St. Otmar (Eutenhausen)
The Catholic parish church of St. Otmar is located in the middle of the village of Eutenhausen , a district of the municipality of Markt Rettenbach in the Bavarian district of Unterallgäu . It is surrounded by a cemetery. The new building from the middle of the 18th century is a listed building. The church has the patronage of St. Otmar of St. Gallen .
history
Presumably a church of the local nobility was founded in the 9th or 10th century. The church set was later owned by the Teutonic Order Commander Altshausen, established in the 12th century . This sold him on March 13, 1490 to the lower hospital in Memmingen . In 1539 the church set came to the rule of Mindelheim . Renovation work and refurbishment took place in the years 1680 to 1683. In 1680 the Ottobeur sculptor Johann Martin Natter created two new roof angels three shoe high, which Gregor Thalhammer from Markt Rettenbach took. Martin Döttl from Mindelheim made two angels for the tabernacle in 1682 . Three new antependums come from Johann Planer, an upholsterer from Munich . The carpenter Dominikus Boos from Markt Rettenbach created a new paneled ceiling for 120 guilders in 1682. The 45 roses and 26 corbels contained therein were gilded by Georg Thalhammer. Dominik Boos also made the new stalls in 1683. The church building was canceled after Easter 1754 with the exception of the church tower and replaced by a new building from 1754 to 1756. The church tower was raised. The foundation stone for the new building was laid on May 16, 1754 by Dean and Pastor Michael Mayr. Auxiliary Bishop Franz Xaver Adelmann von Adelmannsfelden consecrated the new church on July 15, 1767. In the late 18th century, the pilgrimage to the St. Otmar Particle, which was kept in a monstrance created in 1777 by a Gürtler from Mindelheim, flourished . A disfiguring restoration took place in 1884. A part of the stucco decoration, the high altar picture and putti on various altars were removed. The rococo character of the church was restored in 1936 during a renewed restoration. Further renovations took place in 1957 and 1983/1984.
Building description
The nave has three window axes, the corners of which are rounded to the west and east. In the middle of the mirrored ceiling there is an oval, recessed field of paintings with a cove . On the west side of the church there is a semicircular apse-like extension in the middle. In a flat-roofed, hexagonal anteroom in its basement, arched doors in the west, east and north lead to the gallery . It forms the upper floor of the extension and consists of a semicircular room with a dome that cuts into the haunch . The middle section of the gallery parapet protrudes convexly, the side sections in the middle part step back flat. In the eastern axis of the choir and in the central axis of the nave there are richly curved windows. The two windows of the gallery porch are lower and curved differently than the others, which are arched. The windows in the western axis of the choir are blind because of the church tower attached to the sacristy. The sacristy is accessed from the choir through arched doors. The broadly proportioned and recessed choir has two window axes, a semicircular end and a mirrored ceiling. Between the choir and nave there is a slightly receding choir arch with a cornice and a pressed semicircular end. The walls of the choir and the nave are divided by flat, staggered pilasters , which are held in a light, reddish-gray marble tone and frame the windows, which are arranged at large intervals. In contrast to those in the nave, the pilasters in the choir are more richly designed. The inside facing the window is concave, the outside is convex. The bases of the choir pilasters are curved in the same way. The Corinthian capitals have rocailles and curved entablature pieces. In the nave, the pilasters sit on high, double plinths. Instead of capitals, they have stucco decorations with angel heads and concave entablature.
The surrounding eaves cornice is profiled on the choir and flat on the nave. A small, blind circular opening is set in at the apex of the choir below the eaves with painted hexagonal disks. The access to the pulpit is through the addition of the north wall of the nave. The semicircular roof of the semicircular extension on the west side extends to the west gable. The lower part of the church tower with a square floor plan in the northern corner of the choir dates from the 15th century. On the east side an arched door leads to the ground floor. The diamond-shaped double door leaf dates from the 18th century. The five floors of the church tower close off various types of friezes. From bottom to top, they consist of round arches, wide pointed arches, keel arches, simple rectangular consoles and flat keel arches with lily consoles. The upper floor was added in 1754/1756. At the corners there are Tuscan pilasters with cranked entablature pieces. A protruding, profiled cornice runs under the slate-covered octagonal onion dome . Each side of the upper floor has a round-arched sound opening with a plaster frame and apex . The two-storey sacristy with two window axes and a hipped roof is added to the southern choir corner . In the west of the sacristy an arched door leads into the interior.
Furnishing
High altar
The high altar dates from the time the church was rebuilt and was created around 1756. This has been in the original version again since 1936 . The brick stipes carry the altar bar on which the free-standing wooden tabernacle is located. This is painted in red, green and gray-yellow tones. A fresco from 1756 with the death of St. Francis Xavier is behind the antependium . The central axis of the tabernacle, which consists of a total of three axes with volutes, is cylindrically convex, the side axes are concave. In the central niche there is a small group of figures made of wood with the crucifixion scene . Kneeling putti are attached to the outer volutes . The flat volute tip of the tabernacle is decorated with a depiction of the lamb on the book with the seven seals . Two wooden reliquary pyramids with rocailles are placed on the base of the tabernacle. There are also six gold-plated and silver-plated wooden candlesticks from the mid-18th century. The structure of the high altar is concave and consists of stucco marble and stucco in the same color as the substructure. This is firmly connected to the end wall of the choir and is not free-standing. The structure is divided into three axes, with the two lateral axes enclosing the windows of the apse. The base zone below the two windows form curved niches with grooved walls. The arched niche in the central axis is higher and is covered by the tabernacle. The horizontal middle section is divided by four black marbled Corinthian columns with curved entablature. Gray marbled, concave pilasters are behind the columns. The central altarpiece in the broad central axis is framed with stucco profile frames at the top and bottom. The altarpiece is painted al secco on the wall and depicts St. Otmar as the patron saint of the parish. It is labeled JD 1936 . JD stands for Josef Damberger from Munich. On the outside of the outer columns there are volute pilasters, each with two putti and warped pieces of entablature. Above the windows and the altarpiece, the cranked cornice is slightly curved. In the cove above on the choir ceiling is rich stucco, which serves as an altar extract or crowning. A stucco relief figure of God the Father can be seen in the tail gable in the central axis, and the Holy Spirit in the crown . Above it is a putto with a banner.
Side altar
The two side altars date from the same period as the high altar , around 1756. The construction of the concave side altars in the east corners of the nave is similar to the high altar and, like this, are directly connected to the wall. The color scheme also corresponds to that of the high altar. The structure rises above pilaster-like bases on both sides of the canteens. Over these bases, consoles protrude, on which the gray-marbled Corinthian columns rise. The columns flank the al fresco altarpieces on both side altars. As with the high altar, the altarpieces are enclosed by curved stucco profile frames above and below. In the top and bottom of the altar extension, framed by strong, high-swinging profiled cornices, there are frescoes that were created in 1833 by Leonhard Sesar from Mindelheim . A shell is attached to the apex of the cornice of the altar extension, above it a stucco cartridge with a putto holding a flower chain. The north, left side altar contains a wooden Pietà from the 16th century on the cafeteria , as well as a small wooden crucifix from the 18th century and two reliquary pyramids with carved rocailles. The altarpiece depicts the Descent from the Cross and, like the southern altarpiece, was probably created by an Italian master. The fresco on the extract from the altar shows Our Lady . Three carved wooden figures are placed on the southern side altar. These represent the Mother of God in the middle, as well as St. Ulrich and St. Afra . The central altarpiece shows St. Sebastian , above it in the excerpt you can see St. Joseph . The central altarpieces were exposed again in the course of the restoration in 1936.
pulpit
The wooden, reddish marbled pulpit was made around 1680 . It is decorated with gilded and cartilaginous foliage decoration. The broad, polygonal pulpit has slender Corinthian columns at the corners. In the framed round arch panels in between there are mounted wooden figures. These show the Salvator and the four evangelists . The base as well as the entablature are cranked. The rear wall consists of the access door and carries a silver-plated curtain, created by Toni Roth in 1936. An angel figure with a trumpet is placed on the top of the volute of the cranked entablature cover .
Frescoes
The frescoes on the choir and nave ceiling were created in 1756 by Franz Seraph Kirzinger from Munich. They are an early work by the Munich artist. In the choir, St. Otmar is depicted in glory, floating in a domed church surrounded by angels. On the steps below are the pleading people of all classes. The people are led by emperors and prelates . Elements that had fallen were replaced in 1936. The condemnation of St. Otmar before the episcopal court in Constance can be seen on the ceiling of the nave. The fresco is marked 1756 in the lower left area and Franz Kirzenger pinxit in the middle . In the windowless axes of the choir and the nave there are three or two oval medallions with half-figures of the apostles . These were uncovered in 1936.
Further equipment
In addition to those of the altars, there are several wooden figures in the church, such as a lecture crucifix with a corpus from the middle of the 18th century. The cross is decorated with gold-plated carved decoration at the ends of the beams. Another, small processional cross dates from around 1800. The crucifix on the south wall of the nave is an Oberammergau work, probably from 1845, and was donated to the church in 1936. The silver-plated and gold-plated Easter candlestick was made of wood in 1720. It is tripod and decorated with foliage and angel heads. In 1915 the baptismal font was created according to a design by the church workshop of Ulrich Dochermann from Augsburg. The ribbed basin resting on the baluster-shaped shaft is made of Tegernsee marble . The lid of the baptismal font is ribbed and embossed in copper .
The two paintings on the choir arch show St. Otmar as the cattle patron to the south. The upright rectangular painting is inscribed on the reverse with Johann Michael Ziegler von Matzies pixit 1793 . Opposite is the heart of Jesus. This painting dates from the first half of the 18th century. The fifteen Stations of the Cross date from the second half of the 18th century.
A tomb for the pastor Johann Georg Deber († 1742) is attached to the south wall of the nave. It was made from Solnhofen limestone and is diamond-shaped. The two memorial plaques for the fallen from 1805 to 1815 and from 1833 are also made of Solnhofen stone. The plaque on the south wall, below the gallery, is for the fallen of the parish of Eutenhausen. The plaque on the north wall for those who died in Mussenhausen. These were created in 1834 by Anton Schuster from Mindelheim.
The organ was designed in Romanising neo-renaissance forms in 1886 . The housing, made up of two pillar arcades, is framed in white and gold. Consisting of softwood made confessional comes from the late 18th century. The unfettered and simple confessional consists of three axes. The middle axis has a curved parapet door with simple classicist carved decoration.
Web links
literature
- Georg Dehio : Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , pp. 334, 335 .
- Heinrich Habel: Mindelheim district - Bavarian art monuments . Ed .: Torsten Gebhard, Anton Ress. Deutscher Kunstverlag, Munich 1971, p. 123-127 .
Individual evidence
- ^ Diocese of Augsburg
- ^ Bavarian State Office for Monument Preservation: Entry D-7-78-168-23
Coordinates: 47 ° 58 ′ 20.9 ″ N , 10 ° 25 ′ 55.1 ″ E