St. Antonius of Padua (Schnerzhofen)
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The Roman Catholic pilgrimage chapel St. Antonius von Padua was built in 1681 and is located on the western outskirts of Schnerzhofen , part of the municipality of Markt Wald in the Unterallgäu district in Bavaria . The listed building housed a hermit from 1686 . The pilgrimage chapel bears the patronage of Anthony of Padua , whose festival is celebrated on June 13th.
history
In 1669 the planning of the construction of the chapel began. However, this could only be carried out in 1681, when sufficient financial resources were available. From 1686 a hermit settled down at the pilgrimage chapel and looked after it. Matthias Stiller from Ettringen gave the existing church building its appearance during the expansion between 1706 and 1708. Whether and which older building components were included during this expansion can no longer be recognized. A new pulpit was created in 1717 by carpenter Jakob Holderied from Bonhofen. Another payment to Michael Stiller “from his remaining lump sum” of 110 florins has been handed down from 1723 . What activities were carried out by Michael Stiller at the chapel during this time cannot be determined. The high altar was built in the middle of the 18th century, the Way of the Cross in 1755. The frescoes by Mindelheimer Franz Joseph Wiedemann are dated to the year 1758. Renovations took place in the years 1903, 1905–1906 (altar), 1947 (roof), 1950, 1972, and an extensive renovation in 1987.
Building description
The pilgrimage chapel consists of a central rotunda to which short cross arms connect to the north and south. In the east of the rotunda, which serves as the nave , is the polygonal choir . The two-storey sacristy is located behind the choir, extending the entire building towards the east. The Hermit Hermitage is located opposite in the western part of the building, with the organ gallery above it. The central part of the chapel, the rotunda, is circular and has a dome. In pairs there are Corinthian pilasters in the diagonals . These end upwards with pieces of entablature with a profiled cranked cornice above. A basket arch arcade flanked by the aforementioned pilasters opens up in the four main directions. There are two pilasters on each side of the choir arch reveal. The choir in the eastern area is raised by two steps towards the rotunda and by a third step in the easternmost yoke. Overall, the choir comprises two bays and is closed on three sides. The ceiling of the choir forms a needle cap barrel , which rests on cornice consoles. In each case a rectangular oratorio opening is let into the oblique axis above the choir. These oblique axes are broken out at right angles in the lower area, so that a straight choir closure results here. The transition to the sloping wall is formed by a halved, flat groin vault . In the resulting straight wall, to the right and left of the high altar, doors with perspective fields from around 1708 are let into, which lead to the sacristy behind. An angel's head is attached to the vertex above each of the two doors. In the western choir bay there is a large, arched window on both sides, drawn in at the top and bottom. The same windows can be found in the short transverse arms of the rotunda above the arched doors. There are high arched niches in the two eastern diagonals of the rotunda to accommodate the side altars. The diagonals on the west side of the rotunda contain lower arched niches and round-arched windows drawn in above them. The western arcade, opposite the choir, is closed in the lower area by a transverse wall. Through this transverse wall, north of the central axis, an arched door leads to the hermitage. Above this transverse wall, the three-sided polygonal parapet of the organ gallery protrudes.
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The former apartment of the hermit is in the basement of the western part of the church building. The living room is provided with a flat ceiling and has two rectangular windows facing south. On the north side of the apartment is a small adjoining room with a staircase to the organ gallery. The gallery has a flat ceiling and contains two rectangular windows facing north and south. The sacristy is located in the far east of the pilgrimage chapel, behind the end of the choir. This has a flat ceiling, as well as arched windows above and below, both on the north and south sides. Similar windows can be found on all three sides in the upper floor of the sacristy, which contains the oratory . The oratory is accessible through a trap door with a staircase through the sacristy.
A plinth and three-part entablature are attached around the outside of the chapel. With the exception of the cornice, both are cranked with the axially structured Tuscan pilasters. Blind arcades with profiled fighters are inserted in the fields created by the structure . The rotunda is not located in the center of the pilgrimage chapel, as the western part, with the hermitage, has two axes and the eastern part, with the choir and sacristy, has three axes. At the front of the rotunda, a wide blind arcade with a flat apex is attached on both sides. The narrow sides of the short cross arms contain a very narrow arcade with a strongly stilted arch. The west facade (the hermitage) has two arcades, the east facade only one arcade with a flat apex. Drilled plaster frames are located around the two arched doors in the front of the rotunda. A cone-shaped, raised roof with rounded transitions covers the rotunda. This is crowned with a conical, sheet-covered tip. On both sides of the longitudinal arms there is a roof turret at the ridge end, the eastern roof turret being stronger than the one above the hermitage. Both roof turrets consist of a square base and profile cornice. An octagonal upper floor with bent Tuscan pilasters adjoins the base. A sheet-covered onion hood completes the two roof turrets.
Interior
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The high altar, marbled from red, gray and purple tones, dates from the middle of the 18th century. The sarcophagus-shaped stipes are more recent. On the scroll flanked tabernacle is a kneeling figure of St. Anthony of Padua. Above to the right of the figure, the baby Jesus can be seen in a cloud. In the background of the scene there is silver-plated clouds with a halo and red curtain hem. The group of figures in the altarpiece is flanked by two Corinthian columns placed over each corner. Although the two inner pillars rest on higher pedestals, all four pillars are the same height. In the middle of the entablature of the high altar, still below the altar extension, there is a seated figure of Mary in front of a halo. There are putti and angel figures on either side above the pillars. The altar is crowned with the heart of Mary in front of a halo in the altar extract. This is flanked by putti.
The two simple side altars have brick stipes and simple marbled wooden plinths from the mid-19th century. The left side altar contains three wooden figures with representations of St. Anne in the middle of the scene, as well as St. Elisabeth on the left and St. Barbara on the right . The figure of Anna comes from the middle of the 19th century, the two figures next to it from the middle of the 18th century. On the right side altar the Infant Jesus of Prague can be seen in a shrine. Both the Infant Jesus of Prague and the crucifix above it date from the middle of the 19th century.
There are also other set wooden figures in the chapel. The crucifix in the north transverse arm dates from the middle of the 18th century. In the sacristy there is a small crucifix with bands from the first half of the 18th century. A resurrection savior from the mid-18th century is present in the oratory.
The 14 stations of the cross were built in 1755 with the appropriate approval. The individual pictures are painted on wood and embedded in a cartridge-shaped, painted frame. There is an inscription underneath. In the southern cross arm there is a painting depicting the donkey miracle of St. Anthony. It dates from around 1720/1730. A total of seven votive pictures painted on wood are hung on the southwest diagonal. The individual pictures show one:
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- Woman with horse and above St. Anthony with the inscription betrothed, u. was heard in 1858.
- Family with a cow, above St. Anthony. The inscription reads: 18 EX VOTO 19.
- Cow with Saint Anthony. The short inscription says: betrothed 1857.
- Woman in the sick bed with Saint Anthony and the inscription: betrothed 1868.
- kneeling woman with the chapel on her right and soldiers on her left. Above it St. Anthony. The inscription says: By the intercession of St. Anton I was arrested innocently / u. God be happily released. 1801.
- Inscription Saint Anthony pray for us. next to the depiction of Saint Anthony in clouds. The votive picture dates from the 19th century.
- Woman in a sick bed surrounded by her family, above St. Anthony. The inscription reads: betrothed in 1850.
In the choir, the two murals in the second yoke show St. Anthony in front of the chapel in Schnerzhofen, as well as St. Anthony preaching to the fish. The first painting on the south side is labeled F. Jacob 1903 and bears another inscription by the governor of Markt Wald at the bottom right: S. ANTONIVS / Anti obitum / mortuus / Post obitum / vivus / IOH Preaf. W. / Ex voto / Anno 1709. The painting on the north side is inscribed Friedrich Jacob Munich 1903 . Both paintings in the choir are painted in oil on sheet metal and serve as a replacement for previous paintings with the same content from the period of construction. The Opferstock in southern transverse arm bears the inscription Jakobbauer Foundation Pfleger in sti (n) ekirch / 1842 / S. Anthony.
In 1908 Karl Port from Augsburg created the neo-baroque stalls with tail cheeks and rich acanthus carvings . On the front and back parapets there are fields with foliage carving. The confessional seat in the north cross arm with a curved back and curved side walls dates from the 18th century .
organ
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The organ was installed in the pilgrimage chapel in 1918. It was created by the Mindelheim organ builder Julius Schwarzbauer . The instrument is surrounded by a Neo- Rococo case.
Web links
literature
- Georg Dehio: Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , pp. 961 .
- Heinrich Habel: Mindelheim district - Bavarian art monuments . Ed .: Torsten Gebhard, Anton Ress. Deutscher Kunstverlag, Munich 1971, p. 421-425 .
Individual evidence
- ^ Bavarian State Office for the Preservation of Monuments: Entry D-7-78-169-16
- ↑ List of renovations 1905–1906, 1947, 1950, 1972, 1987 according to the information sheet in the chapel
Coordinates: 48 ° 7 ′ 56 " N , 10 ° 36 ′ 38.3" E