St. James the Elder (Mindelau)
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St. Jakobus the Elder is a Catholic parish church in Mindelau , Upper Swabia , a district of the district town of Mindelheim in the Unterallgäu district in Bavaria .
location
The church stands in the east of the village on a sloping slope. She is surrounded by the cemetery. The cemetery chapel is located south of the choir .
history
Heinrich von Mindelberg handed over the parish to the Augustinian monastery in Mindelheim on July 6, 1288 in exchange for Bedernau . The Augustinians held the incorporated parish until the monastery was dissolved in 1526. On March 14, 1293, Konrad von Heimenegg sold three farms to the church. After the Augustinian monastery was dissolved, the respective lords of the Mindelheim rule held the parish. The consecration of an altar by the auxiliary bishop Georg Christoph Rösch of the Eichstätt diocese took place on October 12, 1626. When the Jesuits came to Mindelheim, they took over the parish from 1618 and incorporated it into their college. The painter Jacob Staiger from Ottobeuren repaired the Liebfrauen and Johannes altars in 1660. In 1682 various works took place in the church. Two new windows were installed and a new side altar, made by carpenter Hans Jakob Geiger and framed by Johann Kaspar Zimmermann , was purchased. For this altar, Martin Beichel from Türkheim created two large and four small angels as well as a figure of John the Baptist. Johann Kaspar Zimmermann painted them. The Jesuits decided to completely rebuild the church in the early 18th century. The rule of Mindelheim, then under the Duke of Marlborough, approved the plans. The old church was demolished for the new building; the new building with the tower was probably carried out by the Mindelheim master builder Thomas Natterer . The consecration took place on October 2, 1713 by the Augsburg auxiliary bishop Johann Kasimir Röls . New altars were purchased in the middle of the 18th century. After the Jesuit order was dissolved, the parish was transferred to the Maltese Commandery in Mindelheim from 1781 to 1808. After the secularization, the parish was continued as an independent parish. In the first half of the 19th century, Alois Riedmiller from Mindelheim painted a new high altar picture. A restoration, which also included a new pulpit, took place in 1860. The church was restored again in 1952.
Building description
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The choir is drawn in, it has two yokes and a groin vault without belts, the semicircular end has three stitch caps in the dome . The wall structure is formed by Tuscan, baseless and pink marbled pilasters with three-part entablature. The apse is divided into three axes by pilasters. The windows are closed arched, the apex of the choir and the west axis have no windows. Rectangular doors in the west axis lead to the tower in the north and the sacristy in the south . Above the sacristy door there is an arched oratory opening at entablature. The choir arch jumps in slightly, is adorned with a cornice and has a semicircular ending.
The nave is a four-axis hall with arched windows and a flat ceiling . The wall structure is formed by pilasters with entablature as in the choir, but with a surrounding cornice. Between the pilasters there are large, arched arcades with profiled fighters. On the narrow west axis with a blind arcade, round windows are let under the lower and in the south also over the upper arcade. The lower gallery is supported by Corinthian, red marbled wooden columns. It protrudes with a paneled parapet to the western edge of the window in the second axis from the west. In the same axis of the nave there is an arched door on both sides. The upper gallery is set back in the west axis. The convex organ face is inserted in the middle. The gallery is bordered by neo-baroque, marbled pillars.
On the outside, the church is divided axially by broad, base-less Tuscan pilasters, over which the architrave and frieze of the surrounding entablature are cranked. The entablature is continued on the sole of the west pediment, with the exception of the architrave in the middle it is interrupted by a arched storage opening. The gable slopes are profiled. In front of the south entrance there is a groin arched sign with an asymmetrical gable roof and a basket arched door in the south. It drags itself deep in the east over the adjoining dungeon niche. The arched dungeon niche opens in the sign. Opposite her is a niche of the Mount of Olives. In the north there is a more recent sign with a Lourdes grotto and a hipped roof .
The tower stands in the northern corner of the choir and nave. The square lower part consists of two very high floors, which are decorated with Tuscan pilasters next to the corners and a high, three-part entablature. Small rectangular openings in a drilled frame with a triangular gable in the basement and a segmented gable in the upper floor are inserted in round arch panels on each side of both floors. The top of the tower is octagonal with narrower diagonal sides. It contains bent Tuscan corner pilasters, a three-part entablature with a capped architrave and a frieze. There are triangular gables above coupled arched arcades with central columns. The entablature frieze has transverse oval openings. The tower is crowned by an eight-sided, clapboard-covered onion dome .
The sacristy in the southern corner of the choir and nave dates from the beginning of the 18th century. It is two-story and has a strip cornice with connected corner pilasters under the eaves. The eaves cornice is profiled. It is covered with a quarter hipped roof. The windows are small and rectangular with an arched lintel. There is a groin vault on the ground floor.
Furnishing
The church is rich in furnishings, ranging from late Gothic to modern. The font comes from the Neo-Renaissance and is made of stone. A memorial plaque commemorates those who fell in the war from 1805 to 1815 and consists of a Solnhofer plate . It was built in 1833. Outside on the north side there is a grave slab for Pastor Mang Anton Bick, who died in 1833. It consists of a Solnhofer plate with a classicist, engraved frame. A chalice relief is embedded in the upper area.
Piece
The stucco of the church is from the beginning of the 18th century. In the choir there are laurel sticks on the ridges, in each of the caps there are two crossed branches. In the spandrels of the choir are loosely distributed, thin, spiraling acanthus tendrils. Circular profile frames are attached to the two ceiling images. A fruit garland lines the end of the choir arch on the west side. Field stucco decorates the nave ceiling. There are three painting fields in the central longitudinal axis. The middle one is longitudinally oval, the other two are circular. The rest of the area is orthogonally divided into fields, these are loosely filled with spiral acanthus. In the four corner fields, the tendrils are grouped around diagonally placed oval picture medallions.
Frescoes
The frescoes in the church are of modern origin. The choir frescoes date from 1947 and were painted by Florian Bosch . The east shows the Trinity in a grisaille painting, the west shows Jesus calling the apostles to fish men . This is called Florian Bosch 47 . The frescoes in the nave were painted by Lothar Schwink in 1958 . The eastern one shows a representation of Our Lady , in the middle fresco Saint Michael is shown. The western fresco depicts the Babylonian whore and is an allegory of the temptation of worldly things. It is labeled Schwink 1958 . in the corner medallions saints are depicted in grisaille painting. The north-east shows St. Agnes, the south-east shows St. Christopher. In the north-west the depiction of St. Anna Selbdritt can be seen , in the south-west St. Conrad von Parzham .
Altars
The altars of the church date from the middle of the 18th century. The wooden altars marbled in red / purple and gray-brown tones have gilded details, especially on the capitals and column bases. The earlier assumed rocaille decor was probably removed in the 19th century.
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The high altar has a sarcophagus-shaped stipes . The splendid Louis XVI tabernacle is made of brass and silver and is believed to have been created by Plazidus Sauter , the Mindelheim gürtler . It is cylindrical with a truss and is flanked by columns and volutes. On their angular lower bases there are gilded, wooden angels from the middle of the 18th century. In the tabernacle niche there is a small wooden crucifix from the middle of the 18th century. Above the tabernacle is a wooden lamb of God on a book. The altarpiece is curved and modern. It shows St. James the Elder as intercessor before Jesus and is labeled (Paul) Brachetti . Richly staggered Corinthian column groups flank the picture. Inside there is a slightly inclined inward column, in the middle, in front of an inclined outward-turned pillar with pilasters, a protruding, higher, over-cornered column can be seen. Outside there is a recessed column that is the same height as the central column. The entablature zone is correspondingly richly cranked, curved and staggered with angular segment gables. A segmented cornice with a neo-baroque inscription cartouche is located above the altarpiece as the base of the extension . In the curly excerpt an eye of God is attached in a cloud ring and a ray glory.
The side altars have a box-shaped strip. In the structure, inclined pillars in front of rudimentary pillars delimit a narrow round arch cover. There are wooden figures in it. The northern one showed a Mother of God who is a copy of the figure by Lorenz Luidl from Schwabmünchen . In the southern altar there is a neo-baroque figure of the Sacred Heart. A neo-baroque, silver-plated drapery is attached to the figures. Outside there are figures on consoles. On the north altar, St. Clara from the beginning of the 18th century can be seen on the left and a neo-baroque statue of Joseph on the right. At the southern altar are the two saints of the plague, Sebastian and Rochus. They both date from the middle of the 18th century. In the curved excerpt there is a Marian monogram in the north altar, in the south a Jesus monogram in a halo. There is one figure in each cafeteria . The one on the north altar shows Saint Anthony. This statue is neo-baroque. On the south altar there is a holy Veronica with the handkerchief from the middle of the 18th century. On each of the altars there are two silver-plated and two gilded wooden candlesticks from around 1780.
pulpit
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The pulpit dates from around 1860. It has a baroque style. The wood is marbled and covered with gilded decor. The body is polygonal, with pillars on consoles at the corners. In the fields there are portraits of the four evangelists painted in a Nazarene style on wood . The entablature is cranked. Under the body is a tail tip that is rolled backwards. The pulpit is accessed from a staircase to the right of it. This has a closed, paneled parapet. The sound cover is held in the form of an entablature. On this sit four putti from the 18th century and a tail tip with a set figure of St. Michael with the flaming sword and a scale.
characters
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In the church there are several wooden figures, all of which are framed. Saint Anne with the Child Mary and Saint Joachim can be seen in the choir. They both date from around 1700. Silver-plated half-figures from the mid-18th century in the choir show the Jesuit saints Ignatius and Franz Xavier. In the nave, a crucifix from around 1520 to 1530 is hung on the south wall. It was repaired in 1660 by Georg Schenck from Mindelheim. Jakob Staiger from Ottobeuren painted the title. A painful Mother of God from 1963 is attached below. It was a replica of the figure in Dorschhausen .
In the dungeon niche by the sign is a life-size dungeon savior from the middle of the 18th century. In the opposite niche of the Mount of Olives there are neo-Gothic figures of Jesus and an angel.
Stalls
The lay chairs are neo-coco and have rocailles carved on the tail cheeks. The chairs under the gallery, which rise flat on wooden steps, date from the middle of the 18th century. On the tail cheeks it has a rocailles border and scaled middle surfaces. On the front parapets, scroll templates and curved, raised fillings are attached. The choir stalls and the communion bench are neo-baroque and unmounted.
organ
The organ was installed by the organ builder Heckel in 1952. The modern prospectus is framed by marbled wooden parts of a housing from around 1780. The prospectus has a convex base cornice and side, concave pillars with curved triglyphic entablature.
graveyard
There are several grave monuments from the 19th century in the cemetery . To the south of the nave is a war memorial for those who fell in the First and Second World Wars. It consists of a large, rectangular and brick wall. A plaque made of black granite is embedded in this wall. The memorial plaque consists of four parts. The fallen soldiers of the First World War are listed in the top left, the fallen in the Second World War in the top right. A representation made of white marble is embedded between these. This shows a crucifix under which a fallen soldier lies. Below is the inscription Pray for us who have fallen in the granite ! As we died, we - thought - of you to read. Next to it are the names of the expellees from the Second World War on the right and left.
A little above the war memorial stands the cemetery chapel , a former burial chapel.
literature
- Heinrich Habel: Mindelheim district (= Bavarian art monuments . Volume 31 ). Deutscher Kunstverlag , Munich 1971, p. 227-229 .
Web links
Individual evidence
Coordinates: 48 ° 1 ′ 27.4 ″ N , 10 ° 31 ′ 59.5 ″ E