Parish church Maria Himmelfahrt (Schwaz)
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The Roman Catholic parish church Schwaz Our Lady of the Assumption stands in the middle of the closed built-up area of the district capital Schwaz in the state of Tyrol . The parish church belongs to the deanery Schwaz of the diocese of Innsbruck . The church is one of the most important sacred Gothic buildings in Tyrol and one of the few four-aisled churches in Europe, it is under monument protection ( list entry ).
history
The church was mentioned in a document as Liebfrauenkirchen in 1337. In 1442 a chaplain was named. As early as 1460, the Liebfrauenkirche was too small for the then over 3000 inhabitants large community. A previous enlargement, which according to the Bergchronik was made in 1429, also turned out to be insufficient. The laying of the foundation stone in 1460 involved a lot of construction work. There was an early consecration in the building shell on March 6, 1465.
The first church building was restored in 1429 after its first fire, extended and consecrated in 1432. The second church was built between 1460 and 1478 on the site of the previous church as a hall church with a four-bay , three-aisled nave. The choir was strongly drawn in and had three yokes. The north tower is located between the nave and the choir. Hans Mitterndorfer and his son Gilg completed the church in 1478. The original wall of the north choir and the north walls of the nave have been preserved to this day.
The third church building phase began in 1490. The strong population growth, due to the influx due to the Schwaz silver mine, made a larger church necessary. The plans for this extension come from the Munich builder and sculptor Erasmus Grasser , the construction supervision was carried out by Christof Raichartiger . A hall church with two main aisles, two side aisles and two choirs was built. The nave was extended from four to six bays and the west facade was given a representative design. They support five buttresses up to about half the height, which merge into pilaster strips . The gable closes with thirteen small towers, which symbolize Christ and the apostles. The market clock with firmament and moon phase is framed by a cornice . The clock face is surrounded by four coats of arms. From top left to bottom right, the coats of arms are those of Austria, Tyrol, Schwaz and the Tänzl family . There are two main portals with geometric branches and four lion handles, these are Nuremberg bronze castings from 1512. The central pillar carries a larger than life statue of Mary with the child . Erasmus Grasser used the Old Munich City Hall as inspiration for the west facade .
From 1503 to 1518 master carpenter Thomas Schweinbacher put on a roof structure with five storeys. Meanwhile, from 1505 to 1508, the sacristy was added, and from 1509 to 1513 the north tower was expanded according to the plans of the Ausburg tower builder Burkhart Engelbert . These were implemented by Jakob Zwitzel and Konrad Vogel, the latter was also responsible for the construction of the west gallery (1515 to 1520).
architecture
Church exterior
The western gable front of the nave shows five buttresses at the corners across the corner, two grooved portals to the two central aisles, two tracery windows, the gable is structured with 13 pilaster strips and battlements. In the middle of the western front is the market clock built in 1502, it was given a new clockwork by Wilhelm Götz in 1582. At the right end of the western front a stair tower from 1534 is attached to the gallery, it has a copper dome. The long walls of the nave show stepped buttresses, a window cornice and a painted roof frieze. The two choirs show the same facade structure, only the buttresses are triangular pilaster strips. The southern sacristy extension at the transition from the nave to the choir has two buttresses placed across the corner. In the northern corner of the choir to the nave is the massive four-storey north tower, the structure of the bell storey is shown by pointed arched blind pilaster strips and pointed arched sound windows with tracery, above is a balustrade with corner branches, the tower has an eight-sided helmet with a pointed turret.
The church roof is covered with 15,000 copper plates. In the roof two great treadmills are seen, which have been preserved since 1518 until today. Today the church basically represents the extension of 1490. The nave is divided into two main aisles and two side aisles: to the north the citizens 'ships with choir, to the south the ships and the choir of the mining relatives (miners' ships).
Naves
The church has four naves and thus offered sufficient space for high offices even at the height of the population . The social discrepancies of the time of origin meant that two completely different population groups, each with their own jurisdiction, met each other. In order to avoid disputes during the fair, a wooden wall was built in the central aisle based on the Rattenberger model until 1858 to spatially separate the bourgeoisie and the miners of the silver mine.
The "Count Arch"
In 1500 Jakob Veit Tänzl acquired the land north of the parish church including the old building on it, the current Palais Enzenberg , which is now the gallery of the city of Schwaz. The nobility in Schwaz had their own church box . This box was opened horizontally in 1520 by the "Grafenbogen", a skyway that leads over Franz-Josef-Straße. From 1700 to 1705 the devolved to a new owner building of the was Count Tannenberg to Palais expanded and rebuilt in Baroque style. At the beginning of the 19th century it became the property of the Counts of Enzenberg and has been in the possession of the Albrecht Enzenberg Private Foundation since 2000, including the arch.
The old bell tower
The church itself has only one completed tower on the nave, the northern "old bell tower" with a height of 72 meters. This is no longer used as such because of a northern overhang of about one meter and the resulting static risk. Damage was discovered as early as 1558. In 1904 the ringing was prohibited by decree. Today there are only two small bells in the "old bell tower", a Graßmayr bell from 1761 and a signal bell from the 17th century.
The new bell tower
The new bell tower is not located at the church itself, but about 80 m away to the south-east in Winterstellergasse with adjoining cultural facilities. At the beginning of the 20th century, the displeasure of the population resulting from the ringing ban went so far that cowbells were rung in protest on the streets on Sundays. In 1906, a new belfry was built into the old tower . But this did not bring any improvement, which showed a temporarily permitted provisional ringing. The temporary arrangement was discontinued in 1907. This led to the decision to build a new bell tower. A contract for the construction of a new tower was approved in April 1910. The then city architect Franz Xaver Ruepp had the planning. In the course of the construction, the bell cage from 1906 was also relocated to the new bell tower.
Furnishing
At the beginning of the 18th century two new main altars for the two choirs were built in the early Baroque style. From 1728 to 1730 the entire interior was redesigned in Baroque style by the idol Jakob Singer . Small frescoes depicting the life of Mary were also created in the 18th century under Franz Michael Hueber and Johann Georg Höttinger the Elder. J.
In 1787 the Gothic furnishings were finally completely removed. It was not until 1908 that the interior of the church was regotified. Almost all of the baroque altars have been removed. The vault ribs from the Gothic style have been reattached. The neo-Gothic high altar was built in 1913. Influences from Lower Bavaria and Swabia can be seen throughout the building , which can be attributed to mining and many donors from southern Germany . Very little of the original furnishings has been preserved.
Bells
The bell is located in the new bell tower. Particularly interesting is the 4480 kg Maria Maximiliana, also called Schwazer Löfflerin , because she comes from the master hand of Peter Löffler. Another name of the bell tuned in a 0 +2 is Schwazer Besen, as it is rung in apotropaic custom during storms to drive them away ( weather chimes ). The Maximiliana bears the 61 coats of arms of the Habsburg Empire at the time of Maximilian I. The bell was successfully hidden from being melted down by the military at the beginning of the First World War .
organ
The four-manual organ of the parish church is one of the largest organs in Tyrol. The baroque organ, the case of which has been preserved, was built from 1728 to 1735 by Fr. Gaudentius Köck. In 1897 Franz Reinisch built a new organ with 44 stops and pneumatic cone chests in the old case; in addition, the organ received an electric bellows drive (4 creators). From 1909 to 1910 the organ was expanded to 65 registers by Karl Reinisch. This included the addition of the two housings on the side walls of the gallery for the II. And III. Manual (both swellable) including positive (playable on II. Or III. Manual) with additions on pneumatic pocket drawers .
In 1969 Reinisch-Pirchner carried out another renovation . There was a reduction to 45 registers and the inclusion of the parapet positive as IV. Manual on the electric sliding drawer .
Chapel of the Dead
At the bottom of the parish church , directly in front of the north portal, is the double chapel of St. Vitus and St. Michael, construction of which began in 1502 and was consecrated in 1509. Originally, the St. Vitus Chapel on the upper floor was reached via a spiral staircase . Later, a staircase was added to the west facade, which is reminiscent of a loggia .
city Park
The square southeast of the church was used as a cemetery as early as the 15th century. Between 1858 and 1860, the arcades , which have largely been preserved to this day, were built around the square. The southern part of the arcades was bombed on December 15, 1944. In the center of the park there is a light column (wayside shrine with lantern), above it a life-size Christ cross by the sculptor Anton Steger (1856).
In 1960 funerals were suspended due to lack of space. A new cemetery was built in the St. Martin district.
The last row graves were abandoned in 1977. The urn graves in the arcades and some tombs still exist today. The “Old Cemetery” has served as a city park since the same year.
literature
- Schwaz, churches and chapels, parish church of Our Lady of the Assumption with floor plan and vault representation, cemetery, chapel of the dead St. Michael and Veit with floor plan and vault representation. In: The art monuments of Austria. Dehio Tirol 1980 . Pp. 700-704.
Web links
- Parish church Maria Himmelfahrt on the side of the diocese of Innsbruck
- Parish Church of the Assumption of Mary
- Uli Jung: Schwaz, the city of the Reformation. Austria. Miners, Anabaptists and Hutterites. In: reformation-cities.org/cities (on Schwaz and the parish church of the Assumption of Mary as the scene of the Reformation )
Individual evidence
- ↑ Norbert Lieb : The Fugger and the art in the age of the high Renaissance . In: Götz Freiherrn von Pölnitz (Hrsg.): Die Fugger und die Kunst (= Schwäbische Forschungsgemeinschaft [Hrsg.]: Publications of the Schwäbische Forschungsgemeinschaft . Volume 14 , no. 4 ). tape 2 . Schnell & Steiner, Munich 1958, DNB 453041337 , p. 3, 7 f., 361 .
- ^ Hans Andreatta, Klaus Kandler: Schwaz. Portrait of a Tyrolean district capital . Ed .: Wolfgang Ingenhaeff. Berenkamp, Schwaz 1993, ISBN 3-85093-005-X , p. 85 .
- ^ Alfred and Matthias Reichling: Organ inventory of Tyrol. In: Organ inventory of Tyrol. musikland-tirol.at, June 14, 2020, accessed on June 14, 2020 .
- ^ Alfred and Matthias Reichling: Schwaz, parish church ULF Maria Himmelfahrt. In: orgeln.musikland-tirol.at. Musikland Tirol, June 14, 2020, accessed on June 14, 2020 .
- ^ Stadtmarketing Schwaz: Stadtpark. In: Website of the city of Schwaz. Stadtmarketing Schwaz, accessed on November 20, 2019 .
Coordinates: 47 ° 20 ′ 48.5 ″ N , 11 ° 42 ′ 35.1 ″ E