St. Maria Magdalena (Münnerstadt)

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The St. Maria Magdalena Church in Münnerstadt.

The Roman Catholic Church of St. Maria Magdalena is located in Münnerstadt , a town in the Lower Franconian district of Bad Kissingen . She is St. Consecrated to Mary Magdalene .

The church is one of the Munich monuments and is registered in the Bavarian Monument List under the number D-6-72-135-41 .

history

Beginnings

The construction of the St. Mary Magdalene Church by the knights of the Teutonic Order began around 1230 under the Henneberg Count Poppo († 1245). From the late Romanesque church building in the initial phase, the west portal in the west tower still exists today.

By the end of the 14th century, the power of the Teutonic Order, which was now only responsible for parish rights and the parish church, waned. In return, the power of the citizenry grew, who initiated a new building of the late Romanesque church building of the choir with seven colored windows in the first half of the 15th century . The period from 1428 to 1446 is mentioned as the time of origin for the choir, although the choir would only have been built after the windows were built. Julia and Christian Hecht date the choir building to the period between 1400 and 1420. As a result, the year 1446 on the south tower refers to a time when the tower reached its present height a long time after the choir was built.

The sacrament niche on the north side of the choir head and - in the choir - the figures of the apostles John and Paul , a depiction of a saint (with a depiction of two snarling dragons in the base) and - in the south aisle - James the Elder , date from the same period . Philip and Simon . In 1612 the figures of the missing apostles were added.

middle Ages

In the period between 1415 and 1440 the citizens of Münnerstadt initiated the production of seven elaborate windows for the choir as a sign of the growing prosperity of the city . After the Reformation , the windows were exposed to decay; additional interventions took place from 1605 to 1612 during a reconstruction of the church initiated by the Würzburg prince-bishop Julius Echter von Mespelbrunn . The first restorations did not take place until the 19th century, when a return to the art of the Middle Ages took place.

The church's Schunter chapel, located to the right of the vestibule - in which, as the benches there and written documents show, a court was once held - dates from 1428 . The inscription on the inside of the portal reads »M.CCCC.XX.V.II. iar. to. sant. michels. Day. hub. richart. from schunter. disen. construction. and. figur.an «. The portal and the windows are late Gothic and were created during a restoration in 1501. The originally vaulted ceiling of the rectangular room was replaced in 1610 by a stucco-framed flat ceiling.

On June 26, 1490, the Würzburg sculptor Tilman Riemenschneider received an order from the Münnerstadt council to make a reredos for the altar of St. Maria Magdalena Church. The altar was supposed to be erected on Easter 1492. The Magdalene retable was set up late in the autumn of 1492 and with minor deviations from the drafts. In 1504, the Nuremberg-based artist Veit Stoss replaced the glue coating on the altar with a conventional color version and added pictures to the altar with a representation of the martyrdom of St. Kilian .

The one between the choir and the south aisle, St. Elisabeth von Thüringen (co-patroness of the Teutonic Order ) consecrated knight's chapel .

The crucifixion group on the triumphal arch above the celebration altar was also created around 1500 . It was created around Tilman Riemenschneider with a late Gothic Jesus head and a body from the 19th century. The depiction of Anna selbdritt from the late style of Riemenschneider, located in the southern slope of the choir, was also created after 1500 . The Pietà next to the depiction of the third of Anna comes from the second half of the 16th century.

Modern times

The south aisle was built around 1503. During a renovation in 1605–1612 under Würzburg Prince-Bishop Julius Echter von Mespelbrunn , the north aisle was rebuilt due to the risk of collapse. Once during the Reformation the Protestant faith had been introduced, the prince bishop had during the Counter-Reformation as a sign of the Catholic faith, the nave completely remodel: arcades and walls of the nave were rebuilt after lowering of the floor, pulled painted flat ceiling and the numerous places Longhouse grisaille paintings attached.

The front of the Knights Chapel located baptismal font dates back to 1613 and was made by Georg Prünn. On the baptismal font there are representations of the Annunciation , birth , circumcision and baptism as well as Mary , the Man of Sorrows and John the Baptist .

In 1649/53 the Riemenschneider altar was torn down; individual parts of the altar were sold. The middle part of the new baroque altar was a " Noli me tangere " image created by the Neustadt painter Hans Caspar Haas around 1650 . It depicts - inspired by an engraving by Federico Barocci - the meeting of Maria Magdalena with the resurrected Jesus Christ . Today the picture is on the south wall of the choir near the celebration altar.

In the years 1818/20 and 1833 the previously baroque church was redesigned in the Gothic style. The floor was raised and numerous old grave monuments were destroyed; the baroque high altar was replaced by a neo-Gothic high altar.

In 1832 the painting Death of Mary was purchased for the church in the Nuremberg art trade. The painting was probably created around 1420 - as the drawing, painting style and the strong white heightening suggest - by the Nuremberg master of the Deichsler altar and is located on the front wall of the north aisle.

To the right of it hangs a predella , also acquired in 1832 , with a painting that is probably by the same master and shows Mary with eight saints.

Twentieth Century and Present

Shortly before the end of the Second World War , a mine blind man damaged the choir, nave and high altar, which were temporarily repaired in 1950/52. The stained glass and Riemenschneider's altar were relocated at the time of the war.

In cooperation with the Bavarian State Office for the Preservation of Monuments and the Würzburg Episcopal Building Authority, the church was completely restored from 1970 to 1979. In this context, the glass paintings were restored, the paintings painted in the nave under Prince-Bishop von Mespelbrunn uncovered and the original height of the floor restored. Furthermore, the celebration altar was set up under the triumphal arch with the pastor facing the community. Sculptor Lothar Bühner replaced the lost sculptures of the apostles Andreas , Matthäus and Thomas with new ones and also created a figure of Maria Magdalena.

Nowadays the St. Mark's procession takes place every year at the end of April. It begins at the St. Maria Magdalena Church and leads to the Talkirche . Halfway there, she stops at the Hohe Kreuz and the nearby Kreuzschlepper .

As part of the renovation, the Riemenschneider altar was reconstructed, with the remaining parts of the altar being restored and the sculptor Lothar Bühner making copies of the parts of the middle group that were once sold. The restored high altar was consecrated in 1981.

Furnishing

Stained glass window

Elisabeth window, funeral procession (detail).

The current arrangement of the windows is based on a restoration carried out in the 1970s, in which the best possible reconstruction of the original condition of the windows was sought. Looking from the nave, the windows are arranged from left to right as follows:

  1. Depot window (assembled from fragments during restoration work in the 1970s, which could not be assigned to any of the other windows)
  2. Pentecost window (created around 1425/30)
  3. Elisabeth window (made around 1415/20)
  4. Passion or Christ window (made around 1420)
  5. Kilians and Katharinen Windows (made around 1430)
  6. Mary Magdalene Window (made around 1440)
  7. Apostle window (made around 1425)

Schunter Chapel (1428)

Mount of Olives in the Schunter Chapel .

The relief on the east wall of the chapel with the depiction of the mass of St. Gregory , in front of which an altar once stood, comes from the years 1428/30 . The relief is flanked by the kneeling figures of the donors - which indicates the character of the relief as a family epitaph - as well as by the mourning figures of Mary and John .

To the right of the relief is the Mount of Olives , which consists of a fresco and larger-than-life, colored stone figures. The fresco shows Judas Iscariot approaching with the captors. The figures represent the praying Jesus, who looks at the angel with the chalice, as well as the sleeping disciples. Among other things, the lyrical mood of the Mount of Olives belongs to the soft style , while the realistic representation suggests the late Gothic style.

Riemenschneider Altar (1492)

The altar of the church ( Tilman Riemenschneider , 1490–92).

Riemenschneider's construction drawing has been lost, but the planned appearance of the reredos can be traced back to the implementation regulations that have been preserved. For the reredos, Riemenschneider made figures of the church patroness Maria Magdalena , the Franconian apostle Kilian and St. Elisabeth of Thuringia as well as other depictions such as the banquet in Simon's house . The Magdalene retable is the first altarpiece whose figures were not painted in conventional colors , but instead were coated with glue with colored pigments.

In 1504, the Nuremberg artist Veit Stoss , who had fled to his son-in-law Jörg Trümmer in Münnerstadt shortly before because of an impending trial, was commissioned to replace the glue coating with a conventional color version. In addition, Veit Stoss created four panels depicting the Gailana conspiracy leading to the martyrdom of St. Kilian led. The pictures are the only surviving paintings by Veit Stoss.

In 1649/53 the altar was torn down; individual parts of the altar were sold in 1831. As part of the renovation of the church in the late 1970s, the altar was reconstructed from 1979 to 1981. Sculptor Lothar Bühner made copies of the altar parts that were once sold. The restored high altar was consecrated in 1981.

Knight's Chapel (1500)

Calvary in the knight's chapel .

The knight's chapel is a carved altar, of which only the middle group with the Calvary is left. Shrine , cracks , predella and the side wings with the reliefs of St. Stephen and St. Laurentius are no longer preserved.

The carved altar shows Jesus on the cross and before the cross Mary and John in mourning as well as the captain of Kaparnaum and the soldiers Longinus with the spear and Stephaton with the sponge. The style of the Christ figure of the Calvary, already frozen in death, as well as the mourning group in front of the cross reveal the influence of Veit Stoss.

The name of the knight's chapel goes back to the numerous grave monuments that were around the carved altar. The two preserved grave monuments in front of the knight's chapel are grave slabs designed by Bernhard Friedrich for the knight Claus von Heßberg (d. 1539) to the left of the entrance to the chapel and Martin Luther's friend Silvester von Schaumberg to the right of the entrance to the chapel (probably made in 1534) . Bernhard Friedrich had already created the bas-relief of Cäcilie von Schaumberg (died 1525) in the west wall of the south aisle in the Gothic style with Renaissance motifs.

organ

View of the organ with its historic case

The first references to an organ in St. Maria Magdalena come from the year 1471 (applications for an organist position). There is evidence of an organ in the middle of the 16th century, and a two-manual instrument made by the organ builder Enreß Weißen (Ostheim) at the beginning of the 17th century, with probably 12 registers. In 1750 the court organ builder Johan Philliip Sueffert (Würzburg) built a new instrument with 17 registers on a manual mechanism and pedal. In 1906 this organ was replaced by a new one by Franz Hochrein (Münnerstadt).

Today's organ was built in 1985 by the Klais (Bonn) organ building workshop, using the historic organ case of the Seuffert organ. The instrument has 39 registers on three manual works and a pedal.

I positive C – g 3 (swellable)
1. Bourdon 8th'
2. Principal 4 '
3. Reed flute 4 '
4th Principal 2 '
5. Echo cornet 2 2 ⁄ 3  '
6th Larigot 1 1 ⁄ 3  '
7th Scharff IV 1 1 ⁄ 3  '
8th. Cromorne 8th'
9. Vox humana 8th'
Tremulant
II Hauptwerk C – g 3
10. Pommer 16 '
11. Principal 08th'
12. Salicional 08th'
13. Double flute 08th'
14th Octave 04 '
15th Transverse flute 04 '
16. Fifth 02 2 ⁄ 3  '
17th Octave 02 '
18th third 01 3 ⁄ 5  '
19th Mixture IV 01 1 ⁄ 3  '
20th Trumpet 08th'
Tremulant
III Swell C – g 3
21st Horn principal 08th'
22nd Gamba 08th'
23. Reed flute 08th'
24. Vox coelestis 08th'
25th Fugara 04 '
26th Flageolet 02 '
27. Mixture IV-V 02 2 ⁄ 3  '
28. horn 16 '
29 Trompete harmonique 08th'
30th Hautbois 08th'
Tremulant
Pedals C – f 1
31. Principal 16 '
32. Sub-bass 16 '
33. Fifth 10 2 ⁄ 3  '
34. Octave 08th'
35. Covered bass 08th'
36. Pointed flute 04 '
37. Rauschpfeife IV 02 2 ⁄ 3  '
38. Bombard 16 '
39. trombone 08th'

Peal

The chime includes seven bells, four of which are very old. In 1957, the Otto bell foundry in Bremen-Hemelingen cast  three new bronze bells with the chimes: c ′ - a ′ - h ′ for the St. Maria Magdalena Church. In the seven-part ringing they are bells No. 1, 4 and 5. The Otto bells have the following diameters: 1563 mm, 929 mm and 827 mm.

No. Surname Casting year Caster Weight Chime
1 Warrior bell 1957 Otto Hemelingen 4,600 c 1
2 Magdalene Bell 1681 Johann Ulrich Bad Hersfeld 2,600 e 1
3 Marienbell 1588 2,200 g 1
4th 1957 Otto Hemelingen 900 a 1
5 1957 Otto Hemelingen 640 h 1
6th Death bell 1630 440 c sharp 2
7th Transformation bell middle Ages 100 ais 2

literature

  • Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (=  Henneberg Museum Münnerstadt . Volume 4 ). Schnell and Steiner, Regensburg 2001, ISBN 3-7954-1456-3 .
  • Werner Eberth : In the footsteps of the saints ... in the Bad Kissingen district , Verlag TA Schachenmayer GmbH + Co, Bad Kissingen, 1994
  • Georg Dehio : Handbuch der Deutschen Kunstdenkmäler: Handbuch der Deutschen Kunstdenkmäler, Bavaria I: Franconia: The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia: BD I , Deutscher Kunstverlag Munich Berlin, 2nd, reviewed and supplemented edition, 1999, pp. 643-646.
  • Eva Ulrich, Hartmut Krohm: The Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2009 (6th edition), ISBN 978-3-7845-0953-2
  • The Riemenschneider altar in the parish church of St. Maria Magdalena Münnerstadt , Verlag Schnell & Steiner GmbH Regensburg, ISBN 978-3-7954-4682-6 , 5th revised edition: 2010
  • Werner Eberth: Prince-Bishop Julius Echter and his building inscriptions - A PR gag of the 17th century , Theresienbrunnen-Verlag Bad Kissingen, 2017, pp. 39–41

Web links

Commons : St. Maria Magdalena Münnerstadt  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Eva Ulrich, Hartmut Krohm: Die Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition), p. 3
  2. ↑ a b Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 15
  3. ↑ In the literature (Eberth, p. 58ff. And Ulrich, Krom p. 16) there is talk of the evangelist Mark .
  4. ↑ Elfriede Würl: Kosmas and Damian. Your impact history in Franconia. In: Würzburg specialist prose studies. Contributions to medieval medicine, pharmacy and class history from the Würzburg Medical History Institute, [Festschrift] Michael Holler on his 60th birthday. Königshausen & Neumann, Würzburg 1995 (= Würzburg medical-historical research. Volume 38), ISBN 3-8260-1113-9 , pp. 134–155, here: p. 150.
  5. ^ Talkirche Münnerstadt , Verlag Schnell & Steiner GmbH Regensburg, 1st edition: 2006, ISBN 978-3-7954-6621-3 , pp. 18-21
  6. ^ Wolfgang Schneider: Folk culture and everyday life. In: Ulrich Wagner (Hrsg.): History of the city of Würzburg. 4 volumes, Volume I-III / 2, Theiss, Stuttgart 2001–2007, Volume 1 (2001): From the beginnings to the outbreak of the Peasants' War. ISBN 3-8062-1465-4 , pp. 491-514 and 661-665, here: pp. 508 and 511.
  7. ↑ Elfriede Würl: Kosmas and Damian. Your impact history in Franconia. In: Würzburg specialist prose studies. Contributions to medieval medicine, pharmacy and class history from the Würzburg Medical History Institute, [Festschrift] Michael Holler on his 60th birthday. Königshausen & Neumann, Würzburg 1995 (= Würzburg medical-historical research , 38), ISBN 3-8260-1113-9 , pp. 134–155; here: p. 149 f.
  8. ↑ Information on the organ
  9. ^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, in particular pages 555 .
  10. ↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, especially p. 510 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).
  11. ↑ The church bells on YouTube with information

Coordinates: 50 ° 14 ′ 57.8 "  N , 10 ° 11 ′ 44.8"  E