Ossiach Abbey
The Ossiach Abbey is a former Benedictine abbey on the south bank of Lake Ossiach in Carinthia .
history
founding
The area of the Ossiacher See belonged to the areas that King Karlmann gave to the monastery of Ötting as a court meeting in 878 . For a long time it was assumed that the donation related to the Ossiach monastery; one therefore believed to be able to recognize the founder of the Ossiach monastery in the king. Even when the misinterpretation of the deed of 878 was later recognized, the foundation of the monastery was maintained at an early stage. Excavations also indicate that there was a church here before the Benedictines settled here.
At the end of the 10th century the meeting of the court came to the Bishop of Passau , later to Emperor Heinrich II. He transferred the court to Count Ozi . Little is known about the origin of the monastery, as no documents have survived. It was founded shortly before 1028 by Ozi and his wife Glismod (also called Irenburg, depending on the source). The first monks are said to have come from the Bavarian Niederaltaich monastery . The first documented abbot was Wolfram, a monk from Niederaltaich. The name of the monastery is not derived from the founder, who is also known as Ozzius, but from the Slovene name for the area, osoje , which means " those from the shady side".
The Ossiach Abbey was first a family monastery under church law. The founder was free to use this himself. Ozi had two sons, Ozi II and Poppo . The latter was the Patriarch of Aquileia . He tried to put the monastery, which was in the Salzburg-influenced part of Carinthia, under the influence of his patriarchy. This was confirmed to him in 1028 by Emperor Konrad II . This position of Ossiach as Aquileja's own monastery was maintained until the 13th century.
Boleslaus legend
The second abbot of Ossiach was Teuzo, who is closely connected with the Boleslaus legend. According to this legend, the Polish King Boleslaus II is said to have lived unrecognized as a “silent penitent” after the murder of Bishop Stanislaus in Ossiach and only revealed himself to the abbot at the deathbed. This version of the flight to Carinthia appeared among Polish historians in the 15th century. It is not clear whether Boleslaus actually lived in Ossiach. His alleged grave is on the north wall of the church. The opening of the grave and further excavations in the 19th and 20th centuries could not provide clarity here. The grave monument has been the subject of Boleslaus veneration since the 16th century, especially by Polish pilgrims. Emperor Franz Joseph I laid a wreath on the grave in 1856. In 1905, the crown land of Galicia and Lodomeria donated glass windows on the organ gallery for the collegiate church. Polish soldiers erected a memorial stone in 1945.
Gravestone of Boleslaus II (drawing)
Painted epitaph for Boleslaus II on the north wall of the church
High Middle Ages
The monastery was subordinate to the Patriarchate Aquileja, but the bailiwick over the monastery remained in the family of the founders. Ozi's last direct descendant, Count Otto von Cordenons , bequeathed his goods and rights, including the bailiwick, to his relative, Margrave Ottokar II of Styria. Like Styria, the Bailiwick passed to the Babenbergs in 1192 and to the Habsburgs in 1282 . The Habsburgs temporarily transferred the bailiwick to Duke Meinrad II of Görz-Tirol.
During this time the monastery was able to further expand its property. The area around the Ossiacher See and Feldkirchen as well as in the Rosental were probably part of the original foundation estate . Areas on Wallersberg ( Völkermarkt ) and in the Jauntal were added, as well as an office in Lienz (East Tyrol). In 1233 the monastery bought possessions in Lungau .
In 1267 the abbots of Ossiach received the title of "Archpriest of the Rose Valley" from the Patriarch of Aquileja. They held this title until the monastery was dissolved. In the course of the High Middle Ages, however, the monastery slowly detached itself from the patriarchy and turned to the Archdiocese of Salzburg. Aquileja's canonical claims ended around 1280.
Under Abbot Werner (1307-1314), the centuries-old tradition as a miracle sanctuary began in Ossiach. With three crystal balls, which Abbot Werner is said to have received from the Blessed Mother, the blind, deaf, mute and “possessed” were healed by “burning”. The crystal balls were also mentioned by Paracelsus and Valvasor in his Topographia Archiducatus Carinthiae . Today only the smallest of the three balls, which is in the Diocesan Museum in Klagenfurt, is preserved.
In 1343 Duke Albrecht renewed the ducal protection privilege for the monastery. It allowed the toll-free transport of food from all Carinthian cities. He also restricted the rights of the ducal judge to the monastery property. Under Abbot Ulrich I (1392–1437) the Ossiach abbots were appointed by Pope Boniface IX. Miter and pontificals awarded, a sign of Ossiach's reputation. Abbot Andreas I (1430–1437) obtained lower jurisdiction from Duke Friedrich for Ossiach in 1436 , a not inconsiderable source of income. Under Abbot Andreas, the Ossiach coat of arms was first used in 1434, a white sloping bar on a red background, which is covered with three white lake trout.
Late Middle Ages
At the time of the Turkish invasions, in the last quarter of the 15th century, the monastery building, like many churches in Carinthia, was surrounded by a defensive wall with towers and loopholes. The monastery itself is unlikely to have been attacked. According to legend, a group of monks are said to have been attacked and killed by Turks outside the monastery. A church was built at the alleged murder site, which later became the pilgrimage church of Heiligengestade . The church was blown up in 1891 because it was in disrepair, its valuable winged altar is now in the Teutonic Order Church in Friesach . In 1478 the Turks devastated the Ossiach possessions in the Rosental. Also from the Hungarian wars, Emperor Friedrich III. the monastery emerged unscathed.
In 1484 the monastery and church were practically completely destroyed by fire. A women's convention that existed on site at the time was then dissolved. Abbot Leonhard Zorn resigned in the same year, his successor Daniel Krachenberger (1484–1496) began the reconstruction. He was also able to acquire Tiffen Castle for Ossiach. Under his successor Erasmus Töttrer (1496–1510), five altars were consecrated on September 5, 1500 by Bishop Erhard von Lavant. Abbot Erasmus also donated the late Gothic winged altar, then used as the main altar, which is now in the baptistery.
Under Abbot Wolfgang Gaispacher (1510–1523) the church on the Tauernberg was renewed.
Early modern age
In 1530, Ossiach lost a quarter of his property due to King Ferdinand's war taxes. Nevertheless, Abbot Andreas Hasenberger (1525–1555) was able to lead the monastery to a climax. He had buildings renewed and a prelature erected, he was able to subordinate the parish of Tiffen to the monastery and he had a small Venetian flotilla built on the lake with a Bucentaur as the main ship. During his stay in Villach in the summer of 1552, Emperor Charles V was a frequent guest on this ship and in the monastery.
The Ossiach Abbey also had a school, but it was not documented until 1541. There is a first reference to the monastery library and archive from 1549, when Wolfgang Lazius pointed out in a report that in Ossiach, due to the uncertain times, the books and archives were being kept in underground caves.
Abbot Petrus Gröblacher (1556–1587) initially stepped out with construction work, so he had the ceiling of the collegiate church paneled, the organ repaired and a court house built. However, during his tenure, he accumulated debts. The Lienz office was lost and the monastery began to decline. Gröblacher was deposed in 1587. The convent then elected his biological brother Zacharias Gröblacher (1587–1593) as abbot. His only building project was the establishment of an inn. The monastery offices of Feldkirchen and Wallersberg were pledged. In 1593 the Archbishop of Salzburg forced his abdication. Abbot Zacharias, however, was interested in history. He wrote the Annales Ossiacenses , a monastic history that was continued by his successors until the monastery was abolished. The Ossiach Abbot's Book is also attributed to him. It contains colored representations of the abbots with their coats of arms and biographical notes.
Abbot Zacharias's successors came from outside the monastery. Abbot Caspar Rainer (1595–1616) managed to get back most of the pledged goods. In the church he had Count Ozi relocate the tomb tomb to the crypt. Abbot Georg Wilhelm Schweitzer (1622–1628) was able to expand the property again: he acquired a house in Klagenfurt ( Ossiacher Hof ), bought Prägrad Castle and its goods. In the monastery he had the west wing with the prelate rooms built, which is still preserved today. An archbishop's visit in 1624 certified the monastery to be in good condition.
Baroque heyday and dissolution
Abbot Christoph Caponig (1656–1682) acquired Wernberg Castle in 1672 with real estate, fishing rights and regional court. Most of the monks moved there, only a few stayed in Ossiach and maintained pastoral care and schools. The next abbot was Edmund Ibelbacher (1682–1725), the versatile educated man had previously been a theology teacher in St. Paul . He was twice appointed visitor of the Salzburg Benedictine Congregation, which also included the role of Rector of the University of Salzburg . In the collegiate church he had the high altar, pulpit and the baroque organ that still exists today. On October 23, 1689, the (fictitious) millennium of the monastery was celebrated. Ibelbacher's successor was Virgilius Gleißenberger (1725–1737), an important baroque poet. In his Latin hexameters he also described the Sterz , a Carinthian farmer's dish. Gleißenberger built the baroque chapel in Wernberg and two rectories in the Rosental. Under him the abbey library reached a total of over 3000 volumes.
Under Hermann Ludinger (1737–1753) the monastery and church were essentially given their current appearance. He had the monastery rebuilt in baroque style. He employed well-known artists such as the painter Josef Ferdinand Fromiller or the plasterers from Wessobrunn . Due to his economic skill he was able to raise the high construction costs and the high taxes. His successor, Roman Zusner (1753–1783), emulated him in the design of the pen, but accumulated debts.
On December 5, 1782, the Viennese court chancellery issued the order of Emperor Joseph II to the provincial governor to remove the Ossiach monastery. The repeal took place in the spring of 1783. The archive and library were removed from Wernberg and Ossiach. Many of the books came to the study library in Klagenfurt, many were lost. The property of the monastery was divided. The estate on the Tauern was nationalized, the rule of Wernberg went to the district chief of Villach, the remaining properties were sold in favor of the religious fund. The collegiate church, the parish forest and a few pieces of land remained in the possession of the parish of Ossiach.
After the repeal
From the abolition until 1810, the complex, now called the castle, was the seat of the district management of the religious fund . It was then leased to the military, who turned the pen into a horse stud. In 1816 the cloister was demolished and the demolition material was used for the stables. In the monastery courtyard, the entrance to the church was walled up and the Marienbrunnen with statue was removed. It was not until 1916 that at least the statue of the Virgin was to be put up again in the courtyard. From 1872 to 1879 Ossiach was a dragoon barracks, from 1884 to 1915 a state stallion post. The prelate wing was the seat of the respective commanders and was preserved. After the outbreak of war with Italy in 1915, the military left Ossiach and the castle served as Ross Hospital. After the end of the war, Italian troops were stationed here (→ Kärntner Abwehrkampf ) and plundered the buildings.
In May 1920 Ossiach was declared a stallion stable office. The Augustinian Canons from Neustift in South Tyrol leased part of the building from 1924 to 1927. A resettlement failed due to financial problems. After the annexation of Austria in 1938, the German Reich Forestry took over the building. During the Second World War, the monastery served as an infirmary, military training camp and an air recovery home. Prisoners of war were interned in the stables. After 1945 British troops were quartered here.
After the British withdrew in 1947, the Austrian Federal Forests took over the monastery. This was followed by a general renovation of the church and the monastery buildings, which continued until the 1970s. In 1974/75 the walled-up Romanesque west portal of the church was reopened. A hotel was set up in the main wing of the monastery, and the tenant had the facade, inner courtyard and rooms renovated.
Since the Carinthian Summer was founded in 1969, the collegiate church and the baroque and knight's hall in the monastery have been the venues for this music festival. The monastery has been owned by the Province of Carinthia since 1996.
church
The former monastery and today's parish church Mariae Himmelfahrt is surrounded by a defensive wall from the end of the 15th century towards the lake. The cloister was formerly located on the south side and was demolished in 1816. The church is essentially Romanesque. After the severe fire of 1484, it was rebuilt in a Gothic style. Under Abbot Hermann Ludinger, it was redesigned in baroque style from 1737 to 1744, which essentially gave it its current appearance.
It has a four-bay , three-aisled nave , the choir has three Romanesque apses . A chapel adjoins the transept to the south and the sacristy to the east . In the north-west of the church there is an attached baptistery. A small stair tower from the 15th century is attached to the north wall of the transept. There are also buttresses on the north side, which are missing in the south. The windows in the nave are rectangular and baroque. There is a Gothic pointed arch window on the north transept. The west facade was built in the second quarter of the 18th century. The west entrance has a straight lintel, the bronze door dates from 1974.
The building is 31 m long, around 14 m wide and 10.3 m high without a tower. The central nave is 5.5 m wide. The Romanesque-Gothic crossing tower was in danger of collapsing for a long time due to the soft construction ground and could only be secured in 1948. The tower has a neo-Gothic pointed helmet with steep gables from 1889.
Interior
- Longhouse
The four-bay and three-aisled nave has a 5.50 m wide central nave. The central nave is twice as high as it is wide. There are wide, high arcade openings towards the side aisles. The core of the pillars is Romanesque, and when the church was made Baroque, they were raised significantly, with delicate pilasters towards the central nave. The central ship barrel has lance caps, and the side aisles have a grooved groin vault. The west gallery is bricked and includes all three naves. It is arched under the spine. It opens towards the ships with an arched opening each.
- Baptistery
The baptistery dates from the 14th century. It is entered through a wide arched opening located on the north wall under the west gallery. The chapel is single-bay and has a 5/8 end . The vault has strongly profiled cross ribs. The round keystones are painted. The cross ribs start on deep-seated wall brackets. There is a seating niche on the south wall to the right of the entrance.
- Transept
The transept is at the same height as the central nave, the built-in galleries are in alignment with the central nave. The architectural forms are often Gothic, which were later changed to Baroque style. The crossing pillars contain the remains of the Gothic pillars, as well as fragments of the Gothic vault from the end of the 15th century in the crossing vault. The vault was baroque in the 18th century and vaulted with a square. Gothic vaults have been preserved above the southern gallery. The former crypt of the founder of the monastery, Ozi, is located between the western pillars. In the past, the crypt shaft was covered with a raised stone slab until the grave was moved to the crypt around 1615.
- South chapel
The south chapel dates from the end of the 15th century. It stands in the extension of the former transept and is entered from the transept through an arched opening. In the corners of the almost square chapel there are polygonal wall pillars, above which a Gothic star vault rises. In the chapel there are four columns with capitals that were recovered when the crypt was uncovered in 1937: three from the 11th century and one column from the 15th century. On the west side of the chapel is the sarcophagus of the monastery founder Ozi.
- Choir
The choir is single-bay and has three apses. The choir is three steps above the level of the nave. In the Vorjoch there is a Gothic vault under the baroque furnishings. This is more polished in the northern side yoke. There is a large lunette window above the high altar. The glazing of the side apses was donated by Karl May in 1905 .
The early Romanesque hall crypt is located under the choir. Parts of it were discovered during excavations in 1937 and made inaccessible again in 1947/48. The crypt is believed to have been buried after the fire in 1484. In the 18th century, three tombs were built for the abbot. The middle row of columns consists of polychrome columns. The early Romanesque capitals were partially built into the new staircase. Four of the pillars were recovered in 1947/48 and placed in the south chapel.
- sacristy
The sacristy is a hall in the south-east of the church. There is a staircase in the southwest of the sacristy. Next to it is a window, the glazing of which was donated by Karl May in 1905 . There is also a hall room on the upper floor. Above the south chapel there is a room that merges into the south gallery and reveals a Gothic vault beneath the baroque furnishings. The early Baroque vestry cupboard is richly inlaid and was put back in the sacristy in 1994 after a restoration. Before that it had been kept for a long time.
Stucco and painting
The interior is richly decorated with stucco . They cover the vaults, ridges, stitch caps, the pillars, the arches and the gallery parapets. They come from the Wessobrunn workshop , possibly from master Jakob Kopf. These are foliage band ornaments that were already out of date at the time they were installed. But there are also contemporary Rocailles flourishes. The stucco work is salmon red, light yellow, bluish-purple and emerald green.
In the vaults and on the shield walls of the nave there are frescoes by Josef Ferdinand Fromiller in the stucco-free area. Some of the frescoes only come from his workshop, which explains the different quality. The choir contains the representation of the Eye of God in the vault , Mariae Marriage on the south wall and the Visitation on the north wall. In the vault, the crossing shows the pseudo-architecture of a painted dome, in it God the Father and the Holy Spirit. On the walls of the birth of Christ and adoration.
In the central nave there are three vaulted frescos, two smaller ones with the martyrdom of St. Catherine and the exaltation of St. Margaret and the main picture, which extends over two yokes. This shows the Assumption of Mary, a reference to the church patronage.
Several Benedictine saints are depicted on the walls of the central nave, to whom the Mother of God appears: Anselm, Rupert, Hermann, Ildefons, Petrus, Damian and Gregor. In the side aisles above the windows there are sepia-colored representations from the Boleslaus legend: in the right aisle the murder of the bishop, the excommunication and the escape from Poland, in the left aisle Boleslaus in Ossiach, as he reveals himself, and pilgrims at his grave.
In the north aisle there is the representation of Jesus in the temple on the arched wall, in the vault the Rosary Mother of God with Dominic and Catherine of Siena, the burial and the transfiguration of St. Sebastian. The south aisle shows on the arched wall the passage to the temple of Mary, the baptism of Christ and the Bethlehemite child murder. Furthermore, an angel with Veronica's handkerchief floats in a false dome.
On the organ parapet there is a depiction of King David, St. Cecilia and the Mother of God as she hands the three miracle balls to Abbot Werner.
View into the north aisle
False dome in the north aisle
False dome in the south aisle
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Facility
- High altar
The high altar dates from the last quarter of the 17th century and was brought to Ossiach from Maria Elend im Rosental in 1683 . It is equipped with a triumphant triumphal arch architecture. It has a high plinth with sacrificial portals. Above is the three-axis, concave main zone. A segmented gable rises above the middle section, crowned by an acanthus cartouche. In the frame, under a fabric canopy, there is a 17th century Madonna enthroned. At her side are life-size statues of Saints Benedict and Scholastica. The top picture shows the Annunciation.
- Side and wall altars
The left side altar dates from the middle of the 18th century. The altar sheet by Josef Ferdinand Fromiller shows the calm on the run. The figures of the saints Anna and Joachim are present. The painting in the essay shows St. Martin. In front of the altar there is a picture of St. Nicholas on the altar table.
The right side altar also dates from the middle of the 18th century. Fromiller's picture shows Saint Sebastian. The figures represent Saints Rochus and Rosalie. The top picture shows Saint Stephen.
The left wall altar from the 18th century shows a Madonna figure, a copy of the Altöttinger miraculous image from 1912, which stands on a silver-driven pedestal under a canopy. The right wall altar shows the feast of Pentecost in the altar sheet, the side figures depict Moses and a saint. The altar sheet by Fromiller shows St. Hemma .
The left side altar
The right side altar
- pulpit
The baroque pulpit is marked 1725 and is made of marbled wood. Ornaments, reliefs, columns and figural robes are partly gold-plated and silver-plated. The basket and sound cover are oblong, box-shaped, access is on the left side via a staircase with a parapet. The basket is structured by columns. The fields of the parapet bear reliefs of the four Latin church fathers in rectangular frames : Hieronymus in front on the left , Pope Gregory on the right, Augustine next to him and Ambrose on the right . The conical tapering of the basket bears oval cartouches with emblems depicting various biblical quotations. The stair parapet also bears pictures and a chronogram with the year 1725. On the back wall there is a relief in an oval foliage frame with St. Paul together with a trombone blowing putto and the globe. The inscription reads: In omnem terram (Over the whole world, Psalm 18: 5). The sound cover attachment is formed by volutes. Between these are evangelist figures on the edge of the sound cover. The cartouches above the crankings show painted Benedictines: from left to right these are Bede the Venerable; Anselm, Bishop of Canterbury; Johann Buelhus (uncertain); Werner II, Abbot of Ossiach. The dove of the Holy Spirit hovers over the sound canopy.
- Organs
On the west gallery is a modern organ from the Metzler company (Switzerland) from 1971, the Wilhelm Backhaus memorial organ . It reminds of Wilhelm Backhaus , who gave the last concert in Ossiach before his death. On the side of the main nave is the restored choir organ from 1680, which came from the workshop of Franz Knoller in Villach. It has a three-part brochure . The painted wings show St. Scholastica and St. Benedict. Further depictions show Mary Queen of Angels and St. Cecilia, the patroness of church music. The coat of arms of Ossiach and that of Abbot Idelbacher are shown on the top of the middle section.
- Late Gothic winged altar
In the baptistery there is a late Gothic winged altar , created around 1505 and previously used as the main altar. It is considered one of the most important works of Carinthian wood carving. The altar comes from the older Villach workshop . In the shrine are the carved figures of Mary with the child, to the side of her the Saints Catherine and Margaretha. In the predella niche there is the baroque bust of St. Apollonia and to the side of it the late Gothic bust of St. Agatha and Scholastica. The inner wings bear the reliefs of the twelve apostles. The outside of the wings show a painted Annunciation, the birth of Christ, the adoration of the Christ child, the resurrection of Christ and the death of Mary. On the back wall is a painted root of Jesse, on the back of the predella is a Veronica scarf, which is carried by two angels. The fixed wings and the top of the altar are no longer there.
- Rest of the facility
There are several abbots' graves in the collegiate church. The grave monument of Andreas Hasenberger († 1555) is located in the baptistery on the west wall. The red stone shows the abbot in full length in regalia with miter and staff. On the north wall is the tombstone of Abbot Caspar Rainer († 1621), a late Renaissance sculpture, which also shows this abbot in regalia. Next to it is Hermann Ludinger's coat of arms. Abbot Peter Gröblacher's tombstone shows him kneeling in front of a crucifix. Under the window there is a stone slab from Count Ozi's sarcophagus. The Tumba Ozi is located here, rests in the crypt since Ozi 1615th The tumba is a 3rd century Roman pilaster adorned with acanthus tendrils. Abbot Edmund Ibelbacher's coat of arms made of red marble is attached to the south wall of the chapel. A modern Good Friday triptych from 1979 comes from Wolfgang Aichinger.
The tombstones of Abbots Friedrich Hirschbacher (1642–1656) and Christoph Caponig (1656–1682) are located near the west portal.
graveyard
There is a small cemetery around the church. It is surrounded on the west, north and east by a loop-bearing wall. In the 15th century, at the time of the Turkish invasions, it should have been significantly higher than it is today. In the north corner there is a three-storey round tower, formerly a defense tower, later used as a Karner , and today an artist's studio. Funerals take place in the Friedenskapelle, built in 1988. There is also a group of figures made of limewood Descent from the Cross. It comes from the priest house chapel in Klagenfurt, which was demolished in 1956. Schnitzer is Johann Probst from Sterzing .
In the cemetery, on the church wall, there is also the grave monument of the Polish King Boleslaus II. It is a large Roman marble relief depicting a horse. The surrounding inscription reads: REX BOLESLAVS OCCISOR SANCTI STANISLAI EPISCOPI CRACOVIENSIS (= King Boleslaus, murderer of St. Stanislaus, Bishop of Cracow). Above the marble plaque hangs a large picture panel on which the king in armor and scenes from the Bolesla legend are shown in seven pictures. To the left of the tomb there is a memorial stone that soldiers of the 2nd Polish Legion placed here in 1945.
On the wall to the left of Boleslaus tomb there is a faded Marian fresco, which is dated to around 1600. Below was the north door of the church, which was probably walled up in the course of the baroque renovation.
Monastery building
The monastery buildings are located to the southwest next to the church. Only the former western monastery courtyard has been preserved, the eastern wing with the cloister was removed in 1816. Around the almost square courtyard is a stately, partly two, partly three-storey four-wing wing with continuous ridge and eaves heights. There are passages to the north, east and west, with the west portal being the main portal. The inner courtyard and outer facades date from the 19th century.
The three-storey west wing facing the lake is the former prelate wing and was built before 1628 under Abbot Georg Wilhelm Schweizer. The wing was rebuilt from 1741 to 1749. The outer front has a pronounced central projection with five window axes, crowned by a triangular gable. The marble portal is marked 1749 and leads into a round arched gate. The passage has a ridge vault. The prince's hall is located on the first floor of the prelate wing. The north and south corridors are decorated with polychrome ceiling stucco from the mid-18th century. The stairwell is at the southern end of the wing.
The Fürstensaal was decorated with delicate late baroque stucco and frescoed by Josef Ferdinand Fromiller . On the ceiling is the hereditary homage of the Carinthian estates for Emperor Karl VI. which took place in the Great Coat of Arms Hall of the Landhaus in Klagenfurt in 1728 and was also depicted there by Fromiller as a ceiling painting. Fromiller furnished the walls with baroque pseudo-architecture. In the painted niches 14 Habsburgs are depicted, which were important for the monastery or the country. Two pictures are shown above the doors, which are also available in the same form in the great coat of arms of the country house: the installation of the duke on Fürstenstein and the donation of the city of Klagenfurt to the estates by Emperor Maximilian I. In the corners of the hall are the fortified city of Klagenfurt, the Ossiach Abbey, the Carinthian coat of arms and the coat of arms of Abbot Hermann Ludinger are shown.
The south wing has a remarkable baroque courtyard facade: a central projection with a plinth, with a giant Corinthian pilaster arrangement and triangular gable, foliage and ribbon decoration. The marble portal is dated 1741. On the north and east walls there is a sundial from the Baroque period. Inside the wing there is a staircase from the time of Abbot Hermann Ludinger. The Benediktussaal is on the first floor with illusionistic architectural paintings from Fromiller. The ceiling mirror is depicted as an open sky with St. Benedict's admission into heaven. In the corners there are representations of the four cardinal virtues.
The former music room is located in the western corner. This is also furnished with frescoes from Fromiller, which were only rediscovered in 1943. The pictures in curved stucco frames show scenes of the transfiguration of Christ, the repentance of Peter , John on Patmos, Elias with the ravens and Moses with the burning bush. There are also cartouches from the Ossiach monastery and Abbot Hermann Ludinger.
The east wing was previously the connecting wing to the second monastery courtyard, which was demolished in 1816. It has a round arched passage with barrel vaults and stitch caps. The side doors are framed in stone. The former refectory is on the first floor . This is a long room with ample stucco decor on the ceiling, a surrounding stucco frieze and stucco garlands that frame the doors. This stucco is from the end of the 17th century. The strongly plastic stucco decoration with acanthus tendrils, angels, genii, leaf frames and cartouches made of cartilage scrolls is dated to 1680. A total of 16 medallions contain paintings from the 17th century showing biblical dining scenes. In the middle there is a canvas painting with the resurrection of Christ, which perhaps comes from Anton Zeller and is dated to the first half of the 18th century. The inlaid doors date from the 18th century. On the ground floor there are side rooms with late Gothic star vaults from the beginning of the 16th century.
The north wing has a passage to the church. The passage has a wicker arched stone portal from the beginning of the 19th century on the courtyard side. The passage has a square vault between belts over bevelled half-pillars. The interiors date from the end of the 18th century.
supporting documents
- ↑ a b c d e f g h i j k l m n o p q r s t u v w Ilse Spielvogel-Bodo: The Ossiacher See between yesterday and today. History, art, regional studies . 2nd edition, Kärntner Druck- und Verlagsgesellschaft, Klagenfurt 1998, ISBN 3-85391-149-8 , chapter Ossiach Abbey and its history , pp. 17–46.
- ↑ The museum is now in Gurk.
- ↑ a b c d e f g h i j k l m n o p q r s t u v Dehio-Handbuch Kärnten . 3rd edition, Anton Schroll, Vienna 2001. ISBN 3-7031-0712-X , pp. 604–610.
- ↑ a b c d e f g h i j k l m n o Ilse Spielvogel-Bodo: The Ossiacher See between yesterday and today. History, art, regional studies . 2nd edition, Kärntner Druck- und Verlagsgesellschaft, Klagenfurt 1998, ISBN 3-85391-149-8 , chapter Ossiach, a source of the arts , pp. 47-64.
- ^ Barbara Kienzl : The baroque pulpits in Carinthia . Verlag des Kärntner Landesarchiv, Klagenfurt 1986, ISBN 3-900531-16-1 , p. 341f.
literature
- Ulrich Faust, Waltraud Krassnig (arrangement): The Benedictine monasteries and nunneries in Austria and South Tyrol (Germania Benedictina; Vol. 3). EOS-Verlag, St. Ottilien 2002 (3 vols .; here vol. 3, 2002, ISBN 3-8306-7091-5 )
- Ilse Spielvogel-Bodo: The Ossiacher See between yesterday and today. History, art, regional studies of the lake region with the communities of Ossiach, Steindorf / Bodensdorf, Treffen, Villach / Landskron and Feldkirchen in Carinthia . Kärntner Verlagshaus, Klagenfurt 1993, ISBN 3-85391-112-9 .
- Johanna Wesely-Kulterer: The former Benedictine monastery Ossiacher See, Carinthia . Baier Verlag, Villach 1934.
- Edith Pergelier and Mauricio Pergelier : Historical Organs of the Diocese of Gurk-Klagenfurt , pp. 5–8; Copyright by Austro Mechana MP-E37, Klagenfurt
Web links
Coordinates: 46 ° 40 ′ 37 ″ N , 13 ° 58 ′ 57 ″ E