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Visit of the Church of the Franciscan Monastery Fribourg
Visit of the Church
A warm welcome to the Franciscan church!
We are pleased that you visit our church. You can discover its art treasures with this guided tour especially conceived for you.
You may take pictures or film, but for private use only.
We kindly ask you not to visit the church during religious services.
The Conventual Franciscans of Fribourg
Location
Detail of «Martini Town Map» of Fribourg (1606)
Tower of the St. Nicolas church (to the right).
Marked in red: the Franciscan monastery with church, living quarters, graveyard and garden. This complex hardly changed between the 14th and the beginning of the 18th century.
The Gothic
Church
1256: Jakob of Riggisberg donates his property in Fribourg to the Franciscan order.
1275: construction of a first church.
Early 14th century: transformation of choir and nave.
Precious altar-pieces date from the 15th and 16th centuries.
The church consists of a nave with flat ceiling, choir screen and long polygonal choir with a rib vault.
The layout is similar to that of the Franciscan church in Basle (shown on picture).
Baroque transformations:
Monastery: 1712–1725.
Church: start in 1745.
Choir screen dismantled.
Side altars in stucco marble by Anton
Pfister from Lucerne (1746 –1752).
Late baroque painting of ceiling and arch of triumph byJohann Melchior Eggmann from Rorschach (1746).
The Baroque Church
The Church Restoration
Between 1974 – 1991 restoration of church.
The Monastery of the Conventual Franciscans
Conventual Franciscans
(Friars Minor Conventual) are installed in Fribourg since over 750 years.
2012 - 2016 restoration and transformation of friary.
The famous Franciscan pedagogue Grégoire Girard (1765–1850) lived and worked here.
The present Conventuals
(from left to right)
Father Daniele Brocca
Father Cristian Clopotel
Father Hans Kaufmann
Father Adrian Cosa
Brother Emmanuel Python
Father Ryszard Kluba
Visit the Church
Overview
Click on the images below to see the full caption
1. Chapel of Our Lady of Einsiedeln
This splendid baroque shrine is a copy of the one in the church of the Benedictine monastery at Einsiedeln.
Daily worship of the altar sacrament from 7 pm to 7.45 am.
In 1694 Hans-Ulrich Wild and his wife donated the chapel of Einsiedeln.
Above the entrance two cherubs present the arms of the donators.
Above the entrance two cherubs present the arms of the donators.
Sculptures and stucco reliefs by the Franciscan brother Kilian Stauffer (1694).
Several are fixed on both sides of the entrance, such as:
Birth of Holy Mary (left)
Annunciation (right).
Several are fixed on both sides of the entrance, such as:
Birth of Holy Mary (left)
Annunciation (right).
The Black Madonna
Copy of the statue of Holy Mary from the monastery of Einsiedeln, made by Josef Kälin in 1690.
Altar-piece made by the Franciscan Brother Anton Pfister, 1752.
Copy of the statue of Holy Mary from the monastery of Einsiedeln, made by Josef Kälin in 1690.
Altar-piece made by the Franciscan Brother Anton Pfister, 1752.
Ceiling and walls of chapel painted by Paul Neumann in 1902 and depicting the triumph of Holy Mary‘s name.
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2. Narthex
At the entry of the chapel are a few of the baroque gravestones which covered the entire floor of the church until its transformation in 1745.
Gravestone with the arms of Franz-Peter Daguet († 1702) and his wife Maria-Francisca of Montenach († after 1716).
Gravestone with the arms of Franz-Peter Daguet († 1702) and his wife Maria-Francisca of Montenach († after 1716).
Narthex and nave are separated by a wooden baroque screen.
Made of oak in 1746, by Wilhelm Zumwald.
Made of oak in 1746, by Wilhelm Zumwald.
Detailed view of carved oak screen separating narthex and nave.
Statue of Saint Anthony of Padua, early 20th century.
Originates from former Franciscan monastery at Pensier (Canton of Fribourg).
Statue, with candleholder and offertory box for the needy, standing on a modern plinth.
Originates from former Franciscan monastery at Pensier (Canton of Fribourg).
Statue, with candleholder and offertory box for the needy, standing on a modern plinth.
The narthex windows were made by the Fribourg firm Kirsch & Fleckner in 1906.
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3. Chapel with Altar of the
Holy Cross
The Furno altar is a masterpiece of the workshop of Hans Geiler (Fribourg, around 1518).
It used to stand in the former chapel of the Furno (later Meyer) family.
The centre panel shows Christ and the two thieves on crosses, surrounded by mourning women, soldiers and onlookers.
It used to stand in the former chapel of the Furno (later Meyer) family.
The centre panel shows Christ and the two thieves on crosses, surrounded by mourning women, soldiers and onlookers.
Wings of the Furno Altar (around 1518).
Left wing: Nativity of Christ and praying shepherds.
Left wing: Nativity of Christ and praying shepherds.
Right wing: Adoration of the Newborn by the Magi from the Orient.
Exterior Faces of Furno Altar Wings (around 1518).
Left wing: Annunciation.
Right wing: Assumption and coronation of Holy Mary. Communion wafers fall down on the apostles.
Two prophets in the quadrants above.
Painted plinth (predella) showing the apostles gathered around the dying Holy Mary.
Left wing: Annunciation.
Right wing: Assumption and coronation of Holy Mary. Communion wafers fall down on the apostles.
Two prophets in the quadrants above.
Painted plinth (predella) showing the apostles gathered around the dying Holy Mary.
Antependium (decorative painting at base of altar-piece). The Furno altar shows the seven columns of wisdom decorated with cherub heads (1703).
Antependium
The arms of the Meyer family are painted on the right and left sides of the bottom border; dated 1703.
Girarda, the daughter of Jean Furno, married into the Meyer family who took over the family chapel.
The arms of the Meyer family are painted on the right and left sides of the bottom border; dated 1703.
Girarda, the daughter of Jean Furno, married into the Meyer family who took over the family chapel.
The life-size sandstone figure of Christ at the flagellation column was donated in 1438 by the merchant and councillor Jean Mossu (inscription on the plinth).
The statue is still revered today as symbol of the redemption of mankind through Christ‘s suffering.
The statue is still revered today as symbol of the redemption of mankind through Christ‘s suffering.
The picture represents empress Helena on her pilgrimage to the Holy Land where she finds Christ‘s cross in Jerusalem.
Painted in 1693 by Johann Achert from Rottweil in Southern Germany. It was the main part of the baroque high altar.
Painted in 1693 by Johann Achert from Rottweil in Southern Germany. It was the main part of the baroque high altar.
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4. Chapel with Altar of Mother of Sorrows
Anton Pfister created the architectural frame of the altar between 1746–1752. A canopy and columns with a draped curtain offer room for a statue.
The original statue having disappeared, it was replaced by this new gothic figure during the renovation around 1880.
Two small angels to the right and left of Holy Mary hold in their hands symbols of Christ‘s passion: hammer, pair of pincers and crown of thorns.
The statue in the top attic is missing.
The original statue having disappeared, it was replaced by this new gothic figure during the renovation around 1880.
Two small angels to the right and left of Holy Mary hold in their hands symbols of Christ‘s passion: hammer, pair of pincers and crown of thorns.
The statue in the top attic is missing.
Statue of Saint Expeditus, probably dating from beginning of 20th century.
The saint is a young Roman soldier standing on a crow. Its shriek “CRAS“ (Latin for „tomorrow“) is in contrast to Expeditus‘s promise to help already today. In his right hand he holds a cross with the inscription “HODIE“ (Latin for “today“).
He is still revered today as patron for urgent requests.
The saint is a young Roman soldier standing on a crow. Its shriek “CRAS“ (Latin for „tomorrow“) is in contrast to Expeditus‘s promise to help already today. In his right hand he holds a cross with the inscription “HODIE“ (Latin for “today“).
He is still revered today as patron for urgent requests.
Painting by Alexandre Cingria (1879–1945) from the year 1924, depicting the revering by angels and saints of the sacred heart of Jesus. Donated by the artist to the Franciscan church in 1942.
The wounded heart of Christ is surrounded by a crown of thorns and sends rays into the world. It is a symbol of Christ‘s love and sufferings.
The nun standing at the bottom in the middle represents Mary Alacoque whose visions of 1688 were crucial for the Sacred Heart devotion.
The wounded heart of Christ is surrounded by a crown of thorns and sends rays into the world. It is a symbol of Christ‘s love and sufferings.
The nun standing at the bottom in the middle represents Mary Alacoque whose visions of 1688 were crucial for the Sacred Heart devotion.
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5. Chapel with Altar of Saint Joseph
The baroque altar-piece of Saint Joseph is made of stucco marble (1746 –1752) with paintings by Georg Kaiser (1882).
The main painting depicts Joseph with a lily and a crown of roses above his head and Jesus as a child raising his arm - may be to bless.
The main painting depicts Joseph with a lily and a crown of roses above his head and Jesus as a child raising his arm - may be to bless.
Altar of Saint Joseph
In the attic above George Kaiser depicts Holy Barbara (1882).
Left of main picture: Pope Pius X (1903 –1914).
Right of main picture: Jean-Marie Vianney (1786–1859), priest at Ars, beatified by Pope Pius X in 1905.
On the west side of the chapel stands one of the four confessionals in the church (dated 1746).
In the Franciscan church many people receive the sacrament of reconciliation.
Next to the confessional a small plate indicates the name of the priest as well as the language in which he can be addressed.
A further confessional of this type stands on the opposite side in the chapel of Saint Anne.
In the Franciscan church many people receive the sacrament of reconciliation.
Next to the confessional a small plate indicates the name of the priest as well as the language in which he can be addressed.
A further confessional of this type stands on the opposite side in the chapel of Saint Anne.
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6. Chapel with Altar of Saint Bonaventura
The altar of Saint Bonaventura is a baroque structure.
The main picture was painted in 1881 by the Italian Franciscan Pasquale Sarullo.
The Franciscan Bonaventura is depicted as a Teacher of the Church.
The main picture was painted in 1881 by the Italian Franciscan Pasquale Sarullo.
The Franciscan Bonaventura is depicted as a Teacher of the Church.
The upper picture (mid 17th century) depicts bishop Nicholas of Myra, the town patron of Fribourg, raising three children from the dead.
A large canvas painting of Christ‘s entombment hangs on the west wall.
Painted mid 17th century by an unknown master from Burgundy.
Two tall angels carry the dead Christ respectfully on a white linen sheet to place him in a sarcophagus. The background shows Christ‘s mother Mary and disciple John. Mary Magdalene kneels at Christ‘s feet.
Painted mid 17th century by an unknown master from Burgundy.
Two tall angels carry the dead Christ respectfully on a white linen sheet to place him in a sarcophagus. The background shows Christ‘s mother Mary and disciple John. Mary Magdalene kneels at Christ‘s feet.
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7. Chapel with Altar of Saint Bonaventura
Former de Gottrau family chapel. Baroque altar-piece with later canvas pictures.
Saint Charles Borromeo prays for the plague tormented inhabitants of Milan. Painted in 1811 by Johann Emmanuel Locher.
Saint Charles Borromeo prays for the plague tormented inhabitants of Milan. Painted in 1811 by Johann Emmanuel Locher.
The picture in the attic shows Christ Child under a crown of stars, painted by Georg Kaiser (1882).
Between the main picture and the attic there are the carved and gilded arms of the donator family de Gottrau.
The confessional standing at the west wall dates from mid 17th century.
A further confessional of this type exists in the opposite chapel with the Trinity altar.
A further confessional of this type exists in the opposite chapel with the Trinity altar.
Votive picture of Knight Hans of Lenzburg, painted by an unknown master in 1620.
Hans of Lenzburg kneels and prays in front of the Crucified.
The background depicts the Battle of White Mountain (Czech Republic) in 1620, an important victory for the Catholic League during the Thirty Years‘ War.
Hans of Lenzburg kneels and prays in front of the Crucified.
The background depicts the Battle of White Mountain (Czech Republic) in 1620, an important victory for the Catholic League during the Thirty Years‘ War.
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8. Chapel with Altar of Saint Anthony
Saint Anthony‘s altar is larger and more elaborate than the other side altars (1746–1752).
On this altar stands the tabernacle with the sacrament of the altar.
The main picture (dated 1881) by François Lafon shows Anthony of Padua.
On this altar stands the tabernacle with the sacrament of the altar.
The main picture (dated 1881) by François Lafon shows Anthony of Padua.
The picture in the attic depicts Nicholas of Flüe in the Ranft Ravin;
painted in 1881 by Antoine de Gottrau.
painted in 1881 by Antoine de Gottrau.
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9. The modern Altar Area, Organ and Arch of Triumph
The modern altar island is placed on a higher platform with altar, base for altar candles, ambo for lessons and seats for priests and concelebrants.
Made of sandstone by Thomas Huber (Architectes Associés Fribourg), 1985–1991.
It is in this place that the Conventual Franciscans celebrate the holy mass during the week, on Sundays and special holidays.
Made of sandstone by Thomas Huber (Architectes Associés Fribourg), 1985–1991.
It is in this place that the Conventual Franciscans celebrate the holy mass during the week, on Sundays and special holidays.
The baroque organ case was created by the famous organ builder Johann Conrad Speissegger from Schaffhausen(1699–1781).
The richly structured organ front consists of a high middle tower and two swung back side elements, each of which is crowned by a trumpet blowing angel.
The veil boards in front of the organ pipes as well as the side panels are decorated with foliage and blossoms.
Because of the quality of this instrument and the good acoustics many concerts are organised here.
The richly structured organ front consists of a high middle tower and two swung back side elements, each of which is crowned by a trumpet blowing angel.
The veil boards in front of the organ pipes as well as the side panels are decorated with foliage and blossoms.
Because of the quality of this instrument and the good acoustics many concerts are organised here.
The arch of triumph marks the place where the two church parts meet, namely:
the flat roof of the lay church in the west and
the rib vaults of the monastic church in the east.
the flat roof of the lay church in the west and
the rib vaults of the monastic church in the east.
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10. Chapel of Saint Maximilian Kolbe
This room is reserved for praying. Thank you for your consideration.
The Franciscan Maximilian Kolbe died 1941 of starvation in order to save the life of a Polish family father. He was beatified in 1971 and canonized as martyr in 1982.
From 8.30 am to 7 pm continuous venerations of the altar sacrament take place in this chapel.
The coloured glass windows, entitled “ Eucharistie“ were created in 1968 by the artist Victoire-Elisabeth Calcagni.
The Franciscan Maximilian Kolbe died 1941 of starvation in order to save the life of a Polish family father. He was beatified in 1971 and canonized as martyr in 1982.
From 8.30 am to 7 pm continuous venerations of the altar sacrament take place in this chapel.
The coloured glass windows, entitled “ Eucharistie“ were created in 1968 by the artist Victoire-Elisabeth Calcagni.
Polychrome wooden statue of Our Lady of Fatima.
Created in 1947 by François Baud, member of the Lukas Association.
Created in 1947 by François Baud, member of the Lukas Association.
The crypt is not open to the public.
From the Kolbe chapel one enters the crypt of the Franciscan monastery where the Fribourg Conventuals are buried.
From the Kolbe chapel one enters the crypt of the Franciscan monastery where the Fribourg Conventuals are buried.
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11. Choir and Choir Stalls
The choir consists of three square bays with rib vaults. Underneath stand the choir stalls for the common prayers by the Conventual Franciscans.
In the 5 sided apse of the choir stands the high altar used by the congregation for celebrating the daily mass (until the liturgical reform by the 2nd Vatican Council).
In the 5 sided apse of the choir stands the high altar used by the congregation for celebrating the daily mass (until the liturgical reform by the 2nd Vatican Council).
Choir stalls made of oak are arranged in two double rows, offering at present 66 seats foreseen for larger congregations (for instance the participants at a provincial chapter).
Stalls dendrochronologically dated to 1305.
These are the oldest, almost completely preserved choir stalls in Switzerland.
The back panels are sparingly decorated with carved traced arches ; the side panels bear ivy, vine and oak leaves.
Stalls dendrochronologically dated to 1305.
These are the oldest, almost completely preserved choir stalls in Switzerland.
The back panels are sparingly decorated with carved traced arches ; the side panels bear ivy, vine and oak leaves.
The choral singing and praying was since old times carried out by two groups answering each other.
For tired praying friars small consoles (misericords) are fixed under the hinged seats, because the singing and praying was partly carried out standing.
Today choir singing and praying of the congregation usually takes place in the house chapel.
For tired praying friars small consoles (misericords) are fixed under the hinged seats, because the singing and praying was partly carried out standing.
Today choir singing and praying of the congregation usually takes place in the house chapel.
The choir as burial ground.
At the request of the town of Fribourg the well known pedagogue and Franciscan Grégoire Girard was buried here in 1850.
To the Reverend Grégoire Girard of the Franciscan order. Former prefect of the primary schools of the town of Fribourg. Father and friend of children.
Benefactor to his native town owing to his popular education. Born on 16th December 1765. Died on 6th March 1850. In recognition the Municipal Council.
“Suffer the little children to come unto me”. St. Marc chap. X, V. 14.
R. I. P.
At the request of the town of Fribourg the well known pedagogue and Franciscan Grégoire Girard was buried here in 1850.
To the Reverend Grégoire Girard of the Franciscan order. Former prefect of the primary schools of the town of Fribourg. Father and friend of children.
Benefactor to his native town owing to his popular education. Born on 16th December 1765. Died on 6th March 1850. In recognition the Municipal Council.
“Suffer the little children to come unto me”. St. Marc chap. X, V. 14.
R. I. P.
Symbol of St. Luke: ox
Symbol of St. Mark: lion
Symbol of St. Matthew: Angel at writing desk
Symbol of St. John: eagle
The painting of the vault caps with red and blue stars was completed between 1986 and 1991 according to original finds. The vault keystones depict the symbols of the evangelists.
On the sides of the keystones are heads of men (a prince or king and prophets).
On the sides of the keystones are heads of men (a prince or king and prophets).
The painting of the vault caps with red and blue stars was completed between 1986 and 1991 according to original finds. The vault keystones depict the symbols of the evangelists.
On the sides of the keystones are heads of men (a prince or king and prophets).
On the sides of the keystones are heads of men (a prince or king and prophets).
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12. Choir Chevet: "Carnation Master" Altar-Piece (1479/1480)
Considered as one of the most important examples of Swiss paintings from the 2nd half of the 15th century.
Workshop of Master Bartholomäus Rutenzweig in Solothurn, dated 1479/1480.
Below St. Francis are the arms of the Fribourg merchant Jean Favre who contributed a larger sum towards this altar-piece.
Some of these panels are signed with red or white carnations. Therefore, the anonymous painters are called “Carnation master“.
Workshop of Master Bartholomäus Rutenzweig in Solothurn, dated 1479/1480.
Below St. Francis are the arms of the Fribourg merchant Jean Favre who contributed a larger sum towards this altar-piece.
Some of these panels are signed with red or white carnations. Therefore, the anonymous painters are called “Carnation master“.
In the middle
The crucified Christ between Mary and disciple John.
Left of the Crucifixion
The Franciscan and bishop Louis of Toulouse. At his feet the arms of his royal parents.
Francis of Assisi with cross, book and stigma on hands and feet, below the arms of the donator.
Right of the Crucifixion
The Franciscan preacher Bernardine of Siena, holding in his hands a disk with name of Jesus (IHS).
The Franciscan Anthony of Padua with book and lily as symbol of purity.
The crucified Christ between Mary and disciple John.
Left of the Crucifixion
The Franciscan and bishop Louis of Toulouse. At his feet the arms of his royal parents.
Francis of Assisi with cross, book and stigma on hands and feet, below the arms of the donator.
Right of the Crucifixion
The Franciscan preacher Bernardine of Siena, holding in his hands a disk with name of Jesus (IHS).
The Franciscan Anthony of Padua with book and lily as symbol of purity.
Left Wing:
Birth of Christ, incarnation of God‘s son.
The gilded background above shows flat arches; originally there was a carved gabled structure (reredos).
Birth of Christ, incarnation of God‘s son.
The gilded background above shows flat arches; originally there was a carved gabled structure (reredos).
Right Wing
Adoration of the Newborn by the Magi from the Orient: The incarnation of God gets known in the pagan world.
Adoration of the Newborn by the Magi from the Orient: The incarnation of God gets known in the pagan world.
The closed Altar-Piece
Middle part: Archangel Gabriel announces to the Virgin Mary that she will bear God‘s son (annunciation).
Framed by two Holy Franciscan women.
Left: Clare of Assisi carrying monstrance and book (Rule of the order of St. Clare).
Right: Elizabeth of Thuringia with bread and jug for feeding the poor.
Middle part: Archangel Gabriel announces to the Virgin Mary that she will bear God‘s son (annunciation).
Framed by two Holy Franciscan women.
Left: Clare of Assisi carrying monstrance and book (Rule of the order of St. Clare).
Right: Elizabeth of Thuringia with bread and jug for feeding the poor.
This back wall in coloured stucco marble was created by Anton Pfister (1746–1752).
Right on top inscription of Mary‘s name (MAR).
In front of this elaborate wall there used to be three seats for the priest celebrating the mass, the deacon and the sub-deacon .
Right on top inscription of Mary‘s name (MAR).
In front of this elaborate wall there used to be three seats for the priest celebrating the mass, the deacon and the sub-deacon .
In 1936 remains of a magnificent fresco were discovered in the choir: namely a sequence of the 12 apostles led by Christ and Mary.
Because of the poor condition of the fresco only the figure of the apostle James the Younger was uncovered and restored.
Each figure measured about 260 cm.
The fresco dates from around 1480, i.e. the same period as the altar-piece by the so-called “Carnation Masters“.
Because of the poor condition of the fresco only the figure of the apostle James the Younger was uncovered and restored.
Each figure measured about 260 cm.
The fresco dates from around 1480, i.e. the same period as the altar-piece by the so-called “Carnation Masters“.
Hans Fries, Anthony Altar-Piece from 1506
Left Wing:
Sermon of the Franciscan Anthony of Padua against profiteering and miserliness. The saint stands in a pulpit and is surrounded by a numerous, mainly female audience.
In front of him – and only visible to him and his companion – the vision of a rich man who has just died and is being carried away through the air by two devils.
Left Wing:
Sermon of the Franciscan Anthony of Padua against profiteering and miserliness. The saint stands in a pulpit and is surrounded by a numerous, mainly female audience.
In front of him – and only visible to him and his companion – the vision of a rich man who has just died and is being carried away through the air by two devils.
Hans Fries, Anthony Altar-Piece from 1506
Right Wing:
The rich man‘s heart is found bleeding in his vault. As announced by Anthony in his sermon: For where your treasure is, there your heart will be also. (Matthew 6, 21).
Above: Picture of the death of the rich man surrounded by his relatives
Right Wing:
The rich man‘s heart is found bleeding in his vault. As announced by Anthony in his sermon: For where your treasure is, there your heart will be also. (Matthew 6, 21).
Above: Picture of the death of the rich man surrounded by his relatives
Hans Fries, Anthony Altar-Piece of 1506
Predella (small picture directly above the altar table)
Miraculous healings at Anthony‘s grave in Padua.
Possessed and handicapped people closely huddle around the saint‘s grave and pray for help.
Predella (small picture directly above the altar table)
Miraculous healings at Anthony‘s grave in Padua.
Possessed and handicapped people closely huddle around the saint‘s grave and pray for help.
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13. Epitaph of Elizabeth of Kyburg
Epitaph of Elizabeth of Châlons, widow of count Hartmann the Younger of Kyburg and lord of Fribourg.
Dated 1275, this is one of the oldest figurative grave stones in Switzerland.
Elizabeth is depicted in the clothes of the Franciscan tertiary order, barefoot and praying.
Dated 1275, this is one of the oldest figurative grave stones in Switzerland.
Elizabeth is depicted in the clothes of the Franciscan tertiary order, barefoot and praying.
The arms of the counts of Kyburg nearly cover a third of the gravestone surface.
The inscription indicates the death date 1275, her name and status as countess and sister of the Order of Saint Clare. She asks for prayers by the posterity.
Anno D[omi]ni MCC LXX V - VII ID Iulii o[biit] D[omin]na Elizabet Comitissa de Kiburg soror Ordinis S[an]c[t]e Clare. Orate pro me.
Anno D[omi]ni MCC LXX V - VII ID Iulii o[biit] D[omin]na Elizabet Comitissa de Kiburg soror Ordinis S[an]c[t]e Clare. Orate pro me.
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14. Chapel with Altar of
Saint Francis
Formerly the house chapel of the Lenzburg family. Baroque altar-piece with more recent pictures.
Main picture of 1881: Francis in front of Mary and Christ as a child, painted by the Franciscan Pasquale Sarullo.
The cherub holding a tablet with the text “Indulgentia t. q. de Portiuncula“ indicates the theme of the picture: St. Francis asks for plenary indulgence.
Main picture of 1881: Francis in front of Mary and Christ as a child, painted by the Franciscan Pasquale Sarullo.
The cherub holding a tablet with the text “Indulgentia t. q. de Portiuncula“ indicates the theme of the picture: St. Francis asks for plenary indulgence.
Altar of Saint Francis
The upper canvas picture by Antoine de Gottrau (1881) shows Elizabeth of Thuringia, a saint of the Franciscan Third Order.
The upper canvas picture by Antoine de Gottrau (1881) shows Elizabeth of Thuringia, a saint of the Franciscan Third Order.
The oval marble tablet next to the altar attests the indulgence of sins can also be requested for the defunct.
Pope Benedict XIV decrees a corresponding Breve (message), which is confirmed by the Minister General of the Order of the Conventual Franciscans.
Pope Benedict XIV decrees a corresponding Breve (message), which is confirmed by the Minister General of the Order of the Conventual Franciscans.
The arched niche of the northern wall was discovered during the last renovation.
Originally it was decorated with tracery and topped an underground tomb chamber.
Dimensions and location indicate that it could be the tomb of Elizabeth of Kyburg whose tombstone is placed at the entry of the choir.
Originally it was decorated with tracery and topped an underground tomb chamber.
Dimensions and location indicate that it could be the tomb of Elizabeth of Kyburg whose tombstone is placed at the entry of the choir.
The small epitaph in black and white marble belongs to Bernhard-Emmanuel of Lenzburg († 1795), bishop of Lausanne, abbot of the Cistercian monastery of Hauterive, administrator of the arch diocese of Besançon and the diocese of Belley.
In medio chori iacet, Ill[ustrissimus] re[verendissimus] B[ernard] E[mmanuel] de Lenzburg Ep[iscopus] ac com[es] Lausannensis, S[acrum] R[omanorum] I[mperium] P[rinceps] Abbas Altae Ripae infulat[us] Dioec[esi] Bis[ontionis] ac Bel[licionis] s[ub] v[oce] Administrat[or] obiit XIV Sept. MDCCXCV An[no] [a] nat[ivitate] LXXI M[ense] IX D[ie] XVI. Pavit gregem Dei spontannèe, secundum Deum, non dominans in cleris, sed forma factus gregis ex animo.
In medio chori iacet, Ill[ustrissimus] re[verendissimus] B[ernard] E[mmanuel] de Lenzburg Ep[iscopus] ac com[es] Lausannensis, S[acrum] R[omanorum] I[mperium] P[rinceps] Abbas Altae Ripae infulat[us] Dioec[esi] Bis[ontionis] ac Bel[licionis] s[ub] v[oce] Administrat[or] obiit XIV Sept. MDCCXCV An[no] [a] nat[ivitate] LXXI M[ense] IX D[ie] XVI. Pavit gregem Dei spontannèe, secundum Deum, non dominans in cleris, sed forma factus gregis ex animo.
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15. Chapel with Altar of Holy Trinity
Johann Josef Moosbrugger designed the architectural structure of the altar in a neoclassical style around 1830.
The large canvas picture by an unknown painter was donated by Claude Gendre in 1723.
The large canvas picture by an unknown painter was donated by Claude Gendre in 1723.
Altar Painting from 1723
Two saints from the Trinitarian Order, Jean de Matha and Felix de Valois, revere Christ, Godfather and the Holy Ghost, who crown Mary Queen of Heaven.
Arms and initials of the donator Claude Gendre are directly depicted above the suffering souls in the purgatory.
The family arms “Gendre“ are also shown above the frame of the middle picture.
Two saints from the Trinitarian Order, Jean de Matha and Felix de Valois, revere Christ, Godfather and the Holy Ghost, who crown Mary Queen of Heaven.
Arms and initials of the donator Claude Gendre are directly depicted above the suffering souls in the purgatory.
The family arms “Gendre“ are also shown above the frame of the middle picture.
Altar of Holy Trinity
The top picture depicts Christ‘s head covered by a crown of thorns, 2nd half of 19th century.
The top picture depicts Christ‘s head covered by a crown of thorns, 2nd half of 19th century.
On the northern wall there is a fresco from the 1st half of the 15th century (Peter Maggenberg?).
It depicts Christ carrying the cross amid a large crowd of people.
Thanks to the fact that the adjacent cloister was not dismantled in 1745, most of the fresco is preserved.
It depicts Christ carrying the cross amid a large crowd of people.
Thanks to the fact that the adjacent cloister was not dismantled in 1745, most of the fresco is preserved.
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16. Chapel with
Altar of Saint Joseph of Copertino
Baroque altar-piece with main painting depicting the Franciscan saint Joseph of Copertino († 1663).
Painted by François Lafon in 1883.
Joseph of Copertino kneels before the cross while floating above the floor in his humble cell.
Painted by François Lafon in 1883.
Joseph of Copertino kneels before the cross while floating above the floor in his humble cell.
Baroque altar-piece by Anton Pfister (1746).
The top canvas picture (dated 1746) by an unknown master. It depicts the secular priest John Nepomuk who, despite torture, kept the seal of the confessional.
The top canvas picture (dated 1746) by an unknown master. It depicts the secular priest John Nepomuk who, despite torture, kept the seal of the confessional.
The steps to the pulpit are placed on the west wall The pulpit in coloured stucco marble (by Anton Pfister, 1746) is cleverly positioned. These steps are not visible from the main church nave.
The Pulpit (1746).
Thanks to the heightened position and the sounding board the preacher can be well seen and make himself understood without a microphone.
Thanks to the heightened position and the sounding board the preacher can be well seen and make himself understood without a microphone.
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17. Chapel with Altar of Saint Anne
The baroque stucco altar was decorated with canvas pictures by Georg Kaiser around 1882.
The main painting shows Saint Anne as teacher of her daughter Mary.
The main painting shows Saint Anne as teacher of her daughter Mary.
The altar of Saint Anne.
Picture and statues from 1882.
Statues of the Apostle Princes frame the middle picture.
To the Left: Saint Paul with book and sword as well as, to the right, Saint Peter with book and key.
Both saints are entrusted with ecclesiastical teaching.
Picture and statues from 1882.
Statues of the Apostle Princes frame the middle picture.
To the Left: Saint Paul with book and sword as well as, to the right, Saint Peter with book and key.
Both saints are entrusted with ecclesiastical teaching.
The baroque stucco altar was decorated with canvas pictures by Georg Kaiser, around 1882.
The attic depicts Saint Lawrence as deacon.
In his hands he holds his instrument of torture (grating) and a martyr‘s palm branch.
The attic depicts Saint Lawrence as deacon.
In his hands he holds his instrument of torture (grating) and a martyr‘s palm branch.
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18. Chapel with Altar of the Sacred Heart of Jesus
The baroque altar structure was designed by Anton Pfister (1746–1752).
The statue of Christ who points to his wounded heart and therefore his suffering for our redemption, stands in the middle niche since 1880.
The two angels held symbols of the passion in their hands.
The top niche foreseen for sculptures is empty.
The statue of Christ who points to his wounded heart and therefore his suffering for our redemption, stands in the middle niche since 1880.
The two angels held symbols of the passion in their hands.
The top niche foreseen for sculptures is empty.
Thank you for your visit
We shall include you and your concerns in our prayers.
PAX ET BONUM
Your Conventual Franciscan
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