St. Marien (Sulzbach-Rosenberg)
The parish church of St. Marien is the Roman Catholic parish church of the town of Sulzbach-Rosenberg in the Upper Palatinate . It was built in the 14th century and used as a simultaneous church until the middle of the 20th century.
history
A Romanesque predecessor of the church with an adjoining Romanesque St. Leonhards chapel probably existed since the 11th century. The construction of today's church did not begin until the middle of the 14th century, when Sulzbach became the administrative seat of New Bohemia and thus fell under the dominion of the Bohemian Crown . In 1355, Emperor Charles IV sent valuable relics from Plzeň with the request to enlarge the parish church. In the 1360s, the Gothic, single-nave choir was added. With the construction of the three-aisled nave it was only started with four yokes in 1412 and was initially completed in 1431 with the consecration of two side altars, before it was expanded in 1488 by a side chapel each in the south and north.
In 1526 a vaulted west gallery was added to the nave. Only three years later, a two-story extension for the medieval church library was undertaken. The library was set up on the upper floor and the ossuary in the basement. In 1552 the church tower was destroyed by fire and rebuilt by 1562, this time higher than before. In the course of the Reformation , all altars and pictures were removed from the church, only the high altar and the crosses remained in the building. In addition, all frescoes were painted over.
Construction
With its three-aisled nave, the church occupies an intermediate position between a basilica and a hall church . The roof stretched over all three aisles makes the church appear as a hall church, but the elevation of the central nave makes it look like a basilica from the inside. The wall zones above the lower aisles, the so-called upper aisles , have no window openings because of the uniform roofing.
On the south-eastern buttress of the Gothic choir is the life-size statue of a bearded man in armor with a ducal hat. This figure, created around 1380/90, is mostly interpreted as Emperor Charles IV , but is interpreted as St. Wenceslaus due to iconographic features . This national saint of Bohemia has been portrayed in armor and with a ducal hat since the 14th century. Usually he is represented with a lance, through which he was martyred, and with a shield with the eagle as the official symbol of a German duke. According to a Nordgauchronik written in 1648, the figure actually had a lance in hand instead of the sword that was now in place. The imperial eagle on the shield has faded. The sandstone figure is attributed to the Bohemian family of sculptors Parler . The figure stands on a leaf console with a grimace on the underside. The truncated pyramid-shaped canopy is formed by the four sides of a pentagon, which are designed in the shape of so-called eyelashes and end in roses at the bottom. The armor consists of a lentner , which is adorned with three roses in the chest area and stylized leaves at its lower end. Underneath, the figure wears a chain mail that reaches over the wrists and is V-shaped in the groin area. A hanger completes the armor. Typical for the time is the dupsing , which is carried out as a weapon belt. Here he wears a dagger, which corresponds to the fashion of his time. In his right hand he is holding a bag . He also wears a shoulder coat that extends to the floor and is held together by a cross strap at the chest.
Interior
After the Reformation, the church was rebuilt in the 1640s and got a new side altar on the right side and a pulpit as well as a new floor made of Solnhofen limestone . Johann Rampino built the church tower from 1692 to 1696 after it had collapsed a year earlier and caused major damage to the structure and furnishings.
At the beginning of the 18th century, St. Marien received a new left side altar (1702), a new organ (1702) and a new high altar with the painting of the Assumption of Mary (1710) by the baroque painter Hans Georg Asam as well as a Protestant altar ( 1732). Because of the simultaneum between the two Christian denominations in the city, few structural changes were made in the 19th century, which is why the baroque style has largely been preserved to this day. A major interior renovation of the church did not take place until 1866, in which stained glass windows in the Nazarene style were inserted on both sides of the high altar.
Until the extension of the nave in 1488, the so-called wedding or marriage gate lay at the site of today's baptistery at the south entrance of the church. On the inside you can still see the double opening arch with a garment made of throats and bars. The figural console on the central pillar, carried by two angels, rests on a grimace that was supposed to keep evil away from the church. In the portal area, the original painting of tendrils and a finial pattern has also been preserved. The fresco in the arch area above shows the Annunciation .
In the middle of the baptistery there is a baptismal font from the 15th century. The twelve-sided basin is made of sandstone , in the upper zone it has delicate foliage, below follows a pointed arch frieze that ends in lilies. The base of the baptismal font is made of dolomite with flat tracery arcades. It may come from an older tank. Names, the oldest of which date from 1569, are carved into the tin cover of the baptismal font.
The late Gothic sacristy door from the 15th century is also worth mentioning , it was originally located in the entrance to the basement of the tower, which is now walled up, and was reused when the sacristy was rebuilt. The wrought iron fittings split up in tendrils, the use of decorative nails creates a decorative effect. The protruding strike plate has a key guide in the shape of antlers, which in the past made it easier to find the keyhole when there was no lighting. Instead of the handle, the door has a pull ring that is hollow on the inside. The key that exists today is from the Baroque period .
The 20th century was marked by numerous exterior and interior renovations after the still existing Simultaneum was dissolved in 1957.
literature
- Catholic parish St. Marien Stadt Sulzbach-Rosenberg (Ed.): 750 years parish St. Marien Sulzbach-Rosenberg . Sulzbach-Rosenberg: Stadtmuseum, Amberg 2002, ISBN 3-9804497-9-3 .
- Mathias Conrad: St. Marien in Sulzbach. In: amberg information , December 1991, pp. 10-13.
Web links
Individual evidence
- ↑ City of Sulzbach-Rosenberg: Worth seeing - history and sights (PDF)
- ↑ amberg-sulzbacher-land.de: Church Leader Amberg-Sulzbacher Land ( Memento of the original from December 18, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , P. 44 (PDF; 2 MB)
- ^ Mathias Conrad: St. Wenzel at the Sulzbach parish church. In amberg information , September 1997, pp. 17-21.
- ↑ Fritz Schnelbögl: Emperor Karl IV. Or St. Wenceslas? Oberpfälzer Heimat , Volume 6, Weiden 1961.
Coordinates: 49 ° 30 ′ 19.9 ″ N , 11 ° 44 ′ 19.1 ″ E