St. Stephan (Kirchdorf)
The Catholic parish church of St. Stephan is a late Gothic building in Kirchdorf , a part of Bad Wörishofen in the Unterallgäu district ( Bavaria ). The church, located in the center of the village and surrounded by a cemetery, is a listed building.
history
The Guelph service man Becilin von Kirchdorf and a Manegoldus presbiter de Chirhdorf are mentioned as early as 1150. The Augsburg Bishop Walter II. High slot is on 19 August 1366 by Emperor Charles IV. With the church set fief. However, the bishopric was not able to keep the church sentence, just like the rule of Mindelheim . The changing owners of the Mindelheim lordship subsequently also held the Kirchdorf church structure. The church building is a late Gothic building from around 1500. David Sichelbein, a painter from Mindelheim , received 13 florins in 1650 for work on the Liebfrauen Altar. A new high altar was made in 1682 by the carpenter Martin Lang. The version of the high altar was done with oil paints by Dominic Schenk. A large and small altarpiece in the church also came from this . Martin Döttl, also from Mindelheim like Sichelbein and Schenk, created two roof angels and two angel heads. A redesign took place around 1752. During this remodeling, new frescoes, an early work by Johann Baptist Enderle dated 1753, were created. In addition, the windows were rounded off and a new ceiling was installed in the nave. The sacristy was added in the 18th century and new interior furnishings were added in the late 18th century. The sign was established in the late 19th century. Renovations took place in 1909 (inside), 1968 (outside) and 1980 (inside). The most recent general renovation took place outside and inside in 2016/17.
Building description
The retracted choir is two steps higher than the nave and is connected to it by a re-entrant choir arch with a cornice . At the three-sided end of the choir this is increased by a further step. The ceiling of the choir is formed by a late-Gothic lancet vault over a parabolic shield arch, the ribs of which are chipped off. The arched windows were formerly pointed arches. In place of the windows, rectangular doors to the church tower and opposite on the south side to the sacristy are built into the two north axes. A low arched oratory opening is present in the west axis of the choir. During the redesign of the choir in the mid-18th century, pilasters were added, suggesting a slight concave-convex movement. The shape of the pilasters is not uniform and varies. The pilasters in the corners of the choir arches have no capitals and have a bulging base. There is a pair of slim pilasters between the two choir bays. Both stand on bulged bases, the western pilaster being concave and the eastern pilaster being convex. There are rocaille cartouches on the capitals of the pilasters.
The nave consists of four axes and has a mirror vault . The surrounding profile cornice is touched by the apexes of the slender arched windows. The apex of the choir arch interrupts the cornice. A double gallery is built into the west wall of the nave, each resting on two Corinthian wooden columns. The parapets of the gallery are divided into fields with a gilded profile frame. There are high oval windows below the lower gallery, and arched windows below the upper gallery.
On the outer facade of the choir there are buttresses which are stepped 3/4 high. At the height of the window soles, the coffin cornice is led around the buttresses. Below the walled-up window and the coffin cornice in the apex of the choir, a case with a arched opening is inserted, which contains a mount of olives , probably from the 18th century. The late Gothic and square church tower adjoins the northern choir corner. On the ground floor there is a cross vault with fluted ribs. Both on the north and on the west side there are segment-arched closing panels, furthermore slot windows with sloping walls are attached in the north and east. The four upper tower floors have corner pilaster strips with round arches in between and overlapping friezes, closed panels. The top floor of the tower contains double arcades, although there is only one pointed arch opening in the west. The church tower is covered with a transverse gable roof, the gable of which is adorned with a rising pointed arch frieze. A polygonal extension, which contains the stairway to the pulpit , is available on the north side of the nave. The sign in front of the west portal from the 19th century has a dungeon niche in its north wall. The sacristy, an extension from the 18th century, is connected in the southern corner of the choir, opposite the church tower. In the middle of the sacristy extension, as well as next to the corners, there are Tuscan pilasters. The south side of the sacristy comprises two axes, the left axis being two-story and the oratory on the upper floor. The sacristy is covered with a pent roof that rises to the north and slopes down over the lower eastern part.
Furnishing
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Altars
The three altars - high altar and two side altars - date from around 1800 and were probably created by Clemens Wilhelm from Tussenhausen . They are made of wood and have a frame from around 1900 in olive tones. The original version was marbled in red. The high altar consists of a sarcophagus-shaped strip with a braided band. Above it rises the tabernacle , flanked on both sides by two columns and volutes . A crucifix is placed in the niche of the cylindrical tabernacle. Above it, on a volute pyramid, the lamb rests on the book with the seven seals . This is flanked by two angels kneeling on the outer pillars from around 1720/1730. The further structure of the high altar consists of four inclined Corinthian columns, with the two inner columns turned inwards and staggered. There are pilasters between the two pairs of columns. The figures of the apostles Peter and Paul , which are to the left and right in the intercolumns of the pairs of columns, date from the middle of the 18th century . In the middle of the 19th century, Johann Kaspar from Obergünzburg created the central altarpiece depicting the stoning of St. Stephen. The round-arched altarpiece is surrounded by a broad, classicist frame with a dove of the Holy Spirit at the top. In the altar extract above there is the seated figure of God the Father , which was created in the middle of the 18th century. The figure sitting under a canopy is surrounded by angel heads.
The two side altars in front of the choir arch are slightly inclined. The antependia have silver-plated relief medallions. On the north an angel can be seen how this Peter is freed from the dungeon. The southern one shows the Annunciation . A neo-Gothic crucifix , flanked by two praying angels, is located on the predella of both side altars. The rest of the altar structure consists of two Corinthian columns in front of pilasters, which are turned out at an angle, similar to the high altar. Both altarpieces are round-arched and were created by Johann Kaspar in 1856. St. Joseph is shown on the north altarpiece and St. Dominic is shown in front of Our Lady on the south . Both altarpieces are a late work by the artist. Mounted wooden figures are set up in front of the pilasters. On the north altar, St. Ignatius is depicted on the left and St. Francis Xavier on the right , both figures from the middle of the 18th century. The southern side altar shows the figure of St. Catherine on the left and St. Barbara on the right. Both figures date from around 1720/1730. Vases are placed above the pillars. The extract from the altar shows a high oval image in the midst of a glory of rays, which is crowned by a semi-dome and volutes. The death of St. Francis Xavier can be seen to the north in the oval picture and St. Aloysius to the south.
Frescoes
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Johann Baptist Enderle created the frescoes for the church in 1753. The work represents Enderle's earliest cycle of frescoes. The glorification of the sacrament of the altar is depicted in the center of the choir ceiling. The Ecclesia is shown on a triumphal chariot drawn by the symbols of the evangelists . The Ecclesia is worshiped by the four continents in the lower left corner. In her right hand the Ecclesia holds a monstrance from which lightning flashes and false teachers fall over the steps into the abyss. The central fresco is surrounded by smaller cartouches that show the virtues. To the east is love (heart), to the north hope (anchor), to the south piety (praying woman) and to the west faith (woman with wings). The central fresco on the ceiling of the nave shows the defense speech of St. Stephen in the temple, above it the Trinity . The fresco is labeled Johan Enderle inv. Et pinxit 1753. The central fresco is surrounded by smaller frescoes. To the east the finding of the body of St. Stephen is shown. It bears the inscription WO / SKT. STEPHANS'S BODY FOUND / MANY SICK ARE / HEALTHY. Opposite in the west, St. Stephen is shown in glory. To the north of the central fresco, the Queen of the Rosary can be seen interceding for the sick. It bears the inscriptions: SALUS INFIRMORUM and DAS MARIENPSAELTERLEIN / ALL SICK WILL BE HEALED. To the south, in the fresco, St. Francis and Dominic are depicted at the feet of Mary, as Mary interceded with the judge of the world for her son. It bears the inscriptions HOC TIBI SOLA SALUS and DAS MARIENPSAELTERLEIN / GOD'S PUNISHMENT ONLY. In the diagonals, starting from the central fresco, the four church fathers can be seen. Starting from the northeast in a clockwise direction, these are Ambrosius , Gregory , Augustine and Hieronymus .
Stalls
The simple choir stalls were created in the middle of the 18th century . It has carved decorations on the tail cheeks and pilasters and drilled fields on the front parapet. The segmented gables on the rear wall were created in the late 18th century. From Baisweil was lay stalls adopted. This is largely neo-baroque and has curved oak cheeks . The cheeks of the front rows of chairs as well as the side blocks date from around 1720 and are decorated with acanthus carvings. The seating in the gallery dates from the end of the 18th century. The curly cheeks contain simple frame shapes. Only one cheek is decorated with fruit. The communion bench , equipped with strong square balusters, is a work from the middle of the 18th century. The asymmetrical confessionals in the western corners of the choir date from around 1800.
pulpit
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The pulpit is made of wood and was created around 1800. The frame is olive green. It consists of a cylindrical body with pilaster strips and fields. The strong bulge under the pulpit ends in a tail that is rolled up towards the wall. Access to the pulpit is through an arched door on the back wall. Both the back wall and the cornice-shaped sound cover have, in part, neo-classicist decor from around 1900 with acroteria battlements and a cross on top.
Other equipment
Several wooden figures are set up inside the church. On the south wall of the nave there is a crucifix from the first half of the 16th century. The loincloth of the crucifix was probably redesigned in the 18th century. The crucifix is surrounded by a stucco frame. There is also a Pietà from the end of the 17th century on the south wall of the nave . The clothed Infant Jesus in the wooden shrine was touched on the original in 1892 and consecrated. The small crucifix on the font comes from the first half of the 19th century. In the sign is a dungeon savior from the middle of the 18th century. The figures in the Mount of Olives niche on the outer facade are believed to date from the second half of the 18th century. In the oratory there are also a resurrection crucifix from the middle of the 18th century, a lecture crucifix from the second quarter of the 18th century, and another lecture crucifix from around 1770.
The painting with the depiction of Mary of the Good Council above the priest's seat is inscribed on the reverse with Is on the gracious picture with ambered / PP Augustinians in Munich / 1763 . The glass paintings are a donation from Pastor Sebastian Kneipp and were made in 1892 by JP Bockhorni from Munich . The cast iron reliefs depicting the Stations of the Cross are also a donation from Pastor Kneipp. The offering box on the northern gallery support dates from the 18th century. It consists of a wooden baluster with an iron box on top. The stoup at the entrance is made of red marble and dates from the 18th or 19th century. The other holy water font was made of limestone in the second half of the 18th century and is located inside on the wall, north of the entrance.
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Several funerary monuments are attached to the south wall in the interior. So for Pastor Augustinus Menner († 1754), it consists of Solnhofen limestone and contains in the upper area a flat relief of a chalice between branches, as well as a broken candle and hourglass. A skull can be seen in the lower area. A memorial plaque was erected in 1833 for the fallen from 1805–1815. Further grave monuments can be found on the outer facade. So for Pastor Joseph Vögele († 1842); Jos. Ignaz Ritter, electoral Bavarian customs officer († 1800) and his wife Margaretha († 1803); Jos. Anton Schwarzkopf, innkeeper and economist on the Theresienberg in Kirchdorf († 1857); Ms. Jos. Dear, young man, fallen near Kissingen in 1866; Maria Kreszentia Wilh. Lottner, née Hüeber († 1840), and her husband Joseph Lottner, Revierforstner († 1865). A family grave is marked with a plaque made of Solnhofner plate limestone with the following inscription: Resting place of the Johann Scherreresche family in Kirchdorf. Joh. Scherr, royal Bavarian forest ranger († 1829), as well as his wives Marianna née Simon († 1811) and Anna née Stribl († 1832) and for 13 children are buried here. There are also grave monuments for pastor Loepold Albert Hainzler († 1732); Marianne Freifrau von Hohenhausen, born Freifrau von Wittorf from Silesia († 1807) attached. The grave monument for the Baroness von Hohenhausen consists of a plate in the form of a base and above it a sarcophagus with an alliance coat of arms on the front and a crowning wrought iron cross. Another grave monument was erected for the post keeper at Kaufbeuren, Anna Hofelmayr († 1833).
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. 581-582 .
- Heinrich Habel: Mindelheim district - Bavarian art monuments . Ed .: Torsten Gebhard, Anton Ress. Deutscher Kunstverlag, Munich 1971, p. 152-156 .
Individual evidence
- ^ Diocese of Augsburg
- ↑ a b Bavarian State Office for Monument Preservation - Architectural Monuments. (PDF) In: geodaten.bayern.de. P. 3 , accessed on November 17, 2014 .
Coordinates: 48 ° 2 ′ 20.1 ″ N , 10 ° 34 ′ 41.7 ″ E