Parish Church of Maria Rojach
The Roman Catholic parish church Maria Rojach on the western edge of Maria Rojach in the municipality of St. Andrä in Lavanttal in Carinthia is dedicated to the Assumption of Mary.
The church was first mentioned in documents in 1314, and in 1480 it is called a parish. In the 15th century the church was expanded into a fortified church and besieged by the Turks in 1480. The walls of the late Gothic fortifications were lowered in the 19th century. To this day, remnants of the wall in the south and north-east as well as a round tower with a conical roof and a portal in the height of the former battlement have been preserved in the north-east corner .
Building description
The church is a Gothic building from the second half of the 14th century, which was redesigned in the Baroque . Three-tier buttresses support the nave and the retracted choir. The baroque sacristy in the southern corner of the choir was added in the third quarter of the 17th century. The presented Gothic west tower with baroque sound arcades is crowned by an onion helmet. A bell was cast by Marx Mathias Zechenter in 1740. The Gothic fluted tower portal leads into the vestibule on the tower ground floor. Here a ribbed vault rests on head consoles from the second half of the 14th century. On both sides of the profiled church portal there are wall paintings from the second half of the 14th century: on the left a fasting image of a Christ with a club and on the right a Christ on holiday .
In the four-bay nave, a ribbed vault with painted keystones rises above wall templates with polygonal and bundled services that end in console heads in the corners. The west gallery with tracery parapet and central bay is arched with late Gothic net ribs. A round arched, baroque-clad triumphal arch connects the nave with the one-bay choir with a five-eighth end . In the choir, a ribbed vault with relief keystones rests on round services and head consoles. The choir windows were renewed in baroque style. On the north wall of the choir there is a walled-up, shoulder-arched opening, which was probably the entrance to the upper floor of a late Gothic sacristy. There is also a Gothic sacrament niche with a grid from the 14th century and a baroque font in the choir .
Murals
The fragment of the procession of the Three Kings on the south wall of the choir, the apostle standing underneath, and the two angels, Saints Barbara and Catherine in the round medallions in the caps of the choir vault, were created around 1370/1380. The fragment of the Last Judgment on the western triumphal arch wall dates from the first quarter of the 15th century, the Lamentation of Christ with an indulgence text as an inscription from the second quarter of the 16th century. In 1992, the tendril decoration with leaf and flower calyxes in the nave vault, painted around 1600 using the Secco technique, was exposed. The exposure of the early baroque angels with instruments of passion in the choir vault took place a year later.
Facility
The baroque high altar from 1703 fills the chancel in height and width and has columns that are staggered towards the middle and partly turned on both floors. In the central niche, it hides a Madonna and Child, flanked by Saints Joseph and Rochus between the columns and above the sacrificial passage portals by Saints George and Florian . In the essay there is a third Anna herself between a Maria Immaculata and St. Elisabeth . A dove of the Holy Spirit in a halo surrounded by angels forms the top of the altar.
On the north wall of the choir is a winged altar, which was probably made in 1529 in Jörg Lederer's workshop in Kaufbeuren . The altar shrine closes at the top with a keel arch and has a pair of wings. The birth of Christ is depicted in the middle relief, including the root Jesse with the half-figures of David and Solomon . The reliefs on the inside of the wings show the circumcision of Jesus at the top left, the depiction of the Lord at the bottom left , the meeting of Joachim and Anna at the Golden Gate at the top right and the Adoration of the Kings at the bottom right. Scenes from the Passion are painted on the outside : Christ in the Garden of Gethsemane above , below left the crowning of thorns , above right the flagellation and below right Christ before Pilate . The paintings follow the example of Albrecht Dürer's great copper engraving passion published in 1513 . The reliefs are carved after Dürer's woodcut series from the life of the Virgin Mary from 1511, but here the carver differs in part from the model.
The left side altar was created in 1766 and taken in 1774 . He is wearing an Anna herself from the beginning of the 16th century between the baroque statues of Saints Catherine and Margaret and two angels from the late 15th century.
The right side altar from 1772 was taken in 1774. On the altar panel he shows John the Baptist , flanked by the sculptures of Saints Benedict and Augustine . The upper picture depicts St. Florian.
The pulpit was built in 1774. On the left nave wall hangs a votive picture from 1819, which shows the defense of the Turks with stone bullets, rifles and, above all, with the help of Mary.
literature
- Dehio manual. The art monuments of Austria. Carinthia. Revised edition, 3rd, expanded and improved edition, edited by Gabriele Russwurm-Biró. Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , p. 510 f.
Web links
Coordinates: 46 ° 44 ′ 6.8 ″ N , 14 ° 52 ′ 48.6 ″ E