St. George's Church (Dinkelsbühl)
The Catholic parish church of St. Georg in Dinkelsbühl , a town in the Central Franconian district of Ansbach ( Bavaria ), is a late Gothic hall church . Located in the middle of the city, the cathedral was built between 1448 and 1499 according to plans by Niclaus Eseler .
Building history
Previous buildings
A previous church with a rectangular choir, of which stone foundations were uncovered in 1977/78, probably dates from the time 1142/1146 and was probably consecrated to St. Ursula. Around 1227 a free-standing bell tower (campanile) with a representative tower hall and Romanesque round arch portal without a tympanum was built. It was extended around 1238 and connected to the church. An extension of the rectangular choir and certainly a consecration for St. Bartholomew took place after 1302. This church gave way from 1323 to 1341 to a new building of 70 m length with a Gothic choir closure and was evidently already consecrated to St. George. It was replaced by the overbuilding with the minster from 1448 to 1499. For the three-aisled hall church, which was widened and lengthened on both sides, the new tower was only used on the ground floor; the old tower was raised up to 1550.
Today's church building
In 1448 the foundation stone of today's building was laid; this is evidenced by the inscription on a choir center pillar outside.
The text is spread over five lines and reads:
Anno Domini MCCCC
und im XXXXVIII jar uf
aftermontag nach mit
vasten ward der
erst stain gelegt
Between the building inscription and the console with the master builder bust of Nikolaus Eseler is a unique double sundial, the oldest Eastern sundial in Europe, which was made around 1450. In order to be able to continue using the church during the construction phase, first the choir and later the nave with their successor units were rebuilt and then demolished. In 1469 the new west facade was built; a planned new tower on the north side is only designed as a stump. The roof structure was also erected in two sections, first the western part above the nave and only 20 years later the eastern part above the choir. Before the vaulting began in 1492, the Augsburg auxiliary bishop Ulrich consecrated the church on October 17, 1488. After 51 years of construction, the church was declared completed in 1499, two years after the high altar was consecrated.
From 1530 the tower stump on the north side of the church was supplemented by a brick structure with a pent roof. Ten years later the west tower was raised by a bell storey. Another ten years later, the west tower received a two-storey octagon and a copper dome as a conclusion.
Around the same time, two of the four chapels were built, the other two not until the beginning of the 18th century. A pews are obtained from the still parts, was built around the 1686th The doors of the side portals, which are dated between 1691 and 1726, date from the same period.
During a visit in 1845, Ludwig I of Bavaria arranged for the church to be rebuilt in the spirit of purification, which began in 1856. The external additions between the buttresses and the baroque altars, tombs and wooden galleries inside were removed. Instead, neo-Gothic altars were made until 1898. The pulpit was also renovated, including the new stone stairs.
The outer facade of the church has been renovated since 1970 and the north side with tower and parsonage portal was completed in 1984.
St. Martin in Landshut , St. Sebald in Nuremberg , St. Jakob in Neisse , St. Mauritius in Olmütz and St. Jakob in Brno served as important model buildings for the St. George's Church .
Building description
Interior construction and floor plan
The St. George's Church has a vestibule that adjoins the entrance to the church without windows. The interior of the church is a three-aisled hall church with all three aisles of the same height. 22 free-standing octagonal pillars, which support the net vault , separate the main and side aisles. A segmented arched buoy is located above the central nave, but the side aisles are spanned by a pointed arched barrel . The nave has ten bays up to the inner choir, which is half a hexagon in shape. Behind it is the ambulatory, which is designed with six surfaces of a dodecagon. The transition from the side aisles to the choir area is almost seamless. Only a slight increase in the floor accentuates the inner choir area somewhat. In the ambulatory, the more pronounced ribs between the pillars and the four pillars opposite the inner polygon, which divide the vault into three pentagonal fields, are special.
The wall pillars of the church are interrupted by four-lane pointed arched windows , starting about 4 m above the floor and reaching almost below the vault. The walls are otherwise smooth and the wall pillars are only placed vertically to create emphasis. All windows have different tracery , with really not a single one being repeated in the 26 windows. In addition to the entrance through the west tower, the church has four other entrances, which are connected to the right and left of the aisles in the first and sixth yoke. The eighth yoke is followed by the sacristy, which was previously planned as the north tower, which can already be seen in the plan by the very thick walls. In the west, too, the tower can be clearly identified in the floor plan through the thick wall. There is a stair tower next to the west tower . In the west yoke there is still a vaulted gallery from the time of construction across its entire width.
Exterior construction
Originally, the entire south side of the church was free and unobstructed until the first row of houses in front of the church was built in 1530.
The outer wall and the buttresses of the church are placed on a base. This should compensate for differences in level. The proportions of the outer wall are coordinated and balanced. On the planned north tower side (now the outer wall of the sacristy) there is an inscription to provide a strong foundation for the tower that was never built. The text documents that this foundation reaches a depth of 6.5 meters:
der grunt ist in der erden XXII schuch
A water hammer runs below the windows, which is also led around the buttresses and is only interrupted by the portal yokes. This "severed" a quarter of the buttresses . The front of the struts ends in a concave gable. Behind this gable, the struts run towards the wall with the help of a concave pent roof. A strip of wall that remains free is followed by a bar profile located below the final cornice.
This wall structure is retained in the choir polygon. Here is also the already mentioned inscription of the laying of the foundation stone. One can also see a sundial carved into a stone block. Above it is a niche with a bust supporting a console. Subsequently, four chapels were built between the buttresses of the choir. Two chapels date from the 16th century, the other two from 1728.
Four portals lead into the church via the aisles; all are designed as pointed arch portals. A tympanum field with pointed arched doors underneath is also common to all . The southwestern market and men's portal bears the year 1616, when it was renovated. A wooden Holy Mary stands in front of the tympanum. The tympanum is kept smooth. The south-eastern bridal portal is decorated with a Madonna on a console , which is located under a canopy in the middle of the tympanum. In contrast to the men's portal, the tympanum here is adorned with tracery with fish-bubble shapes. The parish portal on the north side, also known as the Latin school door, has been renovated. It is similar in some respects to the design of the men's portal, for example in terms of the sign. There is a pointed arch window in the tympanum of the north-western female door. The pillar pillars correspond to those of the bridal portal. Next to the north tower there is a small pointed arch door, the Mesnertür. The garment corresponds to that of the vestry entrance in the ambulatory, but there is no tympanum.
The planned north tower is now connected to the church as a sacristy building. It is closed by a water hammer, under which a frieze runs. All three outer walls have a pointed arch window with iron grating. Above the sacristy only that which is directly connected to the wall of the aisle was carried out. It was not until the 16th century that the space above the sacristy was made usable by a half-timbered and brick structure. The current building has windows on all sides and a simple monopitch roof, like that of the church.
The west facade has wall sections with gabled corner buttresses to the south and north of the west tower. Between the struts there is a tracery window, which, unlike all other windows, only starts at a height of 10 m. To the north of the west tower is an octagonal stair tower that has six floors. The first four floors have partially become one unit with the buttresses. The ground floor can be reached from the outside via a staircase. Storeys 1 to 4 are adorned with small pointed arch windows, and there is also such a window on the fifth storey. The sixth floor is separated by a cornice . The free-standing sides are provided with glare windows. A stone helmet with finial forms the end . The 62 m high west tower has six floors of different heights with a square cross-section. Above is a gallery , which is now used as a viewing platform , with a surrounding balustrade and finally a two-storey octagon. In the years 1220/30 the lowest part as well as the second, third and half of the fourth floor were built. In the 14th century the fourth floor was completed and the fifth floor was built. The sixth floor was connected in the 16th century, which forms the end as a bell floor. Inside the tower there is still a running wheel from the time the tower was built.
Furnishing
Altars
High altar
Opposite the organ is the high altar donated in 1636, completed in 1642 and replaced by neo-Gothic carvings during the restoration in 1856. Today's high altar was built in 1892 and integrates the original altarpiece, which shows a Gothic crucifixion group and is dated around 1490. The connection between painting and sculpture is striking: the crucifix emerges from the painted altarpiece and thus divides the image into four fields. The altar relief shows Saint George with a dragon and, like the Predella , Nuremberg and Dormitz as a model. The predella shows the birth of Christ and the adoration of the kings.
Joseph Altar
The painted predella with St. Anna Selbdritt , surrounded by saints, dates from the late Gothic period around 1480/90. In addition to this late Gothic part, there are also neo-Gothic works, such as the altar shrine, which was made in 1862, and the wooden figures.
Cross altar
You can see five figures: Katharina, Florian and Agatha, framed by Popes Gregor and Urban. There are four pictures on the inside of the wings: Annunciation and Birth of Christ on the left, Circumcision and Adoration of the Kings on the right. Donated around 1470, the cross altar is the only one from the time the church was built; the paintings date from the 15th century. It was renewed in the 19th and 20th centuries. The cross altar is built in neo-Gothic style, but the wooden sculptures and the paintings refer to the late Gothic.
Trinity altar
As with the cross altar, late Gothic figures and paintings are incorporated into the neo-Gothic structure. The altar was donated in 1470 by the city's tanners and shoemakers. A total of eight carved figures can be made out: In the shrine the Saints Peter, Cosmas and Damian as well as George, on their sides Laurentius and Sebastian and in relief form on the inside of the wings Valentin and Ursula. The four pictures of the wings show scenes from the life of Krispin and Krispinian, the patron saints of the donors: the saints give shoes to the poor. They are slain or poured with boiling oil until a heavenly fire redeems them and punishes their persecutors.
Sebastian Altar
The paintings on the Sebastian altar are dated to 1520–1530. The main picture of the central panel is divided into three fields, in the middle you can see Saint Sebastian on a tree, surrounded by crossbows standing and kneeling to the side. These probably symbolize the Sagittarius Brotherhood, which is said to have donated this altar. On the wings there are legends of saints: the death of Saint Afra, the justification of false believers before the Pope, the conversion of a criminal by Saint Sebastian and the finding of the crucifix in the bed of Saint Elizabeth, who cared for lepers there. The burial of St. Sebastian is depicted on the predella panel. The closed wings show Saints Christopher and James the Elder.
Ciborian altar
The Gothic cibory altar is located behind the high altar in the ambulatory. Its previous location was the west side of the first southern choir pillar. Here it was set up as a counterpart to the sacrament house. In 1856 it was moved to its current location. The altar is enclosed by a stone canopy supported on four columns . A net vault supports the four pointed arches inside. A pointed arch frieze with a crenellated wreath , which runs horizontally, serves as an external finish. The arcades are closed by an iron grating made of frameworks with tendrils. The donor's coat of arms from 1724 is above the entrance. The corner pillars are decorated with late Gothic stone figures. There is a pietà on the altar .
Other facilities
pulpit
The pulpit with a hexagonal goblet, the parapet of which rests on a pointed arch frieze, ends on an octagonal foot. The four church fathers adorn the corners of the parapet. In between are the symbols of the evangelists. Overall, the pulpit is provided with rich ornamental tracery . A stone staircase was added to the sandstone pulpit in 1869/70.
Baptismal font
The sandstone font is goblet-shaped and octagonal and has many plant ornaments. The eight sides are decorated with pinnacles and keel arches. The corners are rounded, the transition from the base to the edge of the pool is flowing. The base is surrounded by four lions, an old Romanesque motif. The original location of the font was in the south aisle. In 1978 it was moved to its current location.
Sacrament house
The monstrance-shaped sacrament house is located at the beginning of the northern choir. The donation board from 1480 stands behind the four statuettes of three prophets and Moses. On the pillar with the donor board you can see two angels and the kneeling donor couple. Chalice-bearing angels, as well as small dogs and lions sitting on the bench, frame the eight-sided case. The tracery helmet is late Gothic, only its four set prophets and saints are not. Originally the top was wooden. In 1890 it was replaced by a stone one. Like the baptismal font and pulpit, the sacrament house is assigned to the Dinkelsbühler Bauhütte. Next to the baptismal font on the right wall is a Gothic crucifix that was erected as a mission cross and was created at the beginning of the 15th century. The carving is stylistically very moderate and conspicuously filigree.
Organs
Main organ
The main organ of the minster was built in 1997 by the Austrian organ building company Rieger (Schwarzach / Vorarlberg). The instrument, around 14 meters high, has 58 stops on three manuals and a pedal . She owns 3939 pipes . The action action is mechanical with slide chests , the stop action is mechanical with electronic typesetting system and sequencer.
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P
- Playing aids : 768-fold typesetting system with sequencer, 4-fold programmable crescendo roller .
Historical carrying organ
In the choir there is a rare and well-preserved organ from the early 17th century. According to the two organologists Hermann Fischer and Theodor Wohnhaas , it was most likely built by Stephan Cuntz based on the design language and construction details . The instrument is also likely to be the legendary Swedish organ, which the Catholics used as pledge in the Thirty Years War to compensate for the damage caused by the Swedes to the Protestants.
The organ came into the present day unscathed by all the chaos of war and is largely preserved in its original condition. During a renovation in 1961/1962 by the Zeilhuber organ building workshop , the historical substance was heavily interfered with. For example, to adapt the mood to the current norm, or to change the historical bellows to enable the installation of an electric fan. During the planning, the focus was on the idea of playability and usability. During the restoration by the Klais company in 1988, which was carried out under strict conservation criteria, the original condition was approached again.
The modern electric blower is now located in a specially made lower box. The organ can be played either electrically or with hand-drawn wind pressure. After lifting it from the lower case and setting it up in any location, the organ can only be played with the help of a limestone , as was common in the last few centuries.
The instrument is again in high tuning ( chorus a 1 = 465 Hz at 15 ° C). The temperament chosen was not the mid-tone tuning more suitable for such an early organ work , but one according to Werkmeister III , in order to avoid strong interventions in the pipework.
The disposition:
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Bells
The bell ringing of St. George consists of six bells. The oldest bell dates from 1373, the youngest from 1786.
- Striker bell
- The striker is in tune with it and was cast in Nuremberg in 1373, damaged by Dinkelsbühler Protestants in 1633 during the Thirty Years' War on the orders of the Swedes, and re-cast in 1642. It bears the inscription "S. Luccas. S. Matheus. S. Marcus. S. Johannes - Gaspar. Melchior. Balthasar - O rex gloriae veni nobis cum pace. Ave Maria gratia plena Dominus tecum. Honoratus Bosier u. Joh. Reichard poured me in 1642 ”. Her weight is 1450 kilograms.
- Twelve bell
- The woman of twelve is tuned in e and was cast in 1642. It bears the inscription “Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te o rex gloriae veni cum pace 1642 “and has a weight of 1000 kilograms.
- Elfering bell
- The Elferin is tuned in F and was cast in 1642. The four evangelists and the year 1642 are named on it. She has a weight of 680 kilograms.
- Three-ring bell
- The triple is tuned in b and was cast in 1652. It bears the inscription “Fusa Maria voco per me mala pelitur aura. Laudo Deum verum, satanum fugo, convoco plebum. Dinkelsbuhl anno 1652 ". Her weight is 370 kilograms.
- Measuring bell
- The measuring bell was tuned to tone c in 1786 . It bears the inscription “The glock called Sebastian - everyone calls to worship. Wans calls, you run quickly and nimble - before death lets you down ”. It weighs 300 kilograms.
- Death bell
- The death bell, originally called the council bell, was cast in 1725 and is tuned to the tone g . Its inscription is "Pro beata agonIa LegaVI Ioannes FranCIsCVs BozenharDt paroChVs aC DeCanVs LoCI 1725". As the smallest bell that rings, it weighs 100 kilograms.
builder
The architect of the Georgskirche was Niclaus Eseler the Elder. He had already worked on some important 15th century church buildings in Nördlingen, Rothenburg and Schwäbisch Hall. It was not mentioned until 1456 in a Dinkelsbühl city bill, but the uniformity of the church and the exact planning suggest that he was involved from the first draft to the execution of this building. His son, Niclaus Eseler the Younger , worked in the building works and was in charge of building the church from 1471 until it was completed in 1499. There is a painting by the two builders in the ambulatory. The panel is considered to be a copy, intended to replace two original portraits from the 15th century that are believed to be lost. Many master stonemasons also worked on the Georgskirche. Hans Böhringer's stonemason mark is on the bell floor of the west tower. The two-storey octagon and the copper dome of the west tower were built by master stonemason Mathes Baur, master carpenter Veit Steingruber and roofer Hans Jörg Feßler.
literature
- Werner Helmberger: St. Georg to Dinkelsbühl. Catholic parish church history - architecture - equipment. Dinkelsbühl 1988.
- Adam Horn: Dinkelsbühl, St. George's Church and City. Hirmer, Munich 1952, DNB 452103711 . (Guide to German art monuments).
- Ulrich Christoffel: Dinkelsbühl. Augsburg 1928, DNB 579031306 . (German art guide 29)
- August Gebeßler , Lala Aufsberg: Dinkelsbühl. Recordings by Lala Aufsberg. Deutscher Kunstverlag, Munich a. a. 1962, DNB 577168991 . (German country, German art)
- Werner Helmberger: Architecture and building history of St. George's Church in Dinkelsbühl (1448–1499). The main work of the two late Gothic builders Niclaus Eseler, father and son. Munich 1984, ISBN 3-925009-01-9 . (Bamberg Studies on Art History and Monument Preservation; 2)
- Georg Dehio, Tillman Breuer: Franconia: The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia. 2. through and additional edition, Munich a. a. 1999, ISBN 3-422-03051-4 .
- Peter Rummel, Alois Möslang (ed.): 500 years of St. Georg in Dinkelsbühl . Augsburg 1999, DNB 963444727 .
Web links
Individual evidence
- ^ Gerfrid Arnold: Chronicle of Dinkelsbühl . Vol. 2, BoD 2001, pp. 84-86, 139-142, 165 f .; Vol. 3, BoD 2002, pp. 63-66, 99-103.
- ↑ Gerfrid Arnold: On the early history of the minster St. Georg in Dinkelsbühl 1142-1448 . In: Alt-Dinkelsbühl 2001, pp. 1-7, 9-11.
- ^ A b c Georg Dehio, Tillman Breuer: Franconia: The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia. 2. through and additional edition, Munich a. a. 1999, p. 222.
- ↑ Gerfrid Arnold: Between the Middle Ages and the Modern Era: The oldest Eastern sundial in Europe with a unique double scale at St. Georg Minster in Dinkelsbühl . In Alt-Dinkelsbühl 2009, pp. 42–48.
- ^ Adam Horn: Dinkelsbühl, St. Georgskirche and city. Munich 1952, p. 4.
- ↑ The St. Georg Minster on the private website huegele.de
- ↑ Tower ascent of St. Georg Münster on the website of the parish St. Georg Dinkelsbühl
- ↑ Comprehensive information on the organ of St. George's Church
- ↑ The historic organ in the chancel of the minster on the website of the parish of St. Georg Dinkelsbühl
- ^ A b c d Hermann Fischer, Hans-Wolfgang Theobald , Theodor Wohnhaas in: The positive of St. Georg in Dinkelsbühl. In: Musik in Bayern , No. 38, 1989. pp. 33–73.
- ↑ The organs of the St. Georg Minster in Dinkelsbühl. Published by the Catholic Parish Office Dinkelsbühl.
Coordinates: 49 ° 4 ′ 10 ″ N , 10 ° 19 ′ 11.2 ″ E