Assumption of Mary (Mölten)
The Roman Catholic parish church Maria Himmelfahrt in Mölten , a village in South Tyrol on the Tschögglberg ridge , is a Romanesque or early Gothic building that has been modified several times over the centuries.
history
Parish history
The first written mention of the parish in Mölten dates back to the 13th century. In 1242 it came as a gift from the Trento prince-bishop Alderich to the cathedral chapter there , which in return ensured pastoral care by a vicar . At the beginning of the 16th century it was merged with the parish of Terlan ; In 1538 Mölten is only mentioned as a branch of Terlan. Only in the plague years around 1636 did a pastor reside permanently in Mölten; the first of which was a certain Nikolaus de Pretis. Therefore, the Widum was built in 1642 and the parish church was enlarged in 1651 . In 1704 the pastoral care office in Verano received a certain independence from the Bishop of Trento in relation to the mother parish in Mölten. In 1932 Mölten even became the seat of a deanery , which included the parishes of Vöran, Flaas, Jenesien and Afing. Today the parish Mölten is assigned to the dean's office Terlan-Mölten with seat in Terlan.
Building history
The history of the parish church in Mölten with the patronage of the Assumption of Mary goes back at least to the 13th century. At that time there was probably a Romanesque church in the place. The oldest parts of the structure of today's parish church, which can be found in the masonry of the nave , are Romanesque or early Gothic and go back at least to the 14th century. Towards the end of the 15th century, the two-bay , three-sided closed choir was built in the late Gothic style. A possible indulgence ceremony in 1482 is the starting point for the work ; it was probably completed in 1489, when the high altar was consecrated at that time. This year can also be found on a stone in the choir. A late Gothic side altar was consecrated as early as 1484. The vaulting of the nave was made around 1530 by workers from the Lake Como area. The vault already gives the impression of a barrel vault ; In addition, the ribs arranged in a star shape do not fulfill any load-bearing function. Therefore, this work is already at the transition from the late Gothic to the Renaissance .
The tower, which is built on the north side of the nave and has Romanesque or early Gothic masonry up to the penultimate paragraph, was raised during the late Gothic redesign and in 1671 received its eight-sided, stone pointed spire over four triangular gables. In the tower there is still a bell from 1686, which is even the largest of the Möltner chimes. It was cast by Thomas Zwölfer from Bolzano and bears the initials of the incumbent pastor, the cooperator and an influential donor . In 1651, during the Baroque period, the nave was extended to the west under Pastor Nikolaus de Pretis and received a Baroque facade , which was corrected when the building was re- gotized around 1910. The ogival church portal and the two flanking windows, which were reduced in size around 1910 and adapted to the portal , also date from this time .
The reredos of the three current altars are also neo-Gothic and came into the church between 1866 and 1868 under Pastor Johannes Baptist Klotzner. The designs come from the carver Josef Überacher, the execution was in charge of the carpenter Peter Burgi from Lana . With them the pulpit , the entire church stalls including the choir stalls , the confessionals , the communion grille , a small baptismal font with a wooden lid and the two holy water basins were purchased. In 1899 Mölten received an organ with a pneumatic action from the organ builder Anton Behmann from Schwarzach in Vorarlberg . In the course of the liturgical reform of the Second Vatican Council , the canteen of the high altar was demolished and was used for the new people's altar . The last major renovation of the church took place in 1984 and 1985.
Furnishing
The neo-Gothic high altar has a late Gothic group of figures depicting the coronation of Mary by the Holy Trinity in a central position . This is likely to have originated in Bolzano at the beginning of the 16th century. It is flanked by baroque figures of the “princes of the apostles” Peter (left) and Paul (right). In conversation Enge is a Sacred Heart -Figur, flanked by two angels with the Arma Christi . The last three figures mentioned come from the sculptor Josef Waßler from Lana.
The north (left) side altar contains a late Gothic carved relief of the death of the Virgin in the predella , which no longer has its original setting . Above it is a statue of the Heart of the Virgin , flanked by figures of Saints Stanislaus Kostka and Saint Anthony of Padua . A separate altar in the Möltner church was dedicated to the latter in the baroque period. Its altarpiece, a copy of the miraculous image from the Franciscan church in Kaltern , hangs today on the north wall of the choir. A figure of the Archangel Michael can be seen in the burst. The southern (right) side altar is dedicated to St. Joseph . Its statue is framed by figures of the plague cartridges Sebastian and Rochus . In the excerpt can be seen with chalice and lance an angel. On the antependium there is a representation of the poor souls in purgatory . The figurative decoration of the side altars comes from the Bolzano sculptor Anton Kolb.
The neo-Gothic pulpit is also the work of the carpenter Peter Burgi from Lana. On the polygonal pulpit are the white framed busts of Christ and Saints Augustine , Ulrich , Martin and Vigilius in various fields . The reliefs come from a late Gothic pulpit cladding and originally presented Christ and the four church fathers . They were carved accordingly for use on the Möltner pulpit.
The parish church also houses an early Gothic baptismal font that was placed directly in front of the left side altar. This bears the year 1556, which should refer to a cover that has since been lost.
The remains of the frescoes on the north and south walls of the nave are of particular interest . These probably come from the time the church was built and can therefore be found at least in the 14th century. Only an angel holding a candle can be seen on the south side. This could have been part of a Mary's death scene. Remains of a representation of the martyrdom of Catherine can be seen on the north wall. This is likely to have been composed of a series of individual scenes. Other remains of the frescoes are possibly covered by the Marien Altar. On the exterior, in the south-west corner of the Romanesque-Gothic church (without the Baroque extension), a fresco from around 1400 can be seen, which is composed of half-length portraits of St. Christopher , Mary, the Mother of God, and another female saint.
Surroundings
graveyard
The parish church of Maria Himmelfahrt is located in the middle of the walled cemetery .
St. Anna chapel at the cemetery
To the north of the church is the St. Anna chapel at the cemetery, which also serves as a morgue . Contrary to popular belief that the Annenkapelle is older than the parish church, the small, clapboard-roofed building with a bell rider was not built until the second half of the 16th century. The building comprises a two-bay nave with groin vaults , which continues in the polygonal choir. This is only separated by a round choir arch. The vault rests on consoles with possibly older envious heads . The arched entrance on the south side of the choir, incorrectly referred to as Romanesque, is now walled up. The two window openings in the choir also end in a round arch. In contrast, the two nave windows are slightly tapered and reveal the remains of tracery arches . The ogival portal of the chapel, which is located on the west side, is provided with a round bar profile and a groove . Above it is an oculus with baluster - shaped spokes , which clearly speaks for its origin in the 16th century.
When the room shell was revised in the 17th century, wall paintings were made using the Secco technique. Most of these are whitewashed so that only fragments can be seen that do not allow a holistic interpretation of the painting cycle. A consecration cross and the remains of a third Anna can be seen in the choir room . In the ship, to the right of the portal, a skeleton is depicted, which symbolizes the transience of earthly life. Possibly this representation belongs to a dance of death . Above the portal is a Salvator mundi under Renaissance architecture , which has already been restored several times.
The baroque high altar with black and gold frames was built in the 17th century. The structure is supported by two fluted columns with smooth stumps. In between there is a round arch niche that contains a high Gothic Pietà made of cast stone , which dates from around 1400 and is comparable to that in the Marienberg collegiate church . The Vesper picture is arranged against the background of a baroque halo and clouds. The upper end of the altar is a blown tail gable that touches the choir vault. In addition, the chapel contains a small Renaissance winged altar on a neo-Gothic substructure , which was created around 1610 by Ferdinand Greiter. It is similar to the one in the St. Jakob Church on Langfenn . In the low predella zone , two hovering angels can be seen presenting the handkerchief to Veronica . Instead of figures, a painting of Saints Quirinus and Nicholas can be seen in the central position . On the wings the Annunciation , the Visitation of Mary , the Nativity and the adoration of the Magi are depicted. When the wings are closed, fluted pilasters that support the altar structure become visible. On the outside of the wing there are pictures of the four evangelists .
In the chapel there is also a baroque pulpit in a rectangular shape, which may have been in the parish church earlier. Columns on consoles separate the individual fields in which the evangelists are painted.
literature
- Leo Andergassen : Churches in Mölten . Tappeiner Verlag, Lana 1993. ISBN 88-7073-163-4 .
Web links
- Entry in the monument browser on the website of the South Tyrolean Monuments Office
Individual evidence
- ↑ Andergassen, p. 3.
- ↑ a b Andergassen, p. 4f.
- ↑ Andergassen, p. 5f.
- ↑ a b c d e Andergassen, pp. 7–11.
- ↑ a b c d Andergassen, pp. 13-16.
Coordinates: 46 ° 35 ′ 10.8 " N , 11 ° 15 ′ 21.8" E