Korneuburg parish church
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The Roman Catholic parish church of Korneuburg is dedicated to St. Consecrated to Aegidius . The church stands on the northern edge of the old town of Korneuburg in the Korneuburg district in Lower Austria . She belongs to the dean's office in Korneuburg in the vicariate Unter dem Manhartsberg of the Archdiocese of Vienna . According to the decision of the Federal Monuments Office , the building is a listed building .
It is a Gothic staggered church that has been further developed from a Romanesque church , the interior partially baroque and expanded with neo-Gothic components. It is oriented to the southeast.
Parish and building history
For centuries Korneuburg was connected to Neuburg , today's Klosterneuburg , via a ford through the arms of the Danube at that time and shared the history of Klosterneuburg until the end of the 13th century. Because of this connection, the settlement originally belonged to the parish of St. Martin in Klosterneuburg. Into formal separation of Klosterneuburg in 1298, when Korneuburg town rights by Duke I. Albrecht received.
The need to set up a separate parish in Korneuburg arose as early as the 12th century. At that time the settlement was destroyed twice by floods and relocated to higher areas and areas further away from the Danube, which meant a greater distance from the parish of St. Martin. It is not known when exactly this new parish was established, which was first mentioned in 1146 as incorporated into Klosterneuburg Abbey . A separate pastor for the Neuburg district north of the Danube was mentioned in a document from the Babenberg Duke Heinrich II Jasomirgott from 1171. This date lies between the first and second flood-related destruction of the settlement. The pastor mentioned was most likely a canon of Klosterneuburg Abbey. Whether and where there was an associated parish church is not known.
By moving the settlement twice, it has expanded more and more into the vicinity and also into the area of the parish of Leobendorf . The land on which today's parish church stands originally belonged to Leobendorf. After the second relocation of the settlement, the parish chronicle reports on the reconstruction of the parish church. For this it was necessary to undertake a basic exchange, whereby the pastor of Leobendorf was given a farm in Harmannsdorf from the monastery property in exchange for the building site in Korneuburg. The document of October 9, 1212 does not reveal whether this exchange took place at the start of construction or during the work on the new parish church. The consecration took place in 1214.
The late Romanesque construction, the three-aisled St. Gilgenkirche, began in the first quarter of the 13th century. The pillar foundations and the triumphal arch have been preserved from this period . The first expansion took place between 1262 and 1270. After the city fire in 1417, the church including the side aisles was Gothicized . The high Gothic choir was built in the first quarter of the 14th century . The renovation of the north aisle took place between 1476 and 1491.
The church originally had two towers, the north of which was badly damaged in 1646 when the city was besieged by imperial troops and demolished in 1651. On this occasion, the rest of the building was thoroughly renovated. The south tower was renewed by Mathias Gerl from 1753 to 1756 , damaged by fire in 1842 and restored from 1845 to 1849. In 1846 the flat ceiling of the central nave was replaced by a neo-Gothic vault.
Another extensive renovation was carried out with interruptions between 1870 and 1903. The westwork (area behind the organ gallery) was rebuilt from 1899 to 1903 after severe damage had appeared. The tower had to be demolished in 1900 and the new tower had to be rebuilt in Gothic form in the following two years.
A renewed restoration of the parish church took place between 1967 and 1970, but could not be fully completed, so that the final work was carried out from 1999 to 2001.
Building description
Outside
The late Gothic nave has a surrounding plinth. The 66.8 meter high south tower and the neo-Gothic westwork date from the beginning of the 20th century. The square tower is structured by circumferential cordon cornices and slender pointed arch windows. The acoustic windows are designed as distinctive high two-lane tracery windows with tracery frieze in between. The square part of the tower is completed by numerous crabs and pinnacles and merges into an octagon with a tower clock on four sides and an octagonal pointed helmet. A tower ball with a filigree Celtic cross crowns the spire. A small square stair tower protrudes on the north side, which merges into an octagon at the top. It has a shoulder arch portal and slit window.
In the central axis of the westwork, the main portal, a neo-Gothic figure portal with crab-studded keel arch , lateral pinnacles and a crowning finial, opens up the church interior. In the portal are the canopy figures of Saint Hartmann (first provost of the Augustinian Canons in Klosterneuburg Monastery 1133–1140) and Ubald by Franz Christoph Erler , flanked to the right and left of the portal by two small, narrow pointed arch openings over which the surrounding cornice is cranked. In the tympanum of the portal is a relief showing the adoration of the cross by Saints Aegydius and Leopold , labeled " F. Erler 1902 ". Above it is a tracery rosette and a final tracery frieze, including an animal-shaped gargoyle .
On the south side of the tower is a shoulder arch portal with a coat of arms of Ubald Ewald Kostersitz, who was provost of Klosterneuburg Monastery between 1882 and 1902 .
On the north facade of the seven-bay nave are triangular buttresses that have been changed in a neo-Gothic style. On the south facade the buttresses are deeper and stepped twice. At the level of the third yoke there is a neo-Gothic extension in the north and a late-Gothic extension in the south.
The southern extension is a portal porch with a wide, beveled pointed arch portal, which was heavily renewed around 1900. The portal is flanked by massive bay windows with arched openings and ribbed vaults. Inside are the statues of John XXIII. (left) and Saint Maximilian Kolbe (right). Above the portal is a small rose window with a profiled reveal. The square interior of the vestibule is closed off by a star rib vault, the corner services of which rest on a surrounding cornice as in the south aisle. The leading from the porch to the nave portal has a rich profiled jamb with an overlying, framed field. Wooden angels from around 1910/1920 kneel on both sides.
The northern extension is a small burial chapel with a ribbed vault and a figural keystone with a depiction of St. Barbara and dated " 1903 ".
The long sides of the aisles have large, three-lane tracery windows with two-lane tracery windows at the sloping corners in the east. The three-bay, high-Gothic choir is attached to the nave in the east. It has double-stepped buttresses and high two-lane tracery windows. On the north side is a small oratory with a double window and on the south side a small, gabled portal with profiled vestments and a sacristy extension to the east, which was newly faced around 1900.
Inside
The interior including the choir is 68.45 meters long. The seven-bay nave is 45.45 meters long and 23.07 meters wide. It consists of the central nave with transverse rectangular yokes and a pressed, neo-Gothic cross vault and two side aisles with almost square yokes. Richly profiled plinths on the bases of the Romanesque pillars support the ogival pillar arcades. The octagonal pillars are profiled differently on the north and south sides, those on the north side are fluted. The arcade arches are dated once with “ 1476 ” and once with “ 1478 ” on the north side .
The originally flat-roofed central nave was given a rib vault in 1846. Three of the keystones are labeled " 1846 ", " 1903 " and " 1970 ".
The north aisle has a Gothic net rib vault, which has three-pass keystones in the eastern part, the last of which is provided with an inscription " 1491 " and a half-figure angel. On the eastern end wall there is a re-entrant stair tower with a stiffened shoulder arch portal, through which the entrance to the oratory, which is now walled up, was.
The south aisle has a ribbed vault, the round services with fluted bases at the height of the windows on a surrounding cornice.
The three-part, two-bay, neo-Gothic west gallery from 1900 to 1902 has a parapet with a tracery frieze. It rests on pillars with rich foliage capitals , which are covered by a ribbed vault with figural keystones. The keystones show the heads of saints. The columns towards the nave have been replaced by eight-sided pillars.
The transition from the nave to the choir is formed by the wide, ogival triumphal arch with a ribbon rib of the original building, which rises from mighty round services with a base and neck ring. On the nave side of the triumphal arch wall is a sacrament niche uncovered in 1898 with a small architectural framing with columns, a basket arch with finial that is studded with crabs and a tympanum relief with remains of frescoes depicting the coronation of Mary. The sacrament niche marked " 1382 " was moved from the southern choir wall to this place in 1970.
On the choir side of the triumphal arch wall is a sacrament house with a rich pinnacle crown from around 1500, which was transferred from the west facade to this place in 1970 and heavily restored.
The single-aisled choir is 23 meters long, 8.55 meters wide and 13.14 meters high, has three bays, a rare 7/12 end and is closed off by a ribbed vault that starts with bundled services that end at window height. Figurative keystones from the middle of the 14th century are provided with the evangelist symbols. The eastern keystone was renewed around 1900.
On the south side of the choir, a richly profiled portal with a late Gothic iron plate door and an original lock provides access to the two-bay sacristy. The first yoke from the second half of the 14th century is Gothic and is closed by a ribbed vault that attaches to partially damaged foliage consoles. It has a keystone from around 1380 showing Saint Aegydius with a doe. The second yoke is baroque.
The tower ground floor of the north tower, which was demolished in 1651, has been used as the Marienkapelle since 1969. A fluted pointed arch on eight-sided pillars forms the transition to the side aisle. The chapel is closed off by a ribbed vault with a figural keystone depicting Mary and the child . The keystone is probably late Gothic and was heavily redesigned around 1900. The chapel has a large, three-lane tracery window with double grooved soffit and cross ribs in the shield arch and the depiction of a dove from 1968. On the altar with a mosaic surface is the bronze figure of a seated Madonna from 1967 by Grete Fritz .
On the tower ground floor of the south tower is a chapel with a ribbed vault from " 1902 ". On the south wall is a stair tower, in the north aisle there are small remains of paintings. The windows of the church are decorated with stained glass: the rose window in the west and the windows of the south aisle, which were manufactured between 1882 and 1902 by the company Carl Geyling's Erben , show depictions of Christ and saints. The windows of the north aisle and the choir are provided with symbolic representations that were largely renewed when the tracery was installed.
Furnishing
The neo-Gothic high altar, labeled “ J. Rint and Sons Linz 1870 ”, has a rich, gothic structure with a crucifixion group and angels. In conversation narrow representations of St. Giles, Leopold and Florian .
The late baroque side altar in the south aisle from around 1770 has a rich stucco marble structure. The altar leaves are painted in the manner of Franz Anton Maulbertsch . The main picture shows the Eucharistic Christ adored by angels ( Ecce panis angelorum - see the bread, the angel's food ), in the upper picture Saint Wolfgang is shown. The side carved figures of a Guardian Angel and the Archangel Michael are set in silver and gold. The rococo tabernacle is richly carved and decorated with putti .
A late Gothic statue of the Madonna from the end of the 15th century, which may have been changed in the Baroque style, is in a showcase. The church stalls date from around 1770, the 14 pictures of the Führich Way of the Cross from around 1870. The pictures of the Way of the Cross were restored in 1970, whereby the original frames were removed.
The furnishings include a baroque triumphal cross and a figure of Christ carrying a cross, carved from linden wood. The life-size figure from around 1430 stands on a console at the end of the north aisle. It was stripped and the head was supplemented or carved over around 1900 .
On the easternmost pillars of the nave are three late mannerist epitaphs with coats of arms, putti, reliefs and depictions of the kneeling deceased: Melchior and Agathe Rem from 1609, Eustachius and Barbara Schwab from 1603 and Christoph Kharoman from 1591. Another 21 grave slabs with inscriptions and coats of arms from the 15th to 18th centuries are located in the side aisles, under the west gallery, in the sacristy and in the sacristy of the altar boys. They were removed from the floor in 1884 and sunk into the church walls; some of them were brought to Kreuzenstein Castle .
In the center of the apse under the keystone of Mark the Evangelist stands the undated, monumental baptismal font made of red marble on a twelve-sided base. The baptismal lid made of bronzed wood with the baroque depiction of the baptism of Jesus is attached to the entrance arch of the confessional chapel at the west end of the south aisle.
On the altar of the burial chapel attached to the north aisle is a picture of Christ, which is surrounded by a wreath of putti heads, from the beginning of the 20th century in Beuron style . In the cafeteria there is a life-size grave Christ from the end of the 19th century.
pulpit
According to a document from 1766, the late baroque pulpit was made by Matthias Kölbl and received its current version from Karl Mühlner. A Gothic pillar from the end of the 14th century carries the round pulpit, clad in black stucco marble and decorated with rich rococo ornaments and putti heads. On this and on the back wall there are alabaster -colored reliefs made of linden wood of the parable of the sower , the descent of the Holy Spirit and a smaller relief that shows Jesus opening the eyes of a blind man.
On the cover is an allegorical representation of the Catholic Church. The group in the background shows the cross of Christ, through which it is founded, has the Holy Spirit as a support and stands as a house built on the rock. In front of it stands St. Peter as representative of Christ, the head of the church. The attributes of his office, the Bible , the tiara and the Pope's cross .
Organs
Between 1992 and 2015, the parish church was equipped with two instruments: the main organ on the gallery and the "Anton Heiller organ", which was moved in 1992 from the middle hall of the Vienna Konzerthaus , the Mozart Hall, to the presbytery of the Korneuburg parish church was transferred. In the summer of 2015 the Heiller organ was removed from the presbytery and transferred to the parish church in Vienna-Dornbach , the home of Anton Heiller .
Main organ
The main organ with 30 registers , two manuals and a pedal was made in 1903 by Josef Mauracher in St. Florian . It has a pneumatic play and stop action . In 2006/07 the instrument was extensively restored by organ builder Michael Walcker-Mayer and an additional console was installed in the presbytery. The disposition is as follows:
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- Coupling : II / I, I / P, II / P, II / I 16 ', II / I 4', Rohrw. Copp.
Bells
In the course of the siege by Swedish troops in 1646, a four-bell bell was damaged and cast over in 1661. When the bell showed defects in 1662, these were repaired by the bell founder. In 1765, the town had the Scheichel bell foundry cast all the bells . In 1845, the Hilzer bell foundry created a new four-way bell , of which three high wooden yokes and the steel chair have been preserved. The four current steel bells were cast by Böhler-Uddeholm in 1921 and are consecrated to the Most Holy Trinity, St. Mary, St. Giles and St. Leopold. The inscription "In memory of Albert Vietz " is on the aegid bell . Bell 3 hangs on a new, straight steel yoke. All Böhler bobbins are still preserved. The four- note chimes sound in the major seventh chord on the notes d 1 , f sharp 1 , a 1 and c 2 .
literature
- Alfred Fischeneder-Meiseneder: The architecture of the Gothic in the east of Austria. Studies of sacred buildings in the 14th and 15th centuries with a focus on the period around 1400 . Diss. University of Vienna 2016, pp. 78–81.
- Dehio Lower Austria - north of the Danube . 1990, ISBN 3-7031-0652-2 .
Web links
Individual evidence
- ^ Lower Austria - immovable and archaeological monuments under monument protection. ( Memento of May 7, 2016 in the Internet Archive ) . Federal Monuments Office , as of June 26, 2015 (PDF).
- ↑ a b Dehio p. 539.
- ↑ “The history of the parish church of St. Aegyd in Korneuburg” on the parish website, accessed on December 12, 2014.
- ↑ "Stadtpfarrkirche St. Aegyd zu Korneuburg" on the parish website, accessed on December 12, 2014.
- ↑ a b c Dehio p. 540.
- ↑ a b c d e Korneuburg Church Guide on the parish website, accessed on December 15, 2014.
- ↑ a b c Dehio p. 541.
- ↑ Report on the repairs on Michael Walcker-Mayer's website, accessed on December 13, 2014.
- ^ Albert Starzer: History of the princely city of Korneuburg. Verlag der Stadtgemeinde, Korneuburg 1899, p. 557.
Coordinates: 48 ° 20 '45.9 " N , 16 ° 20' 7.8" E