St. Aegidia (Regensburg)
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The Roman Catholic branch church of St. Aegidien (also Aegidien Church ), located on the Aegidienplatz named after it in the old town of Regensburg , is a former Teutonic Order church and as such was assigned to the Teutonic Order Coming St. Aegid . Today St. Aegidia is a branch church of the parish of St. Emmeram . The church consecrated to St. Aegidius (memorial day: September 1st) is a three-aisled staggered hall in the Gothic style .
history
Duke Ludwig I of Bavaria bequeathed a predecessor church dedicated to St. Aegidius to the Teutonic Order in 1210 , which erected a commander in its immediate vicinity . When this was created is unclear due to the lack of building documents. The consecration date 1152, mentioned several times in the literature, has since turned out to be incorrect. Only fragments of this previous Romanesque building have survived. This includes, for example, the round arch that can be seen in the western choir bay, which appears very low due to a later elevation of the terrain.
After the church had become too small for the people to come in the middle of the 13th century, it was partially demolished and in the period around 1270/80 an initially single-nave nave was created , which was initially not vaulted due to a lack of financial possibilities . In the 14th century, two unequal aisles were added to the main nave and the entire complex was probably extended by a yoke to the west. The present choir was also built in the 14th century. It must have been built before 1396, as Commander Marquard Zollner von Rotenstein, who certified this construction project, died in that year . The vaulting of the church building may not have occurred until the 15th century according to the evidence of the style features.
In 1683 the commandery building was expanded; the side aisles of the Aegidia Church were also built over. Around the same time, the church furnishings were changed to Baroque style . After the secularization of 1802/03, the Deutschordenskommende continued to exist for a short time, in contrast to most of the other monasteries in Bavaria, but was also dissolved in 1809. In the period that followed, the Aegidia Church fell into disrepair before being restored between 1884 and 1888 according to the plans of the cathedral vicar Georg Dengler. There was also a regotisation of the furnishings, which most baroque pieces had to give way. Unfortunately, the interior of the church was whitewashed in an uninviting shade of gray and received unsightly colored windows, so that the church interior looked gloomy and unfriendly in the period that followed.
In 1958 the church underwent another renovation. When the thick layer of paint from the 19th century was removed, the remains of a painting of the church in the Gothic and Renaissance styles were found . The now much friendlier color was adapted to these fragments for the new version of the shell. The natural stone of the arcade arches was also restored to its original shape. The equipment was purified during this measure, i.e. reduced to a minimum. In 1989/90, on the occasion of the 800th anniversary of the Teutonic Order, a new church renovation was carried out. Two added late Gothic entrances were discovered on the south side of the choir. In addition, a new people's altar and a new ambo , which the Eggenfelden artist Joseph Michael Neustifter had created from sandstone , were set up. In 2016 the church received a new organ .
architecture
The three-aisled, Gothic relay hall is traditionally oriented to the east. From the outside only the choir can be seen, as the aisles were built over by the commandery building in the Baroque period. The Gothic choir, which comprises three bays and a three-sided choir closure, is structured by coffin and base cornices. These also surround the buttresses , which are set off twice and whose gables are crowned by a finial . The eaves with a row of consoles was added in the course of the Baroque era in the late 17th century. The very tall and slender tower is located in the angle between the choir and the north aisle. Outwardly it is simple and only structured by corner pilasters. There are generous sound openings on the two upper floors. The top is an octagonal point covered with wooden shingles.
The only portal leads into the north nave of the church. Like the rest of the church interior, this was provided with a late Gothic ribbed vault in the 15th century , the arches of which arise from profiled wall templates. The central nave has four bays, the two side aisles each have three. The north aisle has a five-eighth end , which was separated from the south aisle in the Baroque period and has since been used as a sacristy . In the eastern yoke of the central nave, the altar island was set up after the Second Vatican Council . The actual choir, which is slightly wider than the central nave, lies behind it and is separated by a pointed choir arch. The separation of the individual aisles is formed by pointed dividing arches that rest on massive rectangular pillars. A special feature of a Gothic church is that the south aisle is wider than the central nave. In the west yoke of the central aisle there is a biaxially arched organ loft with pointed arches.
Furnishing
Altars
From the neo-Gothic high altar , only the stone canteen and tabernacle were left during the purification in the 1950s . The former baroque altarpiece, on which the Lamentation of Christ was depicted, was sold at a low price to Fuchsmühl in 1959 , where the baroque high altar from the Aegidia Church had been located since 1885 and the original altar could now be put back together. The neo-Gothic superstructures of the two side altars were also removed in 1958. In the canteen of the left side altar there is a baroque representation of the Holy Trinity . A late Gothic Madonna and Child can be seen on the right side altar, flanked by two figures of angels at about the same time and presumably crowned in the Baroque period.
Stained glass window
The painted glass windows in the end of the choir were made by the Regensburg court glass painting company Georg Schneider according to a design by the Munich painter Wilhelm Braun. The motifs are each divided into three parts. In the middle window, the Old Testament sacrifice of Melchizedek , the Last Supper and the resurrection of Jesus Christ are shown from bottom to top . In the left window, also from bottom to top, you can see the search for a hostel , the adoration of the three kings and the twelve year old Jesus in the temple . The right window shows, in the same order, the healing of a sick person by Jesus , the miraculous multiplication of the bread and the raising of the young man in Naim .
Epitaphs
It is thanks to Coelestin Steiglehner , the last prince abbot of the St. Emmeram Monastery , who lived in the former Teutonic Order Commandery from 1810 until his death in 1819, that numerous epitaphs of the Teutonic Knights are set up in the Aegidia Church.
On the west wall of the north aisle there is a tombstone with a coat of arms for Commander Marquard Zollner von Rottenstein († 1396) "who bawed the choir and behawsung". To the left of it is the high quality epitaph for Konrad von Chores († 1486) with a relief of the order priest in full figure. The epitaph of Commander Philipp von Hohenstein († 1525), also in the north aisle, is designed in a similar way. The epitaph of Commander Hans Martin Edlweck, who died in 1623, on the north side of the choir arch consists of a stone slab with ten small bronze casts . In the middle a praying knight is supposed to represent the deceased, with his coat of arms above and four agnates on each side . The three carved and painted death shields for Commander Hans Jakob Nothaft († 1525), Sebastian von Iglingen († 1532) and Thomas von Lochau († 1564) are a rarity.
organ
The earlier organ of the Aegidien Church was built in 1888 by GF Steinmeyer & Co. as Opus 338 and comprised seven registers on mechanical cone chests . The instrument has been rebuilt several times.
On June 12, 2016, a new instrument from Orgelbau Sandtner was inaugurated . It has 17 stops on two manuals and a pedal . The disposition is based on romantic timbres and is as follows:
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- Coupling : II / I, I / P, II / P
literature
- Marianne Popp: St. Aegid Regensburg. (= Little Art Guide No. 1874). Schnell & Steiner, Munich 1990.
- Anke Borgmeyer, Achim Hubel, Andreas Tillmann, Angelika Wellnhofer: Monuments in Bavaria - City of Regensburg. Volume III / 37, MZ Buchverlag, Regensburg 1997, ISBN 978-3-92752-9922 , pp. 18-19.
- Paul Mai : The Teutonic Order Coming St. Aegid . In Peter Schmid (Ed.): History of the City of Regensburg, Volume 2, Friedrich Pustet, Regensburg 2000, ISBN 3-7917-1682-4 , pp. 821-828.
- Paul Mai (Ed.): 800 years of the German Order Coming St. Aegid in Regensburg 1210 - 2010. Exhibition in the Episcopal Central Library in Regensburg, St. Petersweg 11–13, from June 19 to September 26, 2010. Schnell & Steiner, Regensburg 2010, ISBN 978-3-7954-2421-3 .
Web links
Individual evidence
- ↑ a b Popp, p. 7.
- ↑ a b c d e f Popp, pp. 9-16.
- ↑ a b Popp, p. 8f.
- ↑ Information on the website of the manufacturer, accessed on November 8, 2016
- ↑ The St. Aegid Church in Regensburg receives a new Sandtner organ . Online at www.wochenblatt.de; accessed on January 31, 2017.
- ↑ "For the greater glory of God and for the edification of men" - Auxiliary Bishop Dr. Josef Graf inaugurates the new organ in the Regensburg Teutonic Order Church of St. Aegid . Online at www.bistum-regensburg.de; accessed on January 31, 2017.
Coordinates: 49 ° 1 ′ 0 ″ N , 12 ° 5 ′ 25 ″ E