Pilgrimage Church of Maria Straßengel
The pilgrimage church Maria Straßengel is a listed Roman Catholic exposition and pilgrimage church in the village of Judendorf-Straßengel in Styria, part of the market town of Gratwein-Straßengel . The church, consecrated in the name of Mary , is part of the Rein pastoral care room of the Rein deanery in the Graz-Seckau diocese .
The origins of the pilgrimage site can be traced back to the middle of the 12th century. A pilgrimage chapel was first mentioned in a document in 1208, while Rein Abbey assumed 1158 as the year the pilgrimage site was founded. The original chapel and the image of the Virgin on display in it became a popular pilgrimage destination, so that the old chapel was probably replaced by a larger stone building as early as the 13th century. The current church building was erected between 1346 and 1355. The centuries after the foundation were marked by disputes between the Rein Abbey, to which the pilgrimage church belonged, and the pastor of Gratwein , who belonged to the Archdiocese of Salzburg and in whose parish the church was located. These disputes were only resolved at the beginning of the 17th century through an exchange, in which the parish of Gratwein came into possession of the monastery. In the course of the Josephine reforms , the church became a local chaplaincy in 1785 , which lasted until 1788. In that year the church was desecrated , the images of grace were brought to Gratwein and there were plans to demolish them. Due to the resistance of the local population, who turned directly to the emperor, the threatened demolition was averted and the church was named a branch of the parish of Gratwein. At the beginning of the 20th century, the population wanted the church to become an independent parish church. This failed because of the resistance of the Rein monastery, the owner of the church building, who would have had to hand over the church to the diocese of Graz-Seckau . On January 1, 1972, Straßengel was appointed to an expositur with independent registry management . In recent times, numerous restoration work has taken place on the building and equipment.
Maria Straßengel among the most important churches of the Austrian High Gothic and is in its architecture, among others, by the Viennese St. Stephen's inspired. The panes of the church windows also form the largest collection of medieval stained glass in Styria. In the church there are two legendary images of grace. The image of Mary in the ear dress on the high altar is said to be a copy of an image of Mary painted by the Evangelist Luke , which the Margrave Ottokar III. is said to have brought back from a pilgrimage to Jerusalem. In reality, the picture was painted by a Styrian master around 1420-1430. It was stolen in 1976 and has since been considered lost, so that in 1978 Gottfried Johannes Höfler made a copy of the portrait, which has since been seen on the high altar. The second image of grace is the root cross found after 1255, according to a legend in a tree from which it is said to have grown. It was also stolen in 1976, but was found again a short time later. Since then it has been in a reliquary and is kept outside the church.
location
The pilgrimage church is located in the southwestern part of the market town of Gratwein-Straßengel , about 200 meters southeast of the center of Judendorf-Straßengel, visible from afar at 454 meters above sea level. A. meter high and partially wooded fallback hill . This is an extension of the Frauenkogel , which runs from it in a north-easterly direction and rises above the Gratkorner basin . The churchyard is a good 60 meters above the center of Judendorf. From the state road L 332, the Oswalderstraße, branches off the access road called Am Kirchberg , which leads to the church when coming from the south. The Judendorf-Straßengel cemetery is also located on the access road on the slope southeast of the church.
The church and the churchyard are surrounded by a defensive wall with three entrances that was built in the middle of the 15th century to protect against the invading Turks, giving it the appearance of a fortified church . Loopholes have been preserved on the eastern section of the defensive wall. In the east there is also a round-arched entrance gate with a baroque frame, through which the access road leads into the churchyard. This gate has a heavily damaged baroque wall painting from the second quarter of the 18th century, which shows Mary in the garment of ears, the tree with the root cross and Saints Benedict and Bernhard sitting in clouds . In the churchyard there is the rectory built in 1494 according to an inscription, a tavern built in 1582 and the benefit house built after 1684, also known as the new building.
Building history
In the middle of the 12th century, Rein monastery had a chapel built on the Kirchberg road regulator, in the immediate vicinity of an important street, in which, according to legend, a chapel of Margrave Ottokar III. An image of the Virgin Mary brought back from his pilgrimage to Palestine for public veneration. The chapel was probably replaced or at least expanded by a larger stone building in the 13th century, after the abbot Bernhard von Plankenwarth, probably already around 1266, plans for an extension or a new building. As Ambros Gasparitz, the capitular of Rein Abbey, noted in 1895, the abbot probably began planning after the Cistercian Abbot General had given the small chapel the grace that all pilgrims and donors would have a share in the merit of the entire order. Both the Romanesque chapel and the subsequent Gothic stone building are only known to have been mentioned in a few documents.
On December 8, 1346, the abbot Hertwig von Emerberg laid the foundation stone for a new high Gothic building at the location of the chapel. The two brothers Johannes and Marcus Zeyricker from Vienna , who were professed members of the Rein monastery , made a significant contribution to the new building and incorporated design ideas for St. Stephen's Cathedral into the new church. When Abbot Hertwig died on April 10, 1349, the choir had already been completed and the walls of the nave reached up to the level of the windows. Hertwig's successor Seifried von Waldstein completed the construction, which on September 8, 1355 by Bishop Ulrich III. was consecrated. Foundations and material donations by Archduke Rudolf IV. , In whose particular favor Straßengel was presumably because of the veneration of the root cross and the affiliation to the Rein monastery, probably also made the completion of the architecturally and symbolically impressive east tower possible before the church was probably completed in 1366. The Romanized features of church building, some of which are mentioned in the literature, are likely to go back to the influence of Rudolf IV and represent a recourse to the forms of construction from the time of his great-grandfather Rudolf I , which he wanted, in order to show power and historical legitimacy. The influence of the Cistercians on the architectural design of the new building was again rather small. The regulations of the order demand the absence of stone bell towers, the fields above the church portals mostly remained unadorned and the friar Bernhard von Clairveaux criticized the decorative design of sacred buildings as a distraction during prayer and unnecessary costs during construction. Only the cantilevered wall services follow the example of Cistercian architecture .
In 1455 the abbot Hermann Molitor had the churchyard walled to protect it against the invading Turks and on the north side of the church a presumably built by Emperor Friedrich III. Add a donated double chapel with bell tower and a sacristy. To the east of the double chapel and to the west of the sacristy, the Anna chapel was built in 1723 with its domed vault and a lantern . The bell tower was raised again in 1828 and houses four bells that date from the 14th century as well as the years 1681 and 1988. In the course of restoration work in 1884/1885, the Tyrolean stained glass and mosaic institute rearranged the glass panes of the church windows, which were largely from the 14th century, and also replaced some of the panes. At the same time, the late Baroque side altars and the high altar were replaced by neo-Gothic altars, which were designed by Robert Mikovics .
The Association of Friends of Maria Straßengel , founded in 1975 , campaigned for a complete restoration of the church. So from 1975 to 1977 the glass paintings and in 1977/1978 the entire interior were restored. In 1984/1985 the outside of the church was also restored, which was finally followed in 2007 by the church tower and in 2010 by the sacristy. In the summer of 2020, the glass windows on the south-western side of the church were renovated by specialists from the Schlierbach Abbey glass workshop , as the increased heavy rain showers over the years had damaged the lead on the windows and loosened the glass panes.
history
Founding and advancement as a place of pilgrimage
The history of the pilgrimage church Maria Straßengel is closely related to that of the Salzburg parish of Gratwein , to whose parish it always belonged, and that of the Cistercian monastery in Rein . In 860, the duo loca ad Strazinolum , two areas near Straßengel, mentioned in a majesty letter from King Ludwig the German on November 20, went to the Archdiocese of Salzburg , which probably shortly afterwards with the establishment of church structures and organizations in the Environment began. The archbishopric probably founded the parish of Gratwein as a mother parish in the 9th century, but the first documented mention of the parish dates from 1136. It is unclear when exactly the Christianization of the Straßengler field began; Around the year 1000 there was already a Christian burial site at today's Kirchberg, as suggested by grave goods found.
The Rein der Cistercienser monastery , founded in 1129, got it on June 8th, 1147 by a decree of Margrave Ottokar III. Rights granted to the village of Straßengel. Around the middle of the 12th century, the monastery had a pilgrimage chapel built on the Kirchberg road regulator and thus in the archbishopric area of Salzburg, in the immediate vicinity of an important road, in which, according to legend, a pilgrimage chapel of Margrave Ottokar III. An image of the Virgin Mary brought back from his pilgrimage to Palestine for public veneration. The Rein monastery itself considers the year 1158 to be the year it was founded, while local history researcher Clemens Brandter, for example, assumes the year 1147. The two art historians Kurt Woisetschläger and Peter Krenn suspected that Straßengel is the oldest Marian pilgrimage site in Styria.
Disputes between the parish of Gratwein and the Rein monastery
Since this chapel turned out to be very profitable from an economic point of view, disputes arose between the Rein Abbey and the Gratwein parish in Salzburg. When the Archbishop of Salzburg, Eberhard II, recognized in a document in 1208 certain rights of the Rein monastery in the towns of Judendorf , Rötz and Straßengel , resulting from donations , the dispute escalated. This mention in the document is also the first secure mention of the street angel chapel. The pastor of Gratwein at the time, Gregor Hammer, refused to remove Straßengel from the parish jurisdiction of Gratwein. The dispute was finally settled in 1209 in favor of the Rein monastery, whereby the pastors of Wiener Neustadt , the archpriest Heinrich von Greischern and Otakar von Fischau, who were acting as judges , decided that the chapel called capella sancte Marie in Strazzinl should be removed from the jurisdiction of Gratwein and “forever” will be added to the Rein monastery. Gregor Hammer had to recognize the judges' decision and received as compensation a Hube near Fernitz and a farm near Gratwein. Archbishop Eberhard II confirmed this judgment at the Synod of Friesach in 1211. In the following decades the proportion of pilgrims increased steadily. According to legend, a root crucifix found by shepherds in a fir tree in front of the chapel in 1255 was exhibited as a second object of worship.
The removal of the chapel from the jurisdiction of the parish of Gratwein was confirmed again in 1312. In December 1313, the chapel was also given the right to grant believers an indulgence of forty days on certain feast days. This right was granted in 1317 by Archbishop Friedrich III. from Leibnitz to all visitors to the services on Saturdays and Sundays. It is known from 1322 that the chapel already had more than one altar. The abbot Hertwig von Emerberg laid the foundation stone for a new Gothic building at the location of the chapel on December 8, 1346 and when he died on April 10, 1349, his successor Seifried von Waldstein took over the completion of the building, which was completed by the bishop on September 8, 1355 Ulrich III. was consecrated.
Archduke Rudolf IV donated several goods to the Rein monastery in a letter of grace on March 9, 1365 and enabled the monastery to send a priest to Straßengel, with the stipulation that he had to read a mass there every day. These foundations probably also accelerated the completion of the east tower before the church was probably completed in 1366. The pastoral care for the pilgrims in the village was thus with the monastery, but that for the residents was still with Gratwein. The church developed more and more into an important place of pilgrimage and numerous indulgences were granted there. The residents of the surrounding area preferred to go to Straßengel than to Gratwein to attend Holy Mass, which also led to the fact that the local farmers felt they belonged more to the Rein Abbey than to the Salzburg parish of Gratwein and in some cases refused to pay tithes to the parish. Since the crowd of believers was so great, in 1437, Straßengel was granted the right to hold mass outdoors on the Saturdays and Sundays after Easter using portable altars. All this only heated up the dispute between the Rein Abbey and the pastor of Gratwein, which reached its climax in 1453 when the copial book specially created for these disputes in Gratwein , which contains all protests, memoranda and petitions regarding this Most of the entries were made. This dispute between Gratwein and the Rein Abbey was settled on March 3, 1483 by a settlement between the Gratwein priest and the Rein abbot Wolfgang , in which Gratwein was awarded the third tenth of Straßengel, with the exception of the lands cultivated by Rein Abbey itself and that Stift was not allowed to read mass or funeral services in the church on Sundays or public holidays. Abbot Wolfgang then had some structural changes made to the churchyard of the capella beate Marie virginis in Strassindel , which finally achieved its status as an exception , i.e. a kind of special legal position, through the settlement .
The disputes between Gratwein and Rein Abbey flared up again and again in the following years. However, they were settled with the conclusion of a contract on February 18, 1607, in which the Cistercians gave their monastery in Friesach to the Salzburg Archbishop Wolf Dietrich von Raitenau and received the parish of Gratwein in return. This exchange was finally carried out on April 28, 1607. On the occasion of the sixth secular feast of the Church, the Marian column on sieving Bruendl was on the road to the 1757 Graz built and there were brought the remains of a Roman martyr named Bonifacitius in the Anne chapel that soon in popular belief as the remains of St. Boniface of Tarsus viewed were.
Time of the Josephine reforms and the threat of demolition
In the course of the parish regulation carried out by Emperor Joseph II. In 1782, the area of the parish Gratwein was divided into seven independent parishes based on the ordinances of September 12 and October 20. These reforms and regulations, known as Josephinism , required that social customs be subject to governmental oversight that followed the principles of enlightened absolutism . This led to the abolition of monasteries, which Joseph II saw as a refuge of superstition and religious fanaticism, a simpler worship service and the removal of superfluous altars in the churches. Although it did not meet all the requirements because it was too close to another church and the number of residents in its vicinity was too small, the pilgrimage church Maria Straßengel became a local chaplain in 1785 . The first local chaplain, Rafael Schott, began his service on August 6, 1786 and was replaced by Albert Schleinitzer on October 3, 1787. During this time as local chaplaincy, a cemetery was marked out and a schoolhouse was set up. Christoph Greiner, then district dean , paid a visitation to Straßengel in October 1787 and recommended in a letter to Bishop Joseph Adam von Arco that the church be closed, which he justified with the difficult accessibility of the church on the mountain for the residents living in the plain . During this time, the pilgrims stayed away, and the preservation of the building could no longer be financed by donations, but had to be taken over by the religion fund . The bishop followed Greiner's advice and ordered the Gubernium in Graz to lift the local chaplaincy of Straßengel and to close the church. When the street people found out about this project, they wrote a letter to the bishop on May 18, 1788, asking for the church to be preserved. Based on this request, the church was opened on July 15, 1788 by Gubernialrat and district chief Christoph Freiherr von Schwizer, the district dean and cathedral curator Christoph Greiner, Gabriel Presler, the secretary of the Rein monastery, the street chaplain Albert Schleinizer and the lawyer of the Rein monastery, Karl Königshofer, as well as the actuary Joachim Haitzmann and asked the population about the church and school attendance. This embassy also came to the conclusion that the church was not worth preserving and proposed that the stones obtained from the demolition of the church and the money brought in from the hoped-for sale of the buildings in the churchyard should be used to build a new school building in the Level can use. Bishop Joseph Adam von Arco also confirmed his proposal for the execution of the pilgrimage church on August 21, 1788 and on the same day issued the necessary decree to the Gratwein pastor Abundus Kuntschak . On October 29, 1788, Landdechant Gritzner finally desecrated the church and removed the altar stone from the altar of grace and the relics from the Anna altar . The relics from the other altars could not be removed because they were set in marble and could only have been removed by demolition. The incomplete desecration therefore later turned out to be invalid under canon law.
The desecration of the church led to an uproar among the population, which was also directed against the pastor from Gratwein, who already two days after the desecration gave the consistory a description of the heated mood in the parish. Because of this bad mood, the street chaplain Schleinizer was commissioned by Bishop Arco on November 3, 1788, to have the miraculous image and the root cross secretly removed from the church and transferred to Gratwein. As the demolition of the church seemed inevitable, the population turned to the Emperor Joseph II in a majesty request. On December 4, 1788, the spiritual commission for Inner Austria submitted a statement to the emperor in which it advocated the lifting of local chaplaincy. The ecclesiastical court commission in Vienna, on the other hand, spoke in a lecture on January 9, 1789 in favor of abolishing local chaplaincy, but was in favor of maintaining the church, which in their opinion should become a subsidiary of Gratwein. The emperor then approved a consultation by the spiritual commission. On January 11, 1789, the court commission finally sent an instruction to the Gubernium in Graz, in which it announced the verdict that the local chaplaincy should be dissolved, but that the church in Straßengel should become a branch church belonging to Gratwein. This instruction was obeyed and the church was saved from demolition. In the autumn of 1789, the street guards sent a letter to the emperor with the request to keep the local chaplaincy, but in vain. The local ordinariate continued to regard the church as a pilgrimage church subordinate to the Rein monastery. Since the desecration that took place was invalid under canon law, the church did not have to be consecrated again, only a new order of worship had to be established. This was finally approved by the bishop on February 26, 1789. The image of grace and the root cross remained with the parish of Gratwein. At least the image of grace was returned to Bishop Arco on April 9, 1789, against the will of the pastor in Gratwein, after several requests from the population. The root cross was finally brought to Straßengel at the beginning of November 1827.
Attempts at parish independence and creation of the expositur
On the occasion of the 700th anniversary of the pilgrimage site, which was celebrated in 1858, the church was opened by Pope Pius IX. a perfect indulgence granted. As a result, around 85,600 people visited the church between Easter Sunday and All Saints' Day in 1858 in order to have their penalties forgiven. When Judendorf-Straßengel broke away from Gratwein as an independent community in 1909 , there were also voices in the population calling for Straßengel to become an independent parish. Several influential people belonged to this movement, such as Karl Feiler, the owner of the local Kurhaus. In this way, the street guards managed at least to set up their own cemetery, which was consecrated on April 30, 1922 by the Reiner Abbot Eugen Amreich . The Gratwein pastor at the time, Ernst Kortschak , then demanded that the cemetery should be subordinated to the affiliation of his parish, which the Rein Abbey rejected because it was owned by the monastery. In 1951, the ordinariate tried to re-establish a station chaplaincy in Straßengel, but this failed due to the resistance of the Gratwein pastor Meinrad Maurer.
Ernst Kortschak, the former abbot and pastor of Gratwein, after coming to Straßengel as a missary, and contrary to his earlier views, applied on January 9, 1956 to be allowed to celebrate church celebrations in the pilgrimage church. His application was granted and the Easter celebrations were officially celebrated for the first time in the same year. In the following years the independence was further expanded. First communion was held for the first time on June 23, 1963 , and on May 1, 1969, Dionys Pils, a missar and temporary pastor with the right to perform weddings in the church, was sent to Straßengel. A parish council was elected for the first time on March 23, 1969 . After Paulus Rappold , who was elected as Prior Administrator, took over the Rein monastery on July 8, 1971 , the people of Strassen again demanded the creation of an independent parish. The monastery refused this request because the pilgrimage church was owned by the monastery and it would be necessary to cede it to the diocese of Graz-Seckau in order to found a parish . Instead, the creation of a parish exposition with its own register management was approved. Finally, on December 30, 1971, the establishment of the Roman Catholic branch office Maria Straßengel in Judendorf-Straßengel, which became legally effective on January 1, 1972, was announced by Bishop Johann Weber . On July 1, 1984, the exact parish boundary to Gratwein was finally determined.
Architecture and equipment
The three-aisled, high-Gothic hall church has delicately elongated proportions and an almost rectangular floor plan and is oriented to the southeast. The interior of the church is divided into three naves , a wider five-bay central nave and two narrower four-bay side aisles. The 13.8 meter high and 28 meter long central nave is slightly elevated compared to the 23.7 meter long side aisles. Overall, the church has an interior 12.6 meters wide, with the central nave about 1.5 times as wide as one of the side aisles. A choir with a five-eighth closure is attached to each of the church naves, which leads to a staggered choir section. The roof structure over the vaults has a height of 13.8 meters.
The asymmetrical arrangement of the two church towers of different heights, both of which rise on the north side of the nave , is unusual . The larger, 48 meter high church tower has an octagonal floor plan and rises three stories, a total of 33.5 meters above the eaves of the north-eastern choir. The smaller tower in the northwest is located above the double chapel and serves as a bell tower.
Exterior architecture
The outer facade is supported on three sides by a total of 14 multi-stepped buttresses , which end in triangular gable ends. Until the 19th century these buttresses were decorated with stone finials . The three staggered apses on the choir side have a polygonal ending. Among the Sohlbänken the window is a Cranked cornice and the pedestals another, simple design Kaffgesims . On the western part of the northern wall there is a Gothic stair tower with an octagonal floor plan, in which a stone spiral staircase leads to the gallery and the roof structure.
The southern wall is broken through by large pointed arch windows, while there are narrow window openings on the side of the choir. A rectangular tracery window is cut into the yoke above the gallery . On the otherwise smooth and unadorned western facade there is also a wide, round rose window .
Church portals
The church can be entered in the west and south through a pointed arch portal richly profiled with pinnacles , crabs and finials . A tympanum made from sandstone towards the end of the 14th century is located above the two portals . Due to their representations and symbolism, these tympana are among the most important relief works in Austria from this period and were both created by the same unknown artist who bears the emergency name Master of the Annunciation Relief. During restoration work between 1981 and 1985, it was found that the two reliefs were at least partially painted in the past, so remnants of white lead were found on the robe of the angel figure of the Annunciation relief .
The western portal has a triangular eyelash decorated with tracery and the 120 centimeter wide and 70 centimeter high tympanum shows a relief of the Annunciation . In this relief, Mary is shown kneeling in front of the Archangel Gabriel in a room with a prayer desk, bookcase, vase and a keel arch framed by pinnacles . The archangel, in turn, has unusually large wings that fill the left part of the relief. His right foot protrudes beyond the frame of the relief, which is supposed to represent his immediate appearance in front of Mary. The angel's head was probably added in the 19th century. Gabriel and Maria and with them the two halves of the relief are connected by an S-shaped banner. In the bookcase there are seven books that identify Mary as a master of the seven liberal arts , but also point out that she possesses all seven gifts of the Holy Spirit . In the vase there is a lily, which, like the cloth on the prayer desk, is a symbol of the purity of the Virgin Mary. In front of Mary there is an open book, a psalter . Mary herself wears a crown that identifies her as the royal bride. Above Gabriel and Mary there is a depiction of God the Father , from whose mouth the Holy Spirit, represented as a dove, but also the Baby Jesus are sent down to Mary. This is a pictorial representation of the biblical words "and the Word was made flesh" from the Gospel of John . The lower edge of the tympanum is a tracery with from alternately be located in a circle or a rectangle standing on the corners of four passes filled Fries completed.
The relief of the 160 centimeter wide and 100 centimeter high tympanum on the south portal shows the lamentation of Christ after the Descent from the Cross. The master of the Annunciation relief linked the depiction of the lamentation with the devotional image known from the Lamentation of Mary . Mary, sitting on a bench against the background of a forked cross of branches with the writing INRI affixed to it on a winding tape, presses the body of the dead Jesus to her. The kneeling Joseph of Arimathea cleans the corpse's feet with a cloth. The branch cross is a symbol of the tree of life and was a popular motif in the 13th and 14th centuries. Under the body of Jesus there is a skull and several bones as a symbol for Golgotha . Under the arms of the cross are John the Evangelist , Mary Magdalene and Salome . Three angels hover over the plaintiff, the one on the left covering his face with the sleeves of his robe while weeping, while the one on the right holds an open book in his hands as a symbol of the fulfillment of the Holy Scriptures, a smoke container as a symbol of prayer and sacrifice . The angel in the middle originally also carried an object in his hands, but due to damage it can no longer be recognized which object it was. The finial above the tympanum bears the sculptural figure of a pelican who injured his chest with his beak in order to reanimate his three dead cubs with his blood. This figure comes from the Physiologus and is a symbol of the sacrificial death and resurrection of Jesus. The baroque door wing of the south portal dates from the second quarter of the 18th century and is reliefed with the name of Mary.
Steeples
The high-Gothic, octagonal and three-story church tower was probably completed in 1366 and is located above the northeast choir . The towers created by the Wiener Bauhütte, such as the south tower of St. Stephen's Cathedral in Vienna and the roof turret above the choir of the Kartause Gaming , but probably also that of the Freiburg Cathedral , served as a model for the design of this church tower. This tower, built with stone made of coarse-grained limestone , is characterized above all by its openwork stone helmet adorned with crabs and its richly symbolic ornamentation, both structurally and artistically impressive. It measures 48 meters from the ground to the top of the tower and rises 33.5 meters above the eaves . At the top of the tower is a 3 meter high finial , which was made between 1868 and 1870. The facade of the tower is divided at the edges by round and square pillar templates and divided into three floors by eaves . Much of the ornaments of the tower were ursrpünglich from Leitha limestone manufactured and were partially offset by productions of light during restoration work in the 19th and 20th century sandstone and Mannersdorf supplemented limestone. The walls of the first tower floor have ogival Gothic blind arcades with a three-pass tracery and are bordered by pillars at the corners. The pillars on the northeast corner are supported by three brackets in the shape of heads. These heads represent a man with his mouth open, presumably a builder or foreman, and an elderly woman with a hood and a young woman wearing a headband with a cross. The two women could be allegorical representations of the synagogue and Ecclesia , that is, the old and the new covenant , to be interpreted. A man's shoulder bust, which served as a gargoyle , is no longer preserved.
The second tower floor is two-tiered and structured by three-layer staggered blind arcades, which rest on three head-shaped consoles on each of the six visible sides, which represent the donors and builders of the church. The console heads on the easternmost side facing the main choir show a bearded man in a margrave hat in the upper area , probably a representation of the founder of the pilgrimage site Ottokar III. , and a woman who is probably Ottokar's wife Kunigunde von Vohburg . Below is a console in the form of a monk's head, which is probably the Reiner Abbot Gerlach , the builder of the first chapel in this place. At the foot of the blind arcades there is a sloping coat of arms with a representation of the Styrian panther or the arms of the Traungau . The upper part of the second visible side to the north shows a male head with an open helmet visor and a woman with a Kruseler hood , presumably Archduke Rudolf IV , who acted as the great founder of the church, and his wife Katharina von Luxemburg . Under the two heads is another man with a browband, which could be Saint Morandus , the patron saint of the Habsburgs. The escutcheon at the foot of the page shows the shield and wears a helmet adorned with a leaf crown , a peacock bump and a sending band . On the third visible side you can find two monk heads, probably the abbots from Reiner Hertwig von Emerberg and Seifried von Waldstein and a lion's head below. The relief letter R on the coat of arms also indicates the Rein monastery or Duke Rudolf IV. The two monk heads on the fourth visible side presumably represent the two brothers Johannes and Marcus Zeyricker, who made a significant contribution to the construction of the church and were professed at Rein Abbey. Below is a dog's head. The two upper heads on the fifth visible side represent either two monks or stonemasons or workmen who were involved in building the church. The lower head shows an animal with tusks. The sixth and northernmost visible side also has two male and one female console head, but these are hidden by the baroque church extensions.
The third floor of the tower has high two-lane pointed arch windows on all sides. On all sides, an eyelash decorated with tracery and crab and ending in a finial rises above the windows . Round columns rise between the individual eyelashes, with a total of eight life-size stone figures of St. Mary and the seven angels from the Revelation of John on their leaf capitals . Four of the statues are copies made by the sculptors H. Schaggl and R. Wendler, while the originals are in the Friedrichskapelle. The 17-meter-high stone helmet with an octagonal floor plan rises above the third floor of the tower, which is broken up by tracery and has walkways studded with crabs. At each of the eight lower corners there is a gargoyle shaped like an animal , whereby five of these gargoyles were replaced by newly made and freely designed figures as part of the tower restoration in 1962/1963. Six of these gargoyles depict dogs or lions, while one depicts a winged dragon and a fish, probably based on the heraldic animal of Johanna von Pfirt , the mother of Duke Rudolf IV.
The north-western church tower rises three floors above the Friedrichskapelle. It was built as a bell tower in 1455 by order of the Reiner Abbot Hermann Molitor and raised in 1828. It has a pointed helmet covered with slate and houses four bells. These bells date from the 14th century, as well as 1681 and 1988.
Interior design
The interior of the church has three aisles. The cross rib vault of the central nave has cross ribs profiled with pear rods as well as round keystones and rests on eight 9.12 meter high cantoned pillars arranged in pairs . The side aisles are also vaulted with cross ribs, with the vault resting on high consoles and in the choirs on circular services . The separation of the naves is additionally emphasized in the interior by reinforced partition arches . Round- arched rows of arcades run along the two nave walls , emphasizing the former four-part seating niches for the monks with a romanized arched frieze . There is a lava niche in the main choir . Light enters the interior of the church building through two and three-lane pointed arched windows with tracery on the east and south walls. In the course of restoration work, two window reveals were uncovered on the northern wall at the level of the third and fourth yoke , the western one still showing the original tracery and a supplemented post. There is an eight-part round rose window above the gallery and another smaller, diamond-shaped rose window can also be found in the western yoke of the southern wall.
The capitals of the pillars are decorated with various leaf patterns. The keystones of the vault in relief and the ten wall brackets in the church interior are also surrounded by leaf patterns such as ivy and fig leaves and vine leaves. The keystone above the main altar also shows a depiction of the self-injuring pelican as a symbol of charity , while the keystone of the following yoke shows a head framed by foliage. In the north choir you can find a sheet mask on the keystone and the keystone in the south choir shows the coronation of Mary by Jesus. Some of the keystones in the aisles, like the three consoles in the main choir and in the south aisle, show human faces framed by foliage. One of the heads on the capital of the north-western wall service under the gallery represents the head of Mary covered by a veil and the head of an old man with a bald head on the same capital was probably one of the master builders of the church. The consoles in the side aisles show the four evangelist symbols . On the south wall there are depictions of a winged person with a banner for Matthew and an eagle for John , while on the north wall the heavily damaged depiction of a winged bull as a symbol for Luke and a winged lion as a symbol for Mark can be seen. The middle console on the south wall shows a head made of leaves, while the western console on the north wall shows two deer killing a snake. In the vault above the organ there is a plaque with an inscription that refers to the renovation work carried out by Abbot Georg Freyseisen in 1599.
The high Gothic gallery is located in the western part of the church and probably owes its shape to Emperor Friedrich III. who probably had it built in 1455 together with a chapel as a kind of mansion gallery. The gallery rests on a Gothic ridge vault and the two bundle pillars of the arcade rows surrounding the nave, which touch the gallery, are massively reinforced. A profiled flat arch portal leads to the gallery . There is an eight-part round rose window above the gallery .
Church window
The glass paintings on the windows on the south side and in the choir are among the largest coherent inventory of medieval glass paintings in Styria. A total of 147 panes of glass from the 14th century have been preserved, and a further 25 are in museums, including the Victoria and Albert Museum in London. The glass paintings in the rest of the nave and on the rose window above the gallery were replaced by new panes created by the Tyrolean glass painting and mosaic institute in the course of restoration work in 1884/1885 . During this restoration work, at least two of the glass panes were presumably also sold and thus came into the possession of the Victora and Albert Museum. The Tyrolean glass workshop is also responsible for the iconographic arrangement of the panes in the church windows that exists today . The medieval panes were made by a glass painter from Vienna, known as the main master , and his local workshop, which was probably established here. Also known are Master B , who finished the glazing of the main choir, and Master C , who glazed the secondary choirs. The style of the stained glass is rooted in the style of the choir glazing of St. Stephen's Cathedral in Vienna and the Maria am Gestade church . Between 1972 and 1978 all panes were restored in the Federal Monuments Office's workshops and the windows were provided with external protective glazing.
The panes of the windows in the main choir date partly from the 14th and partly from the 19th century. The middle window, also known as the axis window, shows depictions of the Passion and the Resurrection, while the northern main choir window with Ortolf II von Teufenbach and Kunigunde von Galler shows the couple as well as the Fall of Man and scenes from the life of Jesus. On the southern main choir window one can find representations of the Evangelists and the Last Judgment . The axis window of the north choir is also called the apostle window because of its depictions of the apostles, and the north window, also known as the Holy Helper window, shows depictions of the Fourteen Holy Helpers . Both the axis window and the south window of the south choir show scenes from the life of Mary's parents as well as from Mary's life and the youth of Jesus. The windows in the nave show the head of Christ, a flower stem, the Eye of Providence , mourning angels and probably a representation of Elisabeth of Thuringia praying . The 19th century glazing of the rose window on the west wall above the gallery shows Mary with the baby Jesus, who is surrounded by four cherub heads . The rose window on the southern wall of the nave shows a man of Sorrows who appears as a judge of the world and around whom several people who have risen from their graves are gathered. There is also a depiction of the Three Kings with Mary and Joseph together with the baby Jesus and a crowned half-figure in this rose window.
Furnishing
The neo-Gothic high altar was made from white marble in 1884/1885 according to a design by Robert Mikovics from the Grazer Steinmetzanstalt Grein and replaced the previous, late Baroque altar, which had already been demolished around 1782 in the course of the Josephine reforms and probably processed into firewood. He wears the late Gothic miraculous image of Mary in the ear dress , which was originally painted by a Styrian master around 1420 or 1430. The miraculous image shows the holy Mary, who stands in a blue, extra-long sleeve dress with a jagged collar decorated with golden ears of corn on a flowery meadow in front of a starry sky. A high belt surrounds the body of Mary and the long, vertically hanging belt ends in a small golden cross. Maria herself is depicted as a delicate girl with long, blonde hair and her head, surrounded by a golden halo, shows childlike features. She has folded her hands in front of her chest. The original painting was stolen in 1976 and has since been considered lost, so the picture was replaced in 1978 by a modern copy made by Gottfried Johannes Höfler. According to legend, the root cross found in front of the church in 1255 was originally also exhibited on the high altar, but after it was also stolen in 1976 and found again a short time later, it is in a reliquary from the 19th century in safe custody outside the church. It is 18.5 centimeters high and shows the crucified Jesus, with plant physiological studies showing that the image of grace was formed from the root fibers of a tree and was not worked with a carving knife. The two neo-Gothic side altars, also designed by Mikovics, stand on baroque wooden canteens and replace the old late Baroque side altars, but retain their altar leaves . The side altar to the left of the high altar is in the north choir and has a painting depicting St. Sebastian , who is being nursed back to health by St. Irene after being armed. The image of the right side altar in the south choir shows St. John Nepomuk praying in front of Our Lady of Altbunzlau . Both oil paintings can be dated to the year 1781 and were painted by Martin Johann Schmidt , also known as Kremser Schmidt.
The pulpit , dating from 1779/1781, is designed in the Rococo style and is attributed to Jakob Payer . On the sound cover there are angel figures holding a replica of the root cross. The pews have carved cheeks and date from the first half of the 18th century. The 14 late Baroque pictures of the Stations of the Cross hanging on the walls were painted in 1775 and originally come from the parish church of Kumitz , from which they were brought here in 1979. The people's altar and the ambo were made in 1988 from white Thassos marble according to designs by Jörg Uitz and are located at the former location of the altar of grace, which was erected between 1703 and 1707 and demolished around 1782. The neo-Gothic marble font was made according to a design by Robert Mikovics and bears a carved figure of St. John the Baptist , which originally comes from the Rein monastery. The four chandeliers in the interior of the church date from the end of the 18th century.
Chapels and chapel equipment
At the western corner of the northern wall is a double chapel built in 1455. The Sorrowful Mother of God Chapel, the lower of the two chapels, is spanned by a barrel vault and is connected to the interior of the church by an archway. Light enters the chapel through a narrow window opening. The Friedrichskapelle lies above the Sorrowful Mother of God Chapel and can be reached via the gallery. This recently closed chapel has two bays and its square cross ribbed vault rests on consoles. The keystones of the vault show the coat of arms of Rein Abbey and a double-headed eagle . The lava bay of the chapel has a nunnery . The chapel has two lancet windows and a trefoil - Ochensenauge . To the east of this double chapel is the Anna Chapel, built around 1723. This rectangular chapel has a three-eighth closure with an oval window and its domed vault has a lantern . It opens up to the nave via a basket arch arcade. In the northeast part of the church is the two-storey annex of zweijochigen baroque and with a lunette vault spanned sacristy with the overlying oratory . A stucco marble portal leads from the nave to the sacristy. Light enters the sacristy room through rectangular windows with late baroque wrought iron bars. There is a shell-shaped marble lavabo in the room and the stucco profiles of the vault come from the time the room was built. A staircase leads to the flat-roofed oratory above. Two windows in the oratory open to the Anna chapel and two openings to the nave used to form a gallery, which was walled up in the course of the uncovering of the Gothic window frames in the nave.
The Sorrowful Mother of God Chapel was probably built in the 17th century through the redesign of a former sacristy. The chapel has elements of a holy grave , for example a resurrection fresco painted around 1740/1750 at the entrance to the chapel was uncovered during the interior restoration carried out in 1977 . It was restored in 2011. The fresco shows the guardians of the grave and the risen Jesus with a victory flag. The wooden Mater Dolorosa altar of the chapel dates from around 1760 and bears an altarpiece of a Pietà, which was restored in 1850 and 1971 . On both sides of the altarpiece there is an angel figure, which used to hold an incense container, and above it a crucifixion group . One in auricular combined cartridge bears the inscription "1850", which refers to the place in this year restoration of the altar cover. There is a neo-Gothic statue of the Sacred Heart of Jesus opposite the altar . The Friedrichskapelle above, not open to the public, contains remains of wall paintings with depictions of plants such as green tendrils with ocher-colored flowers. Ten partially fragmented representations of consecration crosses , which were restored in 1966, have been preserved in the vault spandrels . The late Gothic stained glass in the ox-eye window of the chapel show a triangle framed by three stars as a symbol of the Trinity and eternal bliss. Four of the original tower figures, the figure of Mary and three angel figures, have been in the Friedrichskapelle since they were replaced by copies between 1963 and 1966. The ornamental glass paintings of the two pointed arch windows were made in 1884/1885 by the Tyrolean Glass Painting and Mosaic Institute .
On the pillars at the entrance to the Annakapelle there are two angel figures, each carrying a candle and the inscriptions "Brother 16" and "S. Anna - 67 ”, which suggests that the chapel was built in 1667. The baroque columned altar in the Anna Chapel, made in 1723, has a central niche redesigned in the Rococo style between 1779 and 1781. The stucco work on the altar was carried out by Johann Christoph Craßberger. On the altar is a group of Anna selbdritt , presumably created by Jakob Payer , which is surrounded by figures of Saints Joseph of Nazareth and Joachim with a shepherd's shovel and two sacrificial doves. In the tabernacle structure , which, like the decorative canopy , was probably made by Jakob Payer, there are glass-protected particles of the relics of the saints Felicissimus , Gangolf , Irenäus, Marcian, Placidus , Quirinus, Stephanus , Theodoric and Theresa. The vault of the chapel is adorned by a fresco of the Holy Tribe, painted around 1740/1750 and attributed to Josef Amonte . This representation of the Trinubium legend, i.e. the three-time marriage of St. Anne , is unusual because this representation of the legend was forbidden at the Council of Trent, which met from 1545 to 1563 . On the eastern wall of the chapel hangs an oil painting, also painted by Amonte around 1752, which shows the delivery of the grace image by Margrave Ottokar III. shows. On the west wall is a late Baroque reliquary, carved from wood and glazed in the third quarter of the 18th century . The remains of an unknown martyr, who was given the name Boniface, have been in this shrine since April 12, 1757, brought here from Rome in 1753. In the vernacular, but also on an inscription on the shrine, the bones are mistakenly viewed as those of St. Boniface of Tarsus . The pews in the chapel are designed in the late Baroque style and there are several votive pictures , mainly from the 19th century, on the walls.
organ
The organ on the gallery was built in 1995 by the Pflüger Orgelbau company for around 4 million schillings and replaces the originally neo-Gothic organ with cone store by Konrad Hopferwieser from 1902. The main work frames the Gothic round window on the rear wall of the organ gallery , the positive back is in the parapet of the gallery added. The organ has three manuals and pedals as well as a total of 30 registers . The gaming table itself is free-standing. The organ has a mechanical game and register action and has 1868 organ pipes made of wood and metal. The entire case of the organ is made of waxed oak and the action mechanism is made of oak and spruce wood. Concerts are held there as part of the Orgelfrühling Styria festival.
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- Coupling : I / II, III / II, I / P, II / P, III / P
Bells
There are four bells in the bell tower of the pilgrimage church. The oldest bell dates from the 14th century. All four bells were removed during the Second World War and the smallest and lightest bell weighing around 35 kilograms, which dates from the 15th century, was melted down. The remaining three bells were returned to the bell tower on April 14, 1946. Since a bell cast around 1460 was damaged, a new bell called the Angelus bell was cast as a replacement on June 6, 1988 by the Grassmayr bell foundry in Innsbruck using tin bronze . The Angelus bell has relief-like representations of the maiden dress Madonna and the Styrian coat of arms as well as a Marian monogram and the motto "Faith - Will - Hope". In the same year, another bell was hung to replace the bell that was melted down in World War II. The two new bells were consecrated on September 11, 1988.
| No. | Surname | Casting year | Foundry, casting location | Diameter (cm, approx.) |
Mass (kg, approx.) |
Strike tone ( HT - 1 ⁄ 16 ) |
Predecessors | Audio |
|---|---|---|---|---|---|---|---|---|
| 1 | - | 1681 | Adam Rossauscher | 114 | 800 | f 1 −4 | - | |
| 2 | Angelus bell | 1988 | Grassmayr bell foundry , Innsbruck | 90 | 430 | a 1 | Bell cast around 1460 (87.5 cm, approx. 350 kg) | |
| 3 | - | 14th Century | - | 75 | 250 | h 1 −2 | - | |
| 4th | Death bell | 1988 | - | 39 | 33 | c 3 | bell cast in the 15th century (37 cm, approx. 35 kg) |
reception
Reception in art
The place of pilgrimage and the church found their way into numerous paintings, poems, songs and rhymes. The hymn of praise is from 1757 Come you Engl! to Straßengl! handed down. Especially in the 19th century, sayings referring to street angels were printed on postcards, candles, plates and various kinds of devotional objects for pilgrims coming to church . Most famous are the poem by a certain Reimmirl and printed on postcards in 1912, as well as the poem written around the beginning of the 20th century by Eugen Graf Aichelburg from Feistritz near Langenwang .
The place of pilgrimage also found its way into songs. In the second half of the 19th century Josef Schmarda composed the song Das Kirchlein am Felsen for piano with vocal accompaniment. The song Das Kirchlein am Berg von Straßengel, composed by the local Franz Gspurning for the Styrian harmonica , is also known .
Building research
In building research , the architectural design of the church, especially the north-eastern church tower, has been taken into account. The tower sculptures were stylistically examined by the art historian Horst Schweigert . But there are also scientific works by the art historians Lothar Schultes and Ute Chibidziura, who deal with the two tympana above the church portals as well as the figurative design of the capitals, wall consoles and keystones inside the church.
Legends and sagas
There are two main sagas and legends about the pilgrimage site of Straßengel and thus also about the pilgrimage church, which deal with the foundation and the two miraculous images of the church. The founding legend says that the Margrave Ottokar III. had a wooden Lady Chapel built at the site of today's church and this gave an image of a depiction of Mary painted by St. Luke . The margrave is said to have seen the original of this picture on his pilgrimage to the Holy Land in the Jerusalem temple and had a copy made by a Greek painter. That does not seem possible, if only because Ottokar III. never made a pilgrimage to Jerusalem; presumably the margrave handed over an icon to Rein Abbey , which was later replaced. The well-known image of the Virgin Mary, stolen in 1976 and since then lost, originated in the 14th century and was probably commissioned for the inauguration of the new church building.
The second legend tells of the discovery of the root cross. The Lady Chapel was surrounded by forest trees. The cattle and sheep, which were grazing near a large and mighty fir tree, began to behave strangely one day, threw themselves on their knees in front of the tree and fixed their gaze at the tree, bleating constantly. When their shepherds looked, they discovered that an image of Jesus crucified had grown from the tree next to a branch. The hair on the head had grown from the root fibers of the tree. The shepherds reported their find to the Rein monastery , whereupon the cross was detached from the tree in a solemn procession and brought to the Marienkapelle. The fir tree is said to have stood in the churchyard until the end of the 18th century. Emperor Friedrich III. is said to have given the order in 1441 to bring the root cross to Vienna. The papal nuncio loaded the cross into a cart drawn by twelve oxen for transport. But when the oxen left the area of Rein Abbey at the Peggauer Bridge, they suddenly stopped and did not move any further. When you looked, the root cross had also disappeared from the car and was later found again in the church of Straßengel.
According to a legend, on the formerly densely wooded Kirchberg, on Saturdays and in the evenings before important women's festivals, there were light phenomena accompanied by melodious tones.
use
Like its predecessor buildings, the church still serves as a place of pilgrimage to Mary. Since the 20th century it has not been a pure pilgrimage church and, in addition to the Easter celebrations, weddings and baptisms are also held here. In addition, the church serves as an event location, so it has been part of the Styrian Organ Spring since May 2018 .
literature
- Ingo Mirsch: Market town of Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 134-227 .
- Federal Monuments Office (ed.): Dehio Steiermark (excluding Graz) . 2nd Edition. Berger, Horn / Vienna 2006, ISBN 3-85028-439-5 , p. 547-550 .
- Publishing house St. Peter: Wallfahrtskirche Maria Straßengel near Graz. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- Expositur Maria Straßengel. In: www.katholische-kirche-steiermark.at. Accessed March 31, 2020 .
- Adrienne Ambrose: The Virgin of Strassengel: An image of Maria Sola in late medieval devotion . ProQuest Dissertations Publishing, Berkeley (California) 2005, ISBN 978-0-542-10203-5 .
Individual evidence
- ↑ Federal Monuments Office : Styria - immovable and archaeological monuments under monument protection. (PDF) In: www.bda.gv.at. Retrieved April 29, 2020 .
- ↑ Expositur Maria Straßengel. In: www.katholische-kirche-steiermark.at. Accessed March 31, 2020 .
- ↑ Bundesdenkmalamt (Ed.): Dehio Steiermark (excluding Graz) . 2nd Edition. Berger, Horn / Vienna 2006, ISBN 3-85028-439-5 , p. 550 .
- ↑ a b c Ingo Mirsch: Market town of Judendorf-Strassegel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 154 .
- ↑ a b c d e f g h i j k l Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: History and building history. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 156 .
- ↑ a b c d e f g h i j k l m n o Kristóf Viola: Studies on the architectural sculpture of the pilgrimage church Maria Straßengel in Styria. (PDF; 19 MB) Accessed August 1, 2020 .
- ↑ a b c d Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The interior decoration - chapels. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ↑ a b c d e f g h i j k l m Bundesdenkmalamt (Ed.): Dehio Steiermark (excluding Graz) . 2nd Edition. Berger, Horn / Vienna 2006, ISBN 3-85028-439-5 , p. 549 .
- ↑ a b c Ingo Mirsch: Market town of Judendorf-Strassegel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 171 .
- ↑ Maria Straßengel - Why the pilgrimage church is scaffolded. In: Small newspaper. www.kleinezeitung.at, August 3, 2020, accessed on August 8, 2020 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 134 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 204 .
- ^ Kurt Woisetschläger & Peter Krenn : Old Styrian glories . 800 years of art in Styria. Styria , Graz 1968, p. 21 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 135-136 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 153 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 137 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 138 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 139 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 140 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 142-143 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 144-145 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 146-147 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 148 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 150 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 152 .
- ↑ a b c d e f g h i j Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The church interior and its building sculpture. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ↑ a b Federal Monuments Office (ed.): Dehio Steiermark (excluding Graz) . 2nd Edition. Berger, Horn / Vienna 2006, ISBN 3-85028-439-5 , p. 547 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 159 .
- ↑ a b c d e f g h i j k Bundesdenkmalamt (Ed.): Dehio Steiermark (excluding Graz) . 2nd Edition. Berger, Horn / Vienna 2006, ISBN 3-85028-439-5 , p. 548 .
- ↑ a b c d e f Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The church building. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ↑ a b c d e f Ingo Mirsch: Market town of Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 161 .
- ↑ a b c d Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The interior - other furnishings. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ^ A b c Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The church tower and its symbolism. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 164 .
- ^ Presentation of Mary in the Temple. In: Collection of the Victoria and Albert Museum. www.collections.vam.ac.uk, accessed on July 22, 2020 (English).
- ^ Annunciation to St Anne. In: Collection of the Victoria and Albert Museum. www.collections.vam.ac.uk, accessed on July 22, 2020 (English).
- ^ A b Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The interior. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ↑ a b c d Verlag St. Peter: Wallfahrtskirche Maria Straßengel near Graz: The interior decoration - altars. In: www.kirchen-fuehrer.info. Retrieved July 22, 2020 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 203 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 194 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 209 .
- ^ A b Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 175 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 172 .
- ↑ Catholic parish exposition Maria Straßengel (ed.): The organ of the pilgrimage church Maria Straßengel . Publishing house St. Peter, Salzburg 1995.
- ^ A b Nina Schemmerl: Organ Spring Festival in the pilgrimage church. In: my week. www.mein Bezirk.at, May 8, 2018, accessed on August 31, 2020 .
- ↑ a b c d e f g h i Ingo Mirsch: Market town of Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 176 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 189-190 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 192 .
- ↑ The harmonica as a true fountain of youth. In: Small newspaper . www.kleinezeitung.at, September 4, 2019, accessed on March 27, 2020 .
- ↑ a b Legends of churches and monasteries. www.sagen.at, accessed on March 27, 2020 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 158 .
- ^ Ingo Mirsch: Market community Judendorf-Straßengel . The history. Ed .: Marktgemeinde Judendorf-Straßengel. Judendorf-Straßengel 1999, p. 208 .
Web links
- Pilgrimage church Maria Straßengel near Graz in the Kirchenführer at the St. Peter publishing house, Salzburg
- Parish Association Gratwein - Rein - Maria Straßengel
- Annunciation of the Lord and Presentation of Mary in the Temple Two former stained glass windows of the church, around 1353; at the Victoria and Albert Museum
Coordinates: 47 ° 6 ′ 47.1 ″ N , 15 ° 20 ′ 19.7 ″ E
