matthias Götz, the master of the apostle figures in the parish church Herz Jesu zu Augsburg. In: Yearbook of the Association for the History of the Augsburg Diocese , Volume 5 (1971) pp. 191–196.
- Church newspaper for the Diocese of Augsburg of October 3, 1971, section “Augsburg Aktuell”, p. 6 f.
- Hugo Schnell: Church construction in Germany in the 20th century. Munich 1973, p. 19, p. 25 (illustration) and p. 42 ff.
- Karl Kosel: Church leader Augsburg-Pfersee, Heart of Jesus. (= Schnell Kunstführer , No. 207.) Schnell & Steiner, Munich / Zurich 1977.
- Walter Scheidler: Augsburg churches. Presse-, Druck- und Verlags-GmbH, Augsburg 1980, p. 60 f.
- Norbert Lieb: In short, Michael. In: New German Biography (NDB). Volume 13, Duncker & Humblot, Berlin 1982, ISBN 3-428-00194-X , p. 336 f. ( Digitized version ).
- Friedrich-W. Kirsch: Pfersee. 75 years with Augsburg. History of a district. Karl Negele, Augsburg 1986, pp. 29-35.
- Patricia Brendel: The Art Nouveau. Its occurrence in the Herz-Jesu-Kirche and didactic considerations for the primary school. Term paper on the first state examination for the teaching profession in elementary schools, manuscript, 1989.
- Dehio-Handbuch der Deutschen Kunstdenkmäler, Bavaria, Volume III: Swabia. Deutscher Kunstverlag, Munich / Berlin 1989, pp. 142–144.
- Herbert Wilhelm Rott: Church buildings of the 19th century in Swabia. In: Yearbook of the Association for the History of the Augsburg Diocese , Volume 24 (1990), p. 196.
- Bernt von Hagen, Angelika Wegener-Hüssen: City of Augsburg. (= Monuments in Bavaria , Volume VII.83.) Karl M. Lipp Verlag, Munich 1994, pp. 76-78.
- Thomas Friese: The sleeping queen. Documentation of the historical “Ludwigsbau organ” in the Herz-Jesu-Kirche Augsburg. Augsburg 1994.
- Renate Weggel: Pfersee. Village, industrial town, suburb. Industrialization and its effects on a community at the gates of Augsburg. (= Materials on the history of Bavarian Swabia , Volume 22.) Wißner, Augsburg 1995.
- Festschrift for the inauguration of the organ (on) October 17, 1999. Self-published, Augsburg 1999.
- Thomas Groll: City parish church of the Sacred Heart of Jesus Augsburg-Pfersee. Kugler & Baur, Augsburg 2003.
- Michael Heinrich: 100 years of the parish church “Heiligestes Herz Jesu” in Augsburg-Pfersee 1907 / 10–2010. The origin and its pastoral significance. Approval work as part of the second service examination of the chaplains in the diocese of Augsburg, 2008.
- Ulrike Laible: Building for the Church. The architect Michael Kurz (1876–1957). (= Writings of the Architekturmuseum Schwaben , Volume 5.) Reimer, Berlin 2003, pp. 158–161.
- Claudia Fuchs, Anton Fuchs: Churches in Augsburg. History and present. Hesz Print and Media, Augsburg 2009, pp. 112–117.
Web links
- Official website of the parish of the Sacred Heart of Jesus
- Herz-Jesu at www.augsburger-kirchen.de
- Brochure for the Open Monument Day 2011 (PDF; 3.0 MB)
Author notes
- In this article, the texts from the church guide “Stadtpfarrkirche Heiligstes Herz Jesu Augsburg-Pfersee” were used, for which the author, bishopric historian Dr. Thomas Groll gave his kind permission on October 11, 2013.
- In this article the photos from the church guide “Stadtpfarrkirche Heiligstes Herz Jesu Augsburg-Pfersee” were used, for which the author, photographer Michael Wöcherl, gave his kind permission on October 20, 2013.
Individual evidence
- ^ Diocese of Augsburg
- ↑ Information about the organ on the website of the organ builder
- ^ Georg Brenninger, Gerhard Rieger: Orgeln in Schwaben . Bruckmann, Munich 1986, ISBN 3-7654-2001-8 , p. 176.
Coordinates: 48 ° 21 ′ 46 ″ N , 10 ° 52 ′ 18 ″ E