Parish Church Maria Magdalena (Völkermarkt)
The parish church in Völkermarkt is dedicated to St. Mary Magdalene .
history
The Archbishop of Salzburg , Eberhard II , founded a collegiate chapter in 1231 with a provost and twelve canons . The chapter was initially located in St. Ruprecht and was later moved to the parish church. In 1240 the land for the church was bought. In 1463 Völkermarkt was first mentioned as a parish. At that time, the Augsburg patrician Ulrich Langenmantel vom Sparren (1437–1473) was the local provost . In 1464 he endowed the first study foundation in his hometown.
The church was damaged by fire in 1308, 1637, 1665 and 1830, and by earthquakes in 1690. A crypt and an ossuary , which were in 1640 named as "Sacelleum Sancti Michaelis" were removed 1784th
Building
Outside
The large three-aisled church is essentially a late Romanesque building that was Gothic changed in the second half of the 15th century . The western part and the core of the two western towers have been preserved from the construction of the 13th century. The north tower has ogival sound openings and a baroque onion helmet. The southern tower was largely destroyed in the earthquake in 1690, today it only extends up to the height of the church roof and ends with a pyramid helmet. The west facade was restored in 1844, the neo-Gothic decor was removed during a later restoration (1949 to 1952). The three-axis porch consists of a late Romanesque portal and two large side niches. The multi-stepped funnel portal with two set pairs of columns with calyx-bud capitals and rosette ornamentation in the garment was built between 1240 and 1247. The door leaves are equipped with Gothic fittings in the form of cruciform tendrils. In the left niche there is a late Gothic group of Mounts of Olives, which was created around 1480. In the right niche there is a baroque crucifixion group from the 18th century. On the side walls of the nave there are two pointed arch portals, in the south the so-called sacristy door from the 16th century and in the north a portal from the second half of the 15th century, which is obstructed inside by the fourteen helper altar. The church shows itself as a staggered choir , the side choirs are slightly wider than the side aisles. The sacristy is built to the east of the north choir . The southern side choir, the Marienkapelle, is the oldest Gothic building from the 14th century. This choir with a sill and slender, profiled pillars that taper just before the upper end is much lower than the main choir. The strongly protruding baroque southern chapel extension has a polygonal end. To the east of the south tower, a Gothic stair tower leads to the former Gothic gallery. The nave is supported by three-tiered buttresses . The pointed arch windows with tracery are richly decorated with round bars and frames with throats on the choir . On the south tower is the grave slab of Rihart († 1507) and Afra († 1508) Samering with a representation of the crucified framed by an inscription. On the west wall of the north tower are two grave slabs, that of Maria Helena († 1750), wife of Georg Pastergg, and that of Maria Sophie († 1771), wife of Johannes Niklaus Kögl.
Inside
The cross-ribbed, square entrance yoke between the two towers is the oldest part of the church. This is followed by a three-aisled, four- bay relay hall . The star rib vault with interstitial diamonds in the central nave was built between 1473 and 1493 and was renewed in the 19th century after the fire of 1830. The west gallery in the central nave dates from the 19th century, it is vaulted with cross ribs and open on all four sides by pointed arches. The Gothic gallery parapet is adorned with quatrefoils . The central nave opens up to the side aisles through partition arches on octagonal pillars. A fine-mesh ribbed vault , which was partially renewed in 1715, rises above the two-bay choir with a 5/8 end . Four keystones in relief represent angels with tools of the Passion . A profiled late Gothic keel arch portal with pinnacles , finials and crabs on the north wall of the choir leads into the sacristy. There is a session niche on the south wall of the choir, which is closed at the top by two donkey arches with pegs and crabs. The north aisle is vaulted with star ribs. The wider, two-bay side choir with a straight end opens with a divider arch to the main choir. A ribbed vault with figural and vegetable capitals rises above the side choir . The south aisle is vaulted by star ribs with diamonds between the yokes. A pointed arch connects the aisle with the chapel-like, two-bay choir with a five-eighth end. In this side choir, a simple star rib vault rests on services with figurative and vegetal capitals from the middle of the 14th century. A round arch opens the southern side choir to the main choir. This round arch is divided into two ogival openings by a central pillar that forks. A pair of figures in the form of atlases can be seen on the spur of the arched opening leading from the main choir into the southern side choir , which dates from the middle of the 13th century and is the oldest figural representation in the church. The baroque cruciform chapel built on the south aisle is probably the baptistery named in 1619.
Murals
The Annunciation to Mary and the four evangelists are depicted in the vaulted caps of the choir closure . In the vault of the aisles, four angels can be seen with the tools of Christ's passion, depictions of saints, foliage and flowers. All these paintings were made around 1480. In the northern side choir, the saints Maria, Barbara , Katharina and the donor Provost Conrad are depicted in an illusionistic framework architecture . These heavily damaged frescoes are marked 1460 and are attributed to the master of a Völkermarkt workshop. On the north wall of the third yoke there is a crucifixion from the second half of the 16th century. On the north side aisle west wall remains of wall paintings have been preserved. On the western end wall there is a late Gothic fresco with a Barbara cycle. In the southern side choir, five scenes from the life of the Virgin Mary from after 1500 are painted over a cycle of wall paintings from the first half of the 15th century. The contours of a figure of Mary can be recognized from the older fresco. In the south aisle there is a protective mantle Madonna on the east wall and a St. Christopher fresco from the second half of the 15th century on the south wall . The depiction of the death of the Virgin in the south entrance hall from the third quarter of the 14th century was uncovered in 1953. The crucifixion scene on the northern arch from the end of the 14th century has been poorly preserved. The ceiling paintings in the Kreuzkapelle, which depict the crucifixion and resurrection of Christ, were created around 1900.
Stained glass
The neo-Gothic stained glass in the choir was made by the glass painting institute Dr. Jele and Neuhauser executed in Innsbruck. A donor with a holy cross and a flaming heart is depicted in the two-lane choir east window. In the northern window of the choir the miracle of Pentecost and the birth of Christ are depicted. The southeast window shows the crucifixion of Christ and the scene of the Mount of Olives. In the south window the bishops Rupert , Modestus and Virgilius are depicted. The windows in the south choir are decorated with ornamental stained glass.
Facility
High altar
The baroque high altar was created around 1730. The altar with columns and a canopy was the former side altar, which was adapted for the main choir in 1949. The altarpiece with Maria Magdalena under the cross was painted by Toni Hafner in 1950 . The baroque carved statues depict the apostles John , Peter , Paul and James the Elder . A monstrance forms the altarpiece.
Rosary altar
The Marian or rosary altar in the north side choir with protruding columns and concave entablature was donated in 1735 by Anton Josef Schludermann and his wife. The enthroned Madonna and Child in the shrine is framed by medallions depicting the secrets of the rosary . Inside the niche are the statues of Saints Anna and Elisabeth , outside those of Saints Joseph and Joachim . Above the top there is a Marian monogram in a halo. A guardian angel forms the end of the altar . The painted antependium shows the death of Mary.
Cross altar
The cross altar in the south side chapel from the end of the 17th century is an aedical altar above a high base with a blown segmented gable and acanthus cartouche , column shafts with fruit hangings and side ears with acantus tendrils. The altar bears a monumental, late Gothic crucifix, flanked by the baroque assistance figures of St. Mary and St. John. In the top picture is God the Father shown.
Fourteen Holy Helpers Altar
The fourteen-helper altar on the wall of the north aisle was created around 1770. The altar with its simple structure and soft rocaille decoration shows the fourteen helpers on the altar panel from 1690 . To the side are two baroque statues of St. Nicholas and St. Rupert. The essay shows Our Lady with the child. This picture is surrounded by three angels with the symbols of the Christian virtues .
Apostle altar
The apostle altar with a baroque appearance on the first left central nave pillar dates from the second half of the 18th century. The altar painting shows the sending of the apostles. The late baroque side statues represent the apostles Andrew and Judas Thaddäus . The top picture shows Pauli's conversion.
pulpit
The pulpit was donated according to the inscription in 1769 and Michael Zill is attributed. The version was carried out by Johann Peter Marx. The statues of the four evangelists sit on the parapet of the pulpit. The back wall forms a metal relief tondo with the representation of Maria Magdalena. The figure of the apostle Paul is surrounded by five putti on the sound cover. The conclusion is the eye of God in a halo. A Holy Spirit dove is attached to the underside of the sound cover. There is a chronogram on the inside of the basket with the inscription “MathIas VaLentIn PaCher has these fans put here next to me” results in the year “1769”.
Madonna
In the south aisle stands a remarkable Gothic stone Madonna from the mid-14th century. The head of the baby Jesus is missing, a new head has been added to the Madonna. The original installation site of the sculpture was the Augustinian Hermit Monastery, which was dissolved in the 19th century. According to legend, the heads of the sculpture were cut off by Protestants in 1560 and buried in the monastery field. The incident is one of the few cases of Reformation iconoclasm in Carinthia.
Sculptures
The console statues of Maria Immaculata , St. John Nepomuk and a Man of Sorrows from the first half of the 18th century are placed in the choir . In the southern side choir stands a late Gothic stone pietà, created around 1420 in a soft style . The console figures of Saints Mary and Joseph on the west side of the Kreuzkapelle date from the first half of the 18th century, the statue of Antonius of Padua is designated 1628.
photos
On the south wall of the choir hangs a large canvas painting from 1796 with St. Florian , the Madonna and the Holy Trinity as protectors of the city of Völkermarkt from fire. On the wall of the northern side choir hangs an oil painting of St. John Nepomuk from the second half of the 18th century. The oil painting with the death of St. Francis Xavier can be seen in the southern side choir . Another canvas painting shows St. Ignatius of Loyola .
organ
The organ was built in 1998 by Francesco Zanin from Udine . The mechanical slider chest organ has 2500 pipes in main work, breast work, Rückpositiv and pedal towers, distributed over 36 registers, corresponding to three manuals and pedal.
Stalls
The choir stalls are marked 1675, the councilor stalls in the north aisle are from the second half of the 17th century.
Funerary monuments
Noteworthy grave monuments are the portrait gravestone of Provost Georg Marko († 1672), the gravestone of Martha Mager († 1559) in the entrance hall and the gravestone of Ulrich Pfinzing, who was abbot of St. Paul from 1515 to 1530 .
Pillar of light
The late Gothic light column in front of the west facade of the parish church is marked 1477. It is a foundation of the brotherhood of shoemakers and leather workers . It consists of a high octagonal shaft, a light house with crab-studded gables and corner pinnacles .
Individual evidence
- ^ Karl Schellhass: Sources and research from Italian archives and libraries , Volume 75, p. 269, Verlag M. Niemeyer, 1995; (Detail scan)
- ^ Dehio manual. The art monuments of Austria. Carinthia . Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , p. 1033.
literature
- Dehio manual. The art monuments of Austria. Carinthia. Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , pp. 1029-1033.
- Barbara Neubauer -Kienzl, Wilhelm Deuter, Eduard Mahlknecht: Baroque in Carinthia - With a contribution by Eva Berger. Carinthia University Press, Klagenfurt 2000, ISBN 3-85378-489-5 , p. 108.
- Barbara Kienzl: The baroque pulpits in Carinthia. Verlag des Kärntner Landesarchivs, Klagenfurt 1986, ISBN 3-900531-16-1 , p. 403 f.
- Wilhelm Deuer: Jauntaler Kulturwanderungen - An art-historical companion through the Völkermarkt district. Verlag Johannes Heyn, Klagenfurt 2001, ISBN 3-85366-977-8 , pp. 119–121.
- Alexander Hanisch-Wolfram: In the footsteps of the Protestants in Carinthia. Verlag Johannes Heyn, Klagenfurt 2010, ISBN 978-3-7084-0392-2 , p. 49.
- Wilhelm Deuer, Johannes Grabmayer: Transromanica. On the trail of the Romanesque
- Günther Körner (ed.): Chapter and parish church of St. Maria Magdalena. Kärntner, Klagenfurt 1998, ISBN 3-85391-156-0 .
Web links
Coordinates: 46 ° 39 '34.5 " N , 14 ° 38' 8.9" E