St. Peter and Paul (hops on the lake)
The Church of St. Peter and Paul is the Catholic parish church of Hopfen am See . It stands on a hill east of the Hopfensee within the walled cemetery.
Building
The church is about 26 meters long and has a Romanesque tower made of rubble masonry , which stands west of the east- facing nave . This arrangement is very rare in the Füssen area. The tower is around 28 meters high. The tower and church have steep gable roofs . The tower has arched acoustic arcades. On the west side these have only two openings, on the other sides three. Its pillars are provided with profiled bases , cube capitals with neck rings and sweeping warriors .
The nave has three window axes. The retracted choir , whose original ogival windows were rounded, has a 5/8 end. The nave has a mirror vault , the hollow of which leads to the ascending wall in the style of the Herkomer school . The coving is slightly cut from the choir arch. In the western part of the nave there is a 4.80 meter deep organ gallery .
In the southern corner between the choir and nave is the sacristy with a pent roof and groin vault . A connecting structure leads to the semicircular pulpit staircase. At the western end of the south wall of the nave, there is a Gothic sign that has an ogival entrance. In the inner walls of the sign there are three figure niches on the western side. Various grave slabs are attached to the walls of the northern half.
The building is a listed building .
Interior
Grave slabs
The tombstones with the Gothic sign date from the 18th century. A colored sandstone slab depicting a grinning frame in relief , which was designed around 1710, is particularly striking . The skeleton sits on a chest and holds a flag in its hands. Symbols of transience such as an hourglass , a broken sword, worms, a sickle and a child with soap bubbles surround the image. One cartouche , on the other hand, contains the sentence “Mors: ubi est victoria tua” (“Death, where is your victory?”). The plate does not have a name on it, but two seals indicate which dead it is supposed to remember: Magnus Stapf (1640–1710) was a Freiberg bailiff from Hopferau and was buried in Hopfen. His son of the same name was buried in Freiburg.
Gothic frescoes
The sign leads to the nave of the church on the southern side. On the south wall are some of the Gothic frescoes that were rediscovered and uncovered in 1938/39 . The largest of the surviving pictures is cut from the organ gallery. It shows St. George fighting the dragon; the threatened king's daughter is holding a tape with the text "hilf ritter sant iergg".
Below are two other, smaller paintings. The right picture shows three bishops and a saint. Most of the name inscriptions are no longer legible. It could be a representation by Erasmus, Ulrich, Ludolph and Wikterp ; the latter two were bishops of the Augsburg Church in the 8th and 10th centuries.
To the left of this is the depiction of a tilted angel's head.
On the north wall of the nave, not all of the frescos that have survived have been exposed. You can see part of an Adoration of the Magi , but only two of the three kings are in the exposed area of the painting. To the left of the worship scene there are four saints. Concealed on this wall, for example opposite the depiction of George, is a painting with St. Christopher , followed by a crucifixion scene in the west, which was only discovered in 1989. Further remains of frescoes are located on the southern choir wall. It can be assumed that in the early 15th century the entire church was painted with frescoes, perhaps in connection with the construction of the Gothic choir. The hand of these paintings is unknown. They are among the oldest paintings of their kind in the Füssener Land.
Piece
The origin of the stucco work has been secured both in terms of archival and style. Joseph Fischer from Faulenbach initially created a design, but it was never implemented. This colored design has been preserved and differs from the actual stucco decoration of the church in that it is more rich and has a smaller ceiling area. Fischer obviously already created the stucco with a view to painting the church. However, the western frame of the nave remained unpainted. The reason for this could have been the installation of the organ gallery, which would have prevented the view of the painting. The remaining frame fields were filled in 1828 with ceiling paintings by Alois Keller from Pfronten .
Ceiling pictures
The representation in the choir shows the Last Supper , above the archway Keller represented faith, love and hope, symbolized by three women with cross and chalice, anchor and child, the nave fresco shows the assumption of Mary into heaven : gesticulating and upwards looking apostles surround the empty tomb of Our Lady. This is carried to heaven by angels; Clouds hide them from the eyes of the apostles on earth. Alois Keller was one of the last representatives of a painting art still oriented towards the Baroque, which was influenced by the Augsburg Academy. Classicism , Romanticism and Nazarism had largely replaced this style elsewhere in Keller's time.
Stations of the Cross
The walls of the nave are decorated with 14 stations of the cross , which Karl Keller from Munich , a son of Alois Keller, created in 1892. He painted the scenes on copper panels in the style of late Nazarism, in which the altarpieces are also held. The pictures were once provided with gothic natural wood frames, but were given neo-baroque frames in 1982/83.
Altars
The former Gothic furnishings of the church were apparently removed in 1690 in the course of the baroque transformation. It was then that the altars were created that stand in the choir and on both sides of the choir arch. They are more or less similar in structure: on the altar table is the predella with carved ornament in a marbled field - at the high altar the tabernacle - above is a square altar sheet with arched ends, on both sides of which there are marbled columns. Those of the high altar are rotated and decorated with vine leaves, the columns of the other altars are kept simpler. In the center of the excerpt there is an oval picture, on the side gables there is a kneeling angel. The angels of the high altar date from 1690, those of the other altars from the middle of the 18th century. The altars are each crowned with a radiant sun with a monogram. At the frontal side altars to repeat this, the frontal of the high altar, a relief of the Virgin Mary with the representation of the place hops on. Nikolaus Babel comes into question as an altar builder . The popular altar and ambo are modern; they were created in 1984 by Alois Vogler from Füssen.
The baroque altarpieces were replaced - probably on the occasion of the renovation in 1889 - by paintings by the Oberstdorf artist Claudius Schraudolph . The patron saints Peter and Paul can be seen on the high altar ; in the excerpt the monstrance is shown as a reference to the sacramental presence of Christ in the tabernacle. The picture on the left side altar shows the Virgin Mary , from whose open palms rays of grace pour out while she tramples the serpent as a symbol of the devil. The extract from this altar shows the dove as a symbol of the Holy Spirit . The right side altar shows in the main picture Joseph with the white lily as a symbol of purity, the extract sheet shows God the Father as the heavenly father of Jesus, so that the three extract sheets symbolize the divine Trinity .
characters
In the middle niche of the sign is a life-size figure of Christ in prison. It is colored and dates from the middle of the 18th century.
Figures of the patron saints are attached to the south wall of the nave. They probably come from the old Gothic high altar. The approximately 1 meter high Gothic figures are painted in color and were possibly created around 1500 by the master of the Imberger Altar , who had his workshop in Kempten and was influenced by Hans Multscher and Michael Erhart .
On the south wall of the nave there is a figure of Our Lady as Queen of Heaven from the time around 1700 on a console. A crucifix from 1912 with neo-baroque ornaments on the ends of the cross also hangs on this wall . A former lecture cross in the rectory may have been made by Peter Heel from Pfronten and is dated to around 1732.
pulpit
The pulpit could date from the late Baroque redesign of the church around 1748. Carved grid fields can be seen on three sides of the basket. There are four angel heads on the pulpit bulge, the one at the back on the left is modern. The underside of the sound cover is designed as a shell, at the top there are six putti , two of which blow the trumpet . The structure is crowned by a figure of God the Father on the globe, above which the eye of God symbolizes the Trinity.
Stalls
The pews probably comes largely from the period around 1740. Carved leaf motifs decorate the in volutes decaying cheek . The modern confessional from 1984 was adapted to the baroque furnishings, the choir stalls date from around 1889. A communion bench also came from the same time , but was removed in the course of the liturgical reform in 1968.
organ
Until 1989 there was an organ by Hermann Späth from Füssen in the Hopfen church. It was built in 1910 and has been transferred to the Museum of the City of Füssen . The new organ was built by the Rieger company in Schwarzach / Vorarlberg . The prospectus is adapted to the baroque environment. The organ has a rear main work and a rear positive , which is built into the parapet. The two organ parts have 16 stops on two manuals .
Bells
In both world wars, the church of St. Peter and Paul lost bells: the bells purchased in 1900 by the Hamm company in Augsburg in the tuning f, g, a, c were removed except for one bell in the First World War . In 1923 three new bells in the tuning g, a and c were cast by Gebr. Ulrich in Apolda for the Hopfen church; all bells were removed in 1941. After the Second World War , the church received four bells in the tuning f, g, a, c. These bells made of Euphon bronze were cast in Erding by the Czudnochowsky company .
Building history
The Peter and Paul patronage, which can also be found in the Füssen parish , speaks for the old age of the Hopfen church. The first building was probably built after the year 1000. The tower of today's church is dated to the 12th century. The choir, which was built in 1434 under Pastor Konrad Binswang, dates from the Gothic period. The nave may have been rebuilt or rebuilt afterwards.
St. Peter and Paul shows traces of several epochs: The interior of the church was probably decorated with frescoes in the 15th century. Around 1500 the church received a new Gothic high altar, around 1690 baroque altars and 1746/47 a stucco decoration by Joseph Fischer from Faulenbach.
In 1731/33 an interior and exterior renovation took place. Among other things, three new windows were broken into the north wall of the nave because the light conditions in the old church were poor; previously there were only two round windows there. In 1739/40 new church stalls were erected, in 1746 the choir was stuccoed. In the course of this measure, the arch of the old Gothic choir was blown up. In 1747 the nave received a new ceiling, which was also stuccoed. In the following years, the church received a new roof and a new pulpit staircase that was on the outside of the church.
From 1889 to 1894, St. Peter and Paul were renovated both inside and out under Pastor Konstantin Kögel. At that time, new altar leaves were inserted and a new tabernacle was erected. The church received two colored windows and barrel work was carried out. The costs amounted to 6200 marks.
In 1938/39 an interior renovation took place under Ferdinand Benz. A part of the Gothic frescoes was rediscovered. The renovation affected the altars, the pulpit and the church interior. The sacristy was extended to the west.
In 1956 the church received a new exterior plaster and a new roof, 1960 new windows, 1968 an electric bench heater. Under Father Pius Waldenmeier, the next exterior renovation took place in 1980/81, and an interior renovation again from 1982 to 1984, which concerned the people's altar, ambo, confessional and tabernacle. In 1989 the church received a new organ. That year another Gothic fresco was discovered on the north side of the church at the beginning of the organ parapet.
History of the parish of hops
The oldest documentary evidence of the existence of the village of Hopfen dates back to 1172, but it can be assumed that both the village and Hopfen Castle are significantly older. Hopfen Castle was the seat of the Welf ministerial family of the Lords of Hopfen. In its early days, the Hopfen church was probably the own church of these ministerials. At the beginning of the 13th century, Hopfen Castle came into the possession of the Augsburg bishop. After Füssen had also passed into the prince-bishop's possession in 1313 , the Füssen provost's office was established. Hopfen Castle initially served as the administrative center of this provost's office; In 1322, however, the administrative seat was relocated to the Hohe Schloss in Füssen and hops lost their importance.
A parish in Hopfen probably existed since around 1100; it also included the lordly Eisenberg area and thus almost reached as far as Nesselwang . Since the Hopfen church was not in the center of this area, an own chaplaincy was established in Zell in 1533 and an independent parish in 1787. Hopferau received a palace beneficiary in 1504 and its own parish in 1876.
The community in Hopfen was severely decimated by the plague around the time of the Thirty Years' War .
Hopfen remained an independent parish until 1925 and then became a vicarie due to the small size of the community . Hopfen has been managed by the Füssen Franciscan Guardianate since 1937 . The development of Hopf into a health resort and tourist resort and the establishment of the sanatorium and the specialist clinic on the Enzensberg led to an expansion of pastoral tasks; The Enzensberg Specialist Clinic has had its own house chapel since 1987.
literature
- Reinhold Böhm: St. Peter and Paul. Hops on the lake. (Schnell Art Guide No. 1883), Munich 1991.
Web links
- Parish Church of St. Peter and Paul on www.katholisch-fuessen.de
Individual evidence
- ^ Diocese of Augsburg
- ↑ a b Reinhold Böhm 1991, p. 12
- ↑ Reinhold Böhm 1991, p. 6
Coordinates: 47 ° 36 ′ 19 ″ N , 10 ° 41 ′ 4 ″ E