Dominican Church (Landshut)

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Main facade of the Dominican Church
Interior view of the Dominican Church

The former Dominican - Abbey Church of St. Blaise (including Dominican church ) at Government Square in Landshut was the monastery church of the Dominican monastery that existed for many centuries. With its numerous renovations and changes inside the church, it shows its changeful past. The church, in state ownership since secularization , belongs to the parish of St. Jodok and is the second largest church in Landshut after St. Martin . It is the holy Saint Blaise : (Memorial Day on February 3) dedicated .

history

After Dominicans from the Regensburg monastery had settled in Landshut in 1271, the construction of a monastery church soon began, as evidenced by letters of indulgence from 1288, 1292 and 1294. However, important documents about the time when the monastery was built were lost when it was dissolved in the course of secularization in 1802. Presumably due to a longer development and construction period, the consecration could only be carried out in 1386. Using dendrochronological methods, it has been proven that the roof structure over the choir was built as early as 1291, while the roof structure over the nave is dated to 1340.

Before the completion of the monastery church, the Dominicans should have been assigned the Magdalenenkapelle, which was attached to the church and already existed at that time, or its predecessor building, which no longer existed, for their work. Indications, also based on the different patronage of the churches, at least suggest that the Magdalenenkapelle could already have been built during earlier attempts at settlement by the Dominicans in the 13th century or that it existed at that time.

The Dominican Church was originally - as a church of a "mendicant order" - built according to the rules of the order in the early Gothic style without a tower and was probably only very sparsely furnished. Due to age and damage in the Thirty Years' War , the condition of the church was poor towards the end of the 17th century. The first baroque alterations were made in 1699 , for example the Gothic one was replaced by a baroque roof turret. It was not until 1747 to 1749 that Johann Baptist Zimmermann , who had also redesigned the Seligenthal abbey church 15 years earlier, carried out a thorough redesign and artistic enrichment of the church interior in the Rococo style . Both the new interior design and the numerous decorative elements that are in the church today come from Zimmermann. In contrast, the west facade as a show facade facing the government square was redesigned in a classical style in 1805 at the time of the university .

The different uses of the Dominican monastery are also reflected in the church. After secularization , it became the property of the Free State of Bavaria. From 1802 to 1826 it served as the study church of the University of Landshut . After the university moved to Munich, the Dominican Church was again used as a study church by the nearby Landshut high schools ( Hans-Carossa-Gymnasium , Hans-Leinberger-Gymnasium ). After 1865, the spiral staircase was installed in the back yoke of the left aisle as a staircase to the organ gallery. In 1869 the baroque roof turret was replaced by a neo-Gothic one , which, however, no longer exists today. Around 1900, during restoration work on the frescoes in the choir, larger repaintings were made. Around 1960 the west facade and the directly adjoining organ gallery had to be statically secured. Apparently, during the classicistic redesign in 1805, supporting pillars of the Gothic church building were removed and not adequately replaced. A comprehensive exterior and interior renovation was carried out in 1965. Today's organ was also purchased. Between 1988 and 1991 the choir stalls in the Psallierchor were extensively restored. From 1999 to 2005 the Dominican Church underwent its last exterior and interior renovation for the time being.

architecture

Central nave: view back to the organ gallery, in the foreground the baroque pulpit

The Dominican Church is a three-aisled basilica with a cliff . The core of the building is early Gothic, but it was heavily modified in the 18th century. While the south and east sides are still made of exposed brick, the west facade is designed as a classicist show facade. The structure is here by pilaster strips, which roughly reflect the division into three naves. The main portal is located in the central axis . Further portals are housed in the two lateral axes, each crowned by a segment-arched window. Above a double cornice , which is adorned by two vases on the sides, rises a structure accompanied by flat pilasters , which ends in a triangular gable which is again built over. Between the pilasters there is another segment-arched closing window, which is partially covered by the organ inside .

The interior redesigned by Johann Baptist Zimmermann is considered to be one of the most impressive room creations of the Bavarian Rococo. By enlarging the windows in the upper storey and adding light domes in the side aisles (in the third bay from the east), which open to the north and south to form arched windows, the interior now appears as a generous, light space. The three-aisled nave comprises six bays , with the westernmost yoke in the central nave being covered by the organ gallery. By cladding the originally slender Gothic pillars, the massive arched arcades were created, which today separate the aisles from the nave. The latter continues without further narrowing and without a choir arch into the chancel , which is even the same height as the central nave. The Gothic rood screen that used to be found here was also removed by Zimmermann. The choir comprises three bays and a five-eighth section and is structured on the outside by the ogival window openings and buttresses . The high altar separates the rear area of ​​the choir, in which the Psallierchor is located. In the past, this room, equipped with very attractive choir stalls, was reserved for monks only. The Gothic vault in the nave and choir was replaced by a flat wooden slat construction during the Rococo renovation, which offers plenty of space for the ceiling frescoes designed by Zimmermann . Ceiling paintings by the Munich court artist can also be found in the vaults of the aisles.

To the south of the main church there are two chapels , which are Gothic in essence, but have been modified in Baroque style . To the west of the government square is the four-bay Maria-Hilf-Chapel, which is used today by the Russian Orthodox community in Landshut, to the east of it the three-bay Magdalenenkapelle. Both chapels form independent saddle-roofed structures, with the Magdalenenkapelle being slightly higher. The design of the west facade of the Maria-Hilf-Chapel is aligned with the classical facade of the main church. The Maria-Hilf-Chapel can only be entered via the portal on the west side. The only access to the Magdalenenkapelle, however, is in the south aisle of the main church (between the second and third yoke from the east).

Furnishing

The rich furnishings in the Rococo style come largely from Johann Baptist Zimmermann, who made the drafts for the extensive stucco work as well as the ceiling frescoes of the main nave and some altar paintings. The numerous altars themselves and the choir stalls were made by local artists or directly in the monastery workshop.

Frescoes

In addition to the stucco, the frescos are also by the Munich court painter Johann Baptist Zimmermann. One of the nave frescoes is signed by him: "Zimmermann in (venit) et pinxit ano 1749". The rear fresco above the organ gallery shows the mystical marriage of St. Catherine of Siena with Christ, depicted in a Rococo courtyard. Mary , Dominic , John and Paul are represented as witnesses to this scene . King David accompanies the event by making music on his harp . This first fresco is immediately followed by the elongated main fresco, which at its front end shows a paradise garden with angels picking flowers . This is bordered by a balustrade to which a cartouche with the inscription “In plenitudine sanctorum detentio mea” (Latin: “In the multitude of saints is my abode”) from the Ecclesiasticus is attached. The entrance to the Paradise Garden through a decorated portal is shown wide open. To the right of this a staircase leads to a fountain with a high fountain, which is adorned with a Marian monogram . The Mother of God herself is shown with the baby Jesus on a cloud in the upper half of the picture. Both present a rosary to St. Dominic, founder of the Dominican order . On the right side, St. Catherine of Siena kneels with the lily of purity, with a group of holy women religious behind her. In front of them, Pope Pius V , reformer of the Church and great patron of the Rosary, points to the Madonna. On the left, St. Thomas Aquinas is kneeling , accompanied by the four Church Fathers . A light emanates from the Madonna and Child that indicates the presence of God. Numerous angels are depicted in the light.

The following fresco shows a so-called divine judgment on the writings of the Cathars persecuted in the course of the Inquisition and those of St. Dominic. While the books of the heretics go up in flames, the writings of the founder of the order Dominic are lifted up to heaven over flames and smoke. This fresco is the only one signed, as described at the beginning. This is followed - at the level of the transition from the nave to the choir - one o'clock, which is intended to refer to transience . It is a foundation of the Rosary Brotherhood . Following this, above the front area of ​​the altar house, the veneration of the Holy of Holies is shown in the monstrance by the four continents known at the time (in allegorical form). Europe with the cross is dominant, alongside Asia as an exotic clad figure offering incense . A smartly dressed black man, who stands for Africa, peeks out from under a small umbrella. Finally, an Indian with a quiver on his back symbolizes America. The last fresco in this series is above the psallier choir. King David can be seen here with the harp and numerous angels making music. The four evangelists are depicted in the spandrels of the choir vault .

Medallions depicting saints can be seen above the arcades in the central nave. In the two eastern yokes, the church fathers Pope Gregory the Great and Jerome as well as Augustine and Ambrose of Milan are arranged opposite each other. On the north side, Thomas von Aquin and Bernhard von Clairvaux follow. Here, and also on the south side, there are other saints who are somehow connected to the Dominican order. The frescoes in the side aisles probably did not come from Zimmermann personally, but from his environment. In the north aisle you can see scenes from the life of St. Dominic and Mary as the Queen of the Rosary , in the south aisle the martyrdom of the church patron Blasius von Sebaste (feast day: February 3rd) is depicted.

pulpit

The pulpit was built in the Rococo style around 1750. It is attached to the arcade pillar between the second and third nave yoke from the east on the Epistle side. The polygonal pulpit is divided into red-gray marbled fields by corner volutes and decorated with carved ornaments. The richly decorated and expansive sound cover shows the relief of a Holy Spirit dove on its underside . On the top, volute ribbons swing up to a pedestal that carries a figure of St. Dominic. This is recognizable by a star on the forehead, the rosary on the side and the dog at his feet, who carries a torch as a sign of loyalty and the light that should illuminate the world. In terms of art history, the dog is the main attribute of the holy founder of the order. The figure of the saint is brought a book by a putto with the order to Dominic: “Vade Praedica Rosarium meum” (Latin: “Go and preach my rosary”). In addition, two cartouches with messages to the people of God can be seen: "Qui ex Deo est, Verba Dei audit" (lat. "He who is from God hears the word of God") and "Qui vos audit, me audit" (lat. "Who hears you hears me").

High altar

Side view of the choir stalls in the Psallier choir, in the background the high altar retable

The two-part high altar consists of the cafeteria and the rear building, although the latter has no liturgical function. Between the two parts is the Psallier choir, formerly reserved for Dominican monks, with its artistic choir stalls. The five-part altar structure on the cafeteria swings out from both sides to the middle section, the richly carved tabernacle . On either side of it are two rotating tabernacles, which contain reliquary shrines on the weekday side and figures of saints on the festival side. It is in silver combined figures of Saints Joachim and Anna by Christian Jorhan d. Ä. (around 1760) as well as figures of Maria Immaculata and St. Joseph (around 1710). The two large statues next to the high altar, St. Blasius and St. Albertus Magnus , were created by the Griesbach sculptor Wenzeslaus Jorhan , the father of Christian Jorhan the Elder. Ä.

The depiction on the large altar sheet is one of the main works of Johann Baptist Zimmermann. You can see Mary with the baby Jesus, who hands over the rosary to St. Dominic. The wreath of stars around the head of Mary refers to her veneration as an apocalyptic woman . On the left, Peter hands over the walking stick to Dominic, on the right, Paul hands over the gospel to the founder of the order . Over this scene God the Father is shown blessing, accompanied by the Holy Spirit in the form of a dove and numerous angels. At the bottom of the picture is a city view of Landshut, recognizable by the striking church towers and the castle. An angel protectively holds a rose- adorned shield with the monogram of Mary over the city. In the upper picture, the Archangel Michael is also shown with a sign that reads: "Quis ut Deus" (Latin: "Who is like God").

Choir stalls

Psallier choir: richly decorated Rococo choir stalls with ornate inlay work (around 1770)

In the 9.5 meter wide and 10.5 meter long psallier choir, which is located between the cafeteria and the altarpiece of the high altar and was originally reserved for monks only, there are richly decorated choir stalls in rococo style. It was probably made around 1770 by the Dominican brother Valentin Zindler in the monastery’s own carpentry shop in impressive quality. The two-row chairs, arranged in a semicircle, whose solid parts are made of oak and walnut, are veneered in walnut and ebony . In the middle, directly below the high altar retable, is the seat of the prior with an inlaid image of St. Dominic. This seat is the only one equipped with a prayer desk, which in turn contains the inlaid picture of a dog with a torch and a book. In the open book is the text: "Laudare, Benedicere" (Latin for "praise and praise"). According to legend, the dog comes from a dream apparition of the mother of St. Dominic. It can also be associated with the play on words “Dominicanes - Canes Domini” (lat. “Dogs of the Lord”). On both sides of the priority seat there are 16 additional seats, all of which are decorated with inlays. Recurring motifs are mainly flowers, tendrils and latticework as well as star, rose and lily as a reference to Mary. On the backrests there is a burst with numerous rocailles , which is interrupted by individual cartouches depicting the secrets of the rosary . Together with the benches in the front row, the choir stalls have around 50 seats. It was extensively restored from 1988 to 1991, but is not open to the general public.

Side altars

Copy of the miraculous image of Mariahilf, seen on the side altar of the same name

The side altars, all housed in the two side aisles, largely date from the time the church was built and are therefore stylistically identical. The altars on the front sides of both aisles are no longer original from the Rococo period. In the left (north) side aisle, this is the Joseph Altar , where the rosary altar used to be. The Joseph altar contains a painting of the death of the saint, created by Johann Carl Loth . The church father Augustine with the heart and St. Ulrich with the fish can be seen as side figures . The counterpart in the right (south) aisle is the Maria-Hilf-Altar . This contains a copy of the famous Mariahilf-miraculous image by Lucas Cranach the Elder. Ä. in a gilded frame with a halo. Below is a richly decorated shrine with relics of the early Christian martyr Modestine. The side figures depict St. Placidus (left), student of St. Benedict of Nursia , and the cattle patron Leonhard .

The other nine altars are arranged opposite one another on the side walls of the aisles (second to sixth nave yoke from the east). The Johann Nepomuk altar in the rearmost yoke of the north aisle was removed in 1869 in favor of the gallery entrance.

The altar in the second yoke of the north nave is the Dominic altar . The altar sheet with the title “The miracle of the image of Soriano” designed by Johann Baptist Zimmermann shows a Dominican brother from the early days of the order who wanted to see the order's founder again. During a miraculous apparition of Mary , he receives a portrait of Dominic from the hand of Mary. The Mother of God is accompanied by Mary Magdalene and Catherine of Alexandria . The excerpt shows a miraculous healing by Dominic. The founder of the order brings Napoleone Orsini back to life after a fatal fall from a horse. On the candlestick bench there is another picture, which shows the Dominican Vinzenz Ferrer , an important penitential preacher. The side figures depict Ludwig Bertram, order missionary in South America , and the blessed Ceslaus , missionary and savior of the Breslau Castle. Behind the Dominic altar is the Catherine of Siena altar . The eponymous saint is depicted on the altar panel, in the excerpt Saint Sebastian , who is also the patron saint of Landshut. In the next yoke, the fourth from the east, follows the Assumption Altar . The main picture shows the Assumption of Mary into heaven . The Mother of God receives the star crown from her son . Above you can see the words "Veni Filia, Mater, Sponsa veni" (Latin: "Come daughter, mother, bride come!"). The extract shows the Franciscan saint Anthony of Padua . The assistant figures are the Jesuits Ignatius von Loyola with the palm and Franz Xavier with the cross. The next altar, the last before the staircase, is the Passion of Christ altar . The former central figure of Christ resting now stands apart on the ground. It was replaced by a figure of St. Catherine of Alexandria. The penitent figures Peter and Maria Magdalena can be seen outside.

Figure of St. Notburga on one of the side altars

The altar in the second yoke of the south aisle is the Blasius altar consecrated to the church patron . The large altar panel was painted by Johann Baptist Zimmermann. It shows the holy bishop and martyr already in the transfigured light, while the executioner only strikes the death blow. In the excerpt you can see the holy hyacinth of Poland , which founded numerous Dominican monasteries in Eastern Europe. There is also a copy of the miraculous image of Sammarei on the candlestick . The side figures are the Dominican Antoninus of Florence and the holy Bishop Valentin of Terni . The Katharina von Ricci altar adjoins the Blasius altar . The eponymous saint , a great mystic of the Dominican order, can be seen on the altar sheet painted by Mathias Daburger. In the extract there is a portrait of St. Florian , on the cafeteria there is a valuable Gothic Vespers picture from around 1420. In the next yoke, the fourth from the east, follows the Holy Family altar . Coats of arms indicate a foundation of the Oberndorfer patrician family. The altarpiece from 1752, painted by Mathias Daburger, shows Mary with the baby Jesus who is already stretching his hands towards the cross. This cross with the inscription “Ecce Agnus Dei” (lat. “See the Lamb of God”) carries John the Baptist , still as a boy and accompanied by a lamb . Saint Joseph kneels next to it . In a cartouche above the picture, its content is summarized in the formula "Incarnatus, Passus, Mortuus" (Latin for "Born, suffered, died."). The altar panel is flanked by figures of St. Anne and St. Joachim , the parents of Mary. In the extract, Saint Barbara is shown with a sword and goblet . The following altar is the cross altar with a Gothic crucifix as a central representation. At the feet is a baroque figure of Mater Dolorosa against the background of a golden halo. In addition, small angel figures catch the blood of Christ with a chalice . The evangelist Johannes and Maria Cleopha, witnesses of the death on the cross, were chosen as side figures . Finally, in the rearmost yoke of the south aisle is the Anna altar . Mother Anna is shown in a painting by the Landshut painter Franz Xaver Wunderer. Joachim stands humbly in the background, God the Father is enthroned above. In the excerpt you can see St. Catherine of Alexandria with the broken wheel of her torture. The assistant figures represent the Saints Thekla (left) and Notburga (right).

Other equipment

The two larger than life Baroque figures of Saints Martin and Kastulus , which are located next to the main portal on the back wall of the church, were made by the Munich sculptor Balthasar Ableithner . They were originally part of the Baroque high altar of the Martinskirche, but were removed from there in the course of the regotization from 1858 and have now found their place in the Dominican Church.

organ

Organ of the Dominican Church

The organ of the Dominican Church was built in 1965 by Gerhard Schmid from Kaufbeuren . It comprises a total of 75 registers that can be played on five manuals and one pedal . The registers contracture and electrically with a combination system equipped, the key action and the coupling system are made mechanically. The disposition is as follows:

I Rückpositiv C – g 3

( Sharpening )

1. Principal 8th'
2. Dumped 8th'
3. Salicional 8th'
4th octave 4 ′
5. Cane quintad 4 ′
6th octave 2 ′
7th Little Pomeranian 2 ′
8th. Sif flute 1 1 ⁄ 3  ′
9. octave 1'
10. Sharp III 1'
11. Cymbel III 1 ⁄ 4 ′
12. Krummhorn 8th'
Tremulant
II Hauptwerk C – g 3

( Basic work )

13. Principal 16 ′
14th Dumped 16 ′
15th octave 8th'
16. Night horn 8th'
17th Gemshorn 8th'
18th Great fifth 5 1 ⁄ 3  ′
19th octave 4 ′
20th Coupling flute 4 ′
21st Chamois fifth 2 2 ⁄ 3  ′
22nd octave 2 ′
23. third 1 3 ⁄ 5  ′
24. Mixture VI 2 ′
25th Sharp cymbel IV 2 ⁄ 3 ′
26th Trumpet 16 ′
27. Trumpet 8th'
III Breastwork C – g 3

( Inking unit )

28. Pointed flute 8th'
29 Quintad 8th'
30th Pointed Gamba 8th'
31. Principal 4 ′
32. Chamois flute 4 ′
33. Thought fifth 2 2 ⁄ 3  ′
34. recorder 2 ′
35. third 1 3 ⁄ 5  ′
36. Seventh 1 1 ⁄ 7  ′
37. octave 1'
38. None 8 ⁄ 9 ′
39. Undecime 8 ⁄ 11 ′
40. Tredecime 8 ⁄ 13 ′
41. Spicy Mixture V 1'
42. Rankett 16 ′
43. Vox Humana 8th'
Tremulant
IV Swell C – g 3

( Small pedals )

44. Gedacktpommer 16 ′
45. Wooden flute 8th'
46. Salicional 8th'
47. Beat 8th'
48. Principal 4 ′
49. Swiss pipe 4 ′
50. Forest flute 2 ′
51. Night horn 1'
52. Cornett IV-V 4 ′
53. Mixture IV 1 1 ⁄ 3  ′
54. Dulcian 16 ′
55. Bassoon / oboe 8th'
56. Schalmey 4 ′
57. Singing Cornett 2 ′
Tremulant
V Manual C – g 3

( Upper structure )

58. Reed flute 8th'
59. Thack flute 8th'
60. Principal 2 ′
61. Fifth 1 1 ⁄ 3  ′
62. Sharp IV 1'
63. Bear whistle 16 ′
64. musette 8th'
Tremulant
Pedal C – f 1

( Pedals )

65. Principal 16 ′
66. Sub bass 16 ′
67. Large school 10 2 ⁄ 3  ′
68. octave 8th'
69. octave 4 ′
70. octave 2 ′
71. Mixturbass IV 2 2 ⁄ 3  ′
72. Bombard 32 ′
73. trombone 16 ′
74. Trumpet 8th'
75. Trumpet 4 ′

Former choir organ

Choir stalls in the Psallier choir, today without the former choir organ
Housing of the former choir organ, preserved to this day in the parish church of Aich near Vilsbiburg

The choir organ was created by Johann Schweinacher around 1759 , originally perhaps for the Seligenthal monastery church . Soon after it was built, however, it must have been erected in the Dominican Church. In the course of the secularization of the Dominican monastery, the organ was moved to the parish church of St. Ulrich in Aich near Bodenkirchen at the beginning of the 19th century . The prospectus with inlays by Christian Jorhan the Elder is there to this day . Ä. preserved. The former position of the organ in the Dominican Church can still be clearly recognized by the preserved outlines of the organ base in the wooden floor of the Psalli choir. Instead of the organ, a vestry cupboard over six meters long was set up in the psallier choir at the beginning of the 20th century to cover the secular back of the altar hall. The cabinet is made in the Rococo style and is therefore likely to date from the time the church was built.

Bells

Due to the no longer existing roof ridge, the Dominican Church has no bells . The Sunday services are heralded from the parish church of St. Jodok, which is only 100 meters away. It is not known which bells existed earlier.

Today's use of the church

A regular mass of the parish of St. Jodok takes place in the church on Sunday at 11.30 a.m. Since the Dominican church cannot be heated, no services are held in the winter months. Sunday mass is also omitted during the summer holidays. Due to its ideal space, its good acoustics and the sonorous organ, the church is sometimes used as a concert space. In addition, since 2007 it has been the main exhibition site on the Landshut Nativity Trail , which it took over from the Jesuit Church , which was in need of renovation .

The Maria-Hilf-Chapel, adjoining the main church to the south, is used by the Russian Orthodox community in Landshut as St. Nicholas Church.

literature

  • Erich Stahleder: Dominican Church St. Blasius Landshut (= Little Art Guide No. 1333). Schnell & Steiner, Munich 1982.
  • Volker Liedke: Monuments in Bavaria - City of Landshut . Schnell & Steiner, Munich / Zurich 1988. ISBN 3-7954-1002-9 , p. 216ff.
  • Landbauamt Landshut (ed.): The choir stalls of the Dominican Church in Landshut . Landshut 1991.
  • State Landshut Building Authority (ed.): The Landshut Dominican Church. New studies of the building - the interpretation of the building . Landshut 1996.
  • State Landshut Building Department (ed.): Former Dominican Church of St. Blasius in Landshut . Landshut 2005.
  • Markus Mitschke: God for the glory - the city for the good. The monasteries of the city of Landshut from foundation to secularization . From the series: Writings from the museums of the city of Landshut , Volume 30. Landshut 2011.
  • Otto von Kissling: Dominican Church St. Blasius Landshut (= Little Art Guide No. 1333). Schnell & Steiner, Regensburg 2012. 2nd, completely revised edition. ISBN 978-3-7954-5040-3 .

Web links

Commons : Dominikanerkirche (Landshut)  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b c d e Liedke, p. 216ff.
  2. ↑ a b c Parish Landshut-St. Jodok: Dominican Church of St. Blasius . Online at www.jodok-landshut.de. Retrieved December 9, 2015.
  3. ↑ Landshut Landbauamt (ed.), Pp. 5–10.
  4. ↑ a b c Kissling, pp. 4-8.
  5. ^ Kissling, pp. 8-10.
  6. ↑ a b Kissling, pp. 10-12.
  7. ↑ Landbauamt Landshut (ed.), Pp. 10-14.
  8. ↑ a b c d Kissling, pp. 12-16.
  9. ↑ Landshut, Germany (Bavaria) - Dominican Church of St. Blasius . Online at orgbase.nl. Retrieved August 20, 2016.
  10. ↑ Landshut Landbauamt (ed.), P. 14.

Coordinates: 48 ° 32 '13.2 "  N , 12 ° 9' 20.2"  E