Bad Staffelstein – Pilgrimage Church and Basilica Vierzehnheiligen
In 1693, the Bishop of Bamberg demanded the monastery's share of one-third of the pilgrimage income. The abbot countered by reminding the bishop that the diocese had long neglected its share of construction duties and presented an expert report on the necessity of a new building. The dispute fizzled out; the diocese was not expected to pay.
The planning confusion began. The main figures were Abbot Stephan Mösinger of Langheim and Bishop Friedrich Carl von Schönborn. They first negotiated who would pay what. The bishop succeeded in having Langheim Monastery bear all costs, but the pilgrimage fees were reduced accordingly. However, the construction plans still had to be approved by the bishop.
The abbot, now responsible for the costs, wanted to keep them as low as possible. He commissioned the Weimar court architect Gottfried Heinrich Krohne to redesign. Krohne, a Protestant, had little understanding of a rural pilgrimage site, which was reflected in his design. The bishop rejected Krohne's plans. The plans for the pilgrimage church were shelved. The abbot turned to redesigning and building the monastery church, engaging Balthasar Neumann. His plans for the new monastery church overshadowed all other Baroque church designs. The pilgrimage church project was abandoned, and the abbot had to return to Vierzehnheiligen. Meanwhile, the bishop commissioned his court architect, Jakob Michael Küchel, to plan the pilgrimage church. However, the bishop rejected this plan as too expensive. In parallel, the abbot had Balthasar Neumann prepare plans. These were approved, but secretly the abbot wanted to omit the masonry vaults for cost reasons. The abbot's architect Krohne was to start construction based on Neumann's plans but as a cost-saving version.
On April 23, 1743, the foundation stone was laid; by December, the walls in the choir and transept area were three meters high. Suspicious, the bishop sent Balthasar Neumann and Küchel to inspect Vierzehnheiligen. Neumann was shocked; Krohne deviated significantly from Neumann's design, surely on the abbot's instructions. The bishop blamed Krohne entirely, and the abbot dismissed the architect. Bamberg then took control, clearing the way for Neumann. He now demonstrated why he was one of the leading Baroque architects, reaching his peak. In 1744, he presented his plans for the new building, incorporating the already constructed walls. He completely redesigned it; the biggest challenge was the vault. Neumann died in 1753 and did not live to see completion. His site master mason, Thomas Nissler, continued the work according to Neumann's vision. The church was consecrated in 1772.
What would Vierzehnheiligen be without its fantastic stucco decoration and frescoes? (Unfortunately, since a fire caused by a lightning strike in 1835, water damage due to a delayed emergency roof, and overpainting in the late 19th century, the frescoes have suffered greatly and now appear very faded.)
The magnificent stucco and the freestanding altar of grace were created by Johann Michael Feichtmayr and his workshop together with Johann Georg Üblhör, all masters of their craft. Feichtmayr also designed the high altar and the pulpit. Giuseppe Appiani, court painter of Kurmainz...' role="button">
Stefan Wirtz
The planning confusion began. The main figures were Abbot Stephan Mösinger of Langheim and Bishop Friedrich Carl von Schönborn. They first negotiated who would pay what. The bishop succeeded in having Langheim Monastery bear all costs, but the pilgrimage fees were reduced accordingly. However, the construction plans still had to be approved by the bishop.
The abbot, now responsible for the costs, wanted to keep them as low as possible. He commissioned the Weimar court architect Gottfried Heinrich Krohne to redesign. Krohne, a Protestant, had little understanding of a rural pilgrimage site, which was reflected in his design. The bishop rejected Krohne's plans. The plans for the pilgrimage church were shelved. The abbot turned to redesigning and building the monastery church, engaging Balthasar Neumann. His plans for the new monastery church overshadowed all other Baroque church designs. The pilgrimage church project was abandoned, and the abbot had to return to Vierzehnheiligen. Meanwhile, the bishop commissioned his court architect, Jakob Michael Küchel, to plan the pilgrimage church. However, the bishop rejected this plan as too expensive. In parallel, the abbot had Balthasar Neumann prepare plans. These were approved, but secretly the abbot wanted to omit the masonry vaults for cost reasons. The abbot's architect Krohne was to start construction based on Neumann's plans but as a cost-saving version.
On April 23, 1743, the foundation stone was laid; by December, the walls in the choir and transept area were three meters high. Suspicious, the bishop sent Balthasar Neumann and Küchel to inspect Vierzehnheiligen. Neumann was shocked; Krohne deviated significantly from Neumann's design, surely on the abbot's instructions. The bishop blamed Krohne entirely, and the abbot dismissed the architect. Bamberg then took control, clearing the way for Neumann. He now demonstrated why he was one of the leading Baroque architects, reaching his peak. In 1744, he presented his plans for the new building, incorporating the already constructed walls. He completely redesigned it; the biggest challenge was the vault. Neumann died in 1753 and did not live to see completion. His site master mason, Thomas Nissler, continued the work according to Neumann's vision. The church was consecrated in 1772.
What would Vierzehnheiligen be without its fantastic stucco decoration and frescoes? (Unfortunately, since a fire caused by a lightning strike in 1835, water damage due to a delayed emergency roof, and overpainting in the late 19th century, the frescoes have suffered greatly and now appear very faded.)
The magnificent stucco and the freestanding altar of grace were created by Johann Michael Feichtmayr and his workshop together with Johann Georg Üblhör, all masters of their craft. Feichtmayr also designed the high altar and the pulpit. Giuseppe Appiani, court painter of Kurmainz...' role="button">
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Bad Staffelstein – Pilgrimage Church and Basilica VierzehnheiligenBad Staffelstein – Pilgrimage Church and Basilica VierzehnheiligenBad Staffelstein – Wallfahrtskirche und Basilika Vierzehnheiligen
One of the most significant Baroque pilgrimage churches in Germany is the Basilica Vierzehnheiligen in Bad Staffelstein, Upper Franconia.Construction of the church began in 1743 but was not completed until 1772.
The planning history is confusing and complicated before building could finally start.
The pilgrimage dates back to the Middle Ages, when in 1445 the monastery shepherd (from Langheim Monastery) saw a crying child in the field, who disappeared as he approached. This child appeared to the shepherd three times, and on July 2, 1446, he and a woman witnessed two burning candles descending from the sky at this spot. Shortly after, a miraculous healing occurred at the exact same place. The miracle was recognized by the nearby Langheim Monastery (which no longer exists). The pilgrimage quickly gained momentum, and a first church was built. Pilgrimage meant income, and as often happens, a dispute arose over these revenues. The Langheim Monastery and Staffelstein, which was the responsible parish, argued. An arbitration court decided that the church and offerings should remain with Langheim, but one-third of the income had to be paid to the Bishop of Bamberg. In return, the bishop had to share the construction costs proportionally, provided he knew and agreed to the plans—meaning no building could proceed without the bishop's approval.
In 1693, the Bishop of Bamberg demanded the monastery's share of one-third of the pilgrimage income. The abbot countered by reminding the bishop that the diocese had long neglected its share of construction duties and presented an expert report on the necessity of a new building. The dispute fizzled out; the diocese was not expected to pay.
The planning confusion began. The main figures were Abbot Stephan Mösinger of Langheim and Bishop Friedrich Carl von Schönborn. They first negotiated who would pay what. The bishop succeeded in having Langheim Monastery bear all costs, but the pilgrimage fees were reduced accordingly. However, the construction plans still had to be approved by the bishop.
The abbot, now responsible for the costs, wanted to keep them as low as possible. He commissioned the Weimar court architect Gottfried Heinrich Krohne to redesign. Krohne, a Protestant, had little understanding of a rural pilgrimage site, which was reflected in his design. The bishop rejected Krohne's plans. The plans for the pilgrimage church were shelved. The abbot turned to redesigning and building the monastery church, engaging Balthasar Neumann. His plans for the new monastery church overshadowed all other Baroque church designs. The pilgrimage church project was abandoned, and the abbot had to return to Vierzehnheiligen. Meanwhile, the bishop commissioned his court architect, Jakob Michael Küchel, to plan the pilgrimage church. However, the bishop rejected this plan as too expensive. In parallel, the abbot had Balthasar Neumann prepare plans. These were approved, but secretly the abbot wanted to omit the masonry vaults for cost reasons. The abbot's architect Krohne was to start construction based on Neumann's plans but as a cost-saving version.
On April 23, 1743, the foundation stone was laid; by December, the walls in the choir and transept area were three meters high. Suspicious, the bishop sent Balthasar Neumann and Küchel to inspect Vierzehnheiligen. Neumann was shocked; Krohne deviated significantly from Neumann's design, surely on the abbot's instructions. The bishop blamed Krohne entirely, and the abbot dismissed the architect. Bamberg then took control, clearing the way for Neumann. He now demonstrated why he was one of the leading Baroque architects, reaching his peak. In 1744, he presented his plans for the new building, incorporating the already constructed walls. He completely redesigned it; the biggest challenge was the vault. Neumann died in 1753 and did not live to see completion. His site master mason, Thomas Nissler, continued the work according to Neumann's vision. The church was consecrated in 1772.
What would Vierzehnheiligen be without its fantastic stucco decoration and frescoes? (Unfortunately, since a fire caused by a lightning strike in 1835, water damage due to a delayed emergency roof, and overpainting in the late 19th century, the frescoes have suffered greatly and now appear very faded.)
The magnificent stucco and the freestanding altar of grace were created by Johann Michael Feichtmayr and his workshop together with Johann Georg Üblhör, all masters of their craft. Feichtmayr also designed the high altar and the pulpit. Giuseppe Appiani, court painter of Kurmainz...One of the most significant Baroque pilgrimage churches in Germany is the Basilica Vierzehnheiligen in Bad Staffelstein, Upper Franconia.
Construction of the church began in 1743 but was not completed until 1772.
The planning history is confusing and complicated before building could finally start.
The pilgrimage dates back to the Middle Ages, when in 1445 the monastery shepherd (from Langheim Monastery) saw a crying child in the field, who disappeared as he approached. This child appeared to the shepherd three times, and on July 2, 1446, he and a woman witnessed two burning candles descending from the sky at this spot. Shortly after, a miraculous healing occurred at the exact same place. The miracle was recognized by the nearby Langheim Monastery (which no longer exists). The pilgrimage quickly gained momentum, and a first church was built. Pilgrimage meant income, and as often happens, a dispute arose over these revenues. The Langheim Monastery and Staffelstein, which was the responsible parish, argued. An arbitration court decided that the church and offerings should remain with Langheim, but one-third of the income had to be paid to the Bishop of Bamberg. In return, the bishop had to share the construction costs proportionally, provided he knew and agreed to the plans—meaning no building could proceed without the bishop's approval.
In 1693, the Bishop of Bamberg demanded the monastery's share of one-third of the pilgrimage income. The abbot countered by reminding the bishop that the diocese had long neglected its share of construction duties and presented an expert report on the necessity of a new building. The dispute fizzled out; the diocese was not expected to pay.
The planning confusion began. The main figures were Abbot Stephan Mösinger of Langheim and Bishop Friedrich Carl von Schönborn. They first negotiated who would pay what. The bishop succeeded in having Langheim Monastery bear all costs, but the pilgrimage fees were reduced accordingly. However, the construction plans still had to be approved by the bishop.
The abbot, now responsible for the costs, wanted to keep them as low as possible. He commissioned the Weimar court architect Gottfried Heinrich Krohne to redesign. Krohne, a Protestant, had little understanding of a rural pilgrimage site, which was reflected in his design. The bishop rejected Krohne's plans. The plans for the pilgrimage church were shelved. The abbot turned to redesigning and building the monastery church, engaging Balthasar Neumann. His plans for the new monastery church overshadowed all other Baroque church designs. The pilgrimage church project was abandoned, and the abbot had to return to Vierzehnheiligen. Meanwhile, the bishop commissioned his court architect, Jakob Michael Küchel, to plan the pilgrimage church. However, the bishop rejected this plan as too expensive. In parallel, the abbot had Balthasar Neumann prepare plans. These were approved, but secretly the abbot wanted to omit the masonry vaults for cost reasons. The abbot's architect Krohne was to start construction based on Neumann's plans but as a cost-saving version.
On April 23, 1743, the foundation stone was laid; by December, the walls in the choir and transept area were three meters high. Suspicious, the bishop sent Balthasar Neumann and Küchel to inspect Vierzehnheiligen. Neumann was shocked; Krohne deviated significantly from Neumann's design, surely on the abbot's instructions. The bishop blamed Krohne entirely, and the abbot dismissed the architect. Bamberg then took control, clearing the way for Neumann. He now demonstrated why he was one of the leading Baroque architects, reaching his peak. In 1744, he presented his plans for the new building, incorporating the already constructed walls. He completely redesigned it; the biggest challenge was the vault. Neumann died in 1753 and did not live to see completion. His site master mason, Thomas Nissler, continued the work according to Neumann's vision. The church was consecrated in 1772.
What would Vierzehnheiligen be without its fantastic stucco decoration and frescoes? (Unfortunately, since a fire caused by a lightning strike in 1835, water damage due to a delayed emergency roof, and overpainting in the late 19th century, the frescoes have suffered greatly and now appear very faded.)
The magnificent stucco and the freestanding altar of grace were created by Johann Michael Feichtmayr and his workshop together with Johann Georg Üblhör, all masters of their craft. Feichtmayr also designed the high altar and the pulpit. Giuseppe Appiani, court painter of Kurmainz...Eine der wohl bedeutendsten barocken Wallfahrtskirchen in Deutschland ist die Basilika Vierzehnheiligen im oberfränkischen Bad Staffelstein.
1743 beginnt der Bau der Kirche, der aber erst 1772 abgeschlossen ist.
Verwirrend und auch kompliziert ist auch die Planungsgeschichte, bis es dann endlich mit dem Bauen losgehen kann.
Grundlage der Wallfahrt liegt im Mittelalter, denn 1445 sieht der Klosterschäfer (Kloster Langheim) ein weinendes Kind auf dem Acker, das aber verschwindet, als er sich ihm nähert. Dieses Kind erscheint dem Schäfer drei mal, und am 2. Juli 1446 werden er und eine Frau Zeugin, wie an dieser Stelle zwei brennende Kerzen vom Himmel herabfahren. Kurze Zeit darauf, ereignet sich an genau der selben Stelle eine Wunderheilung. Die Wunderheilung wird nun vom nahen Kloster Langheim (dieses Kloster existiert nicht mehr) anerkannt. Schnell kommt eine Wallfahrt in Schwung, eine erste Kirche wird errichtet. Eine Wallfahrt bedeutet Geldeinnahmen, und um diese Einnahmen entbrennt wie so oft ein Streit. Gestritten haben sich das Kloster Langheim und Staffelstein, welches die zuständige Pfarre gewesen ist. Ein Schiedsgericht entscheidet, dass die Kirche und die Opfergaben in Langheim verbleiben sollen, aber ein drittel der Einnahmen dem Bischof von Bamberg abgeführt werden müssen. Dafür muss der Bischof aber anteilig bei Baumaßnahmen die Kosten übernehmen, sofern er die Pläne kennt und einverstanden ist, sprich, ohne Zustimmung des Bischofs kann nicht gebaut werden.
1693 verlangt der Bamberger Bischof vom Kloster Langheim das zustehende Drittel der Wallfahrtseinnahmen. Der Abt kontert, in dem er den Bischof daran erinnert, dass das Bistum seine anteilmäßigen Baupflichten schon lange nicht mehr nachkommt, und er legt dem Bischof ein Gutachten über die Notwendigkeit eines Neubaus vor. Der Streit verläuft im Sande, dass das Bistum zahlen soll, damit hat nicht gerechnet.
Das Planungsverwirrspiel beginnt. Protagonisten sind der Abt von Langheim Stephan Mösinger und Bischof Friedrich Carl von Schönborn. Diese verhandeln nun erst mal wer zahlt was. Der Bischof erreicht, dass das Kloster Langheim alleine die Kosten trägt, dafür werden aber die Wallfahrtsabgaben reduziert. Die Baupläne aber müssen aber weiterhin vom Bischof abgezeichnet werden.
Der Abt will, da seine Abtei ja nun die Kosten tragen muss, diese so klein halten wie möglich. Er beauftragt den Weimarer Hofbaumeister Gottfried Heinrich Krohne mit der Neuplanung. Krohne selbst Protestant hat für eine ländlich geprägten Wallfahrt kein Verständnis. Das spiegelt sich in seiner Planung wieder. Der Bischof lehnt die Pläne Krohnes ab. Die Pläne für die Wallfahrtskirche werden liegen gelassen. Der Abt wendet sich der Neuplanung und Baus der Klosterkirche zu. Dafür engagiert er Balthasar Neumann. Seine Pläne für die neue Klosterkirche stellt alle anderen Kirchenplanungen des Barock in den Schatten. Das Projekt wird fallen gelassen, der Abt muss sich wieder Vierzehnheiligen zuwenden. In der Zwischenzeit hat der Bischof seinen Hofbaumeister, Jakob Michael Küchel, mit der Planung der Wallfahrtskirche beauftragt. Doch diese Planung wird vom Bischof abgelehnt, zu teuer. Parallel lässt der Abt von Balthasar Neumann Pläne anfertigen. Diese Pläne werden genehmigt, doch insgeheim will der Abt aus Kostengründen auf die gemauerten Gewölbe verzichten. Des Abtes Baumeister Krohne soll auf Grundlage der Pläne Neumanns mit dem Bau beginnen, aber als Sparversion. Am 23. April 1743 wird der Grundstein gelegt, im Dezember sind die Mauern im Chor und Querschiffbereich drei Meter Hoch. Misstrauisch geworden, schickt der Bischof Balthasar Neumann und Küchel zur Inspektion nach Vierzehnheiligen. Neumann ist geschockt, Krohne weicht stark von der Planung Neumanns ab, sicher auf Anweisung des Abtes. Krohne wird vom Bischof die Alleinschuld zugewiesen, und der Abt lässt den Baumeister fallen. Bamberg nimmt nun das Heft in die Hand, freie Bahn für Neumann. Und dieser zeigt nun, warum er eine der führenden Barockbaumeister ist, er läuft zu Hochform auf. 1744 stellt er seine Pläne für den Neubau vor, mit Einbezug der schon erstellten Mauern. Er plant komplett um, größte Herausforderung ist das Gewölbe. 1753 stirbt Neumann, er erlebt die Fertigstellung nicht mehr. Sein bauleitender Maurermeister Thomas Nissler führt die Arbeiten weiter im Sinne Neumanns aus. 1772 wird die Kirche geweiht.
Was wäre Vierzehnheiligen ohne die fantastische Stuckdekoration und die Fresken (leider, seit einer Feuersbrunst durch Blitzeinschlag 1835, durch Wasserschaden, weil das Notdach zu spät errichtet wird, und durch Übertünchung im ausgehenden 19. Jhd. schwer gelitten haben, zeigen sich die Fresken heute sehr verwaschen).
Für den grandiosen Stuck und den freistehenden Gnadenaltar zeichnet sich Johann Michael Feichtmayr und seine Werkstatt zusammen mit Johann Georg Üblhör verantwortlich, alle Meister ihres Fachs. Feichtmayr plant auch den Hochaltar sowie die Kanzel. Giuseppe Appiani, kurmainzischer Ho