St. Georg (Amberg)
The Roman Catholic parish church of St. Georg is a Gothic, Baroque-style basilica in Amberg in the Upper Palatinate . It belongs to the parish of St. Georg Amberg in the Amberg-Ensdorf deanery of the diocese of Regensburg . The huge building complex of the Jesuit College is located next to the church .
history
The church of St. Georg was first mentioned in 1094 as a parish church outside the settlement . It was closed from 1599 to 1619. In 1622 it was given to the Jesuits and in 1629 parish rights were transferred to St. Martin . From 1782 to 1808 the church was owned by the Order of Malta , from 1808 it was used as a garrison and study church. Since 1923 it has been a parish church again.
After excavations in 1977, a hall building with a retracted apse from the years after 1034 was determined as the first predecessor building. According to an inscription on the choir, today's building was built from 1359 as a high-Gothic three-nave basilica with a single-nave choir. Heinrich Hirsel was attested as a builder in 1379 . The church interior was completed around 1407 and the tower at the beginning of the 16th century. In 1652 the first Baroque renovation took place under the direction of Francesco Garbaninis. In 1672 the sacristy was enlarged. In 1675 the Kreuzkapelle was added, in 1695 the Marienkapelle by Wolfgang Dientzenhofer and in 1754 the Guardian Angel and Aloisius Chapel . In the years from 1718 to 1723 a comprehensive Baroque renovation was carried out, in which a stucco was carried out by Johann Baptist Zimmermann ; after that around the middle of the century the side chapels were stuccoed by his nephew Anton Landes and a painting was made by Johann Adam Müller. A complete restoration took place between 1977 and 1984.
architecture
Exterior
The building is a Gothic three-aisled round pillar basilica with a long choir, which ends in a seven-sided decagon. Externally, the building is characterized by the lancet windows in the side aisles and in the choir, baroque round windows are only arranged in the upper aisle . The buttresses on the choir are strong. The west tower is included in the nave and takes up the width of the central nave ; the side aisles are spanned with mighty buttresses. The tower tapers towards the top to a square floor plan and ends in an octagon with a Welscher hood and lantern . Three polygonal stair towers are attached to the structure. The four baroque side chapels are arranged symmetrically and closed on three sides.
In the west there is a gable portal with a steep gable and crab trimmings with a two-part tracery opening . The garment is divided into four deep valleys by pear rod profiles, the figure canopies are empty today. The baroque main portal is arranged between the two southern side chapels. The tower and highlighted parts of the outer structure show masonry made of sandstone blocks . In 1977 remains of the original version were discovered on the south side of the choir, showing figures in front of a row of houses and inscriptions.
Interior
The overall impression of the room, which is Gothic in proportions, is determined by the stucco decoration, which is laid over the original structural elements such as pillars, arcade arches , consoles and ribs and is adapted to the existing vaulted fields. The proportions (the height and width of the choir are the same as those of the central nave, which is twice as high and six times as long as it is wide) were mastered by Zimmermann using a different structure in both parts of the room: in the choir there is a vertically oriented pilaster structure , in the Longhouse to find a horizontal alignment of the stucco decoration and the painting fields.
In the central nave the vault rests on strongly profiled consoles with indented outlines in the form of a segmental arch , in the side aisles on Ionic pilasters; in the choir it is caught by fluted Corinthian pilasters with projecting pieces of entablature . The round pillars have been transformed into columns with Ionic capitals, the legs of the arcade arches are rolled up like a volute at the apex .
The twelve apostles created by Zimmermann around 1720 are masterpieces of baroque stucco . They are shown floating on cloud banks above the arcade arches and are characterized by lively, individual characterization.
The frescoes by Müller show the martyrdom of the patron on the choir and central nave vaults, which ends with his beheading above the high altar . His mediator and patronage are shown on the walls of the upper cladding. In the north aisle vault there are three scenes from the life of the patron saint Ignatius , in the south from the life of St. Francis Xavier . The overpainting of the paintings in the side aisles carried out in 1895 was removed between 1980 and 1983 and the missing parts were added. The fresco in the lower west gallery was created by Johann Adam Müller in 1772 and shows the confession of St. George to the cross.
Furnishing
The extensive furnishings were largely designed by the Jesuit priest Johann Hörmann († 1699). The mighty high altar from 1695 has an expansive base zone. The picture of the high altar with a representation of the glory of St. George was created in 1766 by the Munich court painter Johann Nepomuk Schöpf . The two side altars from 1669 are each equipped with two columns. The altar panel on the north side altar shows St. Ignatius, the one on the south St. Francis Xavier, both were created by Caspar de Crayer . The cross altar in the northeast chapel shows Christ's Descent from the Cross and was probably created by Caspar de Crayer at the same time as the high altar. Maria Immaculata , created in 1695/1697 by Johann Andreas Wolff, is depicted on the Marien Altar opposite from 1695 . In the tabernacle there is the miraculous image of a Mother of God from the Kastl monastery as a half-length figure, a Dutch panel painting from the second half of the 15th century, which, because of its damage in the Calvinist iconoclasm, is referred to as Mary, the thorn bush intact in the flames .
The rear side altars were created in 1754, the wooden structures with columns and volute pilasters come from the Bacher carpentry workshop in Amberg, the barrel painting was carried out by Georg Andreas Zellner and Franz Xaver Zellner. On the altar sheet of the northern altar is the holy guardian angel , on that of the southern one Saint Aloisius is depicted, both were created by Johann Georg Wolcker from Augsburg. The pulpit was arranged in 1702 between the north aisle and aisle, probably based on a design by Hörmann and shows a fama with a globe on the sound cover .
The rest of the furnishings were also largely based on designs by Johann Hörmann: including the nave and choir stalls from 1701/1702, the oldest confessionals on the west wall from around 1700 as well as cupboards with cartilage decorations and the coffered ceiling of the sacristy after 1672. In the north aisle there is a limestone epitaph for the Maltese Commander Freiherr von Weichs († 1801), which was signed by Friedrich Wagner.
organ
1534 the first organ by Paulus Richter is attested. In 1767 Johann Konrad Funtsch from Amberg made a new organ with 22 registers on two manuals and pedal. In 1903 it was replaced by a new building by Edenhofer (Deggendorf) with pneumatic pocket drawers (14 / II / P). In 1941 Michael Weise expanded the organ by 17 stops, and in 1961 two more were added (33 / III / P). Increasing defects in the Edenhofer-Weise organ led in 1981 to a new building by Orgelbau Oberlinger (48 / III / P) with slide chests and mechanical action. The instrument has fundamental constructive, functional and stylistic defects. The Georgsorgel Förderverein was therefore founded in 2012 and aims to redesign the organ system by 2023.
The disposition of the Oberlinger organ is:
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literature
- Georg Dehio : Handbook of the German art monuments. Bavaria V: Regensburg and the Upper Palatinate. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03118-0 , pp. 26-29.
- Sixtus Lampl : Catholic parish church of St. Georg in Amberg (= Schnell Kleine Kunstführer. No. 615). 3. Edition. Schnell & Steiner, Regensburg 1999, ISBN 3-7954-4389-X .
- Gabriele Speckels: St. Georg Amberg: the checkered history of church and parish. Book and art publ. Upper Palatinate, Amberg 1994, ISBN 3-924350-35-3 .
Web links
Individual evidence
- ^ Website of the Georgsorgel Förderverein. Retrieved October 20, 2019 .
- ↑ Information about the organ on orgbase.nl. Retrieved September 19, 2019 .
Coordinates: 49 ° 26 '38.5 " N , 11 ° 51' 0.1" E