St. Anna (Waal)
Coordinates: 47 ° 59 ′ 42.1 ″ N , 10 ° 46 ′ 35.2 ″ E
The Catholic parish church of St. Anna is located next to the castle in the center of the Waal market in the Ostallgäu district in Swabia . The stately sacred building was redesigned in neo-Gothic forms in the 19th century .
history
Today's parish church emerged from the former castle church. The Nikolauskirche on the outskirts is to be regarded as the original parish church.
The west wall of the nave probably dates back to the 14th century. At that time, a single-nave nave was built, which was extended to a three-aisled hall with net vaults towards the end of the 15th century. At the same time the choir room and a choir side tower were built. The late Gothic sculptures that have been preserved indicate that this church was richly decorated with several winged altars.
After the Thirty Years War , the interior was redesigned in baroque forms (1670–1688, from 1701). In May 1757 the Gothic tower collapsed and destroyed the choir vault, which was restored as a flat wooden vault. In 1762 the tower was erected again. Franz Xaver Kleinhans worked as a builder .
In 1810–1829 the spatial image was revised in the sense of classicism , but the result was soon felt to be too “braided”. Therefore, from 1847 to 1865, the church was reorganized in an elaborate manner. A wooden “Gothic” vault with stucco ribs was hung under the wooden vault of the choir. The complete preservation of the vaulted fresco from the 18th century under the visible ceiling is remarkable.
The remains of the original late-Gothic furnishings were placed in magnificent neo-Gothic altar shrines and supplemented with a pulpit , baptismal font and choir stalls .
In 1897/98 the shell was redesigned and a new floor was installed. The appearance of the room today owes its appearance to a large-scale renovation from 1979, which was largely based on the renovation of 1896/98.
description
Exterior construction
A biaxial choir in the width of the central nave is added to the roughly square nave (approx. 19.5 × 18 m). In the northern corner of the choir, a tall tower, which is square in the basement, towers over the gable roof of the nave. A slightly recessed end with beveled corners was placed on the bell tower. The transition is mediated by a curved cornice over double sound openings. The conclusion is a high, copper-covered onion dome.
Inside the tower, an inscription tells of the history of the building:
The old thurn was built in 1486. / Anno 1757 May 9th He came in at half past three. / The first stone was laid on the first of June 1757 for this New Thurn. / In 1767, on September 30th, the Creutz was put in place. / The k (n) opf halt 50 Metzen Roggen Kauffbeur. / Anno 1763 in July the bells were heard
The choir roof was lowered by half compared to the roof structure of the nave. The clogged portal of the Gothic church has been preserved in the west wall .
inner space
The delicate star-net vault of the four-bay nave is supported by three slim pairs of round pillars. In the West, a double includes western gallery from the room.
During the restoration from 1979, a new popular altar was created at the choir entrance in accordance with the decisions of the Second Vatican Council. The chancel is three steps higher than the nave and closes with a round arch inside. In the arched niche is the mighty neo-Gothic high altar with the baroque altar sheet of the previous altar. The wooden net vault hangs under the original, but not publicly accessible vault from the 18th century. The figuration of the ribs was adapted to the late Gothic nave vault.
The decorative room setting was created by Karl Port in 1896/1897. The vault keystones bear the coats of arms of the former local lords and related families (including Pappenheim , Rechberg, Riedberg).
Furnishing
The uniform neo-Gothic interior was created between 1847 and 1865. In the center of the monumental high altar (Lorenz Herkommer, 1849) the altar sheet from the early 18th century has been preserved. The important representation of the veneration of Our Lady by St. The clan and representatives of the family tree of Christ are attributed to Johann Rieger (1710/1720). To the side are wooden figures of hll. Afra and Maria Magdalena, who still belong to the furnishings of the late Gothic parish church (around 1520/1530, attribution to Hans Thomann). The reliefs of the two Johns on the predella date to around 1510/1520.
The side altars and the pulpit show even richer Gothic ornamental forms (1856/1857). The creator of the high altar emigrated to North America in 1851 , which is why the Munich sculptor Anselm Sickinger was commissioned with the design and execution. This artist also worked for the Frauenkirche in Munich and the Liberation Hall above Kelheim .
The three king altar in the south aisle goes back to a foundation of the patron saints, the princes von der Leyen, and was erected over their crypt . Sandstone portals lead into the burial chamber on both sides of the predella . In the middle shrine of the altar the three wise men adore the child.
In a similar way, Sickinger designed the Marien Altar in the north aisle with its mighty Pietà . However, the center of worship is the cross particle in the central niche of the predella. The relic was solemnly transferred to the church on May 3, 1626 for permanent safekeeping.
Sickinger's pulpit bears representations of the four evangelists with their attributes. The high sound cover, like the two side altars, shows rich neo-Gothic trusses.
The most important sculpture of the church is on the pillar opposite the pulpit. St. John the Baptist (around 1525) is attributed to the Allgäu carver Jörg Lederer .
Further notable individual figures from the original church furnishings have been preserved under neo-Gothic canopies in the choir (St. Barbara and St. Catherine, around 1520/30). The mighty crucifix on the choir arch (approx. 1525/1530) originally comes from the Nikolauskirche on the southern outskirts.
In the course of the last general renovation, a large representation of Christophorus was uncovered in the southern shield arch of the west wall (around 1500).
The ceiling fresco by Franz Martin Kuens (1757/1758), to which the neo-Gothic wooden vault was hung in 1849, is well preserved but not accessible . Here the master described the veneration of Anna herself, the three of us, by the four continents. Allegories of virtue can be seen in the cartridges. The main picture is signed "Martin Kuen pinx. Ano 1759".
Some high-quality red marble tombstones from the 16th and 17th centuries have been preserved on the walls. The deceased are shown kneeling in front of the cross.
The tower of the parish church houses a bell in its lower bell chamber by the famous Innsbruck gun and bell founder Gregor Löffler, who was in the service of the Free Imperial City of Augsburg between 1524 and 1544. The excellent quality of the cast work and the mighty sound of the bell, which was cast in 1534, impressively testify to this day that its creator was rightly praised as one of the best foundries in Europe. The bell rings on a beautifully designed wooden yoke, which is provided with ornate forged bands. It was donated by Hans Jacob von Landau, Ritter zu Waal, and his wife Sophia. The infused inscription of Ave Maria identifies the bell as being dedicated to the Virgin Mary.
Technical data: nominal d '+ 9, diameter 150.5 cm, height 123 cm
literature
- Georg Dehio : Handbook of German Art Monuments, Bavaria III: Swabia : (Ed .: Bruno Bushart , Georg Paula). Deutscher Kunstverlag, Munich and Berlin 1989.
- Heide Weißharr-Kiem: The parish church St. Anna in Waal - a guide through the renewed church . Waal 1982.
