St. Martin (Langenargen)
The Catholic parish church of St. Martin in Langenargen in Baden-Württemberg on Lake Constance is a baroque church.
history
The fact that Martin von Tours was elected as patron of the church suggests that there was an original parish in Langenargen at least as early as the eighth century, to which the later church building can be traced back. The first Martinskirche in Langenargen can be traced back to the Merovingian times. It was the center of the medieval Langenargens. The central cemetery was laid out in their churchyard . At the beginning of the 18th century, the Counts of Montfort decided to move the Martinskirche to the new town center near their castle. To do this, they tore down the original church except for the choir and used the building material to build the new church of St. Martin. The remaining choir was redesigned in Baroque style and consecrated as the St. Anna cemetery chapel in 1722 .
The new parish church of St. Martin was built on the site of the Fridolin Chapel , which was built in 1479 and demolished in the early 18th century . Under Count Anton III. the new church was built between 1720 and 1722. The builder was Leonhard Gmeiner . In 1718 the Constance Auxiliary Bishop Konrad Ferdinand Geist von Wildegg laid the foundation stone, and in 1722 the Constance Prince-Bishop Johann Franz von Stauffenberg consecrated the church. At that time it did not have a tower. A building with two similar towers, each 55 meters high, was actually planned. For financial reasons, only Count Ernst was able to build the north tower in 1735.
It is not clear who made the plans for the church; in conversation is the Vorarlberg master builder Christian Thumb .
Building
On the street side, St. Martin's Church and the Heilig-Geist-Spital built on to the east form a visual unit. On this side it has four arched windows and pilasters . On the lake side, the church is optically separated from the hospital. It has a rectangular, saddle-roofed nave with a basket-arched choir apse and two sacristies. The organ loft rests on two inner pillars so that a three-aisled yoke results. The attached Lady Chapel has a rectangular floor plan with a rounded apse vestibule. The church library is located above it. The bright hall church with groin vault is already close to the Rococo due to the basket arched ceiling of the nave .
Renovations and remodeling
From 1726 to 1728, a Lady Chapel with a mansion box was added to the church on the lake side. The initiator of this extension was Maria Anna Leopoldine von Thun.
The first renovation or redesign of the interior took place in 1748. During the further renovations that took place regularly in 1789, 1800, 1836, 1841, 1866, 1891, 1904, 1934, 1962 and 1986, the church was redesigned several times in accordance with the current tastes. A decisive change was the exchange of the old slug panes for Nazarene stained glass windows around 1891. In the 1960s, it was decided to make the portals modern too. The old sandstone portals were destroyed. The main portal from 1972 shows relief work by Hilde Broër . On the left wing of the door you can see Martin sharing the cloak for the beggar, on the right side Christ, wrapped in the cloak half, points to the namesake of the church. Deeds and commandments of charity are also shown on the other portals.
Interior
Ceiling and wall design
The stucco work from around 1733 forms a softly colored Regence bandelwerk with profile frames, cartouches , squares, ellipses, acanthus tails , rocailles , latticework, rosettes and shells. The ceiling frescoes are by Franz Anton Maulpertsch . Michael can be seen over the organ as the devil slayer. This is followed by paintings that show the twelve-year-old Jesus, the apostles in front of the empty Marian tomb and the ascent of Mary into heaven, and at the very front a picture of the church patron.
The paintings on the left show the evangelists John and Mark, Donatus of Arezzo and the China missionary Francisco de Xavier . On the right side you can see the evangelists Matthew and Luke as well as St. Florian von Lorch and Alexius von Edessa .
To the left of the choir arch is the coat of arms of the founder Ernst von Montfort , to the right that of the founder Antonia von Waldburg-Scheer .
In addition to 14 stations of the cross by Joseph Guldin, there is a guardian angel picture by Franz Joseph Spiegler on the right west pillar . The entrance to the Marienkapelle is adorned with the Union Shields Montfort-Thun. To the left is a chapel, to the right a castle. This arrangement alludes to the Montfortic founding saga.
Plastic jewelry
The Ulm Madonna with the apple comes from the late Gothic period around 1470. A disciple is a high baroque scourge savior who is dated to around 1770, as well as the baptismal font from 1722 with its baroque Jordan group. A crucified figure, created around 1735, hangs under the organ gallery, and on the west wall there is a 17th-century Anna herself . Four statues of saints on the nave walls are neo-Gothic.
pulpit
The pulpit is made of marbled wood and bears a bas-relief depicting the sermon of the Baptist. The back wall is adorned with drapery draperies and two putti and shows a picture of Joseph from around 1660. The sound cover is five-sided and has tassel hangings and volute decoration. It is crowned by a trombone blowing putto.
Altars
The altarpiece of the high altar was created by Franz Anton Bronnenmeyer and shows a descent from the cross. The high altar in its current form should go back to Johann Wilhelm Hegenauer . The structure is divided into two floors and marbled in red-brown and gray-yellow. The tabernacle shows a crucifix, a group of pelicans, putti and angels. Early baroque sculptures of the plague saints Rochus and Sebastian stand between the columns; they are dated to around 1650.
The namesake of the church can be seen on the altar panel of the right side altar. This picture was created by the local artist Andreas Brugger around 1775/1800.
The altarpiece on the left side altar is older; it dates from 1723 and shows a view of the church in the originally planned form with the two towers. The rosary picture on the left with Saints Catherine of Siena, Maria and Dominik comes from Johann Christoph Storer . The worship angels on the altar sides and other ornaments were probably designed by Johann Wilhelm Hegenauer; only the two catacomb saints Magnus and Gaudentius are of a different origin: They come from the Friedrichshafen priory church.
The two wall altars are probably among the pieces of furniture that were in St. Martin's Church from the start. On the paintings of Franz Anton Bronnenmeyer's north wall altar you can see St. Sebastian as patron of Langenargens and above Johannes von Montfort , the pictures on the south side show the proclamation of the martyrdom of St. John Nepomuk over the popular saint Wilgefortis .
Lady Chapel
The 15 rosary medallions in the Marienkapelle are assigned to the school of Hans Zürn and are not all by the same artist. In the Marienkapelle stands the already mentioned Maria with the apple from the 15th century .
Visitation of the Virgin Mary
Jesus birth
Circumcision of Jesus
Jesus on the Mount of Olives
Flagellation of Jesus
Crowning of thorns
crucifixion
Ascension
organ
In 1828 Franz Anton Kiene , organ maker in Kisslegg , received the order to build a new organ for Langenargen. Kiene used older case parts and parts of the mechanics from the Abrederis organ from 1722. The organ contained 18 stops on two manuals and a pedal . In 1936 the company Späth from Ennetach put a new movement with 23 registers and an electro-pneumatic action behind the old prospectus, which was rebuilt in 1963. After a concert organist suggested in 1972 that the organ work from 1936, which had become very poor, should be replaced by a new one, Winfried Albiez from Lindau received the order in 1976 to build a new organ. The case was returned to its condition from 1828. The organ had 48 registers with three manuals and a pedal distributed over the main work, crown positive , swell and pedal. The planning, scaling and intonation were carried out by Eppo Rynko Ottes. In 1986, after the thorough renovation of the church, the organ was completely overhauled and re-voiced by Eppo Rynko Ottes. The slider chest instrument has mechanical key actions. The stop actions are mechanical and electrical.
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- Coupling: I / II, III / II, III / I, I / P, II / P, III / P
Chimes
The church of St. Martin has five bells, which are distributed in three tower rooms and form the tone sequence d 1 -f 1 -g 1 -b 1 -d 2 .
The evangelist bell, tuned to b 1 , dates from the 14th century. It bears the inscription "+ S LVCAS + S MARCVS + S MATHEVS + S JOHANNES".
The Marienglocke in g 1 was cast in 1496 in the Biberacher Gießhütte. Their inscription reads: "ave maria gracia plena dominus tecum anno domini mccclxxxxvi."
In 1766 the Montfort bell, renewed in 1953, was cast in d 1 . It is decorated with rocaille cartouches, putti, an immaculate relief , the coats of arms of the donors and the foundry name Johann Leonhard Rosenlechner .
The Martin bell in f 1 was cast in 1958 in the Alfons Bachert foundry and bears the inscription: “IN MEMORY OF THE FALLEN BY LANGENARGEN 1914–1918 and 1939–1945, RIP. SAINT MARTIN; PLEASE FOR THE COMMUNITY IN YOUR TRUST. "
The peace bell in d 2 comes from the same year and the same foundry. It is decorated with reliefs of the crucified Jesus, Antonius of Padua and Fridolin von Säckingen. Their inscription reads: “HL. ANTONIUS AND ST. FRIDOLIN, ASK + FOR US. "
literature
- Otto Beck: Catholic parish church St. Martin Langenargen. 5th edition. Regensburg 2005, ISBN 3-7954-4269-9 .
Web links
Individual evidence
Coordinates: 47 ° 35 ′ 52 " N , 9 ° 32 ′ 17.5" E