Parish church Sankt Veit an der Glan
The Catholic parish church of Sankt Veit an der Glan is located in the town of the same name in Carinthia , Austria and is consecrated to Saint Veit and , since the 18th century, also to the Holy Trinity .
Building
Outside
The building, mentioned in a document from 1131, is a large, in its basic features late Romanesque , in its appearance late Gothic choir tower church . Today's exterior view is largely due to the restoration after the fire of 1829, when the aisles were raised by adding galleries . The nave is supported by double-stepped buttresses , which merge into pilaster-like templates between the arched windows of the galleries . The choir, the north side chapel and the sacristy also have buttresses that are stepped several times. A sacristy was added between the south aisle and the choir around 1400 . The choir tower with a square base has an octagonal top and is crowned by a neo-Gothic pointed helmet built between 1884 and 1891, which was disadvantageously simplified during the restoration in 1961. The bell with a relief, a crucifix, the Holy Trinity and the Saints Vitus and Francis was cast by Vinzent Gollner in 1830.
The richly furnished Romanesque funnel portal forms the center of the wide west facade with small round and simple Gothic pointed arch openings, which was completely renewed between 1891 and 1893 with the exception of the arched area. The tympanum , dating from around 1210, shows the Lamb of God in the middle , flanked by two evangelist symbols , a lion and an eagle. At the bottom the arch field is limited by a palmette frieze, at the top by an inscription on the round arched border: “Sta. retro. retro. siste. pedem. mun. lature. inedem. fratris. amicicia. panditur. ista. via. ”(Stand, stop! If you make your sacrifice in this house, your brother's love will open up to you.) Above the west portal is a Roman tomb relief with a portrait bust of a man over a lunula . A late Gothic tombstone has been incorporated into the lintel of the south portal from the 19th century. At the north-west corner of the church there is a Roman grave monument, the side part of which is a dolphin relief. A small late Gothic lamp for the dead is walled in on a buttress on the north side .
Inside
The space and proportions inside the three-aisled nave are still strongly influenced by the Romanesque construction of the probably flat-roofed pillar basilica . The Gothic conversions and extensions took place in several steps. In the 14th century, the three-part services of the late Gothic ribbed vault of the central nave were presented to the heavy, round-arched Romanesque arcades . Some of the service fighters are decorated with small heads. The ribbed or star vaults of the north aisle rest on strong semicircular wall templates. A keystone is marked 1441. In the south aisle, the groin vault in the two western bays dates from the 15th century, the groin vault in the three eastern bays had to be rebuilt after the fire of 1829. Because of the addition of the sacristy, the apse of the south aisle was demolished before 1406. In 1959, the approaches with the chalice capitals of the 12th century flanking columns were discovered behind the Florianialtar. Under the late Gothic organ loft from 1426, a ribbed vault spans squat semicircular services. The curved parapet of the organ gallery was added in the baroque period . With the exception of the two western bays, the gallery openings above the side aisles were bricked up during the last restoration. Due to the enlargement after the fire of 1829, the choir tower yoke is open towards the nave and the choir through strongly profiled pointed arches almost at the height of the central nave. The arched opening towards the north side chapel is slightly lower, in the south wall towards the sacristy there is a simple Romanesque rose window and a richly profiled late Gothic corrugated portal from around 1500 with three coat of arms and an iron door from the first half of the 16th century. The sacristy has a ribbed vault from the first half of the 15th century and a diamond lattice at the outer exit, which probably dates from the late Gothic period. The one-bay choir with a 5/8 end and late Gothic ribbed vault from the 15th century over delicate round services on figural and ornamental consoles is the width of the central nave. The choir's Gothic tracery windows were renewed in the 19th century. The two-bay side chapel with a semicircular apse, donated by Niclas Gleismüllner in 1466, forms the continuation of the north aisle. In 1752 it was redesigned in baroque style with pilasters and a higher groin vault so that a larger altar could be erected.
In 1959, frescos marked 1406 were exposed on the end wall of the south aisle, removed and transferred to the north wall of the choir. The various parts of the wall depict the martyrdom of St. Achatius and his companions, Christ on a rainbow with the two Johns, Antonius the Great , a Madonna enthroned with St. Wolfgang and a donor couple.
The frescoes in the central nave vaulted around 1450, uncovered in 1987/89, show floral motifs in the first yoke, the symbols of the evangelists and angels making music in the second , Saint Modestus , Vitus, Maria Magdalena and Crescentia in the third and the four Latin Fathers of the Church .
Facility
High altar
Today's high altar , which was created by Johann Pacher in 1752 , stood before its restoration as a women's altar in the north side chapel. The center of the canopy altar with sacrificial portals is formed by a Mother of God with Child Jesus who hands the kneeling Saints Catherine of Siena and Dominic the rosary .
Of the original high altar, which was also created by Johann Pacher in 1769, only the antependium and the statue of Our Lady of Sorrows remain in the Austrian Gallery .
Cross altar
The altar in the north side chapel, marked 1745, was also made by Johann Pacher. Next to the Pietà, St. Aloysius and St. Leonhard kneel with a chain, outside are St. Rupert with the salt barrel and St. Blaise with a candle. In the niche in the altarpiece, St. Nicholas kneels with three balls, flanked by St. Ulrich with a fish and Wolfgang with an ax. The dove of the Holy Spirit and God the Father hover above Nicholas . The antependium of the altar forms a former gravestone relief. It shows the Lamentation of Christ in a Renaissance pilaster frame with the coat of arms of the Pain family. The work is characterized by a voluminous, very lively style of clothing and is attributed to the "master of the women's tombstone" from the circle of Loy Hering . In the predella are poor souls represented on the columns pedestals reliefs are mounted with scenes of Santa Claus legend.
Florianialtar
The altar in the south aisle was made by Johann Pacher and renewed after the fire of 1829. The altarpiece from 1747 shows St. Florian extinguishing the burning city of St. Veit. The historical view of the parish church, the church of the twelve messengers, the fourteen helper church, both of which were demolished, and the city wall, which was still intact at the time, are of cultural and historical interest. The altarpiece is flanked by statues of the two plague saints Sebastian and Rochus . The top picture shows Saint Vitus with an oil kettle and martyr's palm, next to it are the sculptures of Saints Barbara and Catherine .
pulpit
The pulpit originally stood in the monastery church and was only transferred here in 1959. The pulpit, mentioned in a document in 1734, is also attributed to Johann Pacher. The four evangelists sit at the pulpit. The fields between the niches are decorated with lattice, foliage and ribbon ornamentation. An IHS symbol can be found in the middle field . The volute pilasters on the sound cover are crowned with the standing figure of Christ Salvator Mundi .
Madonna at the high altar
The cross altar
the pulpit
Further facility
- On the pictures of the two small pillar altars a Mother of God and a Saint Joseph are shown.
- In the niches of the central nave are the baroque statuettes of the two plague saints Sebastian and Rochus and probably that of St. James.
- In the south aisle there is a probably early Gothic life-size stone Madonna figure, but the head, the hand and the child have been heavily revised and renewed.
- The organ front and the Rückpositiv in richly carved parapets from the first half of the 18th century were restored in 1977.
- The octagonal baptismal font is from the 15th, the holy water font from the 16th and 18th centuries.
Funerary monuments
On the outside wall of the church and inside there are numerous degree monuments, some of which come from the cemetery that was abandoned in 1790.
- In the north side chapel is the grave slab of Niclas Gleismüller, who died in 1474.
- In the western part of the nave there is a tombstone from 1520 with a bas-relief of a standing woman in a Renaissance niche. The coats of arms are probably those of the citizens of Neuswert and Hendl.
- On the memorial stone for Hans Weidle from 1511, a relief shows St. Martin .
- The children's tombstone inside the church of Niklaus Platzer, who died in 1612, was made by Martin Pacobello in 1613 .
- A children's tombstone by the same artist for Niklas Platzer and Philipp Jacob Platzer, who died in 1620, is attached to the church's outer wall.
- Under the gallery is a Roman grave relief with ashlar and corner pilasters with satyr-like figures and vegetable ornaments.
- The Protestant epitaph of Mathies Schiel, Vizthum of Carinthia, who died in 1559, shows the motif of the brazen serpent , but without the equivalent representation of the risen Christ, which would be typical for a "law and grace" representation.
literature
- Dehio manual. The art monuments of Austria. Carinthia . Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , pp. 841-844.
- Barbara Kienzl: The baroque pulpits in Carinthia . Verlag des Kärntner Landesarchivs, Klagenfurt 1986, ISBN 3-900531-16-1 , p. 381 f.
- Wilhelm Deuer, Johannes Grabmayer: Transromanica. On the trail of the Romanesque in Carinthia (cultural hikes, volume 1). Verlag Johannes Heyn, Klagenfurt 2008, ISBN 978-3-7084-0302-1 , p. 127 f.
- Alexander Hanisch-Wolfram: In the footsteps of the Protestants in Carinthia . Verlag Johannes Heyn, Klagenfurt 2010, ISBN 978-3-7084-0392-2 , pp. 73 f.
- Gottfried Biedermann: Romanesque in Carinthia . Carinthia University Press, Klagenfurt 1994, ISBN 3-85378-426-7 , p. 108.
- Barbara Kienzl, Wilhelm Deuer: Renaissance in Carinthia - With a contribution by Eckart Vancsa . Carinthia Verlag, Klagenfurt 1996, ISBN 3-85378-438-0 , p. 20 f.
- Barbara Neubauer -Kienzl, Wilhelm Deuter and Eduard Mahlknecht: Baroque in Carinthia - With a contribution by Eva Berger . Universitätsverlag Carinthia, Klagenfurt 2000, ISBN 3-85378-489-5 , pp. 75-79.
Web links
- Church. Website of the parish of St Veit
Coordinates: 46 ° 46 ′ 2.1 ″ N , 14 ° 21 ′ 30.7 ″ E