Pilgrimage church Heiligenbrunn
The Roman Catholic pilgrimage church Heiligenbrunn is located in the district of the same name in the municipality of Hohenthann in the Lower Bavarian district of Landshut . The baroque pilgrimage church , a curate of the parish of Hohenthann, is the most important pilgrimage site in the northern district of Landshut. Many of the surrounding communities hold prayers and processions to Heiligenbrunn several times a year .
history
The legend reports the following about the origins of the pilgrimage to Heiligenbrunn: Anno 1662, September 1st, Melchior Paur fell off a ladder that he fell victim to such a fall. After 11 weeks, after all human help and resources had been in vain, he drank from the water of the spring next to the wayside shrine after praying. The most blessed virgin appeared to him in a dream and was healed.
The news of this miraculous healing spread quickly. A little later the source was bricked up by the Paur family, so that a draw well was built next to the wayside shrine in honor of the Mother of God . This became a popular pilgrimage destination in the years that followed. A sacrificial stock set up by the responsible pastor in Hohenthanner was able to raise enough funds for the construction of a small church within a few years. This was built from 1670 to 1674 and stood on the site of today's Josefsheim, i.e. south of today's pilgrimage church.
Due to the large number of pilgrims , it was already considered in 1695 whether the existing pilgrimage church could be expanded. Instead, it was decided at the beginning of the 18th century to build a new building a few meters north of it. This baroque pilgrimage church of the Visitation of the Virgin Mary, which still exists today, was built between 1712 and 1714 by master bricklayer Hans Widtmann from Pfeffenhausen and master carpenter Bartholomäus Gaißritter from Niedereulenbach . The church was consecrated for the patronage festival on July 2, 1714 . The interior should have been sparsely furnished at that time. The two side altars were not erected until 1719, the pulpit in 1723 , and the first high altar of the church was completed in 1736 . The main work in the interior had been completed by 1737. That year the church roof was renewed and the outside of the church was plastered . As early as 1726, Hans Widtmann had built a new, roofed fountain house, which was equipped with water technology from the bell founder Josef Mayr from Landshut . The sculptor Johann Dominicus Miller from Geisenfeld built a stone and marble fountain above the spring .
Since severe storms affected the building of the church in 1750 and 1752 , the number of pilgrims fell demonstrably from 1774 and there were large debts , the government in Landshut gave the order to demolish the church in 1803 in the course of secularization , which was prevented by the energetic efforts of the population could be. Within a few years the damage to the church was repaired and Heiligenbrunn became a well-visited pilgrimage site again. The dilapidated lantern dome of the tower was demolished in 1803, and in the following year today's pointed helmet with a double cross was put on.
In 1854 the gable and the foundation walls were subjected to a thorough renovation. In 1867 Ludwig Edenhofer from Regen installed a new organ , which was replaced in 1940 by the current instrument by Michael Weise . In the years 1868 and 1869, the statics of the church building had to be significantly improved, as cracks in the vault of the nave had previously been discovered . An interior renovation took place in 1881 or 1882, just as in 1959. The last total renovation was carried out in 1985 and 1986; a new heater was installed.
architecture
The church is an east- facing hall church with a retracted choir and protruding west tower. The exterior is structured by pilaster strips , the light red color of which can also be found on the window reveals and the cornices below the saddle roof . The single-bay choir, which closes on three sides of the octagon, is spanned by a slightly pressed barrel vault with stitch caps ; likewise the vault of the four-bay nave, but here additional belt arches can be seen , which structure the vault. The westernmost nave yoke is covered by the organ gallery with a curved parapet. To the south of the choir and the easternmost nave yoke is the two-storey sacristy with a flat ceiling and staircase to the pulpit . The west tower consists of two extra-high square storeys on which the octagonal superstructure with the belfry sits. A high pointed helmet with a ball and double cross forms the upper end. The church has two portals : one leads inside on the west side through the lower floor of the tower, which forms a kind of vestibule; Another portal on the south side, which is located in the third nave bay from the east, is equipped with cranked pilasters , the associated cornice and a broken gable .
In the interior, the uniform design of the nave and choir in the late baroque style is impressive. Corithizing pilasters stand on high plinths . At the start of the vault, two cornices span the entire interior with the exception of the west wall. Above these bands, the pilasters merge into the belt arches, which provide the yoke structure. Each yoke in the choir and in the nave has a high, arched, closed window, which is inserted into a flat-profiled blind arcade with lateral striker pieces , which each extend to the floor. Above the cornice strips cut into the stitch caps, which open to transverse oval windows. These skylights are framed in white and painted in pastel tones, just like the vaulted fields separated by the belt arches. The easternmost nave yoke is windowless on the south side because of the sacristy built there. Instead there is an oratory , which is accessible via the upper floor of the sacristy.
Furnishing
Stucco and ceiling paintings
The elaborate late baroque stucco inside the church may have been made during the time the church was built. On the choir vault there are white stucco work on a turquoise background. Cherubim or angels are placed at the approaches of the stitch caps , from which the tendrils that extend over the entire barrel vault originate. Apricot-colored ribbons separate the vaulted areas of the stitch caps, which are highlighted in light red. It shows two twigs tied together, each with a different type of plant with its characteristic leaves. On the top of each of the skylights is a small, three-dimensional angel, whose feet dangle downwards. Each of these angel figures holds two apricot-colored garlands of fruit that frame the oval windows. On the underside, the plant species of the respective stitch cap is shown, but here in turquoise on a white background. The gussets above the windows are decorated with light turquoise tendrils. The nave is much sparsely stuccoed. Gray plant tendrils can only be seen above the choir arch , which seem to arise from also gray vases on the cornice. The curved parapet and the underside of the organ gallery are adorned with flower and ribbon work in the style of the early Rococo . This should have been attached around 1730.
While the nave vault has remained unpainted to this day, a small fresco of the Assumption of Mary can be seen in the center of the choir vault . It was made in the 19th century by the church painter Balthasar Kraft from Pfaffenhofen an der Ilm . On the right side Mary is depicted on a cloud, which is lifted up into heaven by angels. There the Mother of God is received by God the Father and God the Son, who are also sitting on a cloud. A dove of the Holy Spirit hovers over the scenery, completing the Holy Trinity . It is said that there used to be another painting on the outside of the choir. It is said to have shown the founder of the pilgrimage, Melchior Paur, kneeling in front of a wayside shrine and showing the Altöttinger Madonna hovering above him. It was restored in 1822 and even repainted in 1862 before being removed in the early 20th century.
High altar
The central and dominant part of the church furnishings is the artfully designed high altar in the Rococo style. It was created between 1760 and 1770 by an unknown master and takes up the entire width, but only about half the height of the choir room. The structure, which has moved forward into the chancel, separates the end of the choir from the rest of the chancel. The central representation of the high altar takes up the apparition of the Black Madonna of Altötting on which the pilgrimage to Heiligenbrunn was based . The almost complete absence of architectural elements is exceptional . Only on closer inspection can two pillars be seen behind many decorations , which support the upper part of the decorative structure.
There are three gold-plated niches in the cafeteria . While the two outer have a purely ornamental background, the average niche is by a bas-relief of a on the book with seven seals standing chalice excellent. This representation refers to the function of the niche as a tabernacle . The cafeteria is flanked by passages on both sides that have been broken open and are decorated with rocaille cartouches . Above this are fully plastic angel figures, each holding a further rocaille cartouche in one hand and pointing towards the sky with the other hand. These angels are accompanied by two c-shaped, inward-facing arches that close the altar on both sides.
Above the tabernacle rises - set off to the rear by a cornice - a fountain made of two semicircular bowls of silver-plated carving , which is supposed to symbolize the origin of the pilgrimage. The five fountains that shoot up from the upper fountain bowl are particularly filigree carvings . The fountain depiction is flanked by two angel figures and above two dolphins who seem to be feeding water from their mouths to the fountain. The dolphins balance upside down on a ledge in the subtle architecture of the altar and stretch their bodies upwards in an almost vertical line. The central motif of the pilgrimage, a baroque replica of the Altötting miraculous image , can be seen between the two sea animals . A figure of the Black Madonna stands on a cloud-like structure, carrying the Child Jesus on her right arm and holding a lily scepter in her left hand . Maria and Jesus both wear gold and colored gemstones studded crowns . The statue is of a halo , numerous putti surrounded and some clouds.
The two pillars mentioned at the beginning each end diagonally above the miraculous image in curved volutes . At the top of each is a green vase that contains a branch with different flowers . A large angel figure sits at the feet of these vases. A drapery , i.e. a ruffled curtain, is apparently stretched over these volutes and extends over the entire width of the altar. The stucco and blue combined curtain with golden hem stretches in the middle canopy-like on the picture of grace and is on both cords with serious tassels tied. Two angel figures arranged on the side are apparently about to spread the curtain as best as possible. With its ends, the curtain touches the above-mentioned c-shaped framework. The upper end of the altar is formed by a coronet in front of a Marian monogram , which is in turn surrounded by a halo. The following inscription can be read on a banner under the coronet: Freue Dich u. Rejoice Virgin Mary .
Side altars
The two side altars were created in the late Baroque style in 1719 and can therefore be assigned to the time the church was built. In contrast to the high altar, the structure appears to be of clear structure and strictly geometric. It is essentially the same for both side altars. Both side altars have four Corinthian columns, with the pairs of columns creating a kind of recess or niche in the middle, in which the upright rectangular and curved altar leaf is located. Below is a small tabernacle with an altar cross , which, however, is only a dummy ; Above the altar sheet is a cartridge with the inscription of the depicted motif. This cartridge is located at the level of a profiled beam that rests on the four pillars. The entablature carries a three-part altar attachment, bordered by C-shaped arches, which contains the high oval top image of the altar and is otherwise completely filled with acanthus tendrils. A kind of radiation monstrance forms the upper end . A three-dimensional acanthus tendril points towards the chancel.
The left, northern side altar is dedicated to the veneration of the Sacred Heart . In the main picture you can see a standing Christ , pointing to his heart glowing with love. A guardian angel can be seen in the upper picture, loving and protecting a boy . The right side altar is dedicated to St. Joseph , who is considered the patron saint of the dying. The altar panel shows a painting of Joseph's death. Jesus and Mary are present at the saint's deathbed. An angel is depicted in the foreground, holding a cartouche with a carved winged skull in his right hand. This bears the inscription: ECCE / Quomod / moritur / iustus - in German: "See how the righteous die." With his left hand, the angel points towards heaven to God the Father, who is shown in the upper area of the picture. The dove of the Holy Spirit can be seen next to him, including three angels with the blossoming branch as an attribute of Joseph and the archangel Michael with a flaming sword and a golden shield bearing a monogram of Christ .
pulpit
The baroque pulpit was made in 1723 by the Pfeffenhausen carpenter Georg Gründl. The pulpit, which is divided into five concave curved fields by six twisted columns, is apparently carried by an angel emerging from the wall. Two caryatid angels carry the sound cover, on the underside of which a dove of the Holy Spirit surrounded by a halo is depicted. On top stands the Archangel Michael, who holds the scales in his left hand and the sword in his right. It is placed on an attachment over curved acanthus arches.
Other equipment
The oak chair cheeks are also baroque in style and decorated with acanthus ornamentation. They show carvings with reliefs of Maria Immaculata and an angel or of Maria standing on the globe and stepping on the head of a serpent winding around the globe . The baroque confessionals on both sides of the nave were probably built between 1715 and 1720. Above each there are numerous votive panels, 13 panels in the north and 23 panels in the south, which tell of the healing of many sick people through the well water of the place. A compilation of 45 other votive tablets can be seen in the organ gallery on the west wall. The oldest of these panels shows the farmer's son Melchior Paur kneeling in front of Mary and the baby Jesus.
The 14 Stations of the Cross were executed in 1738 by the Landshut painter Georg Franz Fischer in oil on canvas. Their frames date from the same period and contain gold-plated foliage and silver-plated ribbon work. Above the oratory in the first nave yoke is a painting showing the Altötting miraculous image in a beautiful Rococo frame. At times this picture was to be seen at the high altar instead of the carved copy of the Altöttinger Madonna.
A figure of King David is attached to the first pilaster on the north side, i.e. directly opposite the pulpit . He wears a wreath of rose petals on his head and does not make music on the harp , which is actually his common attribute, but on a lute . This figure may have come from an old organ prospect of the pilgrimage church. On the second pilaster on the north side there is a figure of St. Peter of Alcantara , exactly opposite on the south side a figure of St. John Nepomuk .
organ
Today's organ of the pilgrimage church was created in 1940 as Opus 454 by Michael Weise from Plattling . It has a total of twelve registers on two manuals and a pedal . Special features of this instrument are the free pipe prospect and the control of the organ pipes via pneumatic cone chests . The disposition is as follows:
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- Pair : II / I, Super II / I, II / P, I / P
- Playing aids : mezzoforte, tutti, automatic piano pedal, shutter release
Remarks:
Bells
Today there are three bells on the tower attached to the west of the nave. The smallest of them weighs 232.5 kilograms and is by far the oldest. It was cast in 1730 by Johann Peter Cras from Regensburg . The other two bells were made by the Johann Hahn bell foundry from Landshut shortly after the Second World War . The middle bell with a weight of 325 kilograms dates from 1951, while the centrally suspended bell, which weighs around 400 kilograms, was cast in the Holy Year 1950.
ensemble
South of the pilgrimage church is the so-called Josefsheim of the Josefivereins Heiligenbrunn, founded in 1851, whose chairman is always the current pastor of Hohenthann. The association originally set itself the goal of providing boys with adequate training. From 1851 to 1986 there was a home elementary school for boys under the direction of sisters from Mallersdorf Abbey . Since 1989, the purpose of the statutes has been continued by the Spiritual Center for Families with Christ , which is housed in the Josefsheim. Various seminars, mostly lasting several days, are offered there for families and, in some cases, also for individuals for further training in Christian beliefs.
Next to the Josefsheim the well chapel is located exactly at the place where, according to legend, the miracle on which the pilgrimage was based took place. Inside there is a simple fountain in which the spring water comes out into the daylight. The well chapel was built in its current form in the second half of the 19th century in neo-Gothic style and, like the pilgrimage church, is a listed building .
literature
- Rupert Forster et al .: Pilgrimage Church of the Visitation of the Virgin Mary - Heiligenbrunn, Gem. Hohenthann (= Small Art Guide No. 1774). Verlag Schnell & Steiner, Regensburg 2016, 2nd edition. ISBN 978-3-7954-5488-3 .
Web links
Individual evidence
- ↑ a b c d Arlan - Association for Archeology City and District Landshut e. V .: Heiligenbrunn Pilgrimage Church ( Memento from January 6, 2016 in the Internet Archive ); accessed on January 6, 2016 (PDF; 342 kB)
- ↑ a b Forster et al., Pp. 2-5.
- ↑ a b c d e f Arlan - Association for Archeology City and District Landshut e. V .: District history - Hohenthann ( Memento from February 20, 2016 in the Internet Archive ); accessed on January 6, 2016.
- ↑ a b Forster et al., Pp. 5-7.
- ↑ Forster et al., Pp. 7-10.
- ↑ a b c d Forster et al., Pp. 10-14.
- ↑ a b Forster et al., Pp. 14-18.
- ↑ a b c d Forster et al., Pp. 18-20.
- ↑ a b Forster et al., P. 20.
- ↑ Bavarian organ database online
- ↑ Families with Christ: Josefsverein celebrated its 150th anniversary - Landshuter Zeitung of May 23, 2001 ( Memento of January 6, 2016 in the Internet Archive ); accessed on January 6, 2016.
Coordinates: 48 ° 40 ′ 9 ″ N , 12 ° 3 ′ 49 ″ E