Rohr monastery church (Lower Bavaria)
The Roman Catholic parish and monastery church of the Assumption in Rohr in Lower Bavaria , a market in the Kelheim district , is the abbey church of the local Benedictine monastery and also serves as the parish church for the Rohr market and the surrounding villages. The baroque church was built between 1717 and 1723 according to plans by Egid Quirin Asam . The high altar with a plastic representation of the Assumption of Mary as " theatrum sacrum " comes from this .
history
Shortly after the foundation of the Augustinian canons in Rohr in 1133, a Romanesque basilica with a massive free-standing tower was likely to have been built on the site of today's church . This was restored from 1438 and redesigned in the late Gothic style. The Romanesque round arched windows were given pointed arches , the three naves were vaulted in the style typical of the time and the Romanesque apse was replaced by a drawn-in, deep and polygonal closed choir . In the years 1618 to 1620 the collegiate church was given a baroque interior and stucco .
After the Rohr monastery and the collegiate church were destroyed in 1632, i.e. during the Thirty Years War , it only slowly recovered after the Peace of Westphalia in 1648. During the 48-year term of office of Provost Patritius von Heydon (1682–1730), the monastery church was rebuilt. Work on the baroque church building lasted from 1717 to 1723. The architect and most important outfitter of the church was Egid Quirin Asam , who was only 25 at the start of construction and who created his first independent work in Rohr, which is also considered one of his best. The high altar with a plastic representation of the Assumption of Mary as "theatrum sacrum" comes from him. The master builders from Wessobrunn were the master mason and plasterer Joseph Baader, who died in 1721, and his son Martin Baader. Egid Quirin's brother Cosmas Damian Asam was also involved with two altar paintings and possibly other sculptures when the church was built.
With the dissolution of the monastery in 1803 in the course of secularization , the monastery church became a parish church and was therefore preserved - in contrast to most of the convent buildings. Only the Holy Spirit Chapel, built in 1452, the burial place of the Abensberg counts and the Rohrer provosts, was destroyed. Since 1946, displaced Benedictine monks from the Bohemian monastery Braunau settled in Rohr, the convent buildings have also been filled with life again. The Benedictines dedicate themselves since in addition to their monastic duties and the school operating again the parish ministry in tube. Since 2008, the parish of Laaberberg has also received pastoral care from the Rohr monastery. In the years 1972 to 1987, extensive restoration work was carried out in the monastery church for the last time. Among other things, the rood screen was removed, which separated the choir, which was reserved for priests and monks , from the rest of the church.
architecture
The Rohr monastery church is a central building which - starting from the crossing - consists of a nave with side chapels in the west, an east -facing choir and a north-south transept. The floor plan shows a clear cross shape. However, the lower extensions to the side chapels on the nave create the impression of a basilica structure , especially when viewed from the west side . The west facade also forms the front side of the church facing the street. However, the left side of the facade is covered by the massive church tower. This was originally free-standing, but was integrated into the church building by an additional shorter yoke on the west side of the nave in the new baroque building. The basement floors date from the Romanesque period, the baroque helmet and the mighty belfry were built in 1696 and 1697 respectively. The west facade is structured by pilasters and cornices , the latter dividing it into two storeys and a triangular gable as the upper end. On the lower floor there is the segmental arched portal, on the upper floor there is an approximately identical window that illuminates the organ prospect behind .
The nave with a length of around 23 meters and a width of almost 19 meters including the side aisles contains a three-bay barrel vault with stitch caps . The organ gallery on the west side is housed in a fourth, shorter yoke. The transition to the vault with a crown height of 18.65 meters takes place above an elaborate, repeatedly offset cornice. The six side chapels between the pilasters of the central nave open up via arched passages and accordingly have barrel vaults in the transverse direction. They are connected to one another with arched openings, with the two front side chapels having an inclined passage to the transept. The two cross arms extend from the crossing about 7.5 meters to the north and south, where they each end with a side altar. Because of the directly adjoining convent building, the right transverse arm is windowless. The choir with a semicircular apse also has a needle cap barrel and is dominated by the high altar. At the corners of the crossing there are pairs of three-quarter columns, which have the rolled up volutes typical of the Asam brothers . The latter can also be found on the pilasters in the nave.
Furnishing
The central and dominant piece of equipment, towards which the entire church interior seems to be oriented, is the high altar structure from 1723 with a plastic representation of the Assumption of Mary as "theatrum sacrum". The structure with a base height of three meters adapts to the curve of the apse and is therefore six meters deep. It is flanked by red marble columns and ends in a segmental arch at the top. Between the groups of columns below, the empty sarcophagus of Mary takes up the entire width. All around there are stucco figures of Thomas , Johannes and several other apostles who look at the Assumption in amazement and excitement. The Mother of God herself, also represented as a stucco figure, is apparently lifted up to heaven by angels in front of a stucco-modeled blue brocade curtain with the Bavarian coat of arms . The upper part of the altar represents heaven; it is illuminated by a rear golden window, especially in the morning sun; golden-painted stucco rays emanating from it reinforce this effect. Against this background, God the Father and God the Son can be seen holding a crown for the coming Queen of Heaven . Below you can see a dove as a symbol of the Holy Spirit , which holds Mary's bridal ring in its beak. The outlines of the floating group of sculptures, attached to a carrier that is not visible to the viewer, are reminiscent of a cross, an anchor or a heart, depending on the perspective , reflecting the triad of faith, hope and love praised in ( 1 Cor 13.13 EU ) ; a very popular motif in the Baroque period. B. also found in St-Sulpice in Paris as a sculpture arrangement.
In front of this altar structure are the monks' horseshoe-shaped choir stalls, which are crowned by elaborate carvings. In front of it is the actual, richly decorated and gilded high altar, which also contains the tabernacle. In contrast to the liturgically functionless rear structure, this altar is rather small. Two twisted pairs of pillars and a small altar structure with two volutes on the outside carry an attachment with a figure of Christ and decorative vases, which just protrude into the representation of the Ascension behind. From a distance, both altar structures merge into one. A red marble communion bench separates the slightly raised altar area from the nave. Exactly above, on the choir arch, there is a stucco group of figures showing St. Augustine in glory.
On the opposite side of the crossing, at the opening to the nave, there is the coat of arms of the Rohr provost during the construction period of the church, Patritius von Heydon, dated 1721 . In each of the two transverse arms there is a rounded side altar with a column structure, also separated by a communion bench. The reference to the design of the choir is unmistakable. The conception of the side altars and the stucco figures are attributed to Egid Quirin Asam, the superstructures were built in 1721 or 1722 and thus one to two years in front of the high altar. The north (left) side altar contains an altar panel with a depiction of the princes of the apostles Peter and Paul , on which the creator Cosmas Damian Asam immortalized himself as a young man with a red coat and hat with a plume. The flanking stucco figures are Saints George (left) and Florian (right). The southern (right) side altar shows a painting of the apotheosis of St. Joseph from 1721, made by the Landshut painter Johann Jakob Plezger. A copy of the Gothic miraculous image from the abbey church in Braunau is kept in the tabernacle . The stucco figures here represent the saints Ambrose (left) and Monika (right).
In the front side chapel on the left is the rosary altar, again with an altar sheet by Johann Jakob Plezger. In the side chapel behind, opposite the former side entrance of the church, there is the particularly excellent Nepomuk altar . The altarpiece comes from the workshop of Cosmas Damian Asam. It is surrounded by four stucco figures that can be seen as an allegorical representation of the four cardinal virtues wisdom (lower left), temperance (lower right), justice (upper left) and bravery (upper right). In the rear side chapel on the left there is a picture of Apollonia , which should also come from the workshop of Cosmas Damian Asam. In the front side chapel on the right there is an altar consecrated to St. Augustine, which has had a picture painted by Cosmas Damian Asam in 1720 since 1982. The water miracle of St. Corbinian is shown. The painting was originally in the former Korbinian Chapel of the Weihenstephan Monastery . Before that, there was already a 19th century picture of St. Sebastian in the Nazarene style in the same place . The middle side chapel contained the entrance to the church from the convent building, which is now walled up, until secularization. Today a painting of the Transfiguration of Christ by an unknown artist and the Romanesque baptismal font from the 13th century are housed here. The rear right side chapel contains the Christophorus altar with a copy of a figure of St. Benedict from the portal of the Braunau abbey church.
The pulpit at the rear right corner of the crossing was not created at the same time as the rest of the furnishings. The work of an unknown master is dated between 1730 and 1740. A figure of St. Augustine sits enthroned on the sound cover, and figures of the four evangelists can be seen on the body . The circular Anna chapel , which the builder of the church probably had built as his later mausoleum , adjoins the north side of the choir . Here you will find Heydon's tomb, framed in baroque style, the epitaph of Ludwig Wisman, the builder of the baroque monastery complex, with a rococo frame and the tomb of Dominik Prokop († 1970), the first abbot of the Benedictine abbey of Rohr, which was revived in the 20th century. The altar from around 1720 can be assigned to the simple craftsmanship of the rural baroque.
organ
Brandenstein organ from 1725
The first organ of the monastery church from 1725 came from Johann Konrad Brandenstein . The instrument consisted of 14 registers on a manual and pedal . The disposition was as follows:
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- Coupling : Pedal Coupler
Siemann organ from 1901
The baroque housing , which is illuminated by the rear window in the west facade, has been left in place during the various renovations and new building measures over time. In 1901 Willibald Siemann built his Opus 104, an instrument with pneumatic cone chests . It had ten stops on two manuals and pedal in the following disposition:
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- Coupling : II / I, II / P, I / P, octave coupling
Nenninger organ from 1958
In 1958 the newly established Benedictine abbey received an organ from Guido Nenninger with a total of 32 registers on three manuals and a pedal. The disposition was as follows:
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- Coupling : I / II, I / III, I / P, II / P, III / P
Metzler organ from 2006
The current organ was built by the Swiss company Metzler Orgelbau in 2006. It has 26 registers (plus an extension and two transmissions) on two manuals and a pedal. Gerhard Siegl acted as an expert for the diocese of Regensburg. The disposition of the slider chest instrument with mechanical play and stop action is as follows:
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- Coupling : I / II, I / P, II / P
- Playing aids : tremulant
Bells
The bell cage in the tower of the monastery church, which was raised in 1696, carries six large bells and the smaller death bell , which is only rung as a soloist. This makes the bells of the Rohrer Asamkirche one of the largest in the Kelheim district . The bells in detail are:
| No. | Surname | Casting year | Caster | Weight [kg] | Diameter [mm] | Chime |
|---|---|---|---|---|---|---|
| 1. | Big Marienbell | 1975 | Rudolf Perner, Passau | 2650 | 1677 | h 0 |
| 2. | Benedictine bell | 1974 | 1421 | 1352 | dis 1 | |
| 3. | Old Mary Bell | 1289 | unknown | 1050 | 1229 | f sharp 1 |
| 4th | Wolfgang Bell | 1974 | Rudolf Perner, Passau | 596 | 1010 | g sharp 1 |
| 5. | Apostle bell | 1975 | 306 | 845 | h 1 | |
| 6th | Little bell of Mary | 1712 | Josef Mayr, Landshut | 325 | ? | c sharp 2 |
| 7th | Death bell | 1712 (?) | Josef Mayr, Landshut (?) | 27 | ? | c 3 |
literature
- Johannes Zeschick OSB, Simon Weiss: Benedictine abbey church in Rohr in Lower Bavaria . Kunstverlag Josef Fink , Lindenberg 2015.
Web links
- Website of the Rohr monastery
- The bells of the parish and monastery church of the Assumption in Rohr i. NB . Article from the magazine info kirchenmusik , issue 2012/2. (PDF; 548 kB)
- Bell of the parish and monastery church of the Assumption in Rohr . Online on YouTube (accessed April 8, 2016).
Individual evidence
- ↑ a b Zeschick / Weiss, pp. 2–6.
- ↑ a b History of the Asam Church . Online at www.kloster-rohr.de. Retrieved April 7, 2016.
- ^ A b Builder and artist building the Asam church . Online at www.kloster-rohr.de. Retrieved April 7, 2016.
- ↑ a b Architecture of the Rohrer Asamkirche . Online at www.kloster-rohr.de. Retrieved April 8, 2016.
- ↑ a b Interior of the choir of the Asam church . Online at kloster-rohr.de. Retrieved April 8, 2016.
- ↑ a b c Interior of the nave of the Asam church . Online at kloster-rohr.de. Retrieved April 8, 2016.
- ↑ a b c Rohr (Lower Bavaria) - Benedictine Abbey Church of the Assumption . Online at orgbase.nl. Retrieved April 8, 2016.
- ↑ Bavarian organ database online
- ^ New organs in the Diocese of Regensburg - Rohr . Online at www.kirchenmusik-regensburg.de. Retrieved April 8, 2016.
- ^ Rohr in Niederbayern, parish and monastery church of the Assumption . Online at glockenklaenge.de. Retrieved April 8, 2016.
Coordinates: 48 ° 46 ′ 8.8 ″ N , 11 ° 58 ′ 1.7 ″ E