Parish Church Wolfsberg (Carinthia)
The parish church of Wolfsberg is dedicated to the evangelist Markus . The founding date of the church is unknown, but since the area of Wolfsberg belonged to the diocese of Aquileia until 811 , it can be assumed that a St. Mark's Chapel could have existed as a sign of the spiritual connection to Venice , which has St. Mark as the patron saint. Only in 1216 is a "Sacerdos in Wolfsberg" mentioned in a document. Since the city of Wolfsberg was owned by the Bamberg diocese from 1007 to 1759 , its founders are Emperor Heinrich II . and his wife Kunigunde depicted several times in the church.
Church building
Outside
The church is a late Romanesque, three-nave pillar basilica from the 13th century with Gothic and early Baroque additions and alterations. The nave , the choir square and south of the choir in the axis of the aisle, the lower walls of a tower and the west portal come from the Romanesque period . This splendid, triple-stepped vestibule portal with set columns, bud capitals, bell rings and round arch frieze was created around 1240. The outer round arch frieze shows a certain resemblance to the bridal portal of the Wiener Neustädter Domes . There are two arched windows above the west portal and two circular windows to the side. Under the gable cornice of the west facade, a Romanesque round arch frieze extends across the width of the central nave. The side aisles were raised by later built-in galleries and are now under one roof with the central nave. The polygonal Gothic choir closure with two-tiered buttresses was added in the first half of the 14th century. The tower on the north side of the choir has its origins in the late 14th century. It was raised in 1639 and now has five floors with a height of 72 meters, two of which are sound window floors. The onion helmet dates from 1830. In the lower floor of the acoustic window there is a five-part chime with the main striking note sequence c '- dis' - g '- a sharp' - c ''. The largest bell is the St. Markus Heldenglocke with a mass of around 1900 kg (Samassa, 1921). The other bells are called Kreuz-Gefallenenglocke (approx. 1000 kg; Pfundner, 1949), Mahnerin (approx. 600 kg; Pfundner, 1949), Valentine's bell (approx. 460 kg; Marx Wening, 1590) and the poor soul bell (250 kg; Pfundner, 1949). The bells hang in a mighty wooden belfry on straight steel yokes. With the exception of the largest St. Mark's hero bell (round ball clapper), there are flat clappers in all other bells. The hour is struck on the Valentine's bell (every quarter of an hour) and on the St. Mark's hero bell (every hour). Above the bell chamber there is a small tower keeper's apartment with two rooms, in which the tower keeper lived and kept an eye out for fire. The tower is accessible. You pass the bells and from the balcony you can enjoy a wide view of the city of Wolfsberg, the Lavant valley and the mountains.
At the same time as the tower, the Seven Pain Chapel to the east and the late Gothic chapel to the west of the tower were built in the fourth quarter of the 15th century. On both sides of the nave there are two chapels from the fourth quarter of the 16th century. Another side chapel on the south side and the adjoining sacristy to the east were built in the 17th century. The second chapel on the north side has corner pilasters ornamented with grotesques and grimacing heads, as well as hermes and blind arches. In the middle under a triangular gable is the elaborately designed grave slab of the brothers Georg and Bartlmä Freidl, marked 1570. Of the other grave monuments on the outer walls of the church, a Roman-era grave relief with a scribe's representation on the north side is particularly noteworthy.
The round arched, late Gothic north portal has an iron-studded door from the 15th century with plates, rosettes and hinges. Next to it are stone figures of a mount of olives scene from the 18th century.
Inside
Inside the three-aisled and five-bay nave, the Romanesque basilica room scheme can still be seen. Round arched dividing arches on square pillars with bevelled edges separate the central nave from the side aisles. The Gothic ribbed vault from the late 14th century rests on strong pillars in the central nave and on services and consoles in the side aisles . The ceiling paintings with the lavishly curved ornamentation and delicate figure motifs come from the late Gothic period. In the second yoke the four evangelists are symbolically represented, each handing over a book of gospels to a pope or bishop. The sound hole in the central yoke is surrounded by angels making music. The remaining ceiling paintings consist mainly of flower ornaments.
The west gallery in the central nave over groined vaults and with a gallery parapet with tracery was built around 1500. The galleries above the side aisles are opened in double arcades to the central nave yokes and were built either in the Baroque period or in the 19th century. The side chapels adjoining the first and third yoke are opened by round arches over ornamented pillars. The four one-bay chapels from the late Renaissance are vaulted with decorative ridges. The late Gothic Katharinenkapelle is located on the north side on the fifth yoke and is vaulted with net ribs. Opposite it is a two-bay early Baroque chapel with a groin vault on the south side. In the south aisle there are wall paintings from the 14th century. A round arched triumphal arch connects the nave and choir. The choir consists of a Romanesque choir square and a 5/8 choir closure with a Gothic ribbed vault. The four pillars of the Romanesque choir bay have combat stones with a cube frieze and Romanesque countersinks in the corners with bud capitals and fighters. The keystones in relief show the Lamb of God and the Lion of St. Mark, the consoles in the choir polygon show heads and animals. The end of the choir is broken through with five two-lane Gothic tracery windows. In 1972, the colored slugs were replaced by transparent ones in order to create better lighting conditions. On the north side of the choir square is a window that was once accessible through the Seven Pain Chapel and served as a box for the owners of Wolfsberg Castle during the holy masses.
Facility
The main altar was made in 1776 by the Villach carpenter Johannes Rudolph. In the main picture, dated 1777, the evangelist is depicted in a writing sitting pose with magical light from the darkness of the background. Using a similar technique, the depiction of the dying Franz Xaver is torn from the darkness in the top picture. The painter of the two pictures is the Kremser Schmidt . The altar is flanked by life-size figures of the princes of the apostles Peter and Paul . The two sculptures were created by Michael Zill in 1773–1777. The console figures of Saints Heinrich and Kunigunde on the choir walls were also made by this artist.
In the first chapel in the left aisle, an altar was previously set up, which is now in the second side chapel.
A Lourdes grotto is set into the wall between these two chapels .
The second side chapel, also known as the Marienkapelle, was the family chapel of the von Bayerhofen family and served them as a burial place. It was consecrated in 1661 by the Lavant bishop Maximilian Gandolf . Its altar consists of a simple aedicula and a small volute top with two niches. The main picture is a copy from 1661 after Veronese's marriage of Saint Catherine of Siena . St. Cecilia is shown in the top picture. Next to it are statuettes of Saints Barbara and Margaret . On the side walls of the chapel are the console figures of Saint Anthony of Padua and one of Johannes Nepomuk created by Franz Anton Detl .
The third side chapel is dedicated to Saint Kunigunde. The altarpiece shows the divine judgment scene of Saint Kundigundis. The picture was created in 1667 by Antwerp painter JB von Rülle and donated to the Wolfsberg Minorite Church by Bamberg Bishop Philipp Valentin Voit von Rieneck . After its dissolution, the picture was transferred from there in 1821 and given a frame from the late 18th century.
The first side chapel on the right is dedicated to Saint Valentine . The main picture of the altar was created by the Munich painter Malknecht and shows the miraculous bishop. Below is a baroque reliquary from 1655, which is said to contain the saint's arm. In the side niches of the altar are the figures of Saints Anna and Joachim .
The Sacred Heart Altar in the middle chapel used to serve as a sacramental altar and shows a baroque Sacred Heart motif from the 18th century in the main picture. The statues represent the high priests Melchizedech and Aaron and come from a workshop in Val Gardena .
The third side chapel is the All Souls Chapel. The altar is decorated with a life-size crucifixion group in front of the painted Jerusalem, including carved figures of poor sinners in purgatory .
A significant example of the Romanesque is the stone relief with the lion of St. Mark and the head of the evangelist, which is walled in on the foremost right pillar. It shows similarities with late Romanesque Dalmatian portraits and was created in the 12th or early 13th century.
Five of the console figures on the pillars of the central nave, Saints Joseph , Leonhard , Philip , James the Younger and Nicholas , come from Val Gardena; the sixth, Saint Jude Thaddäus from the workshop of Konrad Campidell, was consecrated in 1961.
organ
The organ was built in 1898 by Martin Hechenberger from Passau and restored in 2010 by the organ building company Kuhn (Männedorf, Switzerland). The instrument has 23 registers on two manuals and a pedal .
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
- Coupling : I / I (super octave coupling) II / I, I / P, II / P
- Playing aids: Fixed combinations (p, mf, ff, pleno), Kalkantenzug
Of the tombs inside the church, the figural knight's grave stone of Christian von Schaumberg (1514) and that of Anton von Himmelberg (1457) are worth mentioning.
literature
- Gottfried Biedermann, Barbara Kienzl: Romanesque in Carinthia. Carinthia Verlag, Klagenfurt 1994, ISBN 3-85378-426-7 , p. 108.
- 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 , pp. 1079-1082.
- Matthias Kapeller (ed.): Churches, monasteries and culture. Meeting rooms in Carinthia. Carinthia Verlag, Klagenfurt 2001, ISBN 3-85378-539-5 , p. 185.
- Barbara Neubauer -Kienzl, Wilchelm Deuer, Eduard Mahlknecht: Baroque in Carinthia. With a contribution by Eva Berger . Verlag Carinthia, Klagenfurt 2000, ISBN 3-85378-489-5 , pp. 86, 190.
Individual evidence
- ^ Gottfried Biedermann, Barbara Kienzl: Romanesque in Carinthia. Carinthia publishing house, Klagenfurt 1994, p. 108.
- ^ Gottfried Biedermann, Barbara Kienzl: Romanesque in Carinthia. Carinthia Verlag, Klagenfurt 1994, p. 24.
- ^ Barbara Neubauer-Kienzl, Wilchelm Deuer, Eduard Mahlknecht: Barock in Kärnten. With a contribution by Eva Berger . Carinthia Verlag, Klagenfurt 2000, ISBN 3-85378-489-5 , p. 66.
- ↑ Information about the organ on the website of the organ builder
Web links
Coordinates: 46 ° 50 ′ 19.2 " N , 14 ° 50 ′ 41.8" E