Peterskapelle (Veringenstadt)
Coordinates: 48 ° 10 ′ 46.8 " N , 9 ° 12 ′ 45.3" E
On a 675 m above sea level surrounded by the Lauchert . NN high ridge, above the parish church St. Nikolaus and the old town center of Veringenstadt is a medieval chapel visible from afar. It is consecrated to Saints Peter and Paul , but has always been called the Peterskapelle or, in popular parlance , the Peterskirchle . The construction goes back to the 10th or 11th century. The chapel stands on the grounds of Veringen Castle and also served as the castle chapel.
history
It is assumed that this exposed place on the rock spur was used as a place of worship in pre-Christian times .
The names of the church patrons often give an indication of the period in which a church or chapel was founded. The churches consecrated to Saints Peter and Paul are among the oldest and are seen in connection with Saint Boniface (died 755). Hermann Eh assumes that a predecessor building made of wood probably already existed in the 8th or 9th century, which goes back to the beginnings of Christianization in the Swabian Alb .
It is noticeable that the construction of the Peterskapelle differs significantly from the castle. While the castle is carefully constructed using a solid, almost cement-like mortar , the chapel is made of rubble stones that are only held together with crumbly mortar. The name also does not suggest that the chapel was built in connection with the castle, as castle chapels were usually consecrated to saints who were particularly associated with the knighthood (e.g. St. George ). These indications suggest that the St. Peter's Chapel is much older than the castle itself and probably dates back to the 10th or 11th century.
The Peterskapelle served the Counts of Veringen as a castle chapel in 1134 . The counts did not maintain their own clergyman. Rather, they acquired the right of patronage in the parish of Deutstetten , that is, they could appoint the pastor, but also had obligations to maintain the parish. The Deutstetter pastor had to come to the castle chapel to read Holy Mass there. The chapel thus belonged to the parish of Deutstetten and not to the city of Veringen, which had no parish of its own until the 19th century and belonged to the parish and deanery Veringendorf. Nevertheless, the Counts of Veringen were also the church lords of the town and village of Veringen.
On June 16, 1515 an altar consecration took place "in the chapel of the Apostle Peter". The consecration day for St. Peter was set on the Sunday after Martini. This means that the Peterskapelle was considered desecrated at that time and has now been renovated and consecrated again. In addition, it becomes clear that from now on the chapel is open to the population. The population probably also undertook the renovation of the chapel.
Building description
The Peterskapelle is east . The building, which appears to be devoid of any decorative ornamentation , is a single-nave nave with an apse that is not quite centrally placed . The semicircular apse closed with a half-dome proves that it is a Romanesque building. The height of the apse is lower than that of the nave . A small roof turret with a bell sits on the relatively steep gable roof .
Like the outside, the inside is kept very simple. Two small windows in the apse give light to the altar. The small east-facing window was only added in 1962, while the larger window to the south was probably added at the time of the church renovation in 1515. On the south side there are six small arched windows in two rows, one above the other , which give the chapel a special character.
Furnishing
Fresco paintings
When you enter the church through the arched portal on the north side, the eye is immediately drawn to the fresco painting of the apse and its dome, as well as the associated painting to the left of it, which extends to the entrance door. These frescoes (around 1515) are by Peter Strüb the Younger from Veringenstadt, also known as the Master of Sigmaringen .
The main image shows the coronation of Mary in the apse calotte . In a circle flooded with light, Mary is crowned by Jesus, who is marked as “world teacher” and “world ruler” by the globe, and by God the Father, who symbolizes ruler over the universe through the scepter and crown. To the right and left of it, angelic choirs make music accompany the event. The dove of the Holy Spirit hovers over the scene.
Fresco of the apse ceiling
Coronation of Mary
Detail: Heavenly hosts
Around the main image, medallions are arranged in a circle , in which the twelve apostles are depicted as half-figures.
Apostle Simon Peter with key. Keys, represent the power over heaven and earth.
Apostle Andreas , brother of Peter with the sloping cross (Andrew's cross) on which he was crucified.
Apostle James the Elder , the son of Zebedee with the pilgrim's hat and walking stick. He is buried in Santiago de Compostela in northern Spain.
Apostle John (Evangelist) with the chalice. He was given poison to drink, which escaped in the form of a snake.
Apostle Philip with the cross.
Apostle Thomas with the lance. He died from a lance stab.
Apostle Bartholomew with the knife. His skin was peeled off.
Apostle James the Elder J. , son of Alphaeus with the fuller rod. A fuller rod is a device for felting and he was killed with one.
Apostle Simon Zelotes (also called Simon Kananäus) with the saw with which he was sawed.
Apostle Judas Thaddäus with the club. He was slain with a club.
Apostle Matthew (Evangelist) with the ax. He was beheaded.
In the upper spandrels towards the nave is King David on the left and St. Joachim , Maria's father, is shown.
King David can be seen in the upper left gusset towards the nave . He wears a tape with the inscription: "Veni de libano veni coronaberis" (Come from Lebanon, come, you will be crowned.)
In the upper right gusset is St. Joachim , Maria's father, is shown. It bears the inscription: "Exulta salis filia Sion iubila filia ierusalem" (rejoice in your grace, daughter of Zion; rejoice, daughter of Jerusalem.)
Below this zone of heavenly vision the earthly zone is depicted, symbolically no longer in a circle, but in the horizontal.
Left apse wall. St. Wolfgang with church, St. Paul with sword, Archangel Michael with scales, John the Baptist in camel hair and with the cross staff and finally St. Ulrich with a book and fish (which the Counts of Veringen count among their ancestors).
Between the two windows of the apse, St. Ottilie (with book and eyes) and an angel of a soul in purgatory their encouragement.
On the far right of the apse wall is the representation of the fourteen helpers in need:
- St. George (with dragon; invoked against epidemics of domestic animals)
- St. Blaise (invoked against sore throat)
- St. Erasmus (with winch on which his bowels are rolled up; invoked against abdominal pain)
- St. Pantaleon (with ointment bottle; patron of doctors)
- St. Vitus (called against epilepsy),
- St. Christophorus (carries the Christ child; invoked against an unprepared death)
- St. Dionysius (invoked against headaches)
- St. Cyriacus (with devil; invoked against temptation at the hour of death)
- St. Achatius (with a thorn branch; invoked against fear of death and doubt)
- St. Eustachius (with crucifix in deer antlers; invoked in all difficult life situations)
- St. Egidius (called on to make a good confession)
- St. Margaret (with dragon; patroness of the woman giving birth)
- St. Barbara (with chalice and host; patroness of the dying)
- St. Catherine (invoked against suffering of the tongue and difficult language)
Mount of Olives
In the nave to the left of the apse there is a group of Mounts of Olives. While Christ is praying on the Mount of Olives, his disciples are asleep and soldiers are already entering the Mount of Olives. If one follows the eyes of Christ, one sees an angel who originally held a chalice in his hand. Christ, the disciples and the angel are carved onto the sculpture. They are ascribed to the Ulm School around 1500. The background painting, like the apse painting, was made by Peter Strüb the Younger and was created in 1515. It was exposed again in 1963 and carefully supplemented. It depicts a landscape with a braided fence, behind which the captors can be seen. The lower part of the Ölberg is a three-dimensional continuation of the Ölberg landscape, which was made around the year 2000. The shape was modeled on the depiction that was removed in 1962.
Mount of Olives scene.
Sleeping Peter in the Mount of Olives scene.
Sleeping disciples in the Mount of Olives scene.
Jesus praying in the Mount of Olives scene.
Jesus praying in the Mount of Olives scene.
Further equipment
- A Gothic Pietà used to stand on the preserved Romanesque stone altar .
- A crucifix is located above the apse. It dates from the end of the 15th century and was repainted in the 19th century.
- What is striking is a large, semicircular, solid stone in the right corner in front of the apse, the purpose of which cannot be explained. Possibly it could have been a former sacrificial stone or another stone dedicated to cultural purposes that was included in the Christian frame.
- In the middle of the southern nave wall is a crucifixion group with Mary and John. It is a work by the Ulm School around 1500.
- A carved wood representation of St. Peter with two keys is on the nave wall to the right of the apse. The two keys symbolize power over heaven and earth. The sculpture was made by the Jungnau carvers around 1960.
- Every year on June 24th, every hour on the hour, the bell is rung in St. Peter's Chapel in honor of St. John.
St. Peter on the right side altar.
Crucifixion group on the south wall. Work of the Ulm School around 1500.
Christ. Detail of the crucifixion group on the south wall.
Maria. Detail of the crucifixion group on the south wall.
John. Detail of the crucifixion group on the south wall.
Gallery
Mary on the west wall.
Historical key data
| year | comment |
| 1291 | The Peterskapelle is mentioned in the Habsburg Urbar : "On the castle of Veringen, which is owned by the rulership, a chapel that belongs to the rulership, which is probably 6 marks of silver." |
| 1313 | After the Austrian pawned toboggan run, Otto von Regnoczwiller held the castle fief (including the Peterskapelle) from Veringen. |
| 1315 | Austria pledged the castle and town of Veringen to Count Wolfrad von Veringen . |
| 1344 (1359) | The castle and chapel are pledged to the House of Württemberg. |
| 1356 | The Peterskapelle is mentioned for the first time in a document: “Thursday after Sant Laurencistag. Ulrich von Rengoltswiler Kilchherr zu Digtstetten and sant Petern uff der burg, and Ott sin brother, Ulrich's blessed sons give 10 schil annually. hlr. on St. Martin's Day up to their Hus and Hofstatt bi der Kilchen u. to the chaplaincy of St. Ursula. " |
| 1515 | The Peterskapelle is renovated and rededicated. On this occasion, an arched window was created on the south side of the apse. The painting of the apse and the back painting of the Mount of Olives is carried out by Peter Strüb. The sculptures on the Mount of Olives were also created during this time. The steep roof was probably erected around 1515 or during the renovation in 1704 instead of a flatter Romanesque roof. |
| 1626 | "In 1626 the little bell was suffered 24 hours a day, day and night, for all sorts of evil spells, witchcraft and storms, and it was so heated that it changed its shape." |
| 1628 | As a result of the long and continuous bells on Johanni 1626, the little bell broke and was poured over. Poor and rich contributed to covering the costs, and "even the poor married couples." The contributions flowed so abundantly that the little bell in the new cast has become one hundredweight. The inscription reads: "Mr. RD Jacob Bernhard Pastor of Veringen, Mayor Martin Eggstein, Mayor Kaspar Spekher, anno 1628 Fracle Hotharingus me fecit." |
| Since 1628 | Every year on June 24th, every hour on the hour, the bell is rung in St. Peter's Chapel in honor of St. John . |
| 1632 | When the Swedes moved through the Laucherttal to Sigmaringen , Veringen Castle was destroyed by them. The Peterskapelle was also badly damaged and showed several breakthroughs. The turret would also have been broken off by the soldiers if a captain had not given the order to hang the bell. |
| 1665 and 1673 | The citizenship removes the consequences of the damage from the 30-year war . |
| Since 1665 | On Maundy Thursday , prayers continue to this day on the Mount of Olives in the Peterskirchle. |
| Since 1704 | In the meantime the little church was very dilapidated again. The Peterskapelle was renovated again by Oberwachtmeister Petrach and Rittmeister Antoni, a lieutenant of an Austrian cuirassier regiment who had taken winter quarters here, as well as with the help of other benefactors from Veringenstadt, Veringendorf and the surrounding area. The boarded ceiling probably dates from this period. It is likely that the ceiling originally had visible beams. |
| 1855 | A structural repair is carried out again. A collection was held in the city to restore the Mount of Olives . |
| 1873 | At noon on June 5, 1873, lightning struck the turret of St. Peter's Chapel and set it alight. They brought up water and a small hand syringe. This enabled the fire to be extinguished before the roof structure was destroyed. |
| 1922 | The church painter Anton Frank from Munich is commissioned to uncover the fresco painting that was painted over by the renovation in 1704 and to bring it back to life in its old character. In the process, some overpainting was carried out. |
| 1962-1964 | Exterior and interior renovation of the Peterskapelle under the state curator Walther Genzmer .
When the damaged exterior plaster is removed, the outlines of the oldest bricked-up window openings come to light again. The old arched windows are being restored. For this purpose, two larger arched windows are bricked up on the south side. These arched windows were made either when the apse was painted in 1515 or when it was repaired in 1704. More likely in 1515, because a similar arched window was created on the south side of the apse at that time. The apse painting is being renovated by the painter and restorer Josef Lorch from Füssen. The overpainting from 1922 will be removed so that the original colors can be seen. Some additions in places where nothing could be seen were made in such a way that they can be recognized as such. The floor in the nave is given a new floor covering made of brick panels. The red color of these bricks, the natural wood tone of the ceiling and the white walls give the room balanced colors. Until 1962 the chapel contained a baroque, wooden marbled altar and a painted way of the cross from the 18th century. Both were quite large for the relatively small room that was to be given its medieval character. The altar will find a new place on the northeast narrow side of the vestibule to the Deutstetten cemetery church. The stations of the cross are placed on the long walls of the cemetery church instead of an insignificant way of the cross from the nineteenth century. The entrance door is enlarged and bordered with bumpy blocks. The external plaster is renewed and the roof is re-covered. |
Web links
Individual evidence
- ^ Hermann Eh: Chronicle of the city of Veringen. 1952. Volume I
- ↑ a b c d Maria Fink-Hövelmann: The Peterskirchle in Veringenstadt. 1998.
- ↑ State Archives Sigmaringen, deposit 20 Pfarrarchiv Veringenstadt 1326-1823.
- ↑ Daughter Zion stands for the city of Jerusalem
- ^ Veringenstadt Peterskapelle (Castle Chapel) Mount of Olives scene in the German Digital Library
- ↑ Südkurier from June 20, 2009: Johannes traditionally rings the chapel bell
- ↑ a b Sebastian Locher : Regesten on the history of the counts of Veringen. 1872.
- ↑ Inscription in the chapel behind the altar.
- ↑ a b c d e f Walther Genzmer in Schwäbische Zeitung of July 30, 1964.
- ↑ Bruno Stehle: Hohenzollern a home book. 1925
- ↑ a b c d e f g h Thomas Fink: Materials on the history of the city of Veringen. Volume 10. Peterskirchle. 2011.
- ^ Minutes of the Council of the City of Veringen from July 1705.