Maria Medingen monastery church
The Maria Medingen monastery church in Mödingen , a municipality in the district of Dillingen an der Donau in the Bavarian administrative district of Swabia , was built in the Rococo style at the beginning of the 18th century and was originally the monastery church of the Dominican convent Maria Medingen . The church is dedicated to the Assumption of Mary and has belonged to the Congregation of the Dillingen Franciscan Sisters since 1843 .
history
The Maria Medingen monastery was a Dominican convent from the 13th century until the secularization in 1802. An inscription on the chancel arch of the Church calls the year 1246 as the Year of the monastery and the Count Hartmann of Dillingen as founder. In 1716 Maria Magdalena vom Stain zum Rechtenstein , prioress of the monastery from 1710 to 1728, had the old church torn down. The current church was built between 1717 and 1719 by Dominikus Zimmermann , the builder of the Wieskirche near Steingaden . On August 25, 1721 was consecrated the church through the Augsburg Bishop Johann Jakob von Mayr instead. After the abolition of the monastery during the secularization, the buildings were sold. In 1843 the Dillingen Franciscan Sisters acquired the monastery and church from the last owner, a master butcher from Dillingen, and saved them from being demolished. On July 5, 2015 at around 11:45 p.m., a fire broke out in the sacristy. There was property damage of around 20 million euros in the historic building, with the main damage being in the area of the Ebner chapel. The reconstruction of the Ebner chapel after the fire disaster, in which a sister was killed, continues to this day (as of September 25, 2019), the church has meanwhile been restored.
architecture
Exterior construction
To the north, the church adjoins the monastery buildings, which are located in a wide courtyard enclosed by walls and outbuildings. A four-storey roof turret with a double onion hood rises above the church, separating the nave from the nuns' choir . The choir and nave are divided by flat pilasters and pierced by high arched windows.
inner space
The church is a rectangular hall with four bays and a drawn-in choir closed on three sides. The walls are divided by pilasters made of reddish stucco marble , which are decorated with Corinthian capitals . The choir and nave are spanned by arched barrel vaults with stitch caps .
The western end of the nave is formed by a double gallery with carved, openwork wooden lattices, which rests on two stucco marble columns with Ionic capitals. The oratory of the lay sisters adjoins the loft in the west , and the nuns' choir on the floor above. On both sides of the lower gallery there are smaller oratorios, that of the prioress in the south and that of the subprioress in the north, framed by stucco marble columns and decorated with artistically carved bars. The coats of arms of the monastery and the prioress Maria Magdalena vom Stain are attached to the upper gallery, above them her initials "MMVSP" (Maria Magdalena vom Stain prioress).
The stucco decor was created around 1720 based on designs by Dominikus Zimmermann.
Ceiling and wall paintings
The ceiling and wall paintings were made in 1719/22 by Johann Baptist Zimmermann , Dominikus Zimmermann's brother. The Last Supper is depicted on the ceiling fresco of the choir , surrounded by grisailles with themes from the Old Testament . The large frescoes in the nave represent St. Dominic and St. Francis of Assisi trying to free a sinner who is bound by the devil. More scenes of the Annunciation and St. Thomas Aquinas devoted to the Western from the four Fathers Ambrose of Milan , Augustine of Hippo , Jerome and Pope Gregory I surrounded. The portraits of the twelve apostles are frescoed in the medallions framed by stucco frames on the walls of the choir and the nave .
Furnishing
- The main and side altars made of stucco marble replaced the altars from the time the church was built in 1792/93. They are considered to be the work of Thomas Schaidhauf (1735–1807), who also worked on the Neresheim Abbey Church . The two life-size sculptures above the side passages at the main altar represent St. Dominic and on the right St. Catherine of Siena . The wooden sculpture of the Madonna in a halo in the central niche of the high altar is late Gothic . It is dated around 1460 and probably comes from the workshop of Hans Multscher , a co-founder of the Ulm School .
- The pulpit from 1720/30 is attributed to Stephan Luidl. An angel sculpture standing on a cloud with angel heads carries the pulpit body on its fingertips. This is studded with putti bearing the attributes of the three theological virtues , the tower for faith, the anchor for hope and a heart for love. Another angel with a lamb embodies meekness . The sound cover , which is decorated with twelve angel sputtles and angel sputte heads, bears the figure of the Dominican penitential preacher Vinzenz Ferrer . At the front of the lid sit over the dove of the Holy Spirit two angels with an open book in which it is written: “TIMITE DEUM VENIT HORA JUDICII EJUS” (Fear God, the hour of his judgment will come).
- A larger than life sandstone relief depicting Christ in the grave from the late 13th century has been preserved under the west gallery .
- The white-framed, life-size wooden figures in the choir and nave were created around 1750. They are the work of an unknown master and represent important members of the Dominican order.
- Sculptures on the right side of the choir: Thomas Aquinas with the sun on his chest and a staff with a double cross, Rosa von Lima with the Christ Child on her arm and roses and lilies in her hand and the founder of the Dominican Order in Poland , hyacinth .
- Sculptures on the left side of the choir: Archbishop Antonin of Florence , Abbess Agnes of Montepulciano with a cross, lily and lamb and the Dominican preacher and inquisitor Peter of Verona with a scimitar in his head, a dagger in his chest and a laurel branch with three crowns in his hand , the symbols of martyrdom, purity and zeal for faith.
- On the left side of the nave, the Portuguese king's daughter Joanna of Portugal is depicted with a lily, a crown of thorns, a scepter and a crown, the church doctor Albertus Magnus with a book and a skull and the Catalan canon lawyer Raymund von Penyafort with a key in his hand.
- On the right side of the nave are Ludwig Bertrand with a pistol at his feet and a poison cup with a snake in one hand and a cross in the other. The Florentine mystic Katharina de Ricci is endowed with the attributes of a cross, a lily and a crown of thorns.
Ebner Chapel
At the same time as the east wing of the monastery, the Ebner chapel was added to the south of the nave of the monastery church from 1753 to 1758 and the high grave of the mystic Margareta Ebner (1291-1351), who was beatified in 1979, was housed in front of the altar of the chapel , who lived in Maria Monastery from 1305 until her death Medingen was alive. The grave slab with its reclining figure was made in the 14th century, a short time after her death, by a Lauinger stonemason.
The single-nave space is divided into four bays and ends in a semicircular apse in the south . The ceiling, a flat ceiling over a hollow , is completely painted with a fresco. A monumental arcade hall opens to the sky, into which Margareta Ebner of the Trinity is accepted. The side scenes depict her visions and stations of her life. The picture bears the signature of Vitus Felix Rigl : "Felix Rigl pinx. 1755" (Felix Rigl painted it. 1755).
The decor of angel spouts, vases on cornices, flower chains and shellwork cartouches was created in 1755 by the Wessobrunn plasterer Paul Anton Landes .
The sculptural decoration of the altar is attributed to Franz Karl Schwertle. The altarpiece shows a vision by Margareta Ebner, Margareta's exchange of hearts with Christ, and is signed by Johann Anwander : “Joh. Anwander inv. Et pinxit 1758 ”(Joh. Anwander designed and painted it in 1758). The altar contains a shrine with an alabaster cross from around 1340 and a Christ Child, which probably dates from the 14th century and, like the alabaster cross, was owned by Margareta Ebner. To the side of the altar are the wooden figures of the Dominican Popes Benedict XI. and Pius V.
Numerous votive tablets from the 17th to 19th centuries cover the walls of the chapel.
literature
- M. Adelgart Gartenmeier: Maria Medingen monastery church. (= Art Guide No. 509). 5th, completely revised edition. Schnell und Steiner publishing house, Regensburg 1994, DNB 943962587 .
- Werner Meyer (arrangement): The art monuments of the district of Dillingen on the Danube. (= The art monuments of Bavaria. The art monuments of Swabia. Volume VII: Dillingen district on the Danube ). Munich 1972, ISBN 3-486-43541-8 , pp. 690-754.
- Georg Wörishofer, Alfred Sigg, Reinhard H. Seitz: Cities, Markets and Communities. In: The district of Dillingen ad Donau in the past and present. Edited by the district of Dillingen an der Donau. 3rd, revised edition. Dillingen an der Donau 2005, DNB 977271633 , p. 368.
Web links
- Maria Medingen Monastery
- Sister dies in a fire in the monastery - candle is said to have started fire. In: Donau Zeitung. July 6, 2015.
Coordinates: 48 ° 37 '55 " N , 10 ° 26' 13.9" E