St. Gordian and Epimachus (Pless)
The Catholic parish church of St. Gordian and Epimachus in Pleß is a church in Pleß in Upper Swabia in the district of Unterallgäu in Bavaria , built in 1765 on behalf of the Buxheim Reich Charterhouse and consecrated in 1767 by Augsburg Auxiliary Bishop Franz Xaver Adelmann von Adelmannsfelden . The plans for the church are said to come from the Bavarian master builder Dominikus Zimmermann . The church is a listed building. St. Gordian and Epimachus is one of the most important country churches in the Illertal. The building is a nuanced further development of the parish church St. Peter and Paul in Buxheim .
history
The church is dedicated to Saints Gordianus and Epimachus . This indicates that it is a church founded under the influence of the Kempten Abbey . The early Kemptic basic rights in Pless could have been endowed by Hildegard , the wife of Charlemagne , or by their son Ludwig the Pious . In gratitude for the rights in Pless, the Kemptic monastery consecrated the church to the relics mediated by Hildegard.
In the Middle Ages, the nearby river Iller flooded the place. The foundations of a previous church were eroded, which ultimately led to its collapse. The current church was built in 1765/1766 by Jakob Jehle from Obenhausen and the Buxheim donation brother Johann Wiedemann. The initiative for a new building came from Prior Hieronymus Pfeiffer of the Carthusian Monastery of Buxheim. The newly built church was consecrated in 1767. For the new building, 21,582 guilders had to be raised, most of which were borne by the Buxheim Charterhouse. Renovations of the church took place in 1930, 1936, 1959, 1981 to 1983 and the last time in 2004.
Building description
The plastered church building is on the eastern edge of Pless. The nave consists of a hall with three bays. The first and third yoke each have a window axis, in the middle second yoke there are two window axes. The nave is broadened in the middle yoke on both sides by risalits with flat triangular gables. The risalit on the south side bears the year MDCCLXVI (1766). The nave with a gable roof is structured inside by pilasters , the capitals of which are decorated with coats of arms and shell work. Two stairs on the west wall of the nave lead to the first of the two galleries , from there to the second gallery via another staircase. Both galleries are supported by marbled wooden columns. The organ is on the second gallery. The rectangular chancel with a round choir arch connects to the nave . The choir consists of two window axes and a sail dome . The entrances to the church tower and the sacristy are located there . The round, closed chancel with a domed vault and high stitch cap is connected to the chancel by a round belt arch. In the nave and in the choir there are high windows with curved lintels. The outer facade of the nave and the choir are structured by painted white pilasters, the capitals of which are sculptured. The fields created by the pilasters are painted yellow and red. On the west side, the facade is divided into three parts and also divided by pilasters. With the exception of a three-pass window, the windows on the western facade are blind. On the side of the curved gable there are ornamental obelisks. In the northern corner of the choir stands the square church tower, the upper wall panels of which are concave. At the corners there are diagonally placed half-columns flanked by pilaster strips . The clock faces of the tower clock are integrated into the curved beams. The church tower is covered with an onion dome clad with copper sheeting , which carries a small gold-colored ball and a double cross. In the southern corner of the choir opposite the church tower is the two-storey addition to the sacristy. It is covered with a hipped roof, structured by pilaster strips and has rectangular windows. There is a sign on the north and south sides . The southern one has a gable roof and a curved gable with a mount of olives scene . Inside there is a dungeon Christ from 1720 in a round arched installation. The sign on the north side has a hipped roof. Both have arched entrances.
Furnishing
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High altar
The high altar consists of a marbled wood structure with gold-plated rocailles decor. The tabernacle is located above the simple cafeteria as a niche structure with the Lamb of God in the dome-shaped top. Reliquary shrines are located to the right and left of the tabernacle. The altarpiece of the high altar with the transfiguration of Saints Gordian and Epimach is the work of Eustachius Gabriel . The altar panel is flanked by staggered free columns. The two figures of the apostles Peter and Paul on consoles between the free columns were created by Stephan II. Luidl in 1766 . The high altar is crowned by four volutes that enclose a crucifix like a canopy .
Side altars
Both side altars, like the high altar, are marbled wooden structures with gold-plated rocael decor. They were created around 1766. The canteens are slightly curved. The original leaves of the altarpieces are no longer preserved following an improper restoration. The left altar panel with the heart of Jesus was created by Joseph Stehle in 1885 . The Mother of God in the right altar panel is by Joseph Kehren and was created in the third quarter of the 19th century. The left altar was originally dedicated to John the Baptist . On the right there was a Lourdes grotto from 1883 to 1906 . On the tall pictures in the altar extract , the teaching of Mary by Saint Anne is shown on the left and a guardian angel on the right.
pulpit
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The pulpit was made in 1766 in the same style as the altars. Access is via a balcony with a balustrade from the sacristy. The pulpit is bulged on three sides and rests on a curved base. The figures presumably come from Stephan II. Luidl . Putti carry the attributes of the divine virtues on the basket. There are more putti and a figure of St. Christopher on the sound cover .
Baptismal font
The sandstone baptismal font is located in a semicircular wall niche below the pulpit . It was created around 1600, the curved lid with a small group of figures depicting the baptism of Christ dates from the 18th century.
Way of the Cross
The Way of the Cross from the middle of the 18th century consists of 14 stations. Station VII has been modernized.
Stalls
The lay chairs from around 1770 consist of two rows. The curved oak wood pegs are carved with rocailles. In the choir there are two benches, each with three stables from 1766. The oak wood pegs are also carved with rocailles. The confessionals made of marbled wood in the extensions on both sides through the risalits in the nave were created around 1770. The three-part confessionals in the north and south are crowned in the excerpt from canvas paintings of Saints Peter and Magdalena.
characters
There are several wooden figures in the church. The Madonna on the north choir wall and the Pietà on the north side of the nave date from the first half of the 18th century . The dungeon savior in the southern sign was created around 1720. The five figures of the Mount of Olives scene in the niche of the sign date from the 18th century.
Ceiling frescoes
Choir and chancel
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The frescoes in the church from 1766 are by Eustachius Gabriel . The fresco in the western yoke of the nave is labeled " Eustachius Gabriel de Schwarzach inv. Et pinx. 1766 ". Scenes from the Old and New Testaments are depicted in the choir and chancel and above the main altar . Above the high altar, three frescoes in yellow tone painting show the Lamb of God in the middle , on the left Moses beats water from the rock ( 4 Mos 20.11 EU ) and on the right the camp of the people of Israel. In the center of the choir, Jesus celebrates the Last Supper with his disciples . In the spandrels the central fresco is surrounded by the four evangelists : Matthew with a winged person, Luke with the bull, Mark with the lion and John with the eagle. The two side fields in the choir in brown tone painting show the high priest in the temple on the left and the spies from the land of Canaan ( 4 Mos 13 EU ) on the right.
Longhouse
Eastern yoke
The frescoes in the eastern yoke, which adjoins the choir, deal with the life and work of John the Baptist. The central motif shows his beheading ( Mk 6.17-29 EU ). In the two larger secondary fields, the baptism of Christ ( Mk 1.9–11 EU ) is shown on the left and the sermon of John ( Mt 3.1–12 EU ) on the right. The small yellow cartouches contain six more scenes from the life of John the Baptist.
Middle yoke
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The central fresco in the central yoke with the birth of Jesus and the adoration by the shepherds ( Lk 2.1–20 EU ) is surrounded by six smaller frescoes with the apostles in groups of two. These are clockwise, starting at the top right, the apostles Philip with the cross and Bartholomew with the knife and skin peeled off, Thomas with the lance and the pierced Heart of Jesus and James the Younger with the fuller's rod , James the Elder with the pilgrim's staff and John with the book and chalice, Peter with a key and Andrew with a cross, Judas Thaddäus with a club and Matthias with an ax, as well as Matthew with a halberd and Simon with his saw.
Western yoke
The frescoes in the western yoke depict scenes from monastic life. In the middle above the organ, Saint Bruno refuses to be elected bishop. Bruno is also shown in the left side panel of the sermon of St. Bruno . Christ of Saint Rosalina appears in the adjacent field on the opposite side. The small cartouches in yellow tone painting contain Carthusian legends.
Piece
The stucco on the painting mirrors, side panels, gusset cartouches, belt arches and stitch cap ridges probably came from Jakob Jehle. Above the choir arch is the coat of arms of the Buxheim Charterhouse.
Bells
The five bells were cast in 2004 by the Grassmayr bell foundry in Innsbruck as a Salve-Regina bell. The original ringing of steel bells had to be removed due to corrosion damage and deficiencies in the suspension, as the static safety was no longer given.
| No. |
Surname |
Chime | inscription |
|---|---|---|---|
| 1 | Trinity Bell | it 1 | The grace of our Lord Jesus Christ, the love of God the Father and the communion of the Holy Spirit be with you. |
| 2 | Marienbell | as 1 | Greetings, Queen, Mother of Mercy, greetings to our lives, our bliss and hope. |
| 3 | Mary Magdalene bell | c 2 | I've seen the Lord. He lives! All the countries of the earth shout before the Lord. Serve the Lord with joy and come before his face with joy. |
| 4th | Joseph Bell | it 2 | Holy Joseph, implore our community Pless God's protection and blessings. Keep away from what could harm body and soul and accompany us on the last path into eternity. |
| 5 | Holy Pastor of Ars Glocke | f 2 | Holy Pastor of Ars, patron saint and role model for all priests. Invite us to many spiritual callings and seek rich blessings for all priests to minister in the Lord's vineyard. |
organ
The first organ was built in 1770 and was financed by the political community. The organ on the top gallery was built in 1904.
Epitaphs
Three epitaphs from Solnhofen limestone on the north side of the nave from the 18th and 19th centuries bear reliefs of the coat of arms of the Reichlin von Meldegg family . On the north and south sides of the nave, there are other grave monuments outside.
Memorial plaques
On the north side of the nave facade there is a weathered coat of arms relief from 1764, the fragment of a sandstone slab from the 16th century and a sandstone slab with a flat relief, marked with the year 1743 ; the rest of the inscription refers to a mass foundation.
literature
- Hans Jochemko: Parish Church of St. Gordian & Epimach in Pless . Ed .: Parish of St. Gordian and Epimach Pless. Fellheim 2004.
- Tilmann Breuer : City and District of Memmingen . Ed .: Heinrich Kreisel and Adam Horn. Deutscher Kunstverlag, Munich 1959, p. 214-217 .
- Georg Dehio : Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag , Munich / Berlin 2008, ISBN 978-3-422-03116-6 , pp. 897, 898 .
Web links
Individual evidence
- ^ Diocese of Augsburg
- ^ Bavarian State Office for Monument Preservation: Entry D-7-78-188-1
- ↑ Heinz Bühler: Nobility, monasteries and lords of the castle in the old Duchy of Swabia. Collected essays . Konrad Verlag, Weissenhorn 1996, ISBN 3-87437-390-8 , p. 163.
- ↑ Hans Jochemko, Parish St. Gordian and Epimach Pless (ed.): Parish Church of St. Gordian & Epimach in Pless. Fellheim 2004, page 1.
- ↑ a b Tilmann Breuer; Heinrich Kreisel and Adam Horn (eds.): City and district of Memmingen . Deutscher Kunstverlag, Munich 1959, p. 214
- ^ Tilmann Breuer; Heinrich Kreisel and Adam Horn (eds.): City and district of Memmingen . Deutscher Kunstverlag, Munich 1959, p. 215
- ↑ a b c d Tilmann Breuer; Heinrich Kreisel and Adam Horn (eds.): City and district of Memmingen . Deutscher Kunstverlag, Munich 1959, p. 216
- ^ Georg Dehio: Handbook of German Art Monuments - Bavaria III - Swabia. Deutscher Kunstverlag, Munich / Berlin 2008, ISBN 978-3-422-03116-6 , p. 897
- ↑ Hans Jochemko, Parish St. Gordian and Epimach Pless (ed.): Parish Church of St. Gordian & Epimach in Pless. Fellheim 2004, page 15.
- ↑ Hans Jochemko, Parish St. Gordian and Epimach Pless (ed.): Parish Church of St. Gordian & Epimach in Pless. Fellheim 2004, page 6.
- ^ Tilmann Breuer; Heinrich Kreisel and Adam Horn (eds.): City and district of Memmingen . Deutscher Kunstverlag, Munich 1959, p. 217
Coordinates: 48 ° 5 '35.3 " N , 10 ° 9' 15.2" E