The church furnishings

Ornamentation in stucco and marble

Ornamental painting

In 1771, Knoller worked in Neresheim for the second summer. Before he left for Milan in September, a further contract was concluded which awarded him the ornamental painting "down to the main cornice" in return for 3000 fl. This decoration is skilfully kept sparse so as not to diminish the effect of the dome frescoes.

Stucco

Thomas Schaidhauf from Raisting near Wessobrunn, a member of Stuttgart's Karlsakademie, came to Neresheim. He developed a decorative programme according to his ideas for the stucco and implemented it between 1776 and 1778.

The free columns have Corinthian forms, the pilasters have composite capitals and the three-quarter columns have Ionic forms. The window walls, the gallery vaults and the traverse arches are decorated with rosettes, foliage, garlands and hanging fruit. The passages are adorned with quite opulent vases, in some cases, there are also very lively groups of cherubs. All the stuccowork is kept in plain white, so that the fine sweep of its lines is reflected and subtly emphasised by the incidence of light and the casting of shadows alone.

Building director in Neresheim

Thomas Schaidhauf had proved his ability and fulfilled his client's ideas so satisfactorily and reliably that in 1779, he was offered the post of building director in the abbey's permanent service. He accepted and remained committed to Neresheim for more than a decade, until the building work in the abbey church was completed. In addition to being responsible for all general building matters, he was also responsible for the design and execution of all the church furnishings related to rituals. As is seldom the case elsewhere, the decoration in Neresheim exhibits a consistently uniform script - albeit now, it has rather turned away from the sweeping formal language of the late baroque.

Choir wall and side altars

The 6.6 m high crucifix on the choir wall was the first to be built in 1778, followed by the two large side altars in 1779: the Trinity altar and the Mary altar. The latter was the only altar in the entire church furnishings to retain a figure from the old basilica of the monastery: the wooden sculpture of the crowned Virgin and Child created around 1629 by Christoph Rodt.

High altar and faldistories

The high altar was completed in 1781, followed in 1783 by the faldistories with the abbot's throne and the priest's seat, and in 1785 by the accompanying credence tables. The centrepiece of the two faldistories is formed by the monastery's donor figures: Duke Tassilo of Bavaria, founded the monastery according to legend and Count Hartmann of Dillingen, to whom the foundation is documented.

Dome altars

In 1786 and 1787, the four pairs of columns on the rotunda under the main dome each received an altar. The alters are dedicated on the southern side in honour of St. Joseph with the  infant Jesus and St. Peter and St. Paul the Apostles. and on the northern side, the altars were dedicated to St. Benedict and  St. Scholastica. In addition, two more altars were erected in 1787: the altars of St. John and St. Andrew, on the east side of the south and north transepts respectively.

Pulpit and baptismal fountain

The pulpit was built in 1788. Its sounding board is crowned by an angel with the tablet of the Ten Commandments. The front of the pulpit basket is decorated with a gilded stucco relief showing St. Paul  as a preacher. In the same year, the circumferential communion bench was erected as an enclosure for the cupola room. Opposite, on the other side of the longitudinal building, the design of the baptismal fountain was completed in 1789. The representation of Christ rises above the fountain bowl inviting the circle of his disciples to proclamation and baptism.

Transept altars

In 1790, the last two altars were erected: the altars of Ulrich and Afra, on the west side in the north and south transepts respectively.

The organ constructions

The main organ

Above the rear main portal of the west front, the large main organ dominates the high gallery. The organ was made by "Swabia's most famous organ maker:" Johann Nepomuk Holzhay from Ottobeuren. Thomas Schaidhauf provided the design for the overall prospect. Organ construction and installation began as early as 1792.

Restoration

Holzhay adapted the instrument with great care to the room and its acoustics. Repeated interventions and lack of care during the 19th and 20th centuries meant that expert restoration was necessary. Between 1970 and 1979, the organ was largely restored to its historic sound.

Significance of the main organ

The organ has 48 stops with 3553 pipes. The playing and stop action are fully mechanical. Today, the organ is once again worthy of its place in the series of Southern German large organs from the 18th century.

The choir organ

The first choir organ was built in 1781 by Joseph Höß from Ochsenhausen. His work comprised 21 stops. Dampness and neglect completely destroyed it in the 19th century. In 1949, the Steinmeyer company from Oettingen built a new choir organ with 26 sounding stops and electric action. It can be played from the console of the main organ and accompanies the monks' choral singing every day.