Maria Kirchental

from Wikipedia, the free encyclopedia
Maria Kirchenthal, State of Salzburg
Maria Kirchental, 2005

Maria Kirchenthal is a Roman Catholic pilgrimage church for the birth of Our Lady (September 8th) in Sankt Martin bei Lofer , Salzburg . The church, which was consecrated in 1701, is at 872  m above sea level. A. in a valley that leads from Sankt Martin into the Loferer Steinberge . It is endowed with a curate advisor .

church

The church was designed by the Graz architect Johann Bernhard Fischer , who was ennobled in 1696 and was then allowed to call himself "von Erlach". He presumably provided the plans around 1693, construction work began in 1694 and lasted until 1701, but the design of the church lasted until 1708. But by November 1698 all the vaults were finished, also inside and outside plastered, stuccoed and whitened, which is why the first church service could be celebrated with music in 1699 (see below), and on September 8, 1701 it was consecrated by Seckau prince-bishop Rudolf Josef von Thun and Hohenstein (1652-1707). The building impresses from the outside with the double-towered, two-storey east facade and, on the inside, is reminiscent of the Salzburg College Church due to the vastness of the space .

Maria Kirchental has the most important collection of votive pictures in Austria. Furthermore, the church is a popular destination for pilgrims, but also for hikers and mountaineers who use Maria Kirchenthal as a starting point for tours in the neighboring Steinberge. Along with Maria Plain, Maria Kirchental is one of the most popular pilgrimage sites in Salzburgerland. Hardly any other place far and wide can show such an impressive unity of nature and culture, of history and present. Since the completion of the church, people from Salzburg, Tyrol, Upper Austria and Bavaria have made pilgrimages to this 900 m high place of grace at the foot of the Loferer Steinberge. "Rock crystal among the places of pilgrimage" has made him Archbishop Emeritus Eder called after the completion of renovation work in September 2,001th

Image of grace and pilgrimage legend

Devotional picture around 1860

Miraculous image is a crowned seated wooden statue of St. Mary, holding a scepter with her left hand, the seated baby Jesus with a little bird in her right hand : A goldfinch has settled on the baby Jesus' left hand, with the index finger of her right hand she points to it as if it wanted to know something about his own Indicate passion . The goldfinch or goldfinch is primarily a symbol of the sacrificial death of Jesus - and the thus saved soul, its red head feathers as a reference to the shed blood of Christ . The miraculous image was probably created after 1400 by an unknown late Gothic artist for the parish church of St. Martin . When this was converted to Baroque style, the statue was removed from the church, whereupon a farmer named Rupert Schmuck brought the statue to the remote high valley in 1689. He gave him a place in a forest chapel, to which a pilgrimage began very soon and spontaneously. Mary and Jesus each wear a gold-plated crown on their heads : the Archbishop of Salzburg is said to have placed this on their heads on October 13, 1691.

Impressed by the many answers to prayer, which at that time were already attested by a large number of votive tablets, the then Prince Archbishop Johann Graf von Thun decided to build a pilgrimage church. He entrusted the planning of the church to the imperial court architect Fischer von Erlach. Under the direction of the master builder Stefan Millinger, born in St. Martin, local craftsmen and assistants completed the "Pinzgauer Dom" in just seven years, from 1694 to 1701.

organ

Elevation 1687/88 and 1716/17
Mauracher organ from 1858

There is evidence that 1699 was played for the first time on a shelf bought for 30  florins in the church. Either the Lofer organist Mathias Rinnessl sat at the instrument , or the organ player Vonetwillen, who was employed between 1700 and 1730 . In 1716 Franz Wilibald Polz , 1714–1729 Regens der Pilfahrtskirche, wrote to the consistory that he had often heard from pilgrims how it came about that one had no organs in such a prominent pilgrimage , especially since there were probably poorer places of worship than Kirchental with organs would be provided. In addition, the sacristan Paul Gartner , who founded the brotherhood of the Marian Carmelite Scapulars in 1712, would have donated 100 florins for the purchase of one. As a result, the organ builder Johann Christoph Egedacher first provided a cost estimate with an outline drawing , which his father Christoph Egedacher had already used in 1688 when building the organ for the Erhard Church . In 1717 the instrument was brought to the church by the so-called “messenger” Peter Faistauer from St. Martin with several horse-drawn carts and set up by Egedacher. It had the following voices : Manual : Copel 8 ', Gamba 8', Principal 4 ', Super octave 2', Quint 3 ', Mixtur 1½' (double). Pedal : octave bass 8 '. The manual had a range of C – c 3 with a short octave (45 keys and tones), the pedal ranged from C – g sharp 0 (16 keys, 12 tones, on key g sounds g sharp).

In 1742 the plan arose to move the organ from the center of the gallery, where it stood in front of the large east window, to the south side and, for reasons of symmetry, to build a counterpart in the form of a blind organ. The clergyman Johann Michael Freundt from Schwertberg , possibly a relative of the Freundt organ building dynasty, stood out for this project . The dummy case was set in lapis lazuli (= blue) by the painter Andre Eisl to match the organ and the sculptures were gilded by him. The clergyman Rochus Franz Ignaz Egedacher , a student of Leopold Mozart and grandson of Johann Christoph Egedacher, must have got to know the instrument in this form around 1781 when he had to stay in the priest correction facility in Kirchental because of a crime. In 1806 he repaired the organ that his grandfather had built in 1717 within four to five weeks. He was rewarded by rain (1805-1825) Philipp Jakob Metzger praise, because he [is] a lot of effort into mending, and utter the same sentiment [made] have - and because the organ, according to the local organist Leumüller in a pretty good state, and pure mood had been established . The consistory approved 4 convention thalers for its work .

In 1856 Regens (1854–1859) Josef G. Brugger wrote to the consistory that the teacher and organist Fercher wanted the organ to be repaired or expanded, because he would then [...] be able to perform lovely songs from Mary with lighter organ accompaniment. would eagerly recite [...]. Father Peter Singer recommended that this work be left to the organ builder Matthäus Mauracher I (1818–1884). Initially, Mauracher only wanted to extend the organ and move it to the rear, but then had it removed and in 1858 installed a new instrument in two new organ cases. He only took over a few old registers and the bellows of the Egedacher organ, a circumstance that meant that the Kalkant had trouble delivering enough organ wind . It was not until 1892 that Albert Mauracher (1858–1917) corrected this shortcoming by installing a parallel bellows, and he also changed the disposition and the wave board. After the organ became unplayable at the beginning of the 21st century, the church administration decided to have the instrument restored by the organ builder Johann Pieringer. He restored the disposition from 1858, but left the technical changes from 1892.
The tuning tone is 445 Hz , as the tuning system Pieringer chose a modified one according to Neidhardt II.

Disposition

Manual C – f 3
Principal 16 ′ (from H)
Principal 8th'
Gamba 8th'
Filomela 8th'
Covered 8th'
Octav 4 ′
flute 4 ′
Super octave 2 ′
3-fold mixture 2 2 ⁄ 3  ′
Pedal C-f 0
Sub-bass (open) 16 ′
Octave bass 8th'
Fifth bass 5 1 ⁄ 3  ′

Bells

Between 1701 and 1848, four bells were gradually cast and hung in the left tower. During the First World War , semi-precious metals became scarce and were requisitioned, and the bronze bells were removed and melted down. In 1926 new bells were cast and raised. Then came a new war and in 1942 these bells were also roped down to suffer a similar fate. But the snow was supposedly too high for the transport. So they came to Zell am See “as ordered”, but missed the transport by train. After 1945 they were found under the hay in a barn and silently hung up in the tower of the parish church in Zell. In vain: you couldn't ring it because the cunning Father Regens had kept the clapper back. So the Zeller “bell clasps” had to go to the rain in Kirchental and ask for the clapper. It only lent them until the new road was completed. In 1949 the bells in the fire engine came home. On the way they received the baptism of fire: there was a fire in the Grubhof. So they stayed at the car to extinguish them. Only then were they really allowed to return home. The third bell dates from 1815 and was cast by Franz Xaver Gugg the Elder, it originally comes from Gerling near Saalfelden. The three other bells were cast by Oberascher in Salzburg in 1926. They sound in the notes e 'a' cis '' d ''.

House of reflection

The House of Reflection right next to the pilgrimage church is run jointly by the Sacred Heart Missionaries and the Missionaries of Christ . The offers are varied and mainly include days of reflection, retreats, Bible weeks and meditations, but also sporting activities such as cross-country skiing or mountain hiking. In the 18th and 19th centuries the house was a priest correctional institution for the Archdiocese of Salzburg .

literature

  • Gustav Gugitz : Austria's places of grace in cult and custom . A topographical handbook on religious folklore in five volumes, Volume 5, Vienna 1958.
  • Johannes Neuhardt : Pilgrimages in the Archdiocese of Salzburg , Munich and Zurich 1982.
  • Johannes Neuhardt (ed.): Salzburg's pilgrimages in cult and custom . Catalog of the 11th special exhibition of the Salzburg Cathedral Museum, Salzburg 1986.
  • Roman Schmeißner: Organ building in Salzburg pilgrimage churches . WiKu-Verlag, Duisburg & Cologne 2015, ISBN 978-3-86553-446-0 .
  • Rupert Struber: Priest correction institutions in the Archdiocese of Salzburg in the 18th and 19th centuries . Science and Religion, Frankfurt am Main 2004 (publications of the International Research Center for Basic Questions in the Sciences Salzburg, Volume 5), also dissertation, Salzburg 2003, ISBN 978-3-631-51815-1 br.
  • Karl Unger: Maria Kirchental , without editor, Salzburg 2007 (Austria's Christian Art Centers No. 393; 2nd expanded edition).

Web links

Commons : Wallfahrtskirche, Maria Kirchental  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Personnel of the world and religious clergy of the Archdiocese of Salzburg for 1957 ( Schematismus 1957), ed. from the Archbishop's Office in Salzburg 1957, p. 249.
  2. ^ Karl Unger: The pilgrimage . In: Maria Kirchental , without editor, Salzburg 2007 (Austria's Christian Art Sites No. 393; 2nd expanded edition), p. 3f.
  3. ↑ Ronald Gobiet: The church building . In: Maria Kirchental , without editor, Salzburg 2007 (Austria's Christian Art Sites No. 393; 2nd expanded edition), p. 6f.
  4. ^ Austrian art topography 25 : The monuments of the political district of Zell am See (ÖKT 25), ed. from the Art History Institute of the Federal Monuments Office, Baden near Vienna 1933, p. 130.
  5. ↑ ÖKT 25 , p. 132.
  6. ^ Johannes Neuhardt: Pilgrimage Museum . In: Maria Kirchental , without editor, Salzburg 2007 (Austria's Christian Art Sites No. 393; 2nd expanded edition), pp. 22–26.
  7. ↑ Gustav Gugitz: Austria's Places of Grace in Cult and Custom , Volume 5, p. 169.
  8. ↑ Goldfinch. In: Symbols Wiki. Retrieved March 26, 2016 .
  9. ^ Karl Unger: The pilgrimage . In: Maria Kirchental , without editor, Salzburg 2007 (Austria's Christian Art Sites No. 393; 2nd expanded edition), p. 3.
  10. ^ Roman Matthias Schmeißner: Studies on organ building in pilgrimage churches of the Archdiocese of Salzburg , dissertation University Mozartem Salzburg 2012, p. 128.
  11. ↑ Rupert Struber: Priest correction institutions in the Archdiocese of Salzburg in the 18th and 19th centuries . Science and Religion, Frankfurt am Main 2004 (publications by the International Research Center for Basic Questions in the Sciences Salzburg, Volume 5), Salzburg 2003, p. 54.
  12. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 129.
  13. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 132.
  14. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 133.
  15. ↑ Heribert Metzger: On the history of the organ . In: Barockberichte 32/33, Salzburg 2002, p. 312.
  16. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 134.
  17. ↑ AES : Box 8, compartment 100, fascicle 4 (Lofer and Kirchental, June 30, 1806)
  18. ^ AES: Box 8, Subject 100, Fascicle 4 (Salzburg, July 2, 1806)
  19. ^ AES: Parishes Kirchental (disordered), organ (Kirchental, July 28, 1856). Quoted from: Schmeißner: Studies on organ building in pilgrimage churches , p. 135.
  20. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 136.
  21. ^ Schmeißner: Studies on organ building in pilgrimage churches, pp. 138–141.
  22. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 140.
  23. ^ Schmeißner: Studies on organ building in pilgrimage churches , p. 142.
  24. ^ Johann Pieringer restoration report of the Matthäus Mauracher organ (1858) in Maria Kirchental , Haag 2002.
  25. ↑ Compare: Metal donation by the German people in World War I.
  26. ↑ Sign on the pilgrimage route

Coordinates: 47 ° 33 ′ 39 ″  N , 12 ° 41 ′ 18 ″  E