Parish Church of St. Mauritius (Appenzell)
The parish church of St. Mauritius is the Roman Catholic parish church in Appenzell . It is dedicated to Saint Mauritius , the patron saint of the canton of Appenzell Innerrhoden . The first building on this site was built around 1069. In the course of its history, the church has been expanded or rebuilt several times. It received its current external appearance with the construction of the classicistic nave between 1823 and 1826; During this construction work, the choir and tower of the previous late Gothic church were taken over. The interior was largely preserved after the renovation in 1970, which was carried out between 1890 and 1892 in the Neo-Rococo style . The high altar dates from 1622, most of the rest of the church furnishings from the middle to the end of the 19th century.
The Mauritius Church is the Roman Catholic parish church of Appenzell. However, the parish no longer includes the entire inner area of today's canton of Appenzell Innerrhoden as it did when it was founded. Their catchment area has been reduced by the fact that branch churches have become independent parishes. The parish of Appenzell is not congruent with the Appenzell district .
The church has been under federal monument protection since 1971 (highest protection status granted by Switzerland).
location
The church is located in the northeast corner of the village center on the back of a limestone spur . This hill drops off steeply towards Hauptgasse and Sitterbrücke. The slope to the main street is provided with a retaining wall, into which a pedestrian gallery was added in 1963. To the north of the church, towards the Sitter and also provided with a retaining wall, is the cemetery.
The church is free-standing and can be circled on the outside at the level of the choir and the nave . To the south and east, it rises clearly from the surrounding terrain, secured by retaining walls. The south and west sides are characterized by the close development of the village of Appenzell and are partially covered by these in the distance. The north and east sides, on the other hand, are more visible because the cemetery and the Sitters prevented any development too close.
The charnel house chapel, which was located in the cemetery, was first mentioned in a document on May 22nd, 1485 when it was equipped with an charnel house. The building was demolished in June 1857 without replacement.
North of the cemetery, the reformed church with rectory was built between 1908 and 1909 .
History of the parish
Initially the church was the mother parish of all of Innerrhoden. The area of the Hackbüel was added to the newly established parish of Gais in the 14th century . The daughter parishes Haslen and Gonten were founded in the 17th century, those of Brülisau and Schwende in the 19th century.
As early as 1071 Abbot Nortpert of St. Gallen laid down the boundaries of the parish district, which had the status of a separate church . He also had a church built in Abbacella , which was consecrated by Bishop Thietmar von Chur . This happened at the request of his Constance colleague Bishop Rumold, since the Bishop of Constance had died in 1069 and the Bishop of Chur in 1070. This means that the construction date of the first parish church can be determined fairly precisely, as it is mentioned as a new building in the founding deed of the parish in 1071. The deed of foundation is contained as a copy in the Romance Missal .
During the dispute between Frederick II and Pope Innocent IV , the Church of Appenzell was incorporated into St. Gallen Abbey on April 23, 1248 by Cardinal Deacon Petrus. In 1253 the Pope confirmed this approach. The incorporation was the trigger for many disputes, as the tithe came directly to the St. Gallen monastery, which in return had to occupy and maintain the parish. It was also a not insignificant factor in the Appenzeller's striving for freedom. They joined the union of the house of worship, which is also to be understood as a protective measure against the abbot and his tax policy. The conflict culminated in the Appenzell Wars over two centuries later and led to the final entry of the Appenzell into the Swiss Confederation .
At first, a tough struggle began between the Appenzellers and the Abbot of St. Gallen for the tithe and the church tithe, both of which were refused by the Appenzellers. On February 4, 1426, Berchtold von Wildung, deputy judge in church matters, initiated a mandate against the Appenzeller. In it he listed all legal titles according to which the miners of Appenzell were subject to interest, whereby he clearly adhered to the incorporation and the obligations arising from it. The judge granted the Appenzell residents 30 days to submit or to submit a reasoned objection. The Appenzeller asked for a legal day in Constance , which was set for April 14th, but was not considered by the executor of the bull. On April 10th, he spoke the ban on the miners of Appenzell and excommunicated them (the feud could only be finally settled after the Toggenburg War).
On June 26, 1429 the decision was made in Constance that the verdict of the Confederates of 1421 had to be obeyed and that the Appenzell citizens had to pay their taxes again, including the church tithe. After the Appenzeller had paid the 2000 pounds of Heller, they were released from the ban and interdict on August 7, 1429 . The disputes over the tithe were not yet over and dragged on until the final redemption in 1532. On December 3rd, the Haberzehnt was triggered by the Appenzellers with 2000 pounds and 1000 guilders, in return Appenzell had to pay the pastors and helpers himself from now on, whereby the abbot still held the benefice loan for a while. It was not until 1537 that the lord of the monastery was finally resigned and released from his duties through the incorporation. From 1537 the parish of Appenzell was no longer obliged to the monastery of St. Gallen.
The area of Appenzell with its parish church belonged to the diocese of Constance until 1814. But as early as 1806 Appenzell was elevated to the position of the episcopal commissariat and pastor Johann Anton Manser was entrusted with the office. From 1815 Appenzell was subordinate to the Apostolic Vicar General Göldin in Beromünster and after his death came to the diocese of Chur. The papal chargé d'affaires Angelus Bianchi informed the Appenzell cantonal government on May 12th 1866 that the faithful were now subordinate to the bishop of the diocese of St. Gallen , who was appointed administrator of the Appenzell episcopal commissariat. This legal form of administration with the bishop as administrator was initially considered a provisional arrangement, but has remained until today. This is also due to the fact that when the nave was built in 1823-26, money was taken from the diocesan fund and never paid back. These debts would have to be paid in the event of integration into the diocese of St. Gallen.
Building history
Today's church was preceded by three or, if you count the late medieval extension, four predecessor buildings. When building the current church, parts of the previous church were reused.
Church from 1069
Thanks to the document from 1071 and the names it contains, the construction of the church can be dated fairly precisely. It must have been built shortly before 1069 on the instructions of Abbot Nortpert of St. Gallen and consecrated by Bishop Thietmar around 1069. The first building was a square hall 13 meters wide. It had the typical shape of the time and a considerable width. The east end, the location of which could be determined from the excavations, had a sharp corner in the north. The southeast corner of the first church was located under today's southeast corner of the nave and led to today's choir wall at an angle of around five degrees. The position of the west wall and the location of the altar could no longer be determined.
High medieval cultivation
To the north of the east wall of the first church, an annex was built in the High Middle Ages, the southeast corner of which was located directly next to the northeast corner of the first church. The external plaster found during the excavations on the choir wall of the second building refutes the assumption of an earlier external crypt.
Late Romanesque church (around 1300)
The second church building, built around 1300, was again a rectangular hall church . It had the position of today's ship. The floor plan was rotated by around five degrees and the southern side wall ran under the southern wall of today's nave. The northern outer wall and the northern piers of the successor building reached about two thirds of the current ship width. The east wall lay under today's choir partition. The church also had a tower that was shaken by the earthquake in October 1355. But it is not identical to the massive late Gothic west tower that has been preserved.
The sources of the new building are very poor. Therefore, the date of construction can only be estimated at around 1300. It is believed that the first church was destroyed in November 1291 during the attack by Albrecht von Habsburg-Austria . The construction of the new church in 1315 mentioned by Father Desiderus Wetter will rather refer to the church in Gais. It is known that Auxiliary Bishop Heinrich von Konstanz consecrated a side altar in honor of Saints Martin, Jost and Wendelin on May 26th, 1400 in connection with one of the earliest founding of the chaplain.
Late Gothic church (1488–1513)
A number of dates are also unclear for the late Gothic church building. The preparations began, verifiably, on Auffahrt 1488, because on this day Enz Schwendinger and Ortmar Roder, as bailiffs and caretakers of St. Mauritius, bought the right to break stones in his pasture in Hundwil from Hans Wirt zu Hundwil . From the contract of October 28, 1495 with Jörg Bisenberg von Kaufbeuren , with which the Landammann and the Appenzell Council commissioned him to hang up two bells, it can be concluded that the new church tower was completed around 1495. The high altar is said to have been completed in 1504. The building inscription above the sacristy door was destroyed by holes in the beams at the decisive points during the later installation of the gallery. This building inscription could still be seen that the builder Hans Tobler worked as a master craftsman from 1505 to 1507 and as a builder in 1517. Werkmeister was a Heinrich ... he was the family name with a maximum of six letters. Hans Helbling or Helßling worked as a foreman.
Between 8 and 11 October 1513 konsekrisierte Bishop Baltasar burning forest OP, in his titular bishop of Ascalon, the church, the altars and the cemetery. The excerpt from the dedication document that Pastor Georg Scheiß prepared in 1590 shows that the church then had eight altars. The church will have been built in several stages so that there was always a covered church space available. The west tower was probably built between 1488 and 1495, and the crypt and choir between 1495 and 1504. The old church was probably demolished at this time. The nave was enlarged between 1504 and 1513.
The village fire on March 18, 1560 severely damaged the church. Part of the interior could be saved. The lower church, parts of the choir and the lower part of the tower also withstood the fire. The roof of the church, the tower, the wooden ceiling and the wooden pillars of the ship fell victim to the fire. The fallen ceiling parts damaged the altars in the nave. The beneficiary houses were also destroyed in the fire, along with a number of valuable books, including the year book . This also explains the very inadequate sources of information about the history of the church and parish before the fire, since mostly external and thus incomplete documents have to be used. On March 25, 1560 it was decided to rebuild the church. The disposition from 1513 was retained. On the basis of the ordinations carried out by Auxiliary Bishop Baltasar von Wurer between July 24th and 25th, 1590, this disposition can be traced to this day, as all the altars were consecrated anew.
Classicist ship (1823–1826)
The planning for the new building of the classical ship began in 1808 and could be completed in 1843. The new building primarily met the need to gain more space, and a permanent solution had to be found for the ship in need of renovation. The new building was preceded by the renovation of the church wall facing the street in 1806/07. The decision on August 16, 1808, with which the Grand Council entrusted the construction of the new church to the major church accounting commission, can be seen as the start . The gentleman architect Johann Anton Weishaupt, who was pastor of Kobelwald at the time, presented a plan with a description for the new building of the nave on September 30, 1808. Master builder Johann Conrad Langenegger from Gais also drew a plan with local masters Joseph Ebneter and Meinrad Koller after the inspection on October 2nd.
In the following years there was a lot of discussion, but nothing definite was decided. The delivery of sandstones from the Steintobel began as early as 1814, but the financing was not tackled until 1817. Even the funds provided had to be used for other purposes, as a flood had damaged the church wall on the Sitter side. The wall that was washed away and partially collapsed was rebuilt with money from the church fund. Only when Johann Baptist Philipp Weishaupt took over the management of the parish in 1820 and Franz Anton Broger took over the management of the church in 1822 did the matter move. These two can be seen as the main sponsors of the new church building. On December 7, 1823, the church hearings, including those of Gonten and Haslen, decided to build a new nave.
As a result, the Grand Council decreed that Gonten and Haslen also had to contribute their part in building the regional church. He also used Appenzell's share of the Swiss diocesan fund and part of the Vienna Congress money for the construction of the church. In 1823 construction began to be felled in the Rellenwald and ashlar stones to be broken in the Lank. The disputes were not over, however, as the church halls decided on February 12, 1824 that the ship could not be demolished before autumn, while the Great Council ordered on April 1, 1824 that the walls should be torn down immediately. The furniture was brought into the choir and on April 25th the south wall was torn down. On August 15th the old wall height at the south wall was reached and on October 8th that of the north wall. The wall work was completed on October 22nd. Then the roof structure, which had been prepared by Franz Joseph Sutter at the Capuchin monastery, was built so that the erection could be celebrated on November 18, 1824. Enoch Breitmeier could be found as master builder for the construction. This came from Toggenburg , but was based in Herisau . His construction team comprised between eleven and fourteen journeymen. Although the actual construction progressed rapidly, the interior work dragged on in the following years.
Two Moosbrugers had been arranged for the stucco work, most likely the two sons of Peter Anton Moosbrugger , Joseph Anton and Joseph Simon. However, a certain degree of caution is required here, as the sources are inadequate. Her father is named in some secondary sources, but this cannot be correct, since he died in 1806. The painting was entrusted to Joseph Andreas Jehly from Bludenz and his brother Michael. They brought in the drawing teacher Antonio Orazio Moretto from St. Gallen as artistic advisor. The two walls of the choir were painted by a Moosbruger because Jehly was called up for the military. The pulpit was made by Joseph Moosbrugger in Advent 1825, the seating by Rorbach and Wyss, and the slab flooring by Sommer and Nofles.
On Christmas 1825 the first service could be celebrated in the church. However, it did not receive the monumental portals and portals until 1834/38. The church was not consecrated until 1843, and some of the baroque altars were overhauled and placed back in the nave. It is also known that between 1833 and 1837 the plasterers Gebhard Moosbruger and his brother repaired the church and pulpit.
Description of the structure
The choir , under which the crypt is located, is drawn in opposite the nave and its axis turned slightly to the north. The tower is also not centered on the western front, but has been shifted to the north. The sacristy is located in the northeast corner of the choir and nave. The church is 57 meters long overall, while the nave is 22 meters wide. The tower is, measured from the base of the tower, with the cross 45 meters high. The interior height of the nave is 14.5 meters, that of the choir 13.8 and that of the crypt 5.5 meters.
tower
The massive tower, taken over from the late Gothic church, has a square floor plan. It is divided into three storeys by two belt cornices with water hammer and is covered with a tent roof. It was built from irregular house stones that are visible due to the lack of plastering. The reddening of the fire from the fire on March 18, 1560 is still visible on some stones. The bush-hammered sandstones on the ground floor were replaced during the renovation in 1923. The transverse axis of the ground floor has a semicircular arched passage with a pointed arch. The soldier's memorial from 1925 is located in the east niche and the Renaissance crucifix in the west niche. The purpose of the passage, which in the late Gothic church was never connected to the interior of the church, can only be speculated today. The most obvious thing is that it served as an entrance to the cemetery, but this is nowhere mentioned in writing. The second floor of the tower has a narrow arched window. The sound openings on the third floor are designed as round arches. While there is only one opening on the south side, the rest are designed as double arched openings. The three dials are placed under the openings. There is no such thing on the east side, as the roof of the ship extends to the sound opening. On the south side there are wall paintings around the dial and to the left of the sound opening. These were made in 1923 by Johannes Hugentobler and show as the main motif the monumental figure of the patron saint of the church and country, Mauritius in a Roman soldier's costume. On the dial is the Latin inscription "una ex illis / tua ultima", which translates as: "One of these hours will be your last".
Nave
The nave has a low granite base all around. On both long sides there are seven arched windows, which are grouped into two groups of three and separated by the smaller window above the side portal. There are lunette windows above the two front portals on the west side. All four portals have signs with Tuscan columns. The nave is covered with a hipped roof, which is extended with slightly lower pitched roofs towards the tower and above the choir. The roof has three dormers on the south side, the middle one is missing on the north side. The transverse gable in the middle of the north side resembles a temple front with a double door. This door is used for the elevator in the church floor .
A hall of 33 × 19.5 meters forms the interior of the ship. The seven yokes can only be recognized by the vaults and the windows. The ceiling is designed as a pressed barrel ceiling plastered with plaster. The windows extend into the vaults and are provided with stitch caps.
Choir and crypt
The choir with the crypt underneath comes from the late Gothic church and was created by Master Heinrichs. According to Rahn, "it is one of the most ornate Swiss buildings from the late Gothic period". The massive brickwork of the crypt is around 3.5 meters thick and forms a terraced substructure for the ship, the outer wall of which is set back 2.5 meters inward. In the corners of the three-eight choir there are external buttresses that dissipate the load of the choir ceiling. There are also buttresses on the south and north sides. The three-lancet windows are inserted into multiple fluted soffits and provided with rich, but somewhat conventional, fish-bladder tracery. In the south-west corner of the choir facing the ship is a round stair tower that leads from the crypt to the roof structure. From the Metzibrücke (Sitterbrücke) a staircase leads to the level of the floor of the ship and choir. Outside along the choir, on the wall of the crypt, there is a covered walkway, for which the buttresses of the choir each have a passage.
The interior of the choir is 10.7 meters deep and 9.5 meters wide. It is separated from the ship by a pointed arch and its axis is angled about 5 ° to the north compared to the axis of the ship. The choir ceiling is designed as a reticulated vault with two keystones and a snap ring.
The crypt has four ogival cross vaults and half a star vault. The vault rests on two octagonal pillars that are on the main axis of the building. On the walls, the vault, which is designed as a shield arch on the wall, ends on rough, primitive consoles.
sacristy
The two-story sacristy is attached to the north wall of the choir. It stands one meter above the north wall of the north wall of the ship. Their sloping northeast corner leads to the polygon of the choir closure. There are narrow arched windows in the sandstone walls. It has a pent roof hipped to the east . Its upper floor was originally built to accommodate the state archive.
Interior design and works of art
The baroque side altars were removed in 1870 during the interior renovation by Isotor Ludwig Suter from Lucerne . The new side altars were adapted to the high altar. Josef Balmer painted a new altarpiece. The Mauritius picture replaced the picture Annunciation by Dietrich Meussen. Josef Balmer created the pictures that were inserted into the newly created side altars as main leaves and upper pieces. The two southern choir windows received new glazing with geometric patterns from the workshop of the glass painter Röttiger. They were a foundation of Pastor Knill and his brother. The renovation, however, did not correspond to the taste of the time and was rejected by the people; this explains the renewed renovation after 20 years.
Another interior renovation was carried out between 1890 and 1892. It was drawn up in 1889 as a project by August Hardegger from St. Gallen, who was advised by Father Albert Kuhn OSB from Einsiedeln and Pastor Anton Denier from Attinghausen . The church was redesigned in the Neo-Rococo style. This redesign mainly affected the ceiling and the paintings. The stucco over the choir arch and the altars as well as on the ceiling was made by Greppi from St. Gallen. The marbling of the pilasters and the decorations on the ceilings and walls was done by Joseph Traub (* 1860; † 1934) from Rorschach. The frescoes in the choir from the 17th century were painted over with Gothic carpet painting and exposed again in 1952–53. The newly painted booty flags are also attributed to Joseph Traub, although they could also have been created by Vettinger. The three ceiling paintings were made by Franz Vettinger (* 1846; † 1917) from Uznach. Over each window there is a medallion with representations of the holy helpers in half profile.
The pulpit is attached to the south wall and accessed with a gallery and stairs. The stairs begin next to the baptismal font that stands on the nave floor in front of the south side altars. The pulpit is located between the first two side windows of the ship. Five confessionals are slightly embedded in the side walls, on the north wall under the second, third and fifth side windows, and on the south wall under the first and second side wall windows, seen from the choir.
In front of the side altars, the nave floor is raised by three steps. The fourth step forms the foundation of the side altars. It was not until 1971 that this fourth step was extended in the middle towards the nave and thus forms the area for the free-standing altar for the liturgical celebration. Before that, the liturgical altar was on the second stage, while the side altars were on a two-stage foundation. Another step under the choir arch leads into the choir room. The choir grille, which had been in the choir arch since 1891, was removed in 1970. A wrought-iron door into the crypt is located between the two southern side altars under the choir.
The restoration, which was carried out in stages from 1969 to 1971, was accompanied by an archaeological excavation at the interface between the nave and the choir. The choir and the liturgical area were redesigned. The architect in charge was Oskar Perarek from the Felix Schmied office, who was advised by the federal conservationist Prof. Dr. Albert Knoepfli stood by his side. Franz Lorenzi from Kaltbrunn worked as a restorer .
High altar
The high altar is the work of Bartholomäus Cades and was created in 1622. The commission was given to Cades, who is known as the master of Baden , under Pastor Abraham Fässler. The order included the construction of a new high altar with tabernacle, the sum of 1000 guilders is mentioned. Moritz Girtanner was commissioned to frame the altar. Gold worth 714 guilders was used for this. Dietrich Meussen from Feldkirch painted the two altarpieces, for which he received 222 guilders. It is unclear when the middle picture was replaced. During the restoration in 1970, the Mauritus picture from 1871, which was painted by Balmer from Lucerne, was removed. It was found that the dimensions of the image of the Virgin, which was located in the Capuchin monastery, fit exactly into the frame. Stylistically, it could also be a picture by Meussen, which was confirmed on closer examination. Therefore, after the renovation, it was decided to put the original image of Mary back in the high altar. The picture was given to the church by the monastery as a deposit.
The Greppi company provided the high altar with a new substructure in 1890. The neo-baroque stipes with the relief Melchisedech sacrifice by Eduart Müller and the Louis Seize tabernacle by Anton Dirr, created in 1796, were provided. This fits harmoniously into the ensemble of the Mannerist retable by Bartholomäus Cades and Dietrich Meuss from 1622. The tabernacle conceals the smooth plinth. This has inward rolling volutes on both sides and ends at the top in the altar plate. The altar has a three-axis aedicle architecture. The Corinthian columns with scrollwork sleeves form the lateral boundary of the main painting. The upper end is a drawn-in round arch with angel heads in the spandrels. Above that is the scaled-down, similarly structured upper section with the upper image. To the side of the main picture there are statues in side passages with canopies and female figures on the outside on the canopies. The upper picture is also surrounded by a figure on each side. The essay is framed by tail arches and finished with a stilted segment arch. The two side figures of the upper picture and the central figure at the top of the altar are three knight saints, whose armor was removed in the 19th century. They are Saint Achatius (northern figure), Saint George (southern figure) and Saint Mauritius (in the middle). On the back of the statue of St. Mauritus there is the inscription “1622 M.Moritz Girtoer / Maler / M.Barttolome / kadus bild hower”. Four small figures form the outline of the upper floor. They represent Saint Konrad with a chalice and spider, a bishop without attributes ( to be interpreted as Saint Theodul by the altar patrons ), John the Baptist and Saint Charles Borromeo in black choral costume. The two female statues symbolize the Old and New Covenants, right (south) with closed book, covered chalice and the old covenant in high priestly dress, left (north) with open book and open chalice as well as a halo of the new covenant. The two main statues next to the main picture are the apostles Peter and Paul (Paul with sword on the right, Peter with key on the left). Together with the pyramid of arms in the crown, they are intended to illustrate the loyalty of the Appenzell Innerrhoden Catholic class to the Roman Catholic Church.
The main picture is the Annunciation, painted by Dietrich Meuss in 1622 . The upper picture is a foundation of the church caretaker Jakob Wyser and his wife Anna Bücher. The man who was the model for St. Francis was Fidelis von Sigmaringen, who was later canonized .
Side altars
The Greppi company and the sculptor Eduard Müller built all the neo-baroque side altars according to a uniform scheme from 1890–92. The stipites are sarcophagus shaped. The reliquary box and the main picture above are framed on both sides by a pair of inclined columns, in front of which there is a stand for a statue. The cranked ledge above is concave and a putti sits on each segment arch. Above is the oval extension, which is crowned with volutes and vases. The outer main images of the side altars, the image of the Mother of God and the image of Joseph, were made by Franz Vettinger and were made between 1890 and 1892. All eight upper images are also by Franz Vettinger. The two inner main pictures, the St. Antonius picture and the St. Sebastian picture, come from Severin Benz and were made in 1892.
Choir stalls
Carl Glauner (* 1865; † 1916) carved the four-part choir stalls from oak in a neo-Gothic style in 1907 . Because of the sacristy door on the north wall, the seats in the seat divider had to be separated one to four. For the sake of harmony, the south-facing stalls were also separated. The two four-seat parts are designed in two rows. The choir stalls thus have a total of 18 sediles , are designed with rich tracery on the front of the lectern and at the back have an overarching canopy of pinnacles and tabernacle needles. Figures are inserted between the lateral pillars that support the canopy. There are also figurative representations on the back of the side ends.
tabernacle
The tabernacle of the late Gothic church was only reinstalled during the renovation in 1970. It was made by Franz Anton Dirr in 1796 after a crack by Joseph Ulrich Hörler and had a counterpart in the women's monastery that has been lost.
Painting in the choir
The two frescoes in the choir were painted in 1625 and are attributed to Moritz Girtanner, who died of the plague in 1629. They are to the left and right of the choir under the choir windows. The paintings were renovated in 1723 by the Eugster brothers from Oberegg . They were painted over with a gothic carpet pattern by the painter Traub in 1882 and exposed again by Karl Hag in 1952/53. The picture on the right, also called the picture of the congregation , shows in the top center the Mother of God with child, who is asked for intercession by the two saints Karl Borromeo and Philip Neri. At their feet is a group of kneeling priests and statesmen praying. At the feet you can also see the alliance coat of arms of the founder Jakob Klöbener von Haimen, who was the church caretaker between 1625 and 1639. The picture on the left, also known as the plague , shows the village of Appenzell, which is being shot at with arrows by God the Father. Three are still on the arch, while several have already left the tendon and are on their way to meet the village. On the right side of God the Father rises interceding the glorified Christ with the cross, on the left side the Mother of God with a soothing hand gesture. At the left edge of the picture, standing on the floor for the viewer, the patriarchal figure of St. Joseph rises, who raises his right hand in supplication, while a lily is in the left hand. On the right edge of the picture, Saint Mauritius is depicted in contemporary war costume with a shield and flag.
Konrad Wyser donated a painting around 1580, which was rediscovered in 1970 and has the signature IG. It was originally located behind the left choir stalls, but was removed and moved to the visible side of the tabernacle.
The side walls and the ceiling are decorated with decorative paintings that were applied by Joseph Traub in 1890/92. They are executed as a Louis-seize painting and transform the choir into a garden pavilion.
Congregational image
Plague image
Choir ceiling
Baptismal font
The font dates from the 17th century and has been moved several times. Between 1870 and 1970 it was located next to the parapet of the gallery staircase, right next to the south west entrance. Since the renovation, according to the liturgy, it has been standing near the altar, in front of the southern side altars between the main altar and the pulpit.
The hexagonal baptismal font made of partially ground Alpine limestone received a spherical lid in the first quarter of the 19th century. The partially gilded copper lid is an excellent classicist work. It is constricted three times with ribs, laurel, oak leaves and vine leaves friezes. At the top is a group of Christ's baptisms under a palm tree.
pulpit
The pulpit on the third pilaster on the south side of the nave has an oval basic shape and is designed in a heavy horizontal structure with a basket and lid. It is the work of the Mossbruger brothers and was created while the ship was being rebuilt. The two gilded wooden reliefs in the basket, Sermon on the Mount and Jesus at Jacob's Fountain, are works by Eduard Müller from 1891.
The "Sermon on the Mount" at the pulpit
"Jesus at Jacob's well" in the pulpit
Stained glass window
In the choir, only the two windows next to the choir altar are painted. They were obtained from the Jehli Art Institute in Innsbruck in 1896. They were donated by Marie Fässler, Kreuzhof. They show the coronation of Mary (south of the altar) and Mary as Queen of the Rosary (north of the altar). The choir window, which faces directly to the south, has no figurative glass painting. The two side chancel windows are from the renovation in 1870 and were made by the glass painter Röttiger's workshop.
The glass windows of the nave show fourteen stations of the cross in eight windows. They start on the north wall at the front and include the four large windows, while on the south side they start at the back. The window above the portal for the Stations of the Cross is left out on both sides.
Above the portals are the glass windows with the Baptism of Christ (north wall) and the Mount of Olives (south wall). The two large windows on both sides of the gallery are only lightly decorated with ornaments on the edge.
The stained glass windows of the nave were created in 1890–91 and were a donation from Marie Fässler, Kreuzhof. The foundation text can be read in the fourth window. The family crest of the founder is in the fifth window. In the windows one, two, five and seven the initials of the founder (MF) are also affixed. The painted glass windows of the ship were made by the Mayer'schen Königlichen Hof-Kunstanstalt Munich, the four windows in the gallery by Friedrich Berbig from Zurich.
Painting in the ship
Franz Vettinger painted the three ceiling paintings and the 14 medallions; In the list of renovation work, an image of the Virgin and an image of Joseph are also mentioned. There are three oval ceiling paintings. The transverse oval in front of the choir arch shows Christmas, the central longitudinal oval unites All Saints' Day as a pictorial idea, whereby the Swiss saints received a lot of attention, the Coronation of the Virgin Mary and the glory of the patron saint Mauritius. The transverse oval above the organ gallery contains the apocalyptic lamb.
The middle main painting with 163 individual figures is considered one of the main works of the late Nazarene Deschwanderschule and is divided into three stories.
Emergency helpers are shown in the 14 medallions, which are located between the stitch caps of the windows in the vaulted ceiling. The helpers in need are Achatius, Katharina, Blasius, Georg, Pantaleon, Cyriacus, Margaretha, Egidius, Erasmus, Eustachius, Christophorus, Vitus, Barbara and Dionysius from the front right.
organ
An organ was first mentioned after the fire of 1560, although it can be assumed that an organ was already installed there when the choir was rebuilt in 1513. The lack of at least one small organ would contradict organ research, which can prove an organ in most main and monastery churches for the 15th century. On November 24th, Appenzeller Landammann and Council wrote to the Council of Lucerne and asked that Fridolin Jung be released for a few days so that he could procure a well-preserved or new organ for the Appenzeller. Jung arranged an organ from Freiburg im Breisgau ; the purchase contract is dated December 17, 1582. There were ten registers in the main work , five in the Rückpositiv . This organ was expanded in 1622.
In 1640 it was decided to purchase a new organ, this had twelve registers and was ordered from an organ builder in Alpnach. It was supposed to be finished on Jakobi (July 25th) 1642, but was not finished until November 14th of the same year.
In 1859, Martin Braun was commissioned to inspect the existing main organ and to submit a plan for a new instrument. The new 26-register organ was built by Johann Nepomuk Kiene from Langenargen in 1864, with a case that was newly manufactured in 1824 when the nave was rebuilt.
Again using the old case, the Kiene organ was replaced by a new one with 32 registers by Max Klinger from Rorschach in 1891/1892 (Franz Stark dates this conversion to 1895). This main organ received an electric motor in 1927, and in 1940 the Rapperswil company Späth added six registers when the electric console was installed. In 1968 it was decided to expand the organ by eight registers. It has 49 registers and 3717 pipes, making it the largest organ in the canton of Appenzell Innerrhoden.
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- Coupling : II / I, III / II, I / P, II / P, III / P
The choir organ , which was built in 1823 on a gallery above the choir stalls on the side of the sacristy, was manufactured by Walpen in Lucerne. It was replaced in 1895 by a new organ from Klinger from Rorschach. Like the choir stalls in 1908, this choir organ was given a neo-Gothic structure. It was expanded in 1970 without replacement and sold to private customers.
Church bells
From today's peal, a total of seven bells were re-cast by von Rüetschi in Aarau in 1923 . There is also the old guardian angel bell from 1509. The eight bells have the disposition GBCDFGBC. The bell was consecrated on December 17, 1923 by Bishop Robertus Bürkler and pulled into the tower the following day. At the meeting on April 3, the Kirchhöri decided to electrify the tower clock and the bell. The installation of the electrics proceeded quickly, the test ringing could take place on June 28, 1960.
The ringing includes the following bells;
- Big bell or Trinity bell, weight 123.46 quintals, tone G °. It is also popularly called Manneri .
- Mauritius bell, weight 68.56 quintals, tone B °
- Our Lady Bell, weight 50.32 quintals, tone c '
- St. Joseph's bell, weight 35.14 quintals, tone d '
- St. Charles bell, weight 21.18 quintals, tone f '
- St. Martin's bell, weight 14.86 quintals, tone g '
- St. Barbarian bell, weight 8 quintals, tone b '
- Guardian angel bells, tone d ''. This is the teaching bell from 1509.
Some bells have been preserved from the old bell.
- The teaching bell from 1509, in a simple, undecorated form with a diameter of 85 cm and the inscription "let the kindlin come to me - because irer is the rich of the himlen ano domini m • ccccc • ix •"
- The angular bell from 1509 is now in the Lourdes Chapel. It has a similar structure to the teaching bell and bears the inscription "ave maria gratia plena dominus tecum anno domini m • ccccc • ix •"
- The vigil bell from 1793, weighing 3 quintals, has the tone of the upper es. It was cast by Johann Leonhard Rosenlächer in Constance. It has now been passed on to the Catholic Church in Gais.
- The children's bell or vigil bell from 1621 has a diameter of 50 cm and a weight of 1 quintal and 50 pounds. It was cast by Hieronymus Gesus von Konstanz. It hung in the college chapel between 1923 and 1958 and has been in the Lourdes chapel since 1958. It has reliefs of a crucifixion group and coat of arms (probably Inauen (?)) And the Lamb of God. There are two decorative ribbons with the inscription, "IERONMVS + GESVS + ZVO + CONSTANZ + HAT + MICH + GOSSEN 1621" above the reliefs
- The death bell was cast in Appenzell in 1593 by Peter Füssli from Zurich. It weighs approximately 71 pounds and is now in the Lourdes Chapel.
The two bells from 1509 are the oldest surviving bells in the canton of Appenzell Innerrhoden.
crypt
The crypt was previously only accessible from inside the church. On the occasion of the renovation in 1953, the south window was extended to an entrance and the entire interior was renewed. The glass window in the east wall comes from Johannes Hugentobler and was made in 1953. It shows the crypt cartridge Eligius and Stephanus. In front of it is the block altar, which is one step higher than the rest of the floor made of red clay slabs. The choir arch group is located on the north-east wall, consisting of the former choir arch cross from 1580 and the two assistant figures from 1608, which represent Maria and Johannes and come from Jakob Rissi's workshop in Wil. The gallery built into the crypt, which is dated 1521, was replaced in 1953 by a true-to-original copy.
Lost works of art
At the end of the 18th century, the sale of works of art was recorded for the first time in the church accounts.
Late Gothic high altar from 1504
The late Gothic high altar had been dismantled into several individual parts. On the occasion of an art historical study by Rainald Fischer, thanks to sufficient sources, it was almost completely merged and the missing parts were reconstructed. It was most likely the first rosary altar in Switzerland, because the very first rosary brotherhood did not come into being until 1468. The first known rosary altar was in the St. Andrew's Church in Cologne.
The two altar wings of the late Gothic altar are in the National Museum in Zurich. The outer sides show the saints Martin and George and together form an axially symmetrical composition. On the inside the birth of Christ and the adoration of the three kings is depicted.
literature
- Rainald Fischer: The Art Monuments of the Canton of Appenzell Innernhoden , Birkhäuser 1984, ISBN 3-7643-1629-2 , pp. 140–227 (KdKAI)
- INSA Inventory of Newer Swiss Architecture 1850–1921, Volume 1 , Aarau, Altendorf, Appenzell, Baden, Orell Füssli 1984, ISBN 3-280-01509-X , pp. 339–341 (INSA Volume 1)
- Franz Stark: 900 years of the Church and Parish of St. Mauritius Appenzell , Genossenschafts-Buchdruckerei Appenzell 1971, no ISBN (Stark)
Web links
Individual evidence
- ↑ Inscription at the north door in the tower
- ↑ Directory of cultural assets, 1995 edition, published by the Federal Office of Topography
- ↑ Appenzeller Document Book, No. 1208, p. 581
- ↑ strong; Pp. 10-14
- ↑ INSA Volume I; Pp. 378-380
- ↑ Stark, pp. 62-66
- ↑ Stark, pp. 78-80
- ↑ KdKAI pp. 143-144
- ↑ KdKAI p. 144
- ↑ contributions to the history Innerrhodens 1300-1730. From the handwritten state chronicles of the Conventual P. Desiderus Wetter, edited by C. Rusch, Appenzell 1912; short weather chronicle p. 7
- ↑ KdKAI pp. 144-145
- ↑ Weather Chronicle p. 3
- ^ Appenzell parish archives: Missale fol. 3
- ↑ KdKAI pp. 146-148
- ↑ Franz Stark; The village fire of Appenzell 400 years ago in home and church in Appenzellerland 8, as a supplement to Appenzeller Volksfreund 1960 no. 2
- ↑ KdKAI pp. 169-172
- ↑ a b INSA Volume 1, p. 339
- ↑ KdKAI p. 176
- ↑ KdKAI pp. 182-183
- ^ Rahn, On the statistics of Swiss art monuments, Anzeiger für Schweizerische Altertumskunde IV (1880), pp. 85 ff.
- ↑ a b KdKAI p. 188
- ↑ a b KdKAI p. 196
- ↑ KdKAI, p. 187
- ↑ Fischer, the original high altar picture , Appenzeller Volksfreund 1971 No. 67
- ↑ Stark, pp. 23-25
- ↑ KdKAI p. 195
- ↑ Stark, pp. 25-27
- ↑ KdKAI p. 197
- ↑ KdKAI p. 185
- ^ Number according to A. Fäh, Franz Vettiger, Die christliche Kunst 16 (1919/20), p. 55
- ↑ Appenzell document book, edited by Traugott Schiess, Trogen 1913/34, Volume 2, No. 3631 p. 686
- ↑ Stark pp. 149-150
- ↑ a b c Stark p. 150
- ↑ INSA p. 341
- ↑ Stark, p. 151
- ↑ Information about the organ (as of April 24, 2018)
- ↑ INSA Volume 1. p. 341
- ↑ Stark, pp. 143-144
- ↑ Stark, p. 146
- ↑ Strong
- ↑ KdKAI
- ↑ KdKAI pp. 196-197
- ↑ Report by Rainald Fischer published in; Appenzeller Volksfreund 1975 issue 200
- ↑ KdKAI pp. 148-150
Coordinates: 47 ° 19 '51.4 " N , 9 ° 24' 37.4" E ; CH1903: seven hundred forty-nine thousand and twenty-five / 244103