St. Veit (Veitsbronn)

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St. Veit, south side
sundial
Former west portal
Choir room
Mary Altar
Barbara Altar
Catherine Altar
Vitus Altar

St. Veit is an after St. Veit named Church of the Lutheran parish Veitsbronn ( deanery Fürth ).

Parish

St. Veit was first mentioned by name in 1350 as a branch of the parish of St. Magdalena (Herzogenaurach) . The patroness of Herzogenaurach - and thus also of Veitsbronn - was the abbess of the Benedictine monastery in Kitzingen . Because of the debts that the monastery had accumulated, Abbess Gisela von Brauneck sold the patronage rights to the Nuremberg citizen Konrad Groß in 1337 . He transferred it to the Heilig-Geist-Spital in Nuremberg, which he had founded. After the Reformation, the right of patronage passed to the imperial city of Nuremberg .

In contrast to the parish of Herzogenaurach, which belonged to the archbishopric of Bamberg , St. Veit was assigned to the diaconate Langenzenn of the diocese of Würzburg . The Ansbach margraves as sovereigns exercised the protection of the parish fair on St. Vitus's Day (June 15) and on the Sunday after St. Laurentius (August 10) . The consecration date on Laurentius Day could be an indication that there was already a church in front of the St. Vitus Church.

From the beginning, St. Veit was a pilgrimage church for pilgrims from Herzogenaurach, who visited it because of a miraculous spring on the Kirchberg that was attributed to St. Veit. St. Veit has been an Evangelical Lutheran since 1529 and an independent parish since 1547. Nevertheless, the Catholic pilgrims were allowed to visit them. Since the 18th century the "abandoned Mother of God" of the Marian altar has been in the foreground on pilgrimages. As a result, the parish fair has since been celebrated on the Sunday after the Assumption (August 15).

Today the parish includes the Heilig-Geist-Kirche in Obermichelbach and the Friedenskirche in Tuchenbach .

Building history

St. Veit was built in the second half of the 14th century. After the city ​​war of 1388 , it was expanded into a fortified church . In the 2nd half of the 15th century a west gallery was built. After the Thirty Years' War the church had to be restored. The remaining galleries were let in. The roof windows were added at a later date. In 1781 the five-button pointed helmet was replaced by the current spire. In 1827 the windows were enlarged and the south portal was added. In 1878/82 the church was renovated under the direction of Professor Georg Eberlein from Nuremberg . Existing baroque frescoes, ceiling and gallery paintings were renewed or completely repainted. In 1930 a vestibule was added to the west side of the hall. During the restoration work in 1939/40 and 1949/51, the paintings by Professor Eberlein were removed again.

Building description

The choir tower church , built from sandstone blocks of different sizes, is located on a hill and is surrounded by a cemetery that is protected by a defensive wall. A staircase with 107 steps leads from the town center to the church.

The unpainted choir tower in the east has a square floor plan and is four storeys high and ends with an eight-sided pointed helmet that is offset once. In the choir floor there are pointed arch windows on the south and east sides. The whitewashed sacristy adjoins the north side. It has an arched portal and a pointed arch window on the east side and an arched arched window on the north side. On the first floor of the tower there is a small pointed arch window on the south side, which originally was probably an embrasure. On the second floor there is a sundial on the south side, above the clock face of the tower clock. On the east and north sides there are two small rectangular windows, which were also probably originally loopholes. In the bell storey there are sound openings in pairs on each side, in the south as a pointed arch tracery , in the north and east as a pointed arch and in the west as a rectangle.

The hall building in the west is whitewashed and has a pointed gable roof. On the west side was the pointed arch portal, now an extension with a hipped roof, which is used as a baptistery. On the south side there are four pointed arch windows of different sizes and the pointed arch portal. On the north side there are two small, loopholed pointed arch windows, including a small extension.

The choir has a ribbed vault and a pointed arch portal to the hall. The single-aisled hall has a barrel vault made of wood. The first gallery is embedded on the west and north side, the second gallery on the west, north and east side.

Interior

St. Veit originally had four side altars, two of which have been completely preserved. The altarpieces of the other two have been preserved.

The Marien Altar stands on the east wall of the hall to the right of the arched portal. The altar, carved and painted in 1470/80, comes from the same workshop as the St. Wolfgang Altar from St. Lorenz (Nuremberg) , the master of which was probably Valentin Wolgemut . In the middle is the wooden statue of the so-called "abandoned Mother of God", in the representation an allusion to the apocalyptic woman ( Rev 12,1  EU ). The open altar shows the circumcision of Jesus ( Lk 2.21  EU ) at the top left, the risen Christ at the top right, the pouring out of the Holy Spirit at the bottom left ( Acts 2.1–41  EU ) and the death of Mary at the bottom right. In the center of the predella , the Mother of God with the child is depicted, with St. Margaretha with the staff cross and St. Christina and on the right St. Catherine and St. Barbara. The closed altar shows Mary's temple passage at the top left , the engagement of Mary at the top, the Annunciation ( Lk 1.26-38  EU ) at the top right , the circumcision of Jesus ( Lk 2.21  EU ) at the bottom left, the adoration of the kings at the bottom center ( Mt 2,1-12  EU ) and the representation of the Lord at the bottom right . The right wing is missing.

The Barbara altar is on the east wall of the hall to the left of the arched portal. The altar, carved and painted around 1440/50, comes from the Nuremberg School in the vicinity of the master of the Holy Cross Chapel in Nuremberg. In the shrine stands, dated around 1500, St. Barbara with a chalice and tower. The open altar shows Saint Vitus at the top left, Sebastian at the top right , Stephanus at the bottom left and Katharina at the bottom right . Holy Communion is depicted in the predella . The open wings of the predella show Saints Agnes and Apollonia on the left, Katharina and Barbara on the right. The closed altar shows in pairs from left to right the helpers in need and other saints: the saints Pantaleon and Eustachius , the bishop Nicholas and the apostles Andrew , Achatius and Dionysius , Sebastian and Christophorus ; below from left to right Margaretha and Katharina , Egidius and Erasmus , Leonhard and Georg , Barbara and Veit. On the panels of the closed predella Saint Andrew and Margaretha are depicted on the left, and Dorothea and Stephanus on the right .

The Catherine altar was formerly in the choir, the altarpiece now hangs on the north wall of the church. It was created around 1505/10 in the workshop of the master of the Martha Altarpiece from St. Lorenz (Nuremberg) . The central shrine shows the martyrdom of St. Catherine and other scenes according to the legend. The paintings show John the Baptist and the Evangelist Johannes at the top left, Andreas and Sebastian at the top right, Thomas and Sebaldus of Nuremberg at the bottom left, Philomena and Maria Magdalena at the bottom right . When closed, it shows Maria with Jesus at the top left, who hands a ring to Katharina - top right - next to Katharina, Saint Barbara. Christophorus and Leonhard are depicted below left and Veit and Georg below right.

The St. Vitus altar was originally also in the choir, later in a wall niche in the north choir wall and since 1878/82 on the north wall of the nave. The figure was carved by an unknown artist in the late 15th century. The left wing depicts St. Catherine and the right wing depicts St. Barbara.

The wooden pulpit was made in 1697. It is attached to the south wall in front of the Marien Altar. The polygonal basket is carried by an angel. A figure of the risen Christ of the 16th century, who originally stood on the Marian altar, is attached to the sound cover.

The goblet-shaped baptismal font made of reddish sandstone probably dates from the first half of the 17th century. It is located in the west porch built in 1930, in which a wooden crucifix from the 16th century is also hung.

The choir altar is a medieval stone canteen. The wooden structure was probably made in the 18th century by a Wilhermsdorf artist.

literature

Web links

Commons : St. Veit  - collection of images, videos and audio files

Individual evidence

  1. ↑ W. Buchold (Ed.), Pp. 19f.
  2. ↑ W. Buchold (Ed.), P. 20.
  3. ↑ a b W. Buchold (Ed.), P. 16.
  4. ↑ a b c A. Gebessler, p. 166.
  5. ↑ W. Buchold (Ed.), P. 21.

Coordinates: 49 ° 30 '47.7 "  N , 10 ° 53' 8.3"  E