St. Jakob (Villach)
The main Roman Catholic parish church in Villach is dedicated to St. James . The spacious, late Gothic hall church with west tower is in a dominant position at the end of the main square in Villach .
history
The Jakobskirche was first mentioned in a document in 1136. Recent research speaks of two predecessor churches. With the earthquake of January 25, 1348 the church was destroyed except for the tower. The new construction of the church took more than a hundred years: 1360/1370 was choir newly built, 1450/1460 the nave . In 1462 the Countess Palatine Katharina von Görz donated the southern chapel, in 1482 Georg Leininger the north-eastern chapel and in 1482/1484 Balthasar von Weißpriach the organ gallery. The vault of the nave, mentioned by Santonino in 1486 , was probably renewed with loop and net ribs after the city fire of 1524 . The church suffered further damage from the earthquake of 1690. After the fire of 1784, the choir vault was rebuilt. In 1906 a ramp with a niche was built around the church based on a design by Alfred Keller . In 1908 the church was elevated to the status of the main city parish. In the war year 1944, the glass paintings from the 16th century and the church roofing were destroyed. Complete restorations took place in 1951 and 1996–99.
Until 1235/1244 the church was a Bamberg own church , closely linked to Maria Gail since the 14th century and the patronage parish of Aquileia until 1514. In 1514, Emperor Maximilian handed over the patronage rights over the Jakobskirche to Sigmund von Dietrichstein. In 1526 he left the evangelical citizenship of Villach the right to appoint a pastor. However, it took decades for denominational boundaries to emerge. The two side portals were donated by the Catholic Hasenberger brothers, and Catholic masses and Protestant services were still celebrated in the 1550s and early 1560s. Only under pastor Karl Fuchs did St. Jakob become a purely Protestant church. A visitation by the Patriarch of Aquileia in 1594 served to make the church Catholic again. The final re-Catholicization took place in March 1600.
Like all churches south of the Drava , St. Jakob belonged to the Patriarchate of Aquileja until it was dissolved in 1752 , then to the Archdiocese of Gorizia and since the time of Emperor Joseph II to the Diocese of Gurk .
Building
Outside
The Romanesque tower basement was built after the earthquake of 1348 in ashlar masonry with corner pilasters and arched frieze . The upper floor was destroyed by the earthquake of 1690 and renewed in 1759. The former church tower dome fell victim to a fire in 1784 and was replaced in 1845–1847 by an octagonal tower with a pointed helmet in Gothic-style shapes. At 93.87 meters, it is the highest church tower in Carinthia. A grooved, late Gothic portal on the east side leads to the tower staircase with its 239 steps. The tower room with the well-preserved kitchen was until after the Second World War by a watchman inhabited. Today the 46.84 meter high viewing platform on the tower is accessible to visitors in the warm season. A special feature is the traffic light system, which regulates the very close inspection of the spiral staircase above the bell chamber every four minutes.
The tower was originally free-standing in the style of the Italian campanile , but was connected to the nave by a transverse, three-bay porch in the 17th century. North of the tower is a crucifix from the first half of the 17th century.
On the south side of the tower is a war memorial created by Karl Maria Kerndle between 1918 and 1924 in the form of a monumental sword tip with oak leaves in relief, an eagle, city coat of arms and a sword in front of a gable wall.
The simple west facade of the nave with capped gable has round niches and lateral pointed arched windows with tracery. A female console head and a small stone figure of Saints Heinrich and Kunigunde are attached to each side above the northern window . These are copies of the original figures displayed in the Khevenhüllerkapelle. The late Gothic west portal has a baroque wooden door with inlaid the year 1717. To the right of the portal there is a statue of St. James in a niche.
The side walls of the nave are structured by strongly projecting, triple-stepped buttresses and a continuous window cornice. The north portal with a triple stepped keel arch has the Villach city coat of arms in the stone frame with the building inscription 1547 on the side. The wooden door attachment is labeled "Christoph Hasenberger 1551" and shows a jumping hare over Dreiberg in the coat of arms. To the right of the portal is a stone figure of St. Barbara created by Josef Kassin in 1906 . The south portal was donated by the Ossiach abbot Andreas Hasenberger and is structured in a similar way to the north portal. The town coat of arms of Villach is attached to the stone frame, the coat of arms of the monastery of Ossiach and the coat of arms of the Hasenbergs in the wooden door attachment. The pear stick approach has figural consoles, a female figure, presumably Eva and a head.
The choir with a 5/8 end stands on a high plinth and is supported by double-stepped buttresses with animal figures as a crown. The walls of the choir are pierced by steep pointed arch windows. The eastern choir window has circular services with capital and canopy in the reveal . The northern side choir, the Leininger chapel, has struts placed over a corner. In the southern corner of the choir, an almost square sacristy and a stair tower are built on. The Khevenhüller and Dietrichstein chapels are located on the southern wall of the nave.
Inside
The vault of the three-aisled, six-bay hall church is supported by ten round pillars. The western pair of pillars is built into the three-axis organ loft. The rich loop and net rib vault rests at the base of the vault on small consoles with stonemason's marks . The eastern yoke is three steps higher, the three-bay choir four steps higher. The six three-part choir windows are equipped with rich tracery . The baroque redesigned ribbed vault is adorned with rich stucco ornaments and fresco medallions. An allegory of the Trinity is depicted in each of the three central, broad three-pass shapes. In the spandrels are paintings with angels from the end of the 17th century. The vault rests on triple stepped wall services with bars and figurative consoles. Adam and Eve are depicted on the south wall, next to them a mask with rich leaf ornaments. The larger than life mural of St. Christopher on the south wall of the choir dates from the middle or third quarter of the 15th century and is attributed to Thomas von Villach .
There is a simple, Gothic tabernacle on the southern wall of the choir . Next to it is the access to the spiral staircase, dated 1507 on the lintel. Above the door there is a steep gable relief from the former chapel of the Hämel family. The relief from the end of the 14th century shows the family coat of arms with adoration and a protective cloak Madonna . A Gothic iron door with fittings and a key catch leads into the one-bay sacristy with a simple ribbed vault with keystone disc.
Furnishing
High altar
The high altar , the width of the choir, with rich rococo carvings from 1784/85, columns and pillars and above a ciborium from the beginning of the 18th century bears a monumental, late Gothic crucifix from 1502. Below is a statue of the Madonna from the 17th century, flanked by the figures of the saints Lawrence and James. The figures of the princes of the apostles Peter and Paul stand above the portals . On the cornice of the ciborium are Melchior and Baltharsar and, as the canopy crown, Kaspar.
More altars
The Joseph altar in the north aisle with a Säulenretabel from the mid-18th century shows in the middle picture the death of St. Joseph and the top image of the Visitation . The chronogram with the inscription “That man weLCher seInen Herr pesChVzet WIrD to honor. (Sp: Salo: 27) "results in the year 1761.
Next to it is the Johannes Nepomuk altar with a wall retable from the second half of the 18th century. The altar has a four-pillar position with sloping architrave pieces. The sculpture of St. John Nepomuk stands in the shallow central niche . The relief in the altarpiece represents the fall of the bridge of the saint. On the cafeteria there is a saint main picture with a rich frame.
The third altar in the north aisle is the Anna selbdritt altar with the central figures of the Madonna and Child and St. Anne . The saints Joseph and Joachim stand to one side . The top of the altar is God the Father . On the altar table is a picture of the painful Mother of God .
On the east wall of the south aisle is the Sacred Heart Altar with a columned retable from the beginning of the 18th century. The middle picture with Maria Magdalena and angels comes from the 17th century, the upper picture shows a penitent saint.
Under the organ gallery is a forge altar from the end of the 17th century with the painting of St. Eligius and in the upper picture with Mary as Queen of Heaven. A small figure of St. Theresa made around 1900 is placed on the altar table .
pulpit
The pulpit originally stood on the central pillar and was later moved towards the altar on the south-eastern round pillar. The sound cover was removed. It is an important work of art, stylistically at the transition from Gothic to Renaissance, in 1555 by Georg Ulrich von Künsberg, Bamberg deputy master and avowed Protestant , donated and executed by Gallus Seliger from Judenburg.
At the corners of the pulpit staircase, the Villach city coat of arms, Seliger's stonemason mark and the coat of arms of Pastor Karl Fux are attached. The octagonal, goblet-shaped pulpit basket is on the parapet with six reliefs equipped, the Annunciation , the birth of Christ , the crest panel of the founder, the crucifixion , Christ in Limbo and the Resurrection present. The prophets Jonathan, Achas, Ezechias, Manasses, Amon and Josias as well as banners with quotations from the Luther Bible can be seen in trapezoidal fields . The pulpit stands on a columnar shaft with a relief of the family tree of Christ. The depicted are the kings David , Solomon , Isophat, Roboam, Ozias, Ioram, Abia , and Asa .
The base of the pulpit is the life-size figure of Jesse resting on a death pillow.
organ
On the gallery there is an early baroque organ case from 1645. The organ work was renewed in 1992 by the organ building company Jann . The slider chest instrument has 43 registers , 3 of which are transmissions, on three manuals and pedal . The playing and stop actions are mechanical, the stop actions are also electrical. The Rückpositiv was added in 1992.
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- Coupling : I / II, III / I, III / II, I / P, II / P, III / P
Further facility
In the niches of the balustrade are the figures of the princes of the apostles Peter and Paul, and there is also a relief of a church donor, a lion and a head of Medusa .
A crucifix from the 18th century hangs on the staircase to the organ gallery.
On the north wall of the nave there is a late Baroque wooden figure of St. Florian with a new frame.
In the top of the north door there is a wooden relief of a Pieta , on the south door that of a Maria lactans .
Four paintings from the Minorite monastery, which was abandoned in 1786, hang on the choir walls. It shows: Christ heals a possessed person, Christ and the adulteress, expulsion of the changers and the resurrection of Lazarus. The choir stalls from the middle of the 17th century are provided with the names and coats of arms of Villach councilors.
Chapels
Leininger Chapel
The one-yoke chapel in the north end of the choir has a star vault with a keystone and is now used as a baptistery. The eight-sided baptismal font from the beginning of the 16th century shows tartlets on the foot and apostle reliefs under the keel arch on the basin. The lid is from a later time. There are five late Gothic wooden statuettes on stepped consoles: Christ and presumably the Latin church teachers from around 1530/1540. The Gothic prayer stool dates from the 15th century, the carved bas-reliefs have largely been renewed. On the front narrow side you can see Samson with lions, on the front the root Jesse and on each corner a dragon figure. Pairs of coats of arms are attached to the rear wall attachment. On the south wall is a coat of arms grave slab of Hieronymus and Wolfgang Leininger from 1487/1490. To the right of this is the relief grave plate of Georg Leininger from 1517. The relief shows a knight with a flag and coat of arms standing on a lion.
Dietrichsstein Chapel
The Dietrichstein Chapel or Görz Chapel is the eastern chapel in the south aisle. It was donated in 1462 by Count Palatine Katharina von Görz as a Trinity Chapel and replaced a Lady Chapel that had existed since 1331. The single-axis room with a 3/8 choir has a ribbed vault on small consoles. The chapel is opened to the south aisle by an elongated pointed arch and provided with a Gothic, wrought-iron bar grille with a decorative crown. Remains of the Gothic painting are preserved on the two square keystones. A fresco of a Madonna and Child, created after 1462, can be seen in the crown of the vault. The late Gothic glass painting in the middle of the three-pass window depicts St. James. Below is a Gothic sacrament house with a three-pass window . The baroque altar shows Christ on the Mount of Olives in the middle picture and the plague saints Sebastian and Rochus in the upper picture . The epitaph of Sigmund von Dietrichstein from 1533 on the west wall is attributed to Loy Hering . In a flat round niche, flanked by pillars, stands a life-size knight with an open visor, sword and flag in his hands on a lion. A coat of arms is shown in the semicircular attachment. A baroque wooden figure of a saint stands under the window.
Khevenhüller Chapel
The Khevenhüllerkapelle lies west of the Dietrichstein chapel. It was donated to the Khevenhüller family as a burial chapel in the middle of the 16th century . In 1607 the family's grave was moved to the castle church of Hochosterwitz when the parish of Villach, which had become Catholic again, refused to bury the Protestant Franz Freiherr von Khevenhüller in St. Jakob.
The Khevenhüllerkapelle is accessed from the south aisle through a wide pointed arch with a wrought iron grille with leaf tendrils, flat-cut ornaments and dragons from the 16th century. A ribbed vault on corner brackets with heads spans the one-yoke chapel. The tracery window with a five-part fish bladder has a late Gothic glass painting with St. Michael and in the lower corners coats of arms from 1895. On the right under the window are console heads and console figures of Emperor Heinrich and his wife Kunigunde from the 15th century. The simple altar from the second half of the 17th century shows Mary, the help of the sick and, underneath, St. Aloysius . On the south wall is the epitaph of Sigmund Friedrich Khevenhüller, made after 1801, with a relief shield, on the west wall the epitaph of Christoph Khevenhüller, the Carinthian governor, and his two wives kneeling in front of a cross. On the high tower is a coat of arms and the inscription 1557.
Funerary monuments
In addition to the grave monuments mentioned above, numerous other monuments are attached to the inner and outer walls.
Internally
- On the west wall north of the entrance is the epitaph of Bartholomäus and Apollonia Seitlinger from 1645/1646.
- In addition, the tombstones of the Rambser family from 1629, 1637 and 1680 are covered by confessionals.
- Heinrich von Cothmann's coat of arms grave plate dates from 1753.
- The coat of arms grave slab of Paul and Oswald Dorn was made in 1605 by Martin Pacobello .
- The epitaph of Eva Reisacher from 1616 on the north wall of the nave shows the resurrection, flanked by the Christ symbols pelican and phoenix .
- Next to it is the coat of arms grave plate of Franz Leininger from 1539.
- Between the Leiniger chapel and the choir stands the epitaph of Sigmund Khevenhüller from 1552 with a life-size depiction of a knight under an archway with pilasters on the side. The grave monument is crowned by the resurrection of Christ.
- In the choir is the epitaph of Sigmund Khevenhüller, a nephew of the aforementioned Sigmund Khevenhüller, from 1561 with the life-size depiction of a knight in a niche with twisted columns and a massive attachment with putto and heraldic shield. In 1951 traces of the original polychroming were uncovered.
- Between the choir and the Sacred Heart Altar is the coat of arms grave slab of Johann Peter Knips from 1695.
- On the east wall in the south aisle is the former Tumbaplatte by Balthasar von Weißpriach from 1484. The tombstone, decorated with a Gothic quatrefoil, shows a knight in full armor with a flag, heraldic shield and crest on two lions.
- To the east of the south wall of the nave is the epitaph of Georg Khevenhüller, who is shown kneeling with his family under the cross. The stone is framed with scrollwork, an inscription from 1580 and the artist's signature "Opus Ulrich Vogelsang ".
- The relief plate by Georg Khevenhüller, made before 1587, is placed between the two side chapels . It is probably the former cover plate of a tumba. It shows a bearded knight who, resting his head on a cushion, holds a sword and a coat of arms in his hands. This is also a work by Vogelsang, which, along with the family relief, probably belonged to a high grave, which was probably originally located in the Khevenhüller chapel.
- The epitaph of Erhard Hedenig from 1582 has inscriptions in partly Greek and partly Latin script.
- The tombstones of the Grotta and Widmann families from 1664 and 1668 are kept simple.
- The commemorative plaque of the Widmann Measurement Foundation dates from 1666.
- Next to it is the coat of arms grave slab of Hans and Andreas Eckh (1553/1554)
- The epitaph of Jörg and Barbara Seenuss from 1579 is adorned with a rich coat of arms.
- The epitaph of Andreas Seenuss from 1587 shows a relief with the crucified Christ under round arches flanked by columns, beneath which the deceased kneels with his wife and two daughters. The coat of arms and putti with symbols of death can be seen in the triangular gable.
- The epitaph of Martin Siebenbürger from 1577 depicts the deceased kneeling under the cross, flanked by fluted columns and a coat of arms held by angels in the top.
- The Khevenhüller crypt slab on the west wall was made after 1566. In the middle relief it shows a genius of death and on the side a vase and hourglass on pedestals. The broadly framed plate with an inscription and four iron rings used to be in the floor of the Khevenhüller chapel.
- Above it is the epitaph of Sigmund and Katharina Elisabeth Robinig from 1744/1747. A crucifixion group with Mary and John is depicted in the relief.
On the outside wall
The first epitaph on the south wall is the one for the doctor Martin Siebenbürger, who died in 1570, who is shown kneeling in front of the cross.
Bells
Six bells hang in the church tower. Four of them were cast in 1960 by the Grassmayr bell foundry in Innsbruck. The double bell was cast by Ignaz Roder from Villach in 1713. The five-bell was made in 1930 in the Max Samassa bell foundry in Wiener Neustadt.
All bells have inscriptions, mostly on the upper edge. Reliefs with inscriptions containing intercession or memorial words can be found on the mantle.
| Bell jar | Weight | sound | Transcription | inscription | relief |
|---|---|---|---|---|---|
| Ones | 1826 kg | cis 1 | In memory of all the dead in the city For peace and justice St. James protect our city |
Dedicated to the victims of both world wars and the Carinthian defensive struggle. The city of Villach in the commemorative year 1960 |
Coat of arms from the Villach crucifixion group St. Jakob |
| two | 970 kg | e 1 +1 | Ecce Crucem Domini, fugit Partes adversae. In St. Josephs and Floriäny Ehr, I flowed through the Feyer, to the Glory of Gottes Evffer very much: I want to rueffen undaunted. Vicit Leo de tribu luda, Radix David, Alleluia. |
Crucifixion group St. Joseph with baby Jesus and lilies St. Florian with church and water bucket St. Sebastian. |
|
| three | 732 kg | f sharp 1 | Hail, Queen , the protection and helper of people! | Maria in coelis assumpta ora pro nobis | Mary on a cloud |
| four | 305 kg | a 1 +3 | Holy Hemma , patroness of Carinthia, protect us! | St. Hermagoras ora pro nobis! | St. Hemma with a church in both hands St. Hermagoras |
| Fives | 270 kg | h 1 | To the grateful memory of the 25 years of blessed work of our most honorable Mr. Provosts and deans Mr. Hermann Atzhuber as the parish priest at St. Jakob in Villach. The parish 1906–1931 | St. Hemma with Church of St. Joseph with baby Jesus and kneeling man |
|
| Six | 219 kg | c sharp 2 | Saint Lawrence Deacon, pray for us to be on God's throne | S. Laurenti CMB + + + |
St. Laurentius with rust St. Three Kings |
literature
- Dehio manual. The art monuments of Austria. Carinthia. Anton Schroll, Vienna 2001, ISBN 3-7031-0712-X , pp. 1106-1011.
- Gottfried Biedermann and Karin Leitner: Gothic in Carinthia - With photos by Wim van der Kallen. Carinthia Verlag, Klagenfurt 2001, ISBN 3-85378-521-2 , p. 192.
- Barbara Kienzel, Wilhelm Deuer: Renaissance in Carinthia - With a contribution by Eckart Vancsa. Verlag Carinthia, Klagenfurt 1996, ISBN 3-85378-438-0 , p. 23 ff. And p. 70.
- Barbara Neubauer -Kienzl, Wilhelm Deuter, Eduard Mahlknecht: Baroque in Carinthia - With a contribution by Eva Berger. Carinthia University Press, Klagenfurt 2000, ISBN 3-85378-489-5 , p. 192.
- Barbara Kienzl: The baroque pulpits in Carinthia. Verlag des Kärntner Landesarchivs, Klagenfurt 1986, ISBN 3-900531-16-1 , p. 402 f.
Individual evidence
- ↑ a b Height of the parish church tower, photo of the information board in the church tower (Note: The leaflet for the parish tower gives 94 m total height and 48 m platform height)
- ↑ Photo of the traffic light on the spiral staircase
- ↑ More information on the organ ( Memento of the original from November 21, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Photo of the information board in the church tower
Web links
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Coordinates: 46 ° 36 '48 " N , 13 ° 50' 43.6" E