St. Magnus (Unterrammingen)
St. Magnus is a Catholic parish church in Unterrammingen , Upper Swabia , a suburb of Rammingen . The fenced, east- facing church is surrounded by farms in the middle of the street village of Unterrammingen, a little withdrawn from the main street. The cemetery is on the east side. It is consecrated to St. Magnus and belongs to the Mattsies parish community. The church is best known for its frescoes by the painter Johann Baptist Enderle . Most of its baroque furnishings date from the 18th century. The organ brochure from 1775 is one of the most beautiful in Swabia.
history
The place Unterrammingen was first mentioned in 1094. It is assumed, however, that there was a parish in the village before that. The noble von Rammingen, Welf Ministeriales, had the right of patronage. In the late 13th century, the place passed to the rule of Mattsies and St. Magnus became a branch church of the local parish. In 1469, Hans von Stein zu Mattsies left the church to the parish of Türkheim, which at that time belonged to the Denkendorf monastery near Esslingen am Neckar . In 1560, Duke Albrecht V of Bavaria bought the parish of Türkheim including the branch church in Unterrammingen with all rights and goods from the Denkendorf monastery. He sold it in 1562 to Hans and Markwart von Stein zu Mattsies, who restored the parish of Unterrammingen after the early measurement foundation of Mattsies was dissolved in 1565. Together with the reign of Mattsie, the parish came to the Fuggers in 1598 , which they held until 1679 before it came to Duke Maximilian Philipp Hieronymus von Bayern. In 1705 she came to the Electorate of Bavaria.
_Innen_-_Hochaltarbildausschnitt_mit_dem_alten_Turm_cropped.jpg)
Only large parts of the tower have been preserved from the late Gothic previous church. A high altar painting depicting Saint Magnus and painted by Joseph Anton Hafner from Türkheim in 1732 is considered lost. Plans for the new building of the church were presented to the electoral clergy in Munich on June 12, 1761 by Pastor Joseph Anton Germiller. The old church had become too dilapidated, which is why a new building was desired. The care court in Türkheim then examined the church and approved a new building. The electoral court building foreman Ignaz Prechler drew floor plans, which have still been preserved, and the longitudinal section and included the surrounding walls of the Gothic choir. The electoral court chamber received cost estimates from Joseph Stiller for masonry work, Andreas Henkel for the stucco and Johannes Hörmann for the carpentry work; the named carried out the construction from 1767 to 1768. Elector Maximilian III. Joseph of Bavaria approved a more cost-effective estimate on February 23, 1765. Stucco and frescoes should be avoided; 25,000 bricks from the abandoned Angelberg Castle were used to build the church. Construction began at the end of March 1767 and in April 1768 the nave was covered. The now completely new choir was started afterwards and the shell was finished in the same year. In the roof there is a signature of a carpenter A. W. The total cost of the church was 5581 guilders and 20 kreuzers. The then pastor Germiller took over the cost of the stucco, the frescoes and the high altar. In addition, he donated 500 guilders for the purchase of an organ. The side altars were erected in 1775. The gable roof of the tower was replaced in 1796 by an upper floor with a dome. It was not until 1818 that Auxiliary Bishop Franz Karl Fürst zu Hohenlohe consecrated the church. Inside it was extensively restored from 1947 to 1948, outside in 1968. Further renovations took place in the late 2000s.
Building description
_Innen_-_Blick_von_Empore_in_den_Chor_2.JPG)
The structure is simple: it is a hall church with a retracted choir and a massive tower standing on the side of the choir flank. The block-like nave slightly towers over the lower structure of the choir. A running outside to the whole building up blinding pilaster unifies the components. As in the nave, the corners of the choir are rounded, which contributes to a flowing spatial effect.
Interior
The choir has moved in and consists of two yokes with a flat arched end . The wall is structured by reddish marbled pilasters on flat wall templates with cranked , three-part entablature pieces. An inclined pilaster is located at the apse base . There are also pilasters in the middle of the side wall and on the more prominent choir arch reveal . In the eastern yoke, two groups, each with two tall, curved windows above and below, are set into the wall close together. Above them there is a small, tetrapass-shaped curved window in the gusset . The west yoke has similar, painted groups of false windows, of which the west on the south side is pierced in the lower part by an arched oratory opening with a painted baluster parapet and a spiral iron grating. Under the western false windows, to the north to the tower and south to the sacristy, there are red-marbled rectangular doors and flat arched troughed vaults over flat shield arches . The arched choir arch with pilasters on the reveal and the west side is raised by one step and the floor of the choir in the east yoke is raised by another step. The hall-like nave is divided into four axes with pilasters. It has large, round-arched windows that extend into the segmental arches. The eastern corners are concave and flanked by pilasters covered with shield arches. The pilasters are on the inside of the choir arch. An attached, windowless fifth yoke serves for the galleries. The flat ceiling is hollowed out on all sides. The ridges cut into the ceiling above the choir arch and the western corners are rounded above the gallery. There are flat shield arches above. Between the last there is a broad, arched shield arch on the west wall. Until the last renovation, the galleries rested on red marbled round columns with Tuscan capitals. Due to their dilapidation, these were replaced with similar white supports with gold decorations at the top. The balustrades of the galleries are triaxial, the middle part is slightly protruding with an angular protrusion and a convex transition further inside . In the fourth yoke from the east there is an arched door.
The front hanging column in the roof structure above the nave bears the inscription 17/67 / AW in red chalk . A binder above the choir is signed MA 1768 W. It could be the builder of the roof, Anton Wachter from Markt Wald .
Exterior
_13.JPG)
In 1968 the old color scheme of the church, golden yellow on a white background, was restored. The axis-wise structure is formed by Tuscan pilasters with a circumferential, cranked and three-part entablature. Pilasters are also located on the corners of the east side of the nave. The rhythmic division into four wider axes with windows and a narrow, windowless axis at the corners results from the flanking of the axes with pilasters. On the choir, the pilasters are arranged between the two bays and at an angle at the apse approach. A crucifix from the People's Mission from 1989 is located in a tall, cloverleaf-shaped panel in the apex of the choir . The original crucifix is kept in the morgue. The painted assistance figures next to the cross, the remains of which were still recognizable in 1968, were whitewashed during the later restorations. On the roof above the fascia there is a standing dormer with a arched elevator opening and a triangular gable. The inscription: IAG MDCCLXVII IS in the top of the east gable means (pastor) Joseph Anton Germiller 1767 (builder) Joseph Stiller . The west facade with continuous beams is bordered by pilasters, the corners are rounded. The middle extension for the staircase with a pent roof was removed in 1968 and replaced by a new one with a hipped roof, based on the original building plans from the 18th century. The sign on the south side comes from the construction period and has a gable roof. It is open to the south with a flat arched arcade delimited by Tuscan corner pillars . A similar sign was added in the north in 1968. The pulpit staircase with a sloping pent roof also dates from 1968.
The sacristy built on the south side of the choir was extended one and a half meters to the east in 1819. It is an unadorned two-storey building with a pent roof, a pointed arched door in the south that was added in 1966, small rectangular windows and a flat ceiling inside.
tower
_6.JPG)
The free-standing tower is located north of the choir west yoke and is connected to the choir by a narrow intermediate building. The mighty square tower dates from the 15th century and has corner pilasters from the third floor . In between there are cloverleaf friezes, whereby the tower is externally divided into four more floors. On the individual floors there are rectangular openings, some with stepped walls on the outside . On the top floor, which was built around 1796, there are bevelled corners, each with two kinked corners, which are decorated with Tuscan pilasters. On the main sides there are two arched openings with apex stones, above them dials and semicircular gables. A lantern with an onion dome sits on the copper-covered octagonal dome. Approaches to the former vault can be seen on the ground floor. Inside, wooden stairs lead to the wooden floors of the tower floors.
Furnishing
The church is unusually richly furnished for a village church. The church flag dates from the middle of the 19th century and shows St. Aloysius on the front and the saint in front of Our Lady on the back. A guard Christ child from the end of the 18th century is in a glass shrine next to the north side altar. The font from 1948 was created by J. Schnitzer from Buching . It consists of red stucco marble, the shaft and basin of which are richly curved and profiled. The lid is made of wood. The figure group of the baptism of Jesus comes from Tyrolean carvers and was made in the 21st century.
The church's confessionals were made around 1775. They are made of wood and are marbled in gray, pink and purple tones with a gold-plated rocael decor . The three-axis confessionals with curved arcades and richly moved cornice have a convex protruding central axis and concave side axes.
In the sacristy there is a cupboard from the early 19th century with classicist carved decoration on the north and south sides. The cupboards are connected by a chest of drawers along the east wall. A small, two-door cabinet with a painted field is labeled 1728. The two-door cabinet in the oratory dates from the early 18th century and is simply paneled. It was given to the parish in 1967 by the residents of house number 16.
Piece
_Innen_-_Langhausfreskoputte.JPG)
The stucco decorations from 1769 are attributed to Andreas Henkel from Mindelheim . The main motif are elongated, slender rocailles in gray on a white background with individual gilding and long, thin palm branches. On the choir vault, the large ceiling fresco is surrounded by an oval, curved profile frame with foliage and flowering branches. In the diagonal and lateral centers of Voute are paintings cartridges. Asymmetrical, housing-like cartridges with putti and dome-like, apparently openwork closures are attached above the windows and the dummy windows. A smaller cartridge over the choir arch has a wooden cover with the chronogram hVMILIbVs / ConCeDItVr / gratIa (grace is given to the humble) for the year 1769.
The nave ceiling has a similar stucco composition on a larger scale. In the middle there is a large sulfur field with a profile frame. Large, symmetrical painting cartouches are attached to the diagonals and the middle of the sides. On the long sides between the central and corner cartouches, asymmetrically shaped painting cartouches equipped with grisaille are decorated with putti. Above and below the windows of the church there is rich stucco with rocailles decoration, below each with an apostolic cross and roses. Stuccoed putti sit on the pilaster beams. The freely Corinthian capitals are decorated with rocailles. Three wide painting fields with profile frames on the gallery balustrades, closing curved on the narrow sides, are surrounded by rocaille ornaments. The choir arch reveal bears brocade painting with individual stucco ornaments.
Frescoes
Johann Baptist Enderle painted the frescoes in the choir and nave in 1769 .
Choir
The main fresco in the choir shows in the lower half the battle of the Archangel Michael with the devil and the rebelling angels according to the Revelation of John ( Revelation 12,7 EU ff.). Armed with a flaming sword in his raised right hand and a round shield in his left hand, he pushes the evil spirits entwined by snakes down into hell. Angels hurling lightning are at his side. In the upper half, in the middle above Michael, the baby Jesus with the globe is shown in a light circle. Above it sits God the Father on a cloud, tied into a slightly contrasting triangle with the dove of the Holy Spirit floating in the top. To the left of Jesus stands the crowned Mary with a wreath of twelve stars as an apocalyptic Madonna . The Trinity is surrounded by angels with folded hands and putti heads.
Around the main fresco, female figures embody the three divine virtues . Faith occupies the central position in the apex of the choir. It is symbolized by the blue color of the robe and the attributes cross, book, chalice with host, round temple and burning candle in a heart. The love on the north side can be recognized by a red robe, a flaming heart on the chest and an arrow in the left hand. Opposite her, on the south side of the choir, hope is represented by a woman in a green cloak who holds an anchor in her left arm. The cartouche of faith is flanked by two further cartouches with saints, Joseph on the left, Antonius of Padua on the right, both in red and green tones.
Longhouse
_-_Langhausfresko_Detail_5.jpg)
The ceiling fresco in the nave shows on four sides a scene from the life of the church patron St. Magnus. The largest area on the east side is taken by St. Magnus' farewell to his parents. Under an arch supported by Corinthian columns, Magnus kneels on the steps of a staircase in front of his father, who is seated on a throne under a blue canopy. The father puts both hands on the son's shoulders and his mother, standing behind him, holds a cross over his head. In the sky above this scene, in a large wreath of clouds, angels and putti, a brightly clad female figure appears on a cloud, symbolizing divine providence (providentia divina). She holds her left hand over a ball and in the outstretched right one carries a scepter, on the tip of which the Eye of God sends out golden rays in all directions. A bright triangle appears behind her head. On the north side, the plundering, destruction and rebuilding of the Sankt Gallen monastery by Duke Othwin of Swabia are depicted. In the foreground soldiers abuse St. Magnus. Behind them, the treasures of the monastery are carried away in chests and monks are driven away by soldiers. In the background you can see the monastery rebuilt by Magnus. On the opposite side, Magnus, accompanied by his companion Tozzo, defeats a dragon by holding out a cross. The scene takes place in a mountainous landscape. Fearful people flee on rocks and a tree. In the west, Magnus preaches to the people around him. Leaning against a tree, he stretches his right hand forward with a sweeping gesture. In the background on the right he gives the sacrament of baptism to several people.
_-_Langhausfresko_Detail_1.jpg)
The nave fresco is surrounded by twelve cartouches, which are divided into three motif groups of four images each. In the corners, women in red and green tones stand on clouds as allegories of the four cardinal virtues , strength and wisdom in the east, temperance and justice in the west. Strength is symbolized by the attributes of the column stump, donkey jaw and helmet. Wisdom points to her forehead. The attributes mirror, snake and books belong to it. Temperance holds a bowl in her lap with her left hand while she empties a mug with the other hand. Justice carries a drawn sword in her right hand and scales in her left.
In the middle of each page, one of the four evangelists is depicted in bold colors . Mark, Luke and Matthew follow John in the east clockwise. They sit on cloud formations and are provided with their symbols. John an inkwell and the lamb on the book with the seven seals are added to the eagle. Mark can be recognized by the lion, Matthew by the winged person. You are identified as the author of the Gospels with books and writing utensils, Luke with the winged bull is also equipped with an easel, brush and color palette as the painter of Mary with the baby Jesus.
The four Latin Church Fathers form the third group on the north and south sides of the fresco. The evangelist Matthew is flanked by Gregory and Hieronymus and Mark by Ambrosius and Augustine. The church fathers are also sitting on cloud banks and are depicted in grisaille painting in front of a gold wallpaper pattern. Gregory is depicted with a tiara, a triple papal cross and a dove of the Holy Spirit, Jerome with an unclothed upper body and the attributes lion and crucifix as well as the trumpet of the Last Judgment as a repentant hermit. Ambrose can be recognized by his beehive and Augustine by the flaming heart in his right hand.
Altars
There are three altars in the church, the high altar in the choir on the east side, the side altars on the east corners next to the choir arch in the nave.
High altar
_Innen_1b.jpg)
Dominikus Bergmüller created the high altar from 1771 to 1773 as a donation from Pastor Joseph Anton Germiller; it cost 900 guilders. On April 3, 1771, the Turkish nursing court approved 150 guilders for the setting of the altar. The figures may come from Johann Michael Hegenauer or Franz Joseph Pfeifenhofer , both from Türkheim. The wooden altar is set in reddish and gray-violet tones with gold-plated rocailles, the figures are white with gold decorations. The decoration of the masonry stipes is slightly concave with volute templates at the beveled corners. The curved gable of the cylindrical tabernacle is bordered by two volute templates. In front of the niche there is a small crucifix, in the gable of the niche four putti depict the heart of Jesus. The curly closing altarpiece with St. Magnus as protector of the place is marked with J. Enderle S. 1771 . An old town view in the lower area shows the church with the old saddle roof tower in Swabian tradition. The monumental, concave structure has six columns. The capitals are gilded and decorated with rocailles. On both sides of the altar sheet there is a column in front of the two sides of a corner pillar, the inner one in front of a pilaster. Outside there is a third, higher column on a base. Between the inner pairs of columns there are figures of St. John Baptista and John Nepomuk. The diocese patron Ulrich and St. Benno stand on consoles next to the outer columns . The entablature of the altar is richly cranked. The altar extension is formed by four volutes above the inner and outer columns. Inside there are putti at the foot and outside kneeling angels with a flower chain. In front of a glory of rays in the middle, the Holy Trinity with God the Father, the Lamb of God and the Holy Spirit is depicted between the heads of angels.
Side altars
_Innen_-_Marienaltar_Reliquiar_1.JPG)
The side altars were created by Dominikus Bergmüller in 1775 for 450 guilders. The carvers of the figures could have been the same as those of the high altar. The wooden side altars are marbled reddish and gray and adorned with gold-plated rocailles. The figures are white with gold decorative elements. The slightly concave stipes have beveled, volute-flanked corners. The structure is concave with two pillars in front of pilasters. The entablature curving up in the middle is cranked. The curly final altarpieces are neo-baroque from 1948 and labeled J. Baumann . The north shows the Adoration of the Shepherds, the south shows the Ascension of Christ. There are compact figures on the outside. Saints Peter and Paul can be seen on the northern altar and Ignatius and Francis Xavier on the southern altar. There are cartouches above the paintings that used to contain inscriptions. Today they are marbled in green. There are kneeling angels on the pillars. The extension is formed by two volutes set with angel heads. A flat arch connects the volutes. The excerpts in rich rococo frames adorn a Heart of Mary and a Heart of Jesus. They were created by Joh. Michael Ziegler in 1781 . Until the 1970s there were pictures of Johann Baumann with the baptism of Jesus and Jesus healing the sick. On both altars there are two rococo wooden chandeliers with embedded mirrors. There are also two reliquaries on each of the altars. In the middle of the north side altar is a figure of Christ from the first half of the 17th century, acquired in 1966, holding a flaming heart crowned with thorns in the left hand. On the south side altar stands a neo-baroque Madonna with baby Jesus.
pulpit
_Innen_-_Kanzel_Schalldeckelbekr%C3%B6nung.JPG)
The pulpit on the north wall can only be entered from the outside. It was probably created by Dominikus Bergmüller around 1775 and consists of gray, reddish and brown marbled wood with gold-plated rocailles decor. The figures are painted white and have gold-plated decorative elements. The body is cylindrical and has a bulging lower cornice. Putti carry the attributes of faith, hope and love. Underneath is a volute tip. A door with a tail lintel is built into the rear wall of the pulpit. The sound cover has the shape of a cranked cornice and carries a volute pyramid with three putti. Left and right are trumpet-blowing putti, one of which represents the New Testament, the other the Old Testament. Above, stretching hands to the other two, another putti symbolizes the baby Jesus in front of a halo as a link between the testaments.
Stalls
The choir stalls are from the 18th century and are marbled. Judging by the style, it was probably made around 1720. On the front and back parapets there are fields separated by hermen pilasters with pointed sides. The tail cheeks with their richly carved decoration date from around 1775 and resemble the layman's chairs. This has oak tail cheeks with carved rocailles, palmettes and scales from the same period as those of the choir stalls. The front and back parapets on the sides of the cross aisle date from around 1720. The chairs under the gallery from the 18th century are left raw.
The marbled wooden communion bench dates from around 1775, is convex and equipped with square balusters.
Funerary monuments
There are two grave monuments on the walls inside the church. To the right of the main entrance is the small Solnhofner plate for Pastor Joseph Anton Germiller, who built the church. The Solnhofer plate on the west wall of the sacristy commemorates the chaplain Johann Nepomuk Steiner, who died in 1772. This plate has a small chalice relief above the inscription and rocailles engraved in the corners.
Wooden figures
_Innen_-_rechtes_Kruzifix_im_Chor.JPG)
The lecture crucifix to the left of the choir dates from the second half of the 18th century. A wooden crucifix from the second half of the 18th century is located behind the high altar. The large crucifix with a painful Mother of God on the south wall of the nave opposite the pulpit dates from the second half of the 18th century. On the north wall of the choir stands a saint Sebastian on a console. It is painted white and has golden decorations like the altar figures. It is the only surviving figure from the previous church and dates from around 1720 to 1730. The small processional crucifix from the 18th century on the northern apex of the choir has a metal body. In the oratory there is a resurrection savior from the second quarter of the 18th century.
painting
On the long walls in the nave and under the gallery on the west wall there are 14 stations of the cross by Johann Michael Ziegler . The first and last stations, labeled JM Ziegler 1778 , are on the long walls in the choir. Oval oil paintings of St. Aloysius and St. Stanislaus Kostka on both sides of the choir arch from the end of the 18th century have classicist frames.
Brotherhood poles
In the church there are several brotherhood poles from the second half of the 18th century. On the north wall of the nave there are 15 poles with the Sacred Heart in a halo, which are held in gold. The rods are held in reddish brown and have a golden knob. Only the lecture pole is green and has a twisted stick and a specially decorated end. On the south wall there are 14 poles with the monogram M for Maria in a halo, which are held in silver. The bars are blue with a gold center knob and a gold end. The lecture pole is larger and has golden longitudinal decorations and a longer, golden finish.
organ
_Innenraumansicht_Langhaus_1.JPG)
In 1775 unknown masters built a one-manual organ with a five-axis front in the Rococo style, which is "one of the most beautiful in Swabia". Julius Schwarzbauer replaced the pipe work around 1910 using pneumatic cone chests . In 1957 Gerhard Schmid carried out the electrification and an extension to two manuals behind the historic case. Since then, the cone chests have been controlled by an electropneumatic action . In 2005 Orgelbau Wech renovated the instrument, which has 16 stops on two manuals and a pedal . Today the organ has the following disposition :
|
|
|
||||||||||||||||||||||||||||||||||||||
Bells
_Innen_-_Gleocken_2.JPG)
The first bells are mentioned in 1656 during construction work on the church. At that time, the so-called Big Bell was hung around and in 1673 the belfry was repaired with oak. The bells that existed at that time were melted down during the First World War. The newly acquired bells also had to be handed in during the Second World War and did not come back to Unterrammingen. Today's church bells consist of three bells. These were cast by the Wolfart bell workshop in Lauingen, paid for by the parish and consecrated in 1953 by Pastor Schäffler. The largest bell is dedicated to St. Magnus and weighs 28 quintals. It has the inscription Saint Magnus protect your parish . The middle bell is dedicated to St. Mary and weighs 16 quintals. On it stands Holy Mary save us from hunger and war . The last bell is the Sankt-Josefs-Bell and weighs 18 quintals. Its inscription reads Saint Joseph take our families under your protection .
literature
- Heinrich Habel: Mindelheim district . Ed .: Torsten Gebhard, Anton Ress (= Bavarian Art Monuments . Volume 31 ). Deutscher Kunstverlag , Munich 1971, DNB 720035325 , p. 501-506 .
- Catholic Church Foundation Sankt Magnus (Ed.): The parish church of Sankt Magnus in Rammingen . Kessler Druck + Medien, Bobingen 2009.
Web links
Individual evidence
- ^ Diocese of Augsburg
- ^ A b Hermann Fischer , Theodor Wohnhaas : Historical organs in Swabia . Schnell & Steiner, Munich 1985, ISBN 3-7954-0431-2 , pp. 242 .
- ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): District of Mindelheim. Deutscher Kunstverlag, Munich 1971, p. 504 (= Bayerische Kunstdenkmale. Vol. 31)
- ^ Dehio, Bavaria III: Swabia. ISBN 3-422-03008-5 , p. 1013.
- ^ The parish church of St. Magnus in Rammingen. Bobingen 2009, pp. 24-27.
- ↑ The organ of St. Magnus on the website of Orgelbau Wech , viewed March 1, 2012.
Coordinates: 48 ° 4 ′ 12 ″ N , 10 ° 34 ′ 54 ″ E