Parish church Kötschach
The Roman Catholic parish church of Kötschach in the municipality of Kötschach-Mauthen is dedicated to Our Lady and is nicknamed "Gailtaler Dom" .
history
The former pilgrimage church was first mentioned in 1399. After being damaged by the Turkish invasions, it was re- consecrated in 1485 . The church building that exists today was built by Bartlmä Firtaler from 1518 to 1527 using existing masonry and consecrated in 1542. After Kötschach was a branch of St. Daniel up to then, it was raised to a parish in 1627. From 1712 to 1981 the servites from Maria Luggau took care of the parish .
Building description
The church is a late Gothic church with a single nave, lower long choir on the outside with a five-eighth end and a mighty square entrance tower in the west. To the north of the choir, the baroque sacristy is housed in the last section of the monastery wing attached directly to the church. The choir and the south wall of the nave are supported by double-stepped buttresses with a triangular center piece, the gable-crowned struts at three corners of the nave are placed across the corner. Another buttress is located in the corner between the west wall of the nave and the north wall of the tower. On the north side of the nave, the church has a continuous plinth cornice , the cornice at the height of the first stairway also includes the choir. In the nave, lancet and round windows alternate, the choir only has lancet windows. The windows in the end of the choir are in two parts, divided into two storeys and still have original tracery , grooved garments and painted baroque frames. A baroque crucifixion painting can be seen in the wayside shrine to the south of the choir. The northern side portal has an ogival profile, the southern one has a profiled keel arch frame in an overarching rectangular frame field. The figural sundial fresco depicting the Kötschach image of grace was painted by Johann Michael Strickner in 1750 . The buttresses, cornices, door and window frames as well as the edge cladding on the tower and nave are made of red Lasa sandstone blocks . The tower with wall slots is undivided at the bottom, the bell storey begins with a cornice. Above there are ogival three-part acoustic windows with rich tracery and two-part tracery windows in the pointed gable. The tower ends with an eight-sided pointed helmet. The grenades sleeve in the niche on the southwest corner of the tower is reminiscent of the fighting in the Carinthian Alps in the First World War . A war memorial is housed in the vaulted entrance hall on the tower ground floor. Access to the church is via a pointed arched portal on the south side of the tower and a richly profiled pointed arched west portal.
The three-aisled, four-bay nave with naves of almost the same height has a significantly narrower south aisle, which also differs from the rest of the church in terms of the shape of the vault. The narrow width and probably also the rudimentary forms on the first left free pillar as well as other deviations can be attributed to the inclusion of the previous building from the 15th century, from which the walls of the nave, the triumphal arch and the walls of the choir with services and capitals are likely to have been preserved were. The choir gallery in the west yoke also comes from the previous building, with a five-axis pillar arcade. The gallery is arched with net or star ribs. The gallery parapet is clad with a baroque wooden balustrade, above which there is a rococo tower . The organ was built in 1850 by Joseph and Georg Schmid. The pillars are grooved several times and have provided circular services , which are only rudimentary in the south aisle under the separating belt arches. On the south wall, the belt arches end in two head consoles. The vaulting of the hall comes entirely from Barthlmä Firtaler. The ribbed stars end in three leaves. A coat of arms stone marked 1527 is attached to the second northern pillar. There is an eagle console on the east side of the left aisle. A richly profiled, pointed triumphal arch with a cranked cornice in the capital zone connects the central nave with the choir. In the three-bay choir with three-eighth end, a baroque vault rises above grooved circular services with leaf capitals. In the two eastern sections of the choir, a strip of cornice runs in the lower third of the wall; the middle service rises from here. All windows of the church were re-glazed in 1913.
Murals
The rococo decoration in the choir vault with the representation of the Assumption of Mary and Mary as Queen of Heaven is signed “Inv. Et pinxit Michael Stricker “ . The Descent from the Cross and the Walk to Emmaus were painted by Christoph Brandstätter the Elder. Nikolaus Kentner from Lienz painted the frescoes in the northern sloping wall of the choir in 1499. The death of the Virgin Mary, the Assumption of Mary, the adoration of Mary by angels and saints and the coronation of Mary are shown in several rows . Maria in the ear of ears shows the painting from 1440 on the south wall of the choir. Next to it is the coat of arms of Joachim Mögeli.
Facility
The classical high altar was created by Franz Stauder from Sexten in 1833 . In the middle picture, under the blessing God the Father in a wreath of clouds, the miraculous image of a black statue of Our Lady is incorporated. To the side are the life-size statues of the four Latin church fathers . In the altarpiece by Christoph Brandstätter, Esther pleads for mercy for her people.
The two rococo wall altars in the western choir bay were created by the Servite friar Bruno Hochkofler, the altar leaves are by Joseph Pichler. The altar panel of the right altar shows Mary as the Queen of the Rosary, surrounded by medallions with the 15 secrets of the rosary . The tabernacle with a baroque statue of the Rosary Queen is flanked by the figures of Saints Catherine of Siena and Dominic . On the altar panel of the left altar you can see how the Blessed Mother presents the baby Jesus to Saint Anthony of Padua . The figurative representation in the predella shows the teaching of Mary . On the tabernacle there is a statue of St. Joseph with baby Jesus, next to it the busts of the parents of John the Baptist Zacharias and Elisabeth .
The left altar of Sorrows from the middle of the 18th century bears the sculpture of the Lamentation of Christ , surrounded by the statues of Saints Philipp Benizi and Juliana von Falconieri as well as God the Father and angels with instruments of passion and signs with scenes of passion. The right side altar was created by Bruno and Gabriel Hochofler in the Rococo style and is dedicated to St. Peregrinus . The glass shrine contains a clothed wax figure of the saint before the crucified.
The rococo pulpit, created in 1769, is also the work of Bruno and Gabriel Hochofler. A Marian monogram is affixed to the middle parapet of the pulpit, and the symbols of the evangelists can be seen on the sound cover next to the lamb with the book with seven seals . The baroque half-figures of Peter and Paul and two standing apostles are set up on the varied pillars of the central nave .
The double coat of arms of Hans Mandorfer and his wife Anna Söll von Aichberg from 1518 is attached to the reveal of the east window in the north aisle . Under the window is the relief tombstone of Caspar Mandorff († 1618) and his wife Helene († 1619) made of red marble, next to it the tombstone of Caspar Mandorff († 1701). Carl von Schönberg's coat of arms slab from 1667 is placed in the choir.
literature
- Dehio manual. The art monuments of Austria. Carinthia . Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , pp. 417-419.
- Barbara Kienzl : The baroque pulpits in Carinthia. Verlag des Kärntner Landesarchiv, Klagenfurt 1986, ISBN 3-900531-16-1 , p. 310.
Web links
Coordinates: 46 ° 40 ′ 42 ″ N , 13 ° 0 ′ 16.8 ″ E