Krenstetten pilgrimage church
The parish and pilgrimage church Krenstetten stands on a hill in Kirchweiler Krenstetten in the market town of Aschbach-Markt in the district of Amstetten in Lower Austria . The Roman Catholic parish and pilgrimage church , which is consecrated on the feast of the Assumption of Mary and incorporated into the Seitenstetten monastery, belongs to the Amstetten dean's office of the St. Pölten diocese . The former fortified church and the cemetery are under monument protection ( list entry ).
history
An initial church in 1100 was documented in 1116 as a branch of the parish Aschbach market the Seitenstetten transmitted. 1380 parish.
In 1441 today's nave was completed. Around 1500 a pilgrimage developed and around 1510/1520 a new, spacious new choir was built, perhaps according to the plans of Hans Schwettichawer. In 1794 there was a church fire. 1862 Seitenstetten Abbey Parish. From 1868 the church was partly regotized. In 1967/1968 the church was restored.
architecture
The late Gothic staggered church with a proposed west tower and a spacious hall choir and a remarkable swinging east end and a small sacristy extension in the north is surrounded by a walled cemetery.
The outside of the church is plastered with visible partly grouted stone and a roof with beaver tail covering . The short, late Gothic, three-aisled, three-bay nave over a warped, rectangular floor plan under a gable roof has two-lane tracery windows between stepped buttresses. In the middle nave yoke to the south between stone benches there is a shoulder arch portal in a profiled pointed arch niche with a door leaf covered with iron plates 1891, to the left of which there is a three-lane tracery window next to a clover leaf niche.
The late Gothic choir is higher than the nave with a remarkable, original choir head whose shunts that are just starting up have been merged into a protruding three-sixths of a note in an oscillating sequence of fractions. The choir has two-lane, motif-rich tracery windows between two-stepped buttresses, some with fish-bladder elements or reinforcements, some with vestments on screwed plinths in three lanes in the southeast. The late Gothic sacristy extension protruding to the north under a pent roof with two small late Gothic lattice windows in the longitudinal axis and a small baroque lattice window in the transverse axis, where a former lavabo outflow is located . To the right of the sacristy is the main portal with a late Gothic shoulder arch in a crossed pointed arch niche, the door leaf has fittings from 1797.
The west tower from the 15th century tapers in three cornice steps and has slotted hatches in the west, it is open in the north and south with neo-Gothic tracery acoustic windows and open with pointed arched, profiled arcades on the ground floor. The tower has an octagonal pointed helmet on a retracted gable with a tower clock from 1888. The tower hall has a ribbed vault on circular services and two profiled arched niches from the construction period.
The interior of the church is characterized by the stark contrast between the gloomy nave central nave and the light-flooded choir hall.
At the beginning of the middle of the 13th century the nave was a basilica with flat ceilings where the upper clad windows in the attic have been preserved; the conversion of the nave into a relay hall was completed in 1441. After a fire in 1797, the nave in the west yoke was re-vaulted without ribs. The octagonal celebrations of the central nave go in dividing arches and thus open to the aisles. The central nave has a vault with a rib network on belt ribs on consoles and in the side aisles cross rib vaults on round services or consoles. Above the west yoke of the nave is the gallery in the central and north aisle with four profiled pointed arch arcades with a row of intermediate columns made up of five round pillars, some of which have gaps, with pointed arched inclined ribs, but in the north aisle they are vaulted with a finely structured rib network with belt arches. The gallery shows a fragmented tracery parapet in the north nave, a cassette parapet in the central nave and a beveled pointed arch portal to the tower. A former west portal with a pointed arches with a northern console was bricked up to form a niche.
The late Gothic triumphal arch is slightly drawn in and higher than the nave.
The choir as a remarkable unitary space around 1510/1520 is a three-aisled, two-and-a-half-bay hall with a one- to two-bay staggered, slightly raised end choir, the overall choir has a continuous vault with partly cross-linked coffered ribs with quarter-circle elements, axial services and box capitals or on delicate round services with differently faceted bases , the vault shows additional loop rib and vertebral cross elements in the end choir as well as a broken service pair. On the north side of the choir is a late Gothic double-barred shoulder-arched sacristy portal with a door leaf covered with iron plates. The sacristy has a six-part star rib vault.
Furnishing
There are three neo-Gothic altars as a three-part canopy retable by Johann Rindt. The high altar from 1868 carries the statues of the Assumption between the hll. Anna and Joachim. The side altars from 1881 bear neo-Gothic central statues and side statues from the second half of the 17th century, on the left Madonna between Katharina and Barbara with a relief Pietà in the predella , on the right Herz Jesu 1928 between Leonhard and Berthold von Garsten .
The so-called late Gothic Gensel Altar as a winged altar around 1510/1520 was supplemented in a neo-Gothic style by Valentin Tschadesch in 1909/1910. He carries the shrine statue of St. Stephen between statuettes of the evangelists and a crucifixion group in neo-Gothic explosions. The wings reliefs left show Laurentius practice Benedict and left about Wolfgang Urban and panel painting on the wings at the sides with four of the Danube School -influenced scenes from the life of St. Stephanus, the painting shows six apostles in the predella, the painted back of the altar shows a entwined man of Sorrows over a pair of angels with Vera Icon painted by Martinus Prinner in 1576. The relief stoning of St. Stephen in the predella and the holy grave in the altar table are neo-Gothic.
The pulpit was moved here from the Seitenstetten collegiate church in 1703 and shows a remarkable rich early baroque type with statuette niches between herm volutes and masked corner pillars between numerous angels marked with H (ans) S (eiz) 1636.
There is a Pietà in the soft style around 1410/1420 and a late Gothic half-figure Man of Sorrows from the middle of the 15th century.
Johann Lachmayr built the organ in a neo-Gothic case in 1907.
literature
- The art monuments of Austria. Dehio Lower Austria south of the Danube 2003 . Aschbach market, Krenstetten, parish and pilgrimage church of the Assumption of Mary with floor plan, churchyard, rectory. Pp. 87-90.
Web links
Coordinates: 48 ° 3 ′ 42.9 " N , 14 ° 42 ′ 39.8" E