St. Michael (Stockheim)
St. Michael is a Catholic parish church in Stockheim , Upper Swabia , a district of the city of Bad Wörishofen . The church in the Mindelheim deanery of the Augsburg diocese celebrates its patronage on September 29th .
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location
The east- facing church is located west of the village at the main intersection. It is surrounded by the church cemetery, which was expanded to the east in 1954.
history
The church used to belong to the Steingaden Monastery . Knight Johann von Löwenthal donated an anniversary in 1245 . The lower part of the tower dates back to the 15th century. After the old church had become dilapidated in 1694, Duke Maximilian Philipp of Bavaria supposedly had his master builder Echter make plans for a new building. The tower octagon was built by the builders Thomas Natterer and Georg Miller from Mindelheim . The new building of the nave and the choir was carried out in 1701 after a consensus for the new building had been reached in 1700. The building contains typical style elements by Thomas Natterer, who built several churches in the area. The foundation stone was laid on April 28, 1701, as evidenced by an inscription stone next to the entrance. The consecration of the church by the auxiliary bishop Johannes Eustache Egolf von Westernach took place on January 19, 1704. There is a painting of him on the west wall of the choir. The interior work dragged on for several years. The paintings on the gallery date from 1717, the church stalls were made in 1719. The apostles cycle was bought in 1721. The pulpit and the side altars are from the third quarter of the 18th century. In the late 18th century a new ceiling was put in, the fresco is dated 1793. The high altar was purchased in 1825. Renovations took place in 1870, 1922 to 1923, the outside of the church was renovated in 1952 and 2016.
Building description
The choir has been drawn in and has two yokes with groin vaults and a semicircular end with a three-cap vault. The choir floor is two steps higher than the nave, and the east yoke is another two steps higher. The choir arch is round arched. The nave with four axes has a flat ceiling over high coves on the long sides. The wall structure is achieved by Tuscan pilasters with three-part entablature pieces. These are staggered in the nave, cut off at the end of the choir just below the capitals . The choir arch reveal has a staggered pilaster in the east, half staggered in the corners of the nave. The windows are drawn in and rounded. There is no window in the apex of the choir or in the west yoke, but there are arched doors to the tower and sacristy, which were redesigned in 1793. The door leaf bears a painted laurel wreath and a garland with fields. The door frame is decorated with a carved decoration made of braided tape, corner and apex stones and rosettes. There is a wide arched oratory window above the sacristy door. It is closed by an openwork railing carved from wood with a Jesus and Mary monogram from the beginning of the 18th century. In the third axis of the nave there are arched doors on both sides . The southern one is a copy of the old door and is marked 1719. It has a drilled field under a tail gable and the old fittings.
The two wooden galleries lying one above the other in the west axis have twisted pairs of Ionic pilasters on the parapets and wide fields with embedded oil paintings marked 1717. The lower one stands on two wooden baluster columns , the upper one protrudes further. The undersides of the galleries are fielded and have painted rosettes. The railing on the gallery stairways has turning bars. On the sides, transverse oval windows are embedded in the side walls under the first and at the level of the second gallery.
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The exterior is divided axially by broad Tuscan pilasters with three-part entablature. Above the entablature there is a crank in the upper half of the cornice . The pilasters meet at the western corners. The entablature is carried out under the west gable, only the architrave is interrupted below the rectangular storage opening. The gable slopes are profiled. The north entrance has a basket arch on the outside . In the apex of the choir there is a window with a crucifixion scene made of wooden figures.
The five-storey tower stands in the southern corner of the choir and nave and has a sub-structure with a square floor plan from the 15th century. The ribbed vault on the ground floor has pointed caps and corner consoles. The ribs are grooved, in large, ogival panels in the south and east there are small rectangular windows with sloping walls that are stepped at the bottom . The upper four floors are structured by round arch friezes. On the other hand, there is a clover-leaf arch frieze above the second floor. Instead of a frieze , the top floor has large, square dials and a baroque cornice cornice . The upper part from 1695 is designed as a hexagon and has two storeys, of which the lower part has large rectangular panels with arched openings in a drilled, profiled frame. These are decorated with triangular gables on the main sides and segmented gables on the diagonal sides . There are transverse oval openings in the frieze of the cranked entablature, the cornice is not cranked. The tower is crowned with a sheet of onion dome.
The sacristy , built around 1701 , a two-storey building with small rectangular windows under an arched lintel, adjoins the choir to the south. It has a cornice cornice and a quarter-hipped roof. There is a newer door to the east. Inside it has a flat ceiling, on the staircase to the second floor, the oratory , there are turned sticks. The sign in front of the south entrance, also built around 1701, has basket arch arcades, Tuscan corner pilasters with pieces of entablature and a hipped roof. In the west the wall is closed. There is an apsidial extension with a profile cornice and a niche of the Mount of Olives that is arched towards the west.
The roof structure over the choir dates from the construction period and is marked 1701 in red chalk . It consists of a collar beam roof with a double-standing chair and flattened headbands. The nave has a collar beam roof from around 1793 with a reclining chair, leafed headboards and double hanging columns . On the southern outer wall of the nave, to the right of the entrance, a walled-in tuff stone block is probably the foundation stone with the inscription FESTO VITALIS / AEDIFVNDATIO / TALIS DEN 28 APR. 1701 .
Furnishing
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The church has a rich interior from the beginning of the 16th century to the present day.
The font in a niche opposite the pulpit was made towards the end of the 18th century. The cantilevered, hemispherical wooden basin in front of it has a classicist decor and contains a small group of figures depicting the Baptism of Christ in white and gold. Above it is a dove as a symbol of the Holy Spirit. The glass paintings in the choir are marked 1896. The floor in the nave consists of Solnhofen slabs , laid in the 18th century in a rose lace pattern. The floor slabs in the choir date from the end of the 19th century. A chest of drawers in the sacristy from around 1800 has a flat curve and a closing top with a small crucifix.
A two-door cupboard with drilled fields in the oratory dates from the beginning, another with pilaster strips and folding doors from the middle of the 18th century. The simple third, two-door and paneled, was also made in the 18th century. The brotherhood bars from the 18th and 19th centuries have a winding top with metal crosses in ray glories.
Altars
High altar
The high altar was built for around 490 guilders by Johann Haile from Friedberg . The version brought Martin Fröhlich and his son Clemens Fröhlich from Buchloe for about 800 guilders a year later. It has early classical forms and is made of wood, which is marbled in brown and olive green tones and decorated with gold-plated decor. On the left of the base is the inscription Villa owner German Satzger donated the restoration costs of this altar in 1922 . The brick stipe is sarcophagus-shaped with white and gold-framed wood. The tabernacle has four columns and is cylindrical. On the arched door there is a relief of the Last Supper in the niche, on the dome a lamb of God on a book with the seven seals, flanked by putti. Mounted wooden statues of the four church fathers on both sides date from the mid-18th century, as do four reliquary pyramids. Two of them have carved acanthus frames, the other two have carved rocailles frames.
The structure is concave and six-columned and includes the stipes with a base zone. The altarpiece shows the fall of the angel and was painted in 1888 by Max Bentele (painter) from Lindenberg . The frame from 1825 is gold-plated, curved at the top and hung with a garland.
Side altars
The two side altars date from the third quarter of the 18th century. They could have been made by Nikolaus Fickler from Dösingen and represent splendid Rococo work. The wood is red-brown and olive-green and decorated with gold-plated Rocailles decor. The stipes are slightly indented at the bottom, in the predella there is a curly reliquary shrine. In the north altar in this shrine is the body of St. Justus, which was captured in a monastery work, in the south there is a reclining wooden figure of St. John Nepomuk in renewed cloth clothing. There is a cartouche-shaped framed oil painting above each reliquary. The north shows the Heart of Mary, the south the Heart of Jesus. The structure is four-pillar and concave. The outer pillars are higher than the inner pillars, which are the same height as the pilasters. The entablature is set with rocailles. Moving angels can be seen above the entablature of the inner columns. There are wooden figures on consoles between the columns. Marias, Joachim and Anna's parents can be seen on the northern altar, and Josef and Sebastian on the southern altar. In the middle there is a shell niche framed by rocailles, each with a figure. In the north altar you can see a holy Anna Selbdritt from the third quarter of the 18th century, in the south a neo-Gothic Mother of God. The altar extension is bordered by volutes with putti. It contains curly oil paintings that probably date from the first half of the 19th century. In the north you can see the Sacrifice of the Virgin, in the south you can see the Annunciation.
Frescoes
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The frescoes of the church are by Johann Joseph Anton Huber from Augsburg from the year 1793. In the choir-east yoke there are three putti in a circle field on a cloud landscape with the attributes of faith, hope and love. In the nave, the ceiling fresco takes up almost the entire ceiling and is stylistically assigned to early classicism. The central figure of the Archangel Michael wears armor. The helmet, adorned with colorful feathers, has no visor. Michael is holding a flaming sword in his right hand, while his raised left hand is holding a sign with the inscription QVIS VT DEVS . Above the archangel, God the Father can be seen on a cloud, lying on a ball. Fighting angels are depicted under the Archangel Michael, two of which carry his attributes, the scales and a long cross staff. The lower edge of the fresco, which is inscribed with the ligated initials JHuber 1793 , is made up of the fallen angels. Golden yellow profile frames are attached to both frescoes. Further frescoes in the church are grouped on the remaining ceiling surfaces in the choir and nave. They are simple classical decorative painting in green and ocher yellow. In the choir there is yellow brocade painting in the transverse caps and on the straps of the choir soffit, the longitudinal and end caps are tinted green.
There are painted profile frames around the windows and decorative attachments over the crowns. Putti are also painted in the second nave from the east . The apostle crosses on the walls are yellow ocher. The left pilaster at the apse in the choir is replaced by a round arched niche with a painted decorative frame.
Gallery painting
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The five paintings on each gallery parapet in oil on canvas were created in 1717 and all have inscriptions.
The lower parapet shows Saint Michael on the far left as he drives away besiegers with lightning. The picture was donated by the miller von Stockheim, Johannes Spöttel. The inscription reads And the angel of the Lord Enforces them. Johannes mocking Miller Alhier 1717 . The second picture, donated by Caspar Brecheisen, shows Michael driving the devil away from a sick woman and bears the inscription H. Ertzengel Michael Beshitze Unß Im arguing. Caspar Crowbar Alhier. Anno 1717 . How Michael carries up a poor soul is shown in the next picture, donated by Johannes Wollgshassen, with the inscription Der H. fendrich Michael Bringet die selche herfir that holy Eternal Liecht. Johannes Wollighassen Alhier. Anno 1717 . Archangel Michael is shown in the next picture leading a child to heaven. There a group of angels holds the LIBER VITAE , it was donated by Lorentz Fischer and bears the inscription Der H. Erz Engel Michael. A Bottshaffter Gods for righteous souls. Lorentz fisher Alhier. Anno 1717 . The right picture of the lower gallery shows in the left part the archangel at the bed of an elderly man with a sword in his chest. The upper part of the center is occupied by a cloud representation with putti and God the Father. In the right part of the picture the archangel leads a woman to heaven. It was donated by the married couple Jacob and Anna Ambossin von Weicht. It bears the inscription Dißer is the H. Ertzt Angel Michael whose firbitt Bringet in den himel. Jacob v. Anna Anvil from Weicht. Anno 1717 .
The upper parapet begins on the far left with the representation of how the Archangel rushes to the aid of the people on earth. The inscription reads Der H. Ertzt Engel Michael kombt to help the people of god. SAAM Fri. ANNO 1717 . The second picture shows Jesus in the wilderness with the inscription Die Engel Tratten zu und serve Him. K. d. BAPL ANNO 1717 . Jesus on the Mount of Olives shows the next picture. It bears the inscription E'Ershiene him but an angel from himel Vnd störkhet him. PMVMIK Anno 1717 . The fourth picture from the left shows Mary in glory. It is surrounded by angels and it bears the inscription The holy woman born in God is raised above all choirs of angels . JVH et HHU or ANNO 1717 . The last shows a scene in which an angel frees Daniel in the lions' den. The inscription on this picture reads Michael. One of the first came to my aid. Daniel Egger from here. ANNO 1717 .
pulpit
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The pulpit is located between the first and second yoke on the north wall of the nave and can only be entered via the staircase attached to the outside. It was created in the third quarter of the 18th century by Nikolaus Fickler from Dösingen. The wood is painted in the same color tones as the side altars and decorated with rich rocailles. The four evangelist symbols are attached over the tips of the volutes. The pulpit is bulged and cylindrical and equipped with a volute structure and sulphurous fields. The back wall between the pulpit and the sound cover is bordered by volutes and has an arched door to the staircase. The sound cover is held in the form of a curled cornice with lambrequins . On top of it there is a volute tip with the figure of St. Michael who defeated the devil. There is a lush rocail gable between the volutes.
Stalls
The simple choir stalls date from the end of the 18th century. It is decorated with painted garlands in the fields of the front parapet and on the vase-crowned tail gable of the rear wall. The tail cheeks have simple, classical carved decor. The lay chairs come from around 1717 and were created by Alois Muhr from Stockheim. The curved oak wood pegs are adorned with an acanthus border, at the top there is a volute. On the front and rear parapets, pilasters on consoles and fields with re-entrant corners can be seen. The rows of chairs are placed on a wooden, rising structure under the gallery.
Wooden figures
The wooden figures of the church are all taken. On the nave walls there is a cycle of apostles with Mary and Christ Salvator. The almost life-size figures are set in white and gold and were created in 1721 by Joseph Donzl from Holzhausen. They stand on volute consoles with the names of the sitters in carved cartouches.
In the choir there are white and gold framed statues of St. John Nepomuk on the north wall and Blessed John Sarkander on the south wall. They stand on neo-baroque consoles with name cartouches, are the same size as the figures in the cycle of apostles and date from around 1730 to 1740. The lecture cross in the choir dates from the middle of the 18th century. The crucifix on the south wall of the nave opposite the pulpit was created in the second half of the 18th century. A lecture crucifix comes from the same time. The crucifixion group with the crucifix, Mary and the apostle John dates from the beginning of the 18th century. The board figures of Maria and Johannes come from the holy grave and were made in the middle of the 19th century.
The Pietà in the choir is late Gothic and was made at the beginning of the 16th century. On more recent procession poles there are figures of Our Lady and St. Michael from the mid-18th century. In the sign there is a barred Mount of Olives scene with neo-baroque figures.
organ
The organ was installed in 1949 by the Zeilhuber organ builder from Altstätten. The previous instrument came from Georg Behr from Erling and was installed in the church in 1877. The organ brochure is from Abele from Kaufbeuren .
literature
- Heinrich Habel: Mindelheim district . Ed .: Torsten Gebhard, Anton Ress (= Bavarian Art Monuments . Volume 31 ). Deutscher Kunstverlag, 1971, ZDB -ID 256533-X , p. 436-441 .
Web links
Individual evidence
Coordinates: 48 ° 0 ′ 6.5 ″ N , 10 ° 38 ′ 33.4 ″ E