St. Zeno Church (Bad Reichenhall)
| Parish Church of St. Zeno | ||
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 Exterior view from the north |
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| Data | ||
| place | Bad Reichenhall , Salzburger Strasse 32 | |
| Architectural style | Romanesque , Gothic , Neo-Romanesque | |
| construction time | around 1150-1228 | |
| height | 48 m | |
| Floor space | 2350 m² | |
| Coordinates | 47 ° 43 '53.4 " N , 12 ° 53' 18.3" E | |
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The Catholic parish church of St. Zeno (also: St. Zeno Church, formerly: Münster St. Zeno ) is the largest church in the town of Bad Reichenhall in Bavaria . Today the church is considered to be the largest Romanesque basilica in Old Bavaria .
The parish church is under monument protection and is registered together with the monastery , the cloister and the monastery garden under the number D-1-72-114-136 in the Bavarian monument list.
location
The church and monastery gave the parish of St. Zeno , which was incorporated into the city of Bad Reichenhall in 1910. The church stands on today's Salzburger Strasse and is surrounded by the St. Zeno cemetery . The St. Zeno monastery is directly connected to the parish church.
history
For a long time it was assumed that the first church in Bad Reichenhaller Saalachtal stood in St. Zeno. Today it is certain that the ecclesia ad salinas, mentioned around 790, was the predecessor of today's St. John's Spitalkirche in Poststrasse. After the Archbishops of Salzburg - after a donation of brine springs and brewing facilities by Duke Theodo to Archbishop Rupert of Salzburg - also had economic interest in the "Hall" at that time, Archbishop Arn had a new cemetery and church built in the northeast of the city from 810 onwards. The choice of the church patron goes back to two things: The Archbishop of Salzburg had a close connection with Pippin of Italy , who on May 21, 807 had transferred the remains of St. Zeno to the newly built Basilica of San Zeno Maggiore in Verona , with Archbishop Arn being present. In addition, St. Zeno was the patron saint against flooding. This is one of the reasons why the choice fell on this church patron at a time when the Saalach river spread over the entire present-day urban area during floods and turned it into a wide swampy landscape .
The Augustinian Canons' Monastery was founded under Archbishop Konrad and was confirmed in a document in 1136. Through the bull of Pope Lucius II from 1144, the existing churches of Reichenhall and the surrounding area (St. Johannes, Nonn , Kirchberg , Gmain, Marzoll and St. Blasius in Plainburg ) were placed under St. Zeno. Pope Eugene III. extended this to all future churches in this area in 1145. After the Leutkirche was converted into a monastery church , a new parish church was needed in the vicinity. The parish church of St. Marien, right next to the monastery church, was consecrated in 1158 by Archbishop Eberhard I.
The Hofmark Froschham, the increase in the salt content to up to 1/16 of the total production and a vineyard near Krems served to supply the monastery economically .
Building history of the church
New building in the 12th century
After the Leutkirche in St. Zeno had been converted into a monastery church and a new parish church was built, which was consecrated in 1158, a new monastery church should also be built. The location of the provost's office , the cloister and the monastery buildings suggested that the church should be planned on a much smaller scale. The construction of the Augustinian Canons' Monastery in Berchtesgaden, which was being built at the same time, was perhaps the reason why the citizens of Reichenhall donated an annual salt levy in the middle of the 12th century, "so that the building of the church would be more perfect and dignified." a large building in the eye.
Construction began in the east and west at the same time around 1150. With the choir room , a room for church services and choir prayer was to be made available to the convent as soon as possible and a portal zone, tower and provost's chapel were to be built in the west. In the 60s of the 12th century, construction came to a standstill. During the long reign of Provost Adelhard, and perhaps also with the support of Emperor Friedrich Barbarossa , construction was resumed. On October 25, 1190, Archbishop Adalbert of Salzburg consecrated the inner chapel in honor of St. Augustine , Benedict and Gregory. It ended in the east with the south aisle. At that time, the cloister was expanded in its current form, albeit with Romanesque wooden flat ceilings, and decorated with a relief of Emperor Friedrich Barbarossa.
1208 was Archbishop Eberhard , the Provost chapel and in 1228 in the presence of the bishops Karl von Seckau and Lavant Ulrich of the church consecrate . The building was a three-aisled basilica with a tower - a second was planned, but the construction work never got beyond the foundation - the portal zone with portal porch and three flat-roofed naves in the classic Romanesque ratio of 1: 2: 1, which through the cliff windows of the Central nave and the windows of the side aisles were illuminated. In the western part of the south aisle was the provost's chapel, for which the height of the aisle for two bays was about half that, which took up the entire width of the central nave. It was accessible either from the central nave or from the side aisles. According to studies of the construction in the years 1973 and 1974, it is known that there were at the height of the choir and a transept, three and a half meters above the escape jutted of the aisles and each north and south of the nave enclosed an interior space of 10 x 13 meters. These rooms were attached to the side apses to the east and had galleries on the upper floor , which were probably used for liturgical purposes and were equipped with an altar. Because of this transverse structure, St. Zeno, with its strong northern Italian influences, falls out of the scheme of the old Bavarian basilicas.
Renovation and Gothic renovation after the fire in 1512
The renovation work after a devastating fire on July 5, 1512 changed the building permanently. The burned-down gable roof of the tower was replaced by a dome with four corner turrets, the portal porch was removed and the vestibule that still exists today was built. Inside, today's vaults were drawn in and the previous supports, pillars and columns were sheathed for structural reasons. The vaults in the central and side aisles were decorated with a Gothic net configuration. The provost's chapel was expanded, the crypt was abandoned and filled, and the choir room was stepped up twice. The transverse structure on the galleries has been dismantled, the side aisles have just been closed. A sacristy was added to the north aisle in the east , and a major part of it was set up as an All Souls Chapel. In the 15th century, a rood screen was also mentioned, which was also relocated or completely rebuilt when the crypt was abandoned. On July 15 and 16, 1520, the Chiemsee Bishop Berthold Pürstinger consecrated the church and 15 new altars, as the entire interior had been destroyed by flames.
Baroque transformation in the 17th century
From 1647, under Provost Bernhard I. Piscator, the Baroque transformation began with the demolition of the rood screen and the erection of a 13 meter high columned altar , as his predecessor had already carried out in the subsidiary churches of St. Johannes and St. Aegidia . Bernhard I's successor, Bernhard II. Rottenwalder, consistently continued the Baroque style. In 1658 “several” of the church's 24 altars were removed, in 1663 two more were removed and four new ones were built. The rearrangement of the choir stalls and the erection of the choir organs on the corner pillars of the choir area also fell during this period. In 1672, a new altar was also built in the All Souls Chapel through funding from the Froschham Guild. In 1696 two more altars are said to have been erected. All altars of this time were wall altars, stood on the walls and front sides of the aisles and corresponded to the black and gold style of the Salzburg area. One of these altars is now in the parish church in Deining .
Tower elevation and Rococo in the 18th century
Provost Bernhard II not only continued the baroque style of the interior, he also influenced the exterior of the church. Under his leadership, the tower was increased and the spire redesigned. The shape of the tower is based on the towers of Graubünden master builders, the construction work was partly financed from the assets of the subsidiary churches of St. Pankraz and St. Valentin .
In 1745, under Provost Floridus I. Penker, the interior was transformed into "rustling rococo " with stucco and paint . Provost Floridus also had four Renaissance altars demolished and replaced with stucco altars.
The fire of 1789 mainly affected the tower and roof of the church. The tower got an emergency roof, which it kept until it was re-romanised in the 19th century.
secularization
In the course of secularization , the Augustinian canons of St. Zeno was abolished in 1803, and the movable inventory of the church was confiscated, auctioned and “squandered”. Although already selected for the state painting collections , the Gothic panels donated by Duke Wilhelm IV. In 1516 and the high altar painting by Ulrich Loth around 1647 were never removed.
Re-romanization in the 19th century
Under the pastors Franz Leopold Freiherr von Leonrod (1859–1867) and Anton Thoma (1867–1879) the most severe interventions were made in the interior of the church. Encouraged by the royal building officer Carl Bernatz, Leonrod planned a complete re-romanization. In 1859 the rear altars next to the entrance were demolished and the grating was moved from the center of the church to the rear. In 1860 the choir organ was relocated to the organ loft and in 1864 new prayer chairs and a dining grill were built. In 1865 the stucco was chipped off, the high altar removed, the vaults and pillars were newly whitewashed, the old Stations of the Cross framed and the three Romanesque windows in the apse opened. In 1866, Anselm Sickinger built a new pulpit staircase , the rose window in the west facade and new windows in the Alexius Choir were planned. In 1867 new confessionals were purchased. Leonrod received support for his vehement re-romanization from King Ludwig I and August Sighart from Munich.
Leonrod's successor, Anton Thoma, gave up the plan to re-romanize with frescoes on a gold background in the apse and a Romanesque table altar, he gave preference to re-romanization. The first measure under Thoma in 1871 was the re-paving of the church with Adnet marble . The nine-meter high and five-meter wide neo-Gothic high altar based on a design by Karl von Leimbach was made by Anselm Sickinger in 1872 shortly before his death. A large part of the acquisition costs was financed by a donation from Countess Maria von Dietrichstein, the sale of the previous baroque high altar and a state grant. Other elders followed, some of whom are still in the church. The Joseph altar was donated by Johann Marggraf from Munich, Baron Karl Karg von Bebenburg, the Sacred Heart Altar by Adalbert Sickinger, Anselm Sickinger's son, Countess Maria von Dietrichstein. Both altars were erected in 1876. The altar of the Froschham guild erected in 1877 and the Antonius altar from the same year are also by Adalbert Sickinger. Two baroque side altars were sold, and accessories for the new altars were purchased in return.
The Landbauamt carried out several measures in the St. Zeno Church between 1868 and 1881 as part of the state building obligation. The church, the vestibule, the steps and doorsteps were paved, the vestibule with portal and vaulting was restored and re-covered with slate , the gate and the skylight renewed. The roofs of the church, the sacristy and the tower were re-covered, the exterior was newly plastered, the facade and tower were designed in Romanesque style. The renovation of the north side portal, the reattachment of the Gothic vault ribs and the painting of the church were planned but not carried out . The parish office's plan to create a crypt in the floor of the main portal was also not carried out . In 1882 Pastor Johann Nepomuk Doff had a bed room with three windows in the Renaissance style added to the south side of the choir.
New cover 1911
The most momentous intervention in the external appearance of the church happened in 1911 under the direction of the Conservator General Georg Hager and the supervision of the Traunstein State Building Authority . The cathedral was given a new overall roof, which finally made the complex no longer appear as a basilica . This measure was carried out against considerable resistance from local and national secular and ecclesiastical circles.
Redesign in the 20th century
With the new roofing in 1911, the interior of the church (vault, walls and pillars) including the choir was whitewashed in a uniform chalk white. Only the prelate's box from the Baroque period and the organ case were spared.
Shortly after taking office in 1931, this "bleak appearance" prompted pastor Eugen Abele to carry out the first redesign measures. In 1933 the interior was whitewashed in color, the large historical wooden medallions in the vault were restored and additions were made to the choir area. In 1935 Oskar Martin painted the apse , the Berlin State Chancellery paid the cost of 5,000 RM . In 1936 a new altar was erected with the coronation of Mary and the assistant figures Barbara and Katharina ; the previous altar was given to the diaspora community in Schwarzenbach an der Saale in 1937 .
The people under the cross by Max von Poosch from Vienna from 1934, the Brother Konrad relief by Martin Raab from Bad Aibling from 1935, the restoration of the burial chapel and altar of the Froschham guild, the restoration of the stations of the cross, the large baroque candlesticks, the neo-Gothic Sanctus candlesticks by Schlee, Ehegartner and Dannegger, the Pietà by Paul Scheurle from Munich from 1938 and the angel images of the baptismal font by Max Poosch from 1943 are further changes and new acquisitions from the time of Abele.
Pastor Eduard Zeller designed today's late Gothic winged altar with the inclusion of the panels donated by Duke Wilhelm IV , donated a bronze tabernacle and had the frescoes covered with it covered with depictions of Saints Zeno and Rupert.
Renovation and total refurbishment between 1967 and 1994
In 1967 the interior was thoroughly renovated by the Bad Reichenhall church painter Georg Gschwendtner. In 1973 and 1974 the tower and the outer walls were restored, the plaster was renewed and larger wall cracks were removed. Pastor Josef Otter had the grave or poor soul chapel redesigned into a working day chapel. In 1985 the tower was renovated and equipped with a riser , so that in the event of a fire in the tower or the church roof, fire-fighting water can easily be brought up.
Between 1993 and 1994 a complete structural renovation was carried out to remove the cracks in the wall and damage to the vault, including the renewal of the entire room shell. It is thanks to the commitment of Anton Schmidberger from Reichenhall that the necessary stabilizing anchors were attached above the vault and not, as he said, "like a laundry hanger " visible within the church.
Disabled access
In 2014, barrier-free access was realized at the western side entrance, which was partly financed by donations. For this purpose, ramps were installed outside and inside and an electric opening mechanism was installed for the door.
description
Exterior
Church building
The basilica with the porch is 90 meters long and 30 meters wide. The vaults are 16 meters high, the tower 48 meters. Once in the course of a renovation a common roof over the three 1911 naves was built, the church from the outside does not appear more than basilica. Its massive structure dominates the entire (formerly rural) area.
The west facade with rose window , the arched friezes and the cross as well as the porch with the same friezes and the pent roof come from a renovation in the second half of the 19th century.
The north facade has five windows in the side aisle and two windows in the choir area with different widths and heights. The openings come from the renovation after the fire in 1512. The three buttresses and the north entrance were added in the second half of the 19th century. The late Gothic sacristy with a north and two west window is attached to the straight end of the aisle . At the junction of the eastern end wall and the western choir window, the demolition of the originally continuing side aisle or its confluence with the transept with the galleries on the upper floor can be seen, from which the coupled Romanesque window above the later choir windows established the connection with the chancel.
At the corner of the central nave and the eastern end of the chancel there is a three-tiered supporting pillar from the beginning of the 16th century, and two round windows are set into the east wall of the choir at the top next to the new apse's roof.
The apse dates from the second half of the 12th century and is divided by three windows, pilaster strips and a round arch frieze with a round bar profiled on beveled consoles . The console in the middle shows a human head, in the left field there is an animal head with bared teeth and in the right a bird. In the base area there are two - originally three - closed openings that were used to illuminate the crypt that was later filled .
The south facade has eight windows, four in the choir area and four in the side aisle, also of different heights and widths. They are based on the requirements of the interior and, on the south side, specifically on the local buildings of earlier provost buildings and the monastery. The sequence is similar to that on the north facade, in the choir area there were more interventions due to the expansion of the oratory towards the end of the 19th century. As on the north side, a coupled Romanesque window above the Gothic choir windows connects the southern gallery in the transept with the chancel.
From the monastery there were two entrances to the church, one in the east from the cloister into the choir and one in the west.
Steeple
The 48 meter high tower is on the southwest side of the church, to the left of the main portal. After the fire on July 5, 1512, the tower's gable roof was replaced by a raised dome with four corner turrets. Under Provost Bernhard II. The tower was in 1673 increased and the spire redesigned, the wealthy daughter churches St. Pancras and St. Valentin had to a loan of 1000 and 500 fl. Give. The new shape borrowed from the towers of the masters Zucalli , Antonio Rivas and Lorenzo Sciasca from Graubünden . After another fire in 1789, which mainly affected the tower and the roof structure of the church, the tower received an emergency roof, which was only brought into its modern, neo-Romanesque form between 1868 and 1881 .
The tower is designed with neo-Romanesque arched friezes , the sound openings and the slate-covered pyramid roof from the 19th century. The tower is still Romanesque from the 12th century below the sound openings in the masonry and shows a modest structure through the eight walled old sound openings in the upper part and the narrow slits in the lower part. It makes the tower appear more like a massive, closed structure.
The construction of the planned second tower was never started, today only stumps of the north and east walls can be seen.
Interior
lobby
The vestibule was built after the fire on July 5, 1512 and replaced the porch.
In the walls there are written tablets, which are used for catechistic instruction of the visitors, on the north side under the blessing God the Father the commandment to love God and neighbor as well as the ten commandments on the well-known tablets, on the opposite south side the Our Father , Hail Mary and the creed . The panels are designed in early Renaissance forms and bear the coat of arms of the monastery with the two fish and that of the provost Wolfgang Lueger with the flower on the Dreiberg on the underside. On the southern panel, between the coats of arms, there is also the sentence “You alone be honor and glory” with the year 1521. The history of the cathedral church was written directly on Rauputz in 1937 , the text was written by Pastor Wolfgang Abele. The vault of the vestibule dates from the second half of the 19th century.
There is an arched frieze above the entrance doors as in the central nave above, the pent roof is covered with slate .
portal
"The Romanesque arched portal is the most outstanding piece of jewelery in the church"
Red Adneter and white Untersberg marble were used as building materials for the portal . The garment is stepped three times at right angles, the eight columns are alternately round and octagonal with corner bulbs at the base. At the top of the columns sit bud and Blätterkelchkapitelle . The corbels and the lintel continue the basic theme of a "entwined world containing salvation and perdition". A peacock and other birds pecking for grapes alternate with aspids, animals with bird bodies, claw-like feet, long necks and a head with a large mouth, as well as snakes, and thus embody the beings of paradise and the underworld.
The reclining lions are now placed perpendicular to the portal axis, originally they were assigned to the portal porch and looked towards those entering. With their jaws open they hold prey between the forelegs, the one on the left biting the lion's lower lip; this symbolizes the fight of evil with the guardians of the sanctuary.
The portal was built between 1150 and 1200 by a master and two assistants, the origin of the master is believed to be Piacenza . The portals of the St.Petersburg and Franciscan Churches in Salzburg that were built later show a strong resemblance to the portal of St. Zeno in terms of the choice of materials and design.
The wooden doors of the main portal are from 1797.
Left lion
Access to the porch of the portal
Main portal
Right lion
Longhouse
Today the nave has eight bays. Seven pillars support the dividing arches of the three naves, on the soffits you can find the dates 1518 and 1519 progressing from east to west, indicating the time of the vaulting. The earlier pillars and columns of the Romanesque basilica were encased by today's pillars for structural reasons and additionally reinforced with iron chains on the inside. In the central nave and the choir these pillars have strong templates with scalloped edges and round services with profile capitals, in the side aisles there are simple wall pillars, some with round services. In the 18th century, the ribs of the Gothic reticulated vault were chopped off and replaced with stucco, which was removed again in 1865 as part of a reromanization.
- South aisle
The four western bays of the south aisle are vaulted halfway up for the Alexius choir above. The two western ones still show the Romanesque cross vaults for the provost's chapel, originally above it and consecrated in 1208. The two adjoining yokes, in which the church crib is also located, still show remains of the Gothic figuration in the vault, with which the entire church was previously decorated. Here there are two figural keystones depicting a head of Christ and Mary with the child.
The extension of the Propstoratorium and its use as a winter choir took place in 1519. Above in the Alexius Choir you can find this year as well as the monastery and provost coat of arms of Wolfgang Lueger in the frescoes with plant ornaments on the front. The Alexius Choir can only be entered from the monastery and has access to the organ gallery and the prelate's box. The window openings to the church were previously open. In the Alexius Choir, an altar and a Way of the Cross by Otto Graßl from Munich were integrated into the Alexius Choir between 1928 and 1930 .
Before the fire of 1512 the side aisle ended in the transept with the galleries, after the renovation a few years later it ended after two bays in the middle of the choir. Since 1636, the two-bay, walled-in room in the basement has been used as a crypt for the canons and from 1859 for the English ladies.
- North aisle
The north aisle with today's eight bays has been walled off in the east since 1636; behind it is the former All Souls' Chapel and today's weekday chapel. In the beginning, both side aisles led into the transept with the galleries, after the renovation and the Gothicization after the fire in 1512, they ended after two bays in the middle of the choir.
For reasons of symmetry, the dividing arches on the north side were designed like those on the south side, as these are lower due to the installation of the propstoratorium (Alexius choir, winter choir).
Prelate's box
Propstoratory
Divider arches (north aisle)
- Medallions in the central nave
Most of the medallions were designed in 1520 and restored several times, most recently in 1993/94.
- Heiliggeistloch with a carved dove .
- Bavarian coat of arms, carved and gilded, with the year 1520; Reference to the patron of the church, Duke Wilhelm IV.
- Coat of arms of provost Wolfgang Lueger with the year 1520; Lueger led the reconstruction of the church after the fire in 1512.
- Coat of arms of Archbishop Konrad I of Salzburg with incorrect date 1121; Stucco, painted. Fantasy coat of arms, since coats of arms were not in use at that time.
- Coat of arms of Provost Ludwig Ebner from 1482; relief
- Coat of arms of the provost Bernhard III. Elixhauser from 1795; painted. Bernhard III. was the last provost of St. Zeno before the abolition of the monastery.
- Maister Peter Inntzinger from 1520 with a circle; existed until 1850 and was refitted in 1933. Inntzinger was the builder of the reconstruction after the fire in 1512.
Heiliggeistloch
Heraldic shield
Lueger coat of arms
Coat of arms Konrad I.
Ludwig Ebner coat of arms
Coat of arms Bernhard III.
Peter Inntzinger
apse
The large fresco of the apse , created by Oskar Martin-Amorbach in 1935, dominates the entire central nave and follows the early Christian and Romanesque design of the apse, as can also be found in Rome and Palermo. In a circular field, which symbolizes the universe, Christ is enthroned as the risen and returning Lord on a double rainbow , the sign of peace and reconciliation. Christ has raised his right hand in a blessing and holds the book of life in his left hand . Two angels float to one side and above them the letters Alpha and Omega stand for beginning and end. At the bottom of the apse, on the left, St. Elisabeth is depicted as a reference to the monastery of the Maria Ward Sisters and on the right, St. Augustine as the religious father of the Canons. The pictures of Saints Zeno and Rupertus between the windows were whitewashed when the high altar was redesigned in 1962.
Choir
Julius Döpfner's coat of arms is on the front of the services that have been rejected , and the Bavarian coat of arms with lions and diamonds from 1962 on the back. At the west end of the five-stall choir stalls hangs a late Gothic figure of St. Catherine on the north wall , opposite that of St. Barbara on the south wall . Both sculptures were made from linden wood , in the Salzburg style and around 1515. They were revised and supplemented in 1935. Originally they were assistant figures in an altar of St. Zeno and are now on loan from the archbishopric clerical seminar foundation in Freising.
Weekday chapel
The former All Souls' Chapel was set up as a weekday chapel in 1981 by Pastor Josef Otter. The public altar, ambo and tabernacle are works by Hans Richter from Berchtesgaden. On the south side the openings to the choir are walled up, on the east wall a fresco fragment from the 17th century depicts the Mannalese, Aaron , the holy tent and the monastery coat of arms.
On the south and west walls hang pictures of former side altars from the Baroque period:
- The martyrdom of St. James the Younger from the second half of the 17th century
- Saint Florian , also from the second half of the 17th century
- Immaculata above the sin tree with the snake and the unsaved man, including Adam and Eve , Moses , Aaron, David and Solomon , was created around 1672 from the altar of the Froschham Guild
- Mary with the child as the rosary queen
The weekday chapel also houses flags, lanterns and processional poles from the 17th to 19th centuries, most of which are owned by the Froschham Guild.
During the renovation in 1981, the tombstone of Provost Johann IV. Peutecker (1498–1505) and many bones were found, which indicate that this was the preferred place for the burial of provosts and canons, which is why the chapel was also called the Chapel of the Poor Souls and the Grave .
Furnishing
pulpit
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The pulpit was made in 1520 from Adnet marble in early Renaissance forms. In the fields of the parapet, the evangelist symbols lion (Markus), eagle (Johannes), including the monastery and provost coat of arms of Wolfgang Lueger, bull (Luke) and man (Matthew) are attached. The pulpit is one of the outstanding works of art in the Church of St. Zeno. In 1865 Anselm Sickinger from Munich designed the stairs and a sound cover , which was removed in 1935.
Baptismal font
The font from 1522 stands in the last yoke of the north aisle and, like the pulpit, is made of Adnet marble . The twelve sides with indented surfaces are designed in the late Gothic style (Salzburg font type). The stone is the work of several masters who marked it with their brands. The twelve sides bear bas-reliefs with half-length portraits of the apostles and banners of the Apostles' Creed in German. The relief of Matthew contains the coat of arms of Provost Wolfgang Lueger and the monastery coat of arms. Old traces of paint from an original version can be seen on the background of the reliefs .
The lower part of the wooden lid is decorated with reliefs of Christ carrying the cross and eleven moving angels with the tools of the Passion (nails, ointment vessel, crown of thorns, lantern and fire, cube, ladder, kerchief , scourge column, tongs and nails as well as the vinegar sponge). On the pyramid-shaped raised triangular end surfaces there are Renaissance ornaments, above a knob plate, a base, a dove symbolizing the Holy Spirit and the mechanism for pulling up the lid.
Crown of thorns
Ointment vessel
Nails
Carrying the Cross
Vinegar sponge
Pliers and nails
Scourge Pillar
Scourge column and rope
Lantern and fire
cube
ladder
Handkerchief
Altars
In addition to the relatively young high altar from 1962, the church has several other altars in the side aisles, which - with the exception of the altar of the Froschham Guild - all date from 1875 and 1876.
High altar
The high altar dates from 1962, the cafeteria from the 17th century. A modern shrine preserves a coronation of Mary, around 1520, Inntaler Schule from Riedering near Rosenheim , original version, restored and supplemented in 1935. Among other things, the carved Holy Spirit was added in 1935. Mary humbly kneels with folded hands between God the Father and God Son, each handing the crown to the Mother of God with their right hand; in their left hand they bear the symbol of divine rule, orb with a cross. The panel paintings by Niclas Horverk, which were painted on wood, hang as wings, depicting the homecoming and the assumption of Mary into heaven.
Anthony Altar
The neo-Gothic Antonius altar is located in the 4th yoke of the south aisle. This was created in 1876 by Adalbert Sickinger from Munich, the picture of the altar patron comes from August Hess. The assistant figures represent St. Benno or St. Ulrich , on the right St. Korbinian and in the burst of the exodus St. Florian . All the figures were carved from linden wood. The neo-Gothic candlesticks were designed by Carl Haring from Salzburg.
Joseph Altar
The Joseph altar is located on the front of the south aisle and was created by Johann Marggraff in 1875 as a three-figure retable with a yellow-brown-gray frame and gilded ornaments . The altar was donated by Baron Karl Karg von Bebenburg, whose coat of arms is attached to the north side of the predella . In the middle of St. Joseph as altar patron, on the left side St. Sebastian , at the request of the founder, who was a passionate hunter , St. Hubertus on the right and in the excerpt the enthroned God the Father .
Altar of the Froschhamer Guild
The altar of the Froschham guild is the last altar of the baroque interior of the 17th century and was - before it was moved to the second yoke of the north aisle - on the front wall of today's weekday chapel. The altar was made between 1673 and 1675 by the sculptor Jacob Gerold and the carpenter Marthin Khrainer - both from Salzburg. The version is by Rupprecht Schweindl from Altenmarkt , the altarpiece was painted by Dionys Paur from Kremsmünster in 1672 . Today the altar is only a torso , originally the height from the cafeteria was nine meters. The altarpiece shows Jesus' descent from the cross with the women and John on the right and Nicodemus with Joseph of Arimathea on the left in front of the landscape with Jerusalem . Painted plants are spread over the entire altar, on the canteen cladding there is a coat of arms with the inscription Agnus Dei on the left and Dona pacem on the right. The worshiping angels on the side consoles date from the second half of the 19th century, the angels sitting on the entablature and the candlesticks are from the 17th century. On the floor there are two neo-Gothic candlesticks, also from the second half of the 19th century, the base was changed in 1940.
Sacred Heart Altar
At the front of the north aisle, right next to the access to the weekday chapel , is the Sacred Heart Altar by Adalbert Sickinger from Munich from 1876. It was donated by Countess Maria von Dietrichstein from Vienna, her coat of arms is on the south side the predella . On the cladding of the cafeteria there are three panels with tracery decoration , in the predella reliefs of Jesus on the Mount of Olives on the left and Thomas in front of the risen Lord on the right. As auxiliary figures are left a statue of St. Dominic and on the right a statue of Catherine of Siena and in the rich canopy of the exodus of St. Stephen .
Altar in honor of the immaculate conception
The altar in honor of the Immaculate Conception is located in the north aisle and was created in 1876 by Adalbert Sickinger from Munich, the altarpiece is by August Hess. The altar of the Froschham Guild used to stand here. As assistant figures, Notburga on the left and Leonhard on the right . Above, under the crowning canopy, a holy woman who presumably represents Saint Anne . The base from 1740 is in the Rococo style, in the base niche there is a relic of St. Zeno.
Anthony Altar
Joseph Altar
Altar of the Froschhamer Guild
Sacred Heart Altar
Altar in honor of the immaculate conception
Choir stalls
The choir stalls in the middle and lower choir was because of a rood screen placed in the lower choir used to be different. The eight-stall parts are in their old place, two five-stall parts stood next to each other on the east side of the rood screen. The five-part provost's chair, which today stands on the south side, originally stood in the choir and has a more elaborate artistic design than the rest of the chairs. After the rood screen was demolished in the 17th century and a baroque high altar was erected, the choir stalls were set up today, with one of the five-stalls no longer being used.
The choir stalls are made of oak . The front of the pedestals and the back above the choir stalls are divided into fields and decorated with various tracery reliefs. The canopy crowning the back is decorated with trusses and ends in pinnacles . The figures on the front of the prayer booths represent children and animals. The putti in the provost's chair hold tapes with the year 1520 and JHS . The figurative representations are executed in the early Renaissance style, in the provost's chair under arcades the half-length figures of Christ , on both sides Peter and Paul , on the left outside James the Younger and right outside James the Elder . Between the five relief carvings, four bishops stand as full figures, from the left Augustine, Wolfgang, Zeno and St. Martin.
The choir stalls also include the two renaissance lecterns with the dates 1521, one of which is used as an ambo today.
Organs
Little is known about the history of the organs of the Church of St. Zeno. Under Provost Bernhard II. Rottenwalder, Paul Rotenburger from Salzburg built an organ on the newly built gallery in 1665. The thirteen-part prospectus is still original and bears the provost coats of arms of Bernhard II and Bernhard III. Elixhauser, during whose tenure the organ was probably damaged in the fire of 1789. The year 1523 on a pipe probably refers to the choir organ, which was broken off in the second half of the 18th century and relocated to the west gallery.
From 1896 a new organ in the old prospectus for 23 stops on three works by Franz Borgias Maerz was planned and built. Joseph Elsner expanded the housing. The organ was consecrated in 1899 and almost a hundred years later restored by Hartwig Späth in 1994.
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Coupling : manual coupling, manual octave coupling, pedal coupling I, pedal coupling II
Another Maerz organ (1890, I / 9) is located in the side aisle of the cathedral church, it comes from the parish church in Mitterdarching near Valley and was transferred to Bad Reichenhall in 1998. This organ was restored by Orgelbau Frenger & Eder from Bruckmühl.
A single-manual organ positive in the weekday chapel was privately built from the organ pipes of the Weise organ of the parish church of St. Nikolaus Bad Reichenhall, which was demolished in 1990 .
Bells
In the massive tower of St. Zeno there are five bells from the Oberascher bell foundry in Salzburg. They form an extremely valuable ensemble from a single source. The bells 1–4 were already at the Hamburg bell cemetery , but came back unharmed.
| No. | patron | Casting year | Caster |
Diameter (cm) |
Weight (kg) |
Nominal |
Inscription translation |
| 1 | St. Zeno | 1790 | Johann Baptist Oberascher | 157 | 2200 | c 1 +7 | CINERES ET BVSTA RECENS, AD NVMINIS ARAS SANCTI ZENONIS CONVOCO CHRISTICOLAS. After destruction and fire, I call the Christians to the altars of God at St. Zeno. |
| 2 | St. Augustine | 1791 | 126 | 1146 | e 1 -1 | AVGVSTINE! TVOS RESONANT MEA SIGNA TRIVMPHOS, QVAMQVE CANO LAVDEM, SVRGAT AD ASTRA DEI. Augustine, my inscription testifies to your great deeds as I sing the praises that go up to the heavens of God. |
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| 3 | Maria | 1791 | 104.5 | 575 | g 1 ± 0 | QVA QVONDAM ANGELICO TIBI VENIT AB ORE, SALVTEM TER TIBI VIRGO PARENS! NVNTIO QVOTIDIE. Just as the greeting was once spoken to you from the angel's mouth, I also greet you three times a day, virgin mother. |
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| 4th | St. Sebastian & St. Florian | 1791 | 78 | ? | c 2 +6 | NOBILE AR FRATRVM, PRO CHRISTI NOMINE PASSVM ARCE PROCVL FLAMMAS, HINC PROCVL ARCE LVEM. Praise be to the pair of brothers who were martyred for the name of Christ. Keep the flames away from now on and protect us from the plague! |
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| 5 | St. Monika | 1791 | 62.5 | 125 | e 2 ± 0 | LVCRATA ES NATVM LACHRYMIS SACTISSIMA MATER! AT NATI NATOS REDDE POLO PRECIBVS You are immensely profitable, most holy mother! You bring our requests to heaven! |
The clock strikes bells 3 & 1. Angelus bell is bell 2. Weekday Mass & Requiem: 4 + 3. Sunday mass: 4 + 3 + 2, solemn festivals: plenary, Sunday heralds: 4 + 3 + 2 + 1
Church crib
In the south aisle is the church crib, which - for several years all year round - has shown various biblical scenes. With hundreds of figures, animals and the smallest of objects, the crib recreates important stages in the life of Jesus. These include looking for a hostel, the birth of Christ, the Three Kings, the flight to Egypt, the wedding at Cana, meeting the scribes in the temple and scenes from Joseph's carpenter's workshop in Nazareth. The facility with a large cave, the temple, a carpenter's workshop, several castles and several oil paintings is elaborate. The Froschhamer Guild based in St. Zeno has been looking after and setting up the crib for many years . In the 1980s, Anton Schmidberger, the then Oberzechpropst (secretary) of the guild, succeeded in adding a mechanically operated Christ Child to the crib . It is a mechanical mechanism that moves a Christ child out of a temple, has himself crossed and brings him back to the temple. There was a similar mechanism earlier in St. Zeno, but it has been lost over the years. The income from the toy is already well over EUR 10,000, which was donated to the German Leprosy and Tuberculosis Aid.
Cloister
The cloister of the monastery was built in the Romanesque style at the end of the 12th century. Originally, this - like the church - was equipped with a flat wooden ceiling, which was replaced in the second half of the 14th century by a Gothic ribbed vault with individually designed keystones . Nevertheless, essential parts of the Romanesque cloister have been preserved, in addition to the 60 to 100 cm thick walls, among other things, two-part window arcades, columns with foliage capitals and wickerwork ornamentation, two portals made of Untersberg and Adneter marble and the gate to the former chapter house. A relief of the emperor Barbarossa is carved into a stone block in the middle of the western wing on the corner of a window pillar . After the secularization , the north wing of the cloister fell into disrepair and had to be demolished in the mid-19th century. Numerous epitaphs are embedded in the floor of the cloister , mostly from around 1400.
The restored cloister can be viewed on guided tours.
graveyard
The church is enclosed by the St. Zeno cemetery , which is the largest cemetery in the Bad Reichenhall valley basin. The old part of the cemetery is under monument protection, this also includes the walling, the war memorial and a grave column.
literature
- Walter Brugger : St. Zeno Bad Reichenhall . Art Guide No. 157, 3rd, revised edition, Verlag Schnell & Steiner, Regensburg 2008, ISBN 978-3-7954-4162-3 .
- Josef Otter, Dr. Engelbert Maximilian Buxbaum, Fritz Hofmann , Franz Dietheuer, Dr. Hubert Vogel: 850 years of St. Zeno - Church and parish of St. Zeno through the centuries (1136–1986) . Self-published by the rectory, Bad Reichenhall 1986.
- Johannes Lang : History of Bad Reichenhall. Ph.CW Schmidt, Neustadt / Aisch 2009, ISBN 978-3-87707-759-7
Individual evidence
- ↑ St. Zeno on kath-stadtkirche-badreichenhall.de, accessed on April 14, 2019
- ^ A b c Walter Brugger: Bad Reichenhall St. Zeno (history). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 2-4
- ↑ a b c d Walter Brugger: Bad Reichenhall St. Zeno (building history). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 4-7
- ^ A b c d Walter Brugger: Bad Reichenhall St. Zeno (renovations). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 8–9
- ^ A b c d Walter Brugger: Bad Reichenhall St. Zeno (renovations). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 9-10
- ^ A b c d Walter Brugger: Bad Reichenhall St. Zeno (renovations). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 10-12
- ↑ Fritz Hofmann : In memory of Toni Schmidberger in the Heimatblatt of July 16, 2005 as a supplement to the Reichenhaller Tagblatt
- ↑ Donations for handicapped accessible access from St. Zeno handed over to pnp.de, accessed on June 29, 2019
- ↑ a b c d e f Walter Brugger: Bad Reichenhall St. Zeno (exterior). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, pp. 12-14
- ↑ a b c d Walter Brugger: Bad Reichenhall St. Zeno (interior). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, p. 14f
- ^ A b Walter Brugger: Bad Reichenhall St. Zeno (south aisle). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, p. 24 f.
- ^ Walter Brugger: Bad Reichenhall St. Zeno. In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995
- ^ Walter Brugger: Bad Reichenhall St. Zeno (central nave). In: Art Guide. No. 157, revised edition, Verlag Schnell & Steiner, Regensburg 1995, p. 23f
Web links
- Website www.kath-stadtkirche-badreichenhall.de
- Ring all five bells on YouTube
Churches: St. Aegidia | Evangelical town church | St. George | St. John's Hospital Church | St. Nicholas | St. Pankraz | St. Valentin | St. Zeno
Chapels: Antoniberg Chapel | Bildstöckl Chapel | Brunnhaus Chapel | Schinderkapelle | Seebach Chapel | Staufen Chapel