St. Michael (Eppishausen)
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The Catholic parish church of St. Michael is in the municipality of Eppishausen in the Unterallgäu district in Bavaria . The listed building is slightly elevated on the former fortified and now abandoned cemetery . It bears the patronage of the Archangel Michael .
history
The original church building at this point took place in the 14th century and was done at the instigation of Ulrich von Thanneck, a Thurgau knight. He came into possession of the village through marriage. In 1472, presumably with a view to building the church, ten cardinals prepared a letter of indulgence at his request . Already in 1500 the church building is mentioned in sources as finished and consecrated. The carpenter Hans Leiblin of Kirchheim in 1615 created a new pulpit their version of Hans Singer from Mindelheim received. A visitation report from 1620 praises the condition of the church. A year later, in 1621, Valentin Egert from Mindelheim painted a holy grave , which in 1627 received a carved crucifix from Mindelheim's Christoph Schenck . C. Schenck also created a new tabernacle in 1628 , as well as the figures of St. Dominic and Catherine of Siena . The version of the carving was again by Hans Singer.
During the period from 1677 to 1705, under Dean and Pastor Alban Onuphrius von Singern, many changes took place in the church. So in 1683 a new pavement was laid from Eichstätt and in 1684 a larger building was mentioned. Georg Dopfer from Kirchheim manufactured the church chairs in 1684. In the accounts for 1686, a major carpenter's work by the master Ferdinand Zech from Thannhausen is mentioned. This most likely relates to the ceiling of the nave. A new sacristy was built in 1689 by master mason Georg Hausrucker and master carpenter Albrecht Huss. A sculptor from Türkheim, presumably Martin Beichtel, created three figures for the ossuary , which was built in 1692, which were taken by Ulrich Herzog from Aichen. The upper gallery was pulled in in 1701 by the master carpenter Jakob Öttl, while the cutting work and the paneling were done by Georg Dopfer.
Further renovations and changes to the furnishings took place throughout the first half of the 18th century. New windows were broken into in 1712 and the choir stuccoed and painted in 1719. The cost of stucco work is 171 florins and 29 florins for painting. The nave was stuccoed in 1720 and received four new windows in the process. The total cost was 633 florins. The church's confessionals come from the same period . As a result, a communion grille was purchased in 1735 , the high altar in 1737 and the side altars between 1740 and 1744. The organ and shrine by Jakob Wiedemann, made by Joh. Georg Hörtich in 1743 , are no longer preserved. The pulpit received a new version in 1749. Restorations took place in the 19th century as well as in 1952 and 1953. During the first restoration, a new ceiling picture was created in the choir. Two new galleries were built in 1968. In the same year, the ceiling of the nave was added by the Mindelheim architect Josef Ruf.
Building description
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The retracted choir is raised by three steps towards the nave and consists of two bays. It has a three-sided ending and a Gothic vault with a relatively flat pointed barrel and rising stitch caps . The arched windows in the choir are drawn in and their apex touch the shield arch under the stitch caps. In the west bay there are no windows, instead wide are here on both sides oratorio openings with stochbogigem fall present. To the north, an arched door leads to the church tower , the door leaf of which was created around 1720 and contains two drilled fields. The walls are otherwise divided by flat wall templates with marbled painted Corinthian pilasters , which rest on plinths and bases and have a three-part entablature in the upper area. Kinked pilasters can be found in the closing corners of the choir. The chorus is a re-entrant with herumgekröpftem beams on fighter provided chancel connected to the nave. The choir arch is round arched.
The nave of the church is a hall with four window axes, in which the three large drawn-in circular windows to the east are present. Two windows on the eastern north side are blind. The walls of the nave are structured by Corinthian pilasters with cranked stepped architraves , which stand on consoles and bases and taper towards the top. In addition, there is a second, smaller order of wall templates with profiled fighters. A profiled semicircular blind arch sits on the axis of each of these wall templates. The wooden ceiling in the nave, dating from 1686, contains flat cassettes with embedded oil paintings on canvas. The marbled wooden ceiling is framed in blue-gray and white, with a profile cornice on the edge. On the west side are the galleries, renovated in 1968, with straight parapets, the lower one of the two galleries protrudes further. The fields of the parapets are wide octagonal, with the inserted organ prospect in the middle of the lower gallery parapet.
On the outer facade of the choir there are buttresses, which are stepped just below their end. A profiled eaves cornice is attached all around the church. Outside at the apex of the choir, the window is still arched. Walled-up oval windows can be seen on the north wall of the nave. A triple stepped buttress up to the gable is located in the middle of the west facade. Access to the church is through the neo-baroque sign with two groin vaults on the south side. This is opened on the south side by means of two arched arcades. On the walls of the sign there are three large neo-baroque epitaphs for fallen and deceased priests.
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The church tower is located in the northern choir corner, the south side of which is flush with the north wall of the nave. The resulting space between the church tower and the choir is closed by a narrow two-story building. The plastered church tower is still late Gothic and is made of brick . The ground floor of the church tower with its Gothic vault is used as a sacristy. There was probably a star vault in this room . Wide corner pilaster strips run up the outer facade of the church tower from the third to the seventh floor. A frieze of intersecting round arches on lily-like consoles is attached between the floors. With the exception of the rectangular windows on the east and south sides of the ground floor, there are slot openings in the other floors. On the top floor of the church tower there are four-fold arcades on the north and south sides and double arcades with columns on the west and east sides . The church tower is covered with a steep gable roof .
To the west, the church tower is connected to the sacristy extension from 1689. The extension gives a chapel-like impression from the outside and is a two-storey rectangular building with a gable roof. Further to the west, the rectangular building is closed by a semicircular closed apse . There is a spiral staircase in the apse. The arcade opening in the apse is more recent. On the ground floor on the north side of the extension there is an arched window and a high rectangular window above. The interior on the ground floor contains a groin vault and an arched door to the church. The upper floor has a flat ceiling. The staircase to the pulpit is located in the extension between the apse and the nave; this extension is also more recent than 1689. Another, currently used sacristy is housed in the extension in the southern corner of the choir. The two-storey extension contains small windows and an access door from the east. The roof of this extension is realized as a dragged down choir roof.
Furnishing
High altar
Joseph Steur, from Mindelheim , created the high altar in 1737 , which was taken by Franz Joseph Wiedemann, also from Mindelheim. It is made of wood and has a pink and olive green frame and gold decoration. The masonry stipes are of Gothic origin, around this there is a box-shaped wooden paneling with bandwork decoration. The broad tabernacle zone has three concave axes and scroll templates. The rotating tabernacle is raised in the central axis. The silver-plated crucifix in the niche dates from the late 18th century. The cannon board frame is classicistic and dates from the first half of the 19th century. Above the tabernacle there are two flying putti and a pedestal with the Lamb of God , flanked by candlestick angels. The altar panel originally showed a painting from 1738 with the fall of the angel and was replaced in 1847 by a crucifixion group created by Joseph Kober from Göggingen . Corinthian columns in front of them are attached to both sides . The entablature is richly cranked. In front of the two inner pillars, wooden figures of Saints Ulrich and Afra are placed. The altar extension is curved and flanked by volutes . In this is a half-relief of God the Father , surrounded by clouds and glory of rays. Several putti and angel heads are around the altar extension.
Side altars
Both side altars were erected in 1744 and have box-shaped stipes. The structure is narrow and, like the high altar, contains, in addition to the altar leaves, Corinthian columns on volute plinths. The side altars were made by carpenter Jakob Wiedemann from Könghausen . The northern altarpiece depicts Our Lady and is marked with Thomas Guggenberger pinxit 1862 . The southern side altar shows Saint Joachim and Anna with Maria in the altar sheet . This is marked with Thomas Guggenberger pinxit 1863 in Munich . There are canopies with lambrequins and the monogram of Mary or Anna above the arched altar leaves . Kneeling angels are attached to the richly cranked pieces of framework. The angels of the south side altar date from the 19th century. The tail images in the altar extracts were created around 1740 and show St. Joseph to the north and St. Anthony to the south. These are flanked by putti. The shrines in front of the predella date from the middle of the 18th century . In these there are small, reclining reliquary figures made of wood. The clothed figures are taken.
pulpit
The olive green and reddish marbled pulpit was built in 1749 by Frater Fidelis Wiedemann in Nassenbeuren . The figures in the pulpit were made by a sculptor from Türkheim , probably Ignaz Hillebrand. In addition to the socket, the pulpit contains gold-plated Rocailles decor. The pulpit cage is cylindrical and bulges in the lower area. The heads of the evangelist symbols can be found on the volutes at the tip of the tail. In front of the pilasters of the parapet on consoles are seated figures of the four evangelists . The resulting three fields contain oval reliefs framed by rocailles with the depictions, starting from the left, of Saints Gregory and Augustine, the Mother of God as she presented the scalpel to Saint Simon Stock , as well as Saints Jerome and Ambrosius. On the right, protruding from the cornice, one arm holds a crucifix. Access to the pulpit is through a three-lobed door. This is flanked by scroll patterns and rocailles. A volute pyramid crowns the oval, cranked sound cover . At the top of the pyramid is the figure of the Good Shepherd and below it a Lamb of God. Seated putti on the volutes have attributes of the four continents.
Ceiling painting
J. Baumann created the ceiling painting in the choir, as well as the small wall paintings of the Stations of the Cross in the nave. The middle oval field in the choir vault depicts St. Michael in a neo-baroque fresco. It is labeled J. Baumann 1952 . A total of nine oil paintings are used in the nave ceiling, which was probably made in 1686. The oil paintings probably date from around 1680/1690 and are arranged in three rows and columns, with the middle one, like the four corner paintings, being larger and longitudinally octagonal, the remaining four paintings longitudinally rectangular. A cycle from the life of Mary is shown. In detail, these show the Annunciation , Marriage and Assumption of Mary starting from the north in the eastern row . In the middle row you can see the representation in the temple , the coronation of Mary by the Trinity in the middle of the ceiling and an Immaculate . The western row shows the Visitation , Temple Walk and an Immaculate on clouds below which a man and a woman are in prayer.
Baptismal font
In front of a niche on the right in the choir is the stucco marble baptismal font from the mid-18th century. It is tinted reddish and olive green. Both the shaft and the double-bulged pelvis are richly profiled. The lid with four volute templates is made of wood. Formerly there was a group of figures depicting the baptism of Jesus on the lid .
Wooden figures
Several wooden figures are set up in the church. The figure of St. Sebastian on the northern side of the choir arch, opposite the figure of St. Ottilia from around 1720/1730, dates from the first half of the 18th century . The crucifix with four angels, who carry the instruments of passion and collect the blood of Christ in a chalice, on the south wall of the nave was created around 1730. A large lecture crucifix from the second half of the 18th century is housed in the chapel annex. The setting of the crucifix, however, dates from the 19th century. Another standing crucifix dates from around 1730. The figures of John the Baptist and St. Dominic both date from the middle of the 18th century. The two poor souls in the fire also date from the 18th century. The figure of St. Michael , which temporarily replaces the painting on the high altar, dates from around 1730. The enthroned Mother of God with child comes from the 18th or 19th century . The mannequin is clad in fabric and has natural hair; the crowns date from the 19th century. A small statuette of St. George on horseback fighting the dragon is in one of the two small shrines from the 18th century. In the other shrine there is a wax figure of the Christ child in regalia .
Funerary monuments
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A large number of funerary monuments are placed inside the church. To the right of the high altar is a narrow, rectangular sandstone slab for Ulrich von Thannek († 1513). The sandstone slab contains a coat of arms relief and remains of the painting. Above the coat of arms there is a crest, in the corners small coats of arms. There is an inscription in the lower part of the plate. On the other side, to the left of the high altar, is the grave slab of Ulrich von Thanneck's widow, Ursula, a born von Bergen-Langenegg from the first quarter of the 16th century. The sandstone relief with partially preserved painting shows a Pietà at the foot of the cross. The representation in a flat panel is surrounded by tracery all around. In the lower left area is a kneeling knight with his wife and son, on the other side the coat of arms of the von Thanneck family. The inscription in the lower area is completely weathered. A relief coat of arms made of bronze from around 1500 by those of Thanneck can still be found on the east side of the choir arch. In addition to other slabs from the late 19th century, there are also grave monuments for Johannes Evangelista Hörner († 1761), pastor since 1741. The grave slab is made of Solnhofen limestone and shows in the upper area a small relief around which a saying is attached. For Pastor Joseph Seitz († 1741) there is also a flat curved plate made of Solnhofen limestone. This shows a goblet relief between the engraved bandwork. Inside the sign on the east wall is a large rectangular Solnhofen plaque with a long antiquain script for dean and pastor Albanus Onuphrius de Singeren († 1705).
Stalls
The choir stalls made of marbled wood are designed in neo-coco style. It offers three seats with tail cheeks. There are three arcades on the back wall, and it is crowned by a curved gable. The neo-baroque communion bench made of wood is not framed and has angular balusters. The church stalls come from the beginning of the 19th century and are similar to the stalls in the Church of St. Stephan in Haselbach. The oak chairs have tail cheeks with swirl rosettes and a laurel stick. The parapets contain rectangular fields with small rosettes in the corners. The confessional dates from the end of the 18th century. This is simple and has convex arched arcades, which are flanked by leaf hangings.
Other equipment
18th or 19th century, studded with nails comes offertory . The eternal light is silver-plated and dates from around the end of the 18th century.
literature
- Georg Dehio : Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag, Munich and Berlin 2008, ISBN 978-3-422-03116-6 , pp. 327-328 .
- Heinrich Habel: Mindelheim district - Bavarian art monuments . Ed .: Torsten Gebhard, Anton Ress. Deutscher Kunstverlag, Munich 1971, p. 108-114 .
Web links
Individual evidence
- ^ Diocese of Augsburg
- ^ Bavarian State Office for Monument Preservation: Entry D-7-78-134-1
Coordinates: 48 ° 10 ′ 2.6 ″ N , 10 ° 31 ′ 8.8 ″ E