St. Peter (Tapfheim)
The Catholic parish church of St. Peter in Tapfheim , a community in the Donau-Ries district in the Bavarian administrative district of Swabia , was built in the middle of the 18th century in the Rococo style. The stucco decor , the ceiling frescoes and the furnishings have largely been preserved from the time it was built.
history
The patronage of the Apostle Peter suggests an old parish . The place Tapfheim was mentioned for the first time in a deed of donation in 1067. In 1256 Duke Ulrich von Carinthia transferred the right of patronage in Tapfheim to the Cistercian monastery in Kaisheim , which received property in the village for the first time in 1241 . In 1282, Hartmann von Dillingen , Bishop of Augsburg, granted the Kaisheim monastery all of the parish's income. As can be seen from the Kaisheimer Urbar , the monastery sold fields in 1365 to finance the expansion of the Tapfheim church. This Gothic predecessor building is shown on a map of the Höchstett Regional Court as a small church with a western tower crowned by a pointed helmet. Tapfheim was Protestant from 1553 to 1616 .
The new building of the church was commissioned by Cölestin I. Meermoos, who was abbot of the Kaisheim monastery from 1739 to 1771. A stone on the sacristy of the Tapfheim church with the inscription CAZK 1747 (Cölestin Abbot of Kaisheim) commemorates him . The plans came from Johann Georg Hitzelberger (1714–1792) from Ziemetshausen , who, influenced by the Wessobrunn builders Dominikus Zimmermann and Joseph Schmuzer , created his first large building with St. Peter in Tapfheim. On July 6, 1749 was performed consecration of the new church by Bishop Johann Jakob von Mayr .
architecture
Exterior construction
On the south side of the choir rises the tower, which is visible from afar and tapering in three steps, which is crowned by a four-sided onion dome. The four lower floors are flanked by wide corner pilasters and separated from the adjoining floors by a protruding cornice . The transition to the top floor is emphasized by a segmented cornice. The corners of the fifth and sixth floors are convex, those of the last floor are concave. The two upper floors are pierced on all four sides by coupled sound arcades .
The outside facade of the church is structured by large arched windows and smooth pilasters, which are decorated with volute capitals on the north and south sides . A richly profiled eaves cornice with cranked pilasters runs under the roof approach . The west facade is divided by two clearly protruding cornices and finished off by a volute gable crowned with a segmental arch . The lower cornice is open in the middle, the upper one is rounded.
inner space
The interior has a single nave and is divided into four axes . The nave is covered by a basket arch barrel with stitch caps . The north and south walls have a slight outward bulge in the middle, which is intended to simulate the spatial impression of a baroque central building . The walls of the choir and nave structure bundled pilasters with fantasy capitals and overlying beams and cornice.
The eastern corners of the nave are rounded. A basket arched choir arch leads to the retracted choir square, raised by two steps, which is vaulted over a round flat dome on hanging spandrels . It is bounded in the north by the sacristy and in the south by the tower. In the east, raised by a further step, is the semicircular closed apse with half-dome and stitch caps. Oratorio boxes open on both sides of the choir .
The western end is formed by a double gallery with curved parapets resting on wooden pillars . The organ is located on the upper gallery .
Piece
The stucco decoration made of leaf and latticework, acanthus tendrils and shellwork cartouches that frame the ceiling paintings goes back largely to the time of construction. It was added during the restoration in 1908/09 in the stitch caps of the choir and the nave, as well as on the frames of the Apostles' crosses. The coat of arms of the abbot Cölestin I. Meermoos, who commissioned the church, and on the side that of the Kaisheim monastery and the Cistercian order are attached in stucco cartouches on the choir arch .
Ceiling pictures
The ceiling frescoes were done by Anton Enderle (1700–1761) from Günzburg , the uncle and teacher of Johann Baptist Enderle (1725–1798).
The ceiling painting of the apse depicts the transfiguration of Jesus on Mount Tabor with disciples and prophets. The frescoes in the choir square are dedicated to the patron saint of the church, the apostle Peter, and to the establishment of the papacy. On the ceiling painting of the choir the Trinity hovers in the upper area - Jesus with the cross, next to God the Father, above the cross a dove - in the middle left Peter kneels, in the center of the fresco an oversized key is shown. The message of the picture relates to the confrontation with the Reformation , whose supporters rejected the Pope's claim to leadership and which are chased away in the lower edge of the picture. The smaller pictures in the spandrels depict episodes from the life of the apostle such as the healing of a lame man, his walking on the water, the healing of a sick person and the denial of Jesus.
The main picture of the nave bears the signature "Ant: Enderle pinx:". The subject of the picture is the veneration of Mary in all four continents, represented as personifications at the bottom of the picture. The central representation is the Lactatio of St. Bernard , who receives a stream of milk from Mary's breast. The scene is surrounded by a monumental pseudo-architecture. The smaller fresco in the nave is reminiscent of the Rosary Brotherhood, which has existed in Tapfheim since 1676, and depicts Mary presenting the rosary to St. Dominic . His attribute is depicted at the saint's feet , a dog with a burning torch in its mouth. On the right half of the picture, the baby Jesus hands Saint Catherine a wreath of flowers. The painful secrets of the rosary (Jesus on the Mount of Olives, flagellation, crowning of thorns, carrying the cross and crucifixion) are depicted on the southern spandrels of the nave ceiling and the secrets of the glorious rosary (resurrection, ascension and coronation of Mary) on the north side.
The ceiling painting above the gallery depicts the baptism of Ottilie, who was born blind, by Bishop Erhard von Regensburg .
Pictures of the gallery parapet
In the middle picture on the lower parapet the Last Supper is shown. The left picture shows the disciples of Emmaus, the right picture the Manna miracle and the feeding of the Israelites. On the upper parapet, the Annunciation and the Visitation of Mary are depicted on the left , the birth of Christ in the middle and the presentation in the temple and the twelve-year-old Jesus among the scribes on the right .
Furnishing
- The pulpit , the three altars and the three-part confessionals come from the Augsburg workshop of the brothers Ignatz Verhelst (1726–1792) and Placidus Verhelst (1727–1778) and were installed in the church around 1760.
- The 14 Stations of the Cross paintings were made in 1764 by the painter Johann Anwander , who lives in Lauingen .
organ
The organ was installed in 1982 by the Sandtner company in an existing Rococo organ case from the 18th century. The slider chest instrument has 19 stops on two manuals and a pedal . The playing and stop actions are mechanical.
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- Coupling: II / I, I / P, II / P
literature
- Werner Meyer (arr.): The art monuments of Bavaria. The art monuments of Swabia. Vol. VII. The art monuments of the district of Dillingen on the Danube . R. Oldenbourg Verlag , Munich 1972, ISBN 3-486-43541-8 , pp. 894-908.
- Julius Schöttl: Parish Church Tapfheim . Katholische Kirchenstiftung Tapfheim (Ed.), 2001.
Individual evidence
- ^ Diocese of Augsburg
- ↑ Information on the organ
Web links
Coordinates: 48 ° 40 ′ 16.4 " N , 10 ° 40 ′ 43.6" E