St. Jakobus (Großlangheim)
The St. Jakobus Church in Großlangheim is the parish church of the Lower Franconian town. It is also called St. Jakobus Maior or St. Jakobus the Elder Church and is located on Kirchgasse in the middle of the village.
history
The history of the Großlangheim church is closely linked to the rule of the Counts of Castell. They promoted the village with its early Christian baptistery early on. In the 14th century they donated a new Gothic building to the north of their castle. It was consecrated to St. Anthony and still exists as the Chapel of St. Anthony . In the 16th century, the Würzburg monastery received the rule of the village and the church was renovated in the genuine Gothic style. Further extensive renovations took place in the early 19th century.
Previous buildings
The first traces of Christian life in Großlangheim date from around the year 900. At that time the village was already the seat of a parish . This can be explained by the function of the local church as an early Christian baptistery. Even then, Fröhstockheim was parish off as a branch to “Lanchem”, which did not change until 1330. The church in Großlangheim was consecrated to Saints Johannes Baptist , Maria and the dragon slayer Georg. These cartridges underline the character of the baptismal church
After it was first mentioned in the 10th century, the baptistery was not mentioned again until the 11th century. As a separate church, it fell to the rising Counts of Castell , who later also ruled the village over Großlangheim. The Romanesque church was then integrated into the castle complex, the remains of which can still be seen on the so-called castle island in the southwest of the town.
Heinrich was mentioned as the first pastor in 1224. The only pastoral minister still passed down in the same century was Albert in 1297. In addition to the services, the church was also used for church broadcasting courts until the 15th century , which were chaired by the respective Würzburg prince-bishop . In 1399 there was an early and middle mass in the church for the first time.
Changing village rulers
In 1447, the rule of the Casteller Counts in Großlangheim ended. From then on, the Truchseß von Wetzhausen family took control of Großlangheim, which had meanwhile become a market . In the meantime a new, more representative church had been built in the northeast of the village, the tower of which was probably built around 1400. In 1457 the new church first appeared in the sources. It was consecrated to the elder James to emphasize the location of the place between two pilgrimage routes.
The equipment of the new church building was completed under the rule of Philipp Truchseß von Wetzhausen at the end of the 15th century. In addition to the employment of many craftsmen from the area, the workshop of the famous Würzburg woodcarver Tilman Riemenschneider created the wooden sculptures inside the church. The reason for this was the distant relationship between the village master and the master carver's sponsor, Prince-Bishop Lorenz von Bibra .
In 1517 Großlangheim fell to the Würzburg bishopric , which ruled for the next few centuries. In 1525, the village was looted by marauding peasants during the German Peasants' War . However, the most valuable items of equipment in the church were saved. The church building was affected, which made a renovation inevitable. Services continued to take place in the church, as evidenced by two trade fair foundations in 1540 and 1570.
New church building
Only at the time of the Counter Reformation at the end of the 16th century did concrete plans for a new building begin to be implemented. One of the reasons for this was the collapse of the tower in 1575. The driving force behind the new building was the new village lord and prince-bishop Julius Echter von Mespelbrunn . In 1596, the renovation of the nave began. Adam Zwinger, who was also the stonemason of the Dettelbach pilgrimage church, was able to be won over as the master builder . The extensions of the nave dragged on until 1601. The tower was increased by one floor. Stonemason's marks still preserved today on the newly built floor show Jobst Pfaff from Iphofen as the master. After the death of Bishop Julius Echter, Johann Gottfried von Aschhausen took over the office. He too had the church in Großlangheim continued to be built, in 1616 the ossuary in the churchyard was demolished, and in 1617 the choir was rebuilt. His successor Philipp Adolf von Ehrenberg added the frescoes inside the church from 1623 to 1627.
Church reorganization
The Thirty Years War largely spared Großlangheim and its church. In the 18th century, some additions to the furnishings followed before the secularization and mediatization of 1803 ended the rule of the Würzburg monastery over the village and Großlangheim became a Bavarian rural community. Ecclesiastically the deanery Stadtschwarzach took over the parish Großlangheim, from 1906 it became part of the deanery Kitzingen.
Shortly after the comprehensive reorganization of state and church conditions, the Kingdom of Bavaria made efforts to expand the Großlangheim church again. The reason for this was an increase in population, as a result of which the old church no longer offered space for all parishioners. However, the plans were not implemented until 1821/1822. The executive architect was Josef Herbig from Dettelbach .
In 1905/1906 and 1952 the church was extensively renovated. Today it belongs to the parish community Großlangheim-Rödelsee in addition to the churches in Fröhstockheim, Kleinlangheim, Mainbernheim , Rödelsee and Wiesenbronn . The Bavarian State Office for Monument Preservation classifies the church building as a monument under the number D-6-75-131-16.
architecture
The church, originally built as a late Gothic hall building in the 16th and 17th centuries, was provided with two semicircular extensions in the 19th century, which make the church building appear wider than it is long. It is easted, the main portal is in a west tower.
Longhouse
The original shape of the two-bay nave with a gable roof can hardly be recognized by the baroque extensions. The semicircular exedra - like extensions are finished with half-domes. They each consist of four window axes that are grouped around a central side portal. All windows are ogival. The portals also have high pointed arches with windows. Egg bars run around the eaves of the extensions. On the west side, several small windows of the original nave have been preserved, some of which have sound hatches .
The nave was vaulted inside during the renovations in the 19th century . It has a burr cross vault , which, however, only spans the old Gothic nave. The beginning of the extensions is marked inside on the north and south sides by wide, rectangular columns. The extensions are structured by a narrow, all-round cornice.
Choir
The choir of the church is closed on three sides. The old sacristy was added to the north, and a new sacristy was added later to the south. In the choir there are four windows with a central round window on the east side, which is framed by two ogival windows. Both have two lanes and are decorated with post-Gothic tracery , which is very similar to the one on the pilgrimage church in Dettelbach. The fourth choir window, also equipped with tracery, is located on the south side. It differs from the others because of its three lanes.
Inside the choir is a star vault. A round keystone is the central point of the vault. The ribs, which are grooved twice and terminate in bell-shaped Renaissance consoles, extend from it . A circular egg stick also adorns the choir. It is pushed through and capped at the crossing points. A round choir arch leads to the nave. On the north side is the door to the sacristy with a straight lintel and framework. The coat of arms of Julius Echter is attached above the lintel.
tower
The west tower consists of four storeys, the lowest on the west side contains the Gothic main portal with a profiled frame and a pointed arch. The individual floors can be recognized by surrounding cornices on the outside. The second floor has no windows. The third with the bell chamber has two-lane ogival windows with late Gothic tracery and sound hatches.
The nave ends at the level of the third floor. Above it rises the fourth floor of the tower with single-lane rectangular windows in the south and north and two-lane windows in the east and west. Below the windows are tower clocks in the south and west . The church tower is finished with a typical pointed spire of the real time and crowned by a golden tower ball and a wind direction indicator . On the left side of the tower is the Mount of Olives covered by a pent roof.
Furnishing
At all times the furnishings of the Jakobuskirche were supplemented. Particularly at the end of the 15th and the beginning of the 16th century, some particularly valuable pieces came to the church. Baroque furnishings followed in the 18th century. During the renovations in the 19th century, missing and damaged works of art were added, and the church received its predominantly classicist character.
High altar
The high altar of the church with its additions and figures fills the entire east wall of the choir. An altar is first handed down in the church from 1700. In the following centuries it was supplemented and reworked so that today there is a mixture of styles. Around 1756 baroque elements were added that were created by Johann Michael Babeltisch. In 1820 lost parts were exchanged for classical parts. The altarpiece painted by Hans Sperlich followed in 1904. In the same year Hans-Michael Driessler completed the tabernacle .
The altar has two pillars with passageways on either side of the tabernacle. Two figures of saints represent Mary with the child on the left and Saint Joseph with a lily on the right, inscription medallions under the figures contain the names. Joseph was reworked from an older statue of James, the lily replaces the pilgrim's staff of the saint.
The central classicistic altarpiece shows the transfiguration of Christ . Next to Jesus, Moses and Elijah appear to the apostles Peter, James and John, with James, the church patron, kneeling in the center of the picture. The picture is framed by the altar columns, it is decorated with putti heads and flower hangings made of stucco . Two angels are positioned above the picture around an unlabeled medallion.
The altar extension consists of a gable that has been blown several times . Stucco vases made of gold are placed above the pillars. Above that, two angels lie on the gable and frame a square inscription. A baroque crucifix crowns the altar. It stands directly in front of the colorful round window of the choir from which it is illuminated. The golden tabernacle is crowned by an Agnus Dei . Underneath you can see a baroque antependium with St. James.
Side altars
There are five side altars to the left and right of the chancel arch and in the rotunda. Most of its superstructures date from the 19th century, some figures of saints were created in the 15th century and can be attributed to the belt tailor school or the master himself.
Choir side altars
The classical choir side altars are dedicated to the holy Mother Mary and Saint Joseph and were created in 1821. Kaspar Fromm from Wiesentheid has been handed down as the responsible master . Both altars have a similar structure: two pilaster-like columns surround a saint figure instead of an altar leaf. An interrupted, sweeping cornice leads to the pull-out .
Both altars are closed off by a triangular gable wrapped in gold and crowned with a crucifix. Two vases surround the altars on each side. The central figure is St. Mary as Queen of Heaven . The dove of the Holy Spirit hovers over her in the excerpt. On the right is Joseph with the child and a lily in his right hand. He is the Eye of Providence dominates.
Vesper altar
In the rear of the southern rotunda is the so-called Vesper or Pietà altar, surrounded by carvings . The carving is often personally attributed to Tilman Riemenschneider in literature , but it certainly comes from his workshop. The work was created in the artist's early phase and came to the church between 1490 and 1500. During the baroque redesign of the church in the 18th century, an altar was built around the carving. At the same time, the work itself was painted in color.
The altar structure is formed by two round columns. Above the Pietà in the center there is a medallion with the inscription “O Sorrowful Mother; ask for us! ”to the altar extract. Above it is a baroque picture of Joseph. Mary is shown seated on a throne bench. She holds the body of Jesus on her lap. Her youthful countenance expresses deep sadness. Mary holds the son's left arm in her hand, the right one has sunk to the floor. The face of Jesus is supported by her other hand. The baroque color scheme gives the group of figures a colorful appearance. Mary's veil is white, her dress red. The wrinkled coat that surrounds the figure has been designed in gold. Jesus wears a loincloth , his wounds are bright red.
Cross altar
The cross altar stands south of the choir arch in the rotunda . It comes from historicism and has a two-column, neo-baroque structure that was created by Franz Wilhelm Driesler after 1904 . Below the pillars, two golden grapes are surrounded by tendrils set in gold. Above the center of the altar, sitting on the cornices of the pillars, two praising putti frame the altar extract , which is in the center of a blown gable .
The extension is crowned by a blown round gable. A radiant cross with the initials of Jesus forms the end of the altar . Two medallions are attached to the leaf and the extract. The inscriptions read “AVE” at the top and “Ave Crvx, spes vnica!” (Greetings, cross, you only hope!) At the bottom. The centerpiece and namesake of the altar is a crucifixion group instead of an altar leaf.
Two figures created in the 16th century, Maria and Johannes , are positioned around the crucifix. It replaces the lost original and was created around 1900. The wooden statues were painted in color in the 19th century, both wear golden coats, Johannes has black curls, Mary wears a white veil . Jesus on the cross is designed much finer than the two assistant figures.
The most valuable element of the altar is the extract. There are three relief representations of saints that can be assigned to the belt tailor school. From left to right, St. Catherine with a sword, Mary with the child and St. Barbara are shown. Barbara's attribute , the chalice, has been lost. The figures are painted polychrome ; it is not known whether they were originally.
Mary Altar
The Marian altar in the rear area of the northern rotunda is similar in its design to the Vesper altar. It has a two-column structure, which is formed by two round columns. The pillars terminate in a rectangular cornice . Between them a medallion bears the inscription: “I am the Immaculate!” An excerpt with the image of an unknown saint, perhaps the Evangelist John on Patmos, crowns the altar.
The central altar panel dates from 1682 and was created by Johannes Paul Codomann from Kitzingen . It shows a picture of Mary; however, the representation is rather untypical for the western church. Mary wears a headscarf with a cross and a star, she studies the Holy Scriptures on a wooden throne and holds the baby Jesus in her arms. Jesus sits on a red pillow Quast, a goldfinch escapes his right hand.
pulpit
The pulpit , made by Ignaz Spennkuch from Kitzingen and Kaspar Fromm from Wiesentheid, dates from the Rococo and was brought to the church in 1762. It is located at the transition from the nave to the northern rotunda. An ornate grille delimits the lower section of the staircase . Above it begins a railing made of marble with golden stucco elements. The pulpit closes at the bottom with a few putti heads. There are three figures of saints above. Shown are the bishops St. Bruno (left), St. Kilian (center) and possibly St. Burkard , the first bishop of Würzburg (right). All figures come from guild poles that were carried forward during processions in the village. The transition to the sound cover is formed by the tables of the ten commandments. The sound cover itself is crowned by a figure of the Good Shepherd, a dove hangs down in the sound cover.
Figures from the Riemenschneider School
Two figures in the nave are assigned to the Riemenschneider school. They were set up in the forward area of the main nave . Both date from the first half of the 16th century. On the left is a so-called Anna self-third group . It was carried through the village during processions, as Saint Anne was venerated as the patron saint of the mothers. On the right is a statue of Sebastian tied to a tree, stolen from the church during World War I and brought back in 1918. The arrows belonging to the pictorial type have since disappeared.
The Holy Anna with the clothes of the late Middle Ages is shown standing. A veil crowns the figure. The naked, curly Jesus boy sits on her right arm and carries the globe in his right hand. On Anna's left side you can see the standing young Maria, Anna's arm touching her back.
Murals
Wall paintings from different eras decorate the choir and the choir arch in particular. The first decorations were carried out in the years 1623–1627, but the paintings fell into oblivion over time and were only rediscovered during the restoration in 1903/1904. The rotundas were also painted in color, with Großlangheim men as models for the twelve apostles . In 1952, however, these pictures were removed again.
The window reveals of the choir are decorated with gray and yellow scrollwork . In the lower area they turn into angels. At the keystone of the choir vault there are winged angel heads on clouds. The floral motifs were added in 1904. The four evangelists are shown with their attributes in the choir vaults. The coats of arms of the prince-bishops Julius Echter (center), Johann von Aschhausen (left) and Philipp Adolf von Ehrenberg (right) are attached to the choir arch . They are framed by two allegories of virtue . The personification on the left with sword and scales represents justice, the meaning of the person on the right, which holds a lance wound around by a snake, is disputed.
Stained glass
The window paintings all come from the remodeling in the 19th century. In the 20th century, the removal of the windows, which were perceived as cluttered, was discussed, but the proponents of this idea could not prevail. In the two choir windows you can see the four evangelists with their attributes. They are painted in bright colors, eyelashes with neo-Gothic tracery are depicted above their heads and above the evangelist symbols.
The central round window of the choir, on the other hand, shows the Most Holy Trinity . St. Francis was depicted in the south window of the choir . He receives his stigmatization through the apparition of Christ crucified, who is endowed with six wings, alluding to the legend that St. Francis of Assisi received his stigmata through a seraph . The rotunda also have an image program. A representation of the Sacred Heart was added to the south. Saint Kilian can also be recognized. In the north you can see a Heart of Mary. In addition, the rare representation of St. Monika can be found. The windows of the side portals are decorated with the Three Kings and the Holy Family.
Organ and gallery
The simple wooden gallery in the west of the church can be entered through an external staircase and houses the church organ . The instrument originally came from the church in Wenigumstadt and was made in 1903 by Martin Joseph Schlimbach. After a comprehensive renovation by the Orgelbau Vleugels company in 1990/1991, it was brought to Großlangheim, now equipped with 17 registers. The predecessor was an organ from 1904, which Schlimbach had also created.
Bells
A total of four bells are located in the belfry of St. James' Church. The two oldest bells are from the 17th century, the two newer ones from the 20th century.
| number | Surname | Caster | Casting year | Chime | Weight | diameter | inscription |
|---|---|---|---|---|---|---|---|
| 1 | Marienbell | Wandering caster | 1626 | e ' | 950 kg | 114 cm | SEMEN MVLIERIS CONTERET CAPVT SERPENTIS ANNO DOMINI 1626 |
| 2 | James Bell | F. Schilling | 1959 | G' | 600 kg | 98 cm | S. Jakobe, adauge fidem tuorum |
| 3 | Urbanus bell | F. Schilling | 1959 | a ' | 440 kg | 87 cm | S. Urbane, protege vineam, vitem et vitum tuorum |
| 4th | Death bell | Wandering caster | 1626 | c '' | 250 kg | 74 cm |
Ringing order
The bells are rung as follows:
| occasion | Bells | annotation |
|---|---|---|
| Angelus 6 and 12 p.m. | 1 in three pulses | 40 seconds each |
| Angelus 11 a.m. | 3 | 3 min |
| Church service 15 min | 1 | |
| Prelude to church service 30 min | 1 | |
| Convict worship service | 1,2,3,4 | 5 min before |
| Ring in on Sunday at 5 p.m. | 1,2,3,4 | 5 min duration |
| The hour of Christ's death Friday 3 p.m. | 1 | 3 min |
| Angelus 6 p.m. | 1 -, 4 | 1 in three pulses, 40 seconds each. Then bell 4 for 2 minutes. |
Further equipment
The baptismal font in the choir came into the church in 1700, which is noted by an inscription in its baluster base. It also reads: “The voice of the Lord is on the waters (Psalm 28)”. The relief of Veronica with the face of Jesus can be seen on the stone , underneath a putto. The lid of the stone was decorated in 1905/1906 with a wooden group of figures depicting the baptism of Jesus .
Behind the stone, on the north wall of the choir, hangs the picture of an Easter altar or a wooden epitaph . It was donated in 1540. In 1626, an Eissner family renewed the carving and was shown kneeling in front of the crucifix in the predella . In the center, Jesus rises from the grave with a banner, he is framed by two round pillars. An excerpt from an inscription reads: "I am the resurrection and the life."
There are two pilgrimage pictures inside the church. One was created in 1852 and is carried forward on the pilgrimage to Gößweinstein in Franconian Switzerland. It shows the coronation of Mary by the Holy Trinity. The second picture comes from a fourteen-saint pilgrimage of the Großlangheimers, which no longer exists. The fourteen helpers in need are grouped around the baby Jesus. The reverse bears a representation of Mary.
A baroque statue of John of Nepomuk stands on the north side of the choir and between the cross altar and Joseph altar, Saint Helena with the cross of Christ. The church is also equipped with statues of St. Anthony of Padua , another figure of James and a statue of Wendlinus . The urban figure underlines the importance of wine in the area .
In the west of the nave, below the gallery, there is a Baroque rosary Madonna. It was created in the 17th century for the abbey church in Münsterschwarzach and came to Großlangheim in the 19th century after the monastery was dissolved. Another picture shows the Adoration of the Magi and is signed “Hachner pinxit Wirceburgi 1756” (Hachner painted it in Würzburg 1756). It was originally the sheet of a baroque side altar.
The interior of the Jakobskirche is completed with the 14 wooden-framed Stations of the Cross from the late 19th century in the rotunda. A plaque under the thirteenth station commemorates those who fell in World War II . The wooden church stalls are kept relatively simple, only the cheeks are decorated with grape leaves. Erwin Seitzer's holy water stoups to the right and left of the main entrance came into the church in 1962. They are provided with reliefs that each show a scene from the Old and New Testament: Moses knocks water out of the rock and John baptizes Jesus in the Jordan .
Surroundings
The area around the church is characterized by other church monuments. The late Gothic group of sandstone mounts of olives on the south side of the tower in a small annex was created during the renovation under Julius Echter von Mespelbrunn in the 16th century. An elaborate grid with the coat of arms of the prince-bishop separates the group of figures from the church square.
Further south, on the church square, is the oldest wayside shrine in the community of Großlangheim. It dates from 1501 and shows the crucifixion of Christ in front . Three angels catch the blood of the crucified, Mary and John weep for the dead. On the reverse, Christ is depicted as a man of suffering , surrounded by the instruments of torture . The side elements show Saint Anthony Abbas and the patron James the Elder .
On the north side of the church is the lapidarium , a protective hall that protects some of the community's most valuable wayside shrines, copies of which can be found in the village and its surroundings. A crucifixion group from the 18th century stands near the new sacristy . Two figures, Maria and Johannes , were added in 1909 by the stonemason Sonnleitner, the other two come from the Rococo.
literature
- Hans Bauer: District of Kitzingen. An art and culture guide . Market wide 1993.
- Georg Dehio: Handbook of the German art monuments. Bavaria I: Franconia . Munich and Berlin 1999.
- Anton Käsbauer: Großlangheim market . Volkach 1986.
- Catholic Parish of St. James Großlangheim (ed.): St. James in Großlangheim, St. Hedwig in Kleinlangheim . Gerchsheim 2001.
- Johannes Sander: Church building in transition. Religious architecture in Bavaria under Max I Joseph and Louis I . Regensburg 2013.
- Barbara Schock-Werner: The buildings in the Prince Diocese of Würzburg under Julius Echter von Mespelbrunn 1573-1617. Structure, organization, funding and artistic evaluation . Regensburg 2005.
- Jürgen Lenssen (Ed.): Tilman Riemenschneider, works of his faith world. Schnell & Steiner, Regensburg 2004, ISBN 3-7954-1661-2
- Thomas Wehner: Real Schematism of the Diocese of Würzburg. Kitzingen Dean's Office . Wuerzburg 1997.
Individual evidence
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 3.
- ^ Castell culture path: Großlangheim , accessed on March 3, 2014.
- ↑ While u. a. Käsbauer (p. 142) mentions this year, is u. a. mentioned in Schock-Werner (p. 235) 1453.
- ^ Käsbauer, Anton: Großlangheim market . P. 149.
- ^ A b c Bauer, Hans: District of Kitzingen . P. 62.
- ↑ Cf.: Sander, Johannes: Church building in transition .
- ↑ Geodata: Monument number D-6-75-131-16 , accessed February 23, 2014.
- ↑ a b Dehio, Georg: Handbook of German Art Monuments . P. 407.
- ↑ a b Schock-Werner, Barbara: The buildings in the prince-bishopric of Würzburg . P. 235.
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 6.
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 7.
- ^ Dehio, Georg: Handbook of German art monuments . P. 407. See Kalden-Rosenfeld, Iris: Tilman Riemenschneider and his workshop . Koenigstein i. Taunus 2011. A reference to the Pietà is completely missing here.
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 12.
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 21.
- ↑ Wehner, Thomas: Real Schematism of the Diocese of Würzburg . P. 80.
- ^ Catholic parish office St. Jakobus Großlangheim (Ed.): St. Jakobus in Großlangheim . P. 22.
Web links
Coordinates: 49 ° 45 ′ 20.1 ″ N , 10 ° 14 ′ 25.8 ″ E