St. Salvator Monastery Church (Griesbach)
The Roman Catholic parish church of St. Salvator is the former monastery church of the Norbertine - monastery of St. Salvator in the district of St. Salvator of Bad Griesbach in Lower Bavarian district of Passau . After the secularization of the monastery in 1803, the church was used as a parish church from 1902 and today belongs to the Parish Association of Bad Griesbach in the Pocking deanery of the Diocese of Passau .
History and architecture
After the devastating fire of a previous building in 1632, construction of the church on a higher point on the slope began in 1633 and consecrated in 1644. The year 1642 can be found on the north portal. The plan was developed by the northern Italian master builder Bartolomeo Viscardi. The building was damaged by fire in 1703. The church was painted in 1751, the frescoes are by Franz Anton Rauscher from Niederalteich. During a renovation between 1975 and 1980, the statically endangered vaults were suspended from a reinforced concrete ceiling. The exterior is kept in the simple forms of the Renaissance . The two depressed sound floors of the western dome tower are architecturally richly decorated. The square floor is structured with Tuscan pilasters and blind niches and is connected to the octagonal floor, which is decorated with bent pilasters , through flat, blown gables . The nave and the retracted choir show an ancient structure with pilaster strips and arched friezes as panels for the arched windows.
Despite the Rococo decoration, the interior is characterized by the clear room scheme, which was progressive for the 1630s. The nave with four axes is designed as a wall pillar church with moderately deep niches. The two-axis choir ends in a three-sided ending. Stitch cap barrel vaults of common vertex height close off the room. Bright lighting is achieved through the regular sequence of high arched windows. Originally, the room was probably adorned with cassette-like, restrained frame stucco, which was removed in 1750 to create smooth painted surfaces. The curvature has also been changed. The spherically warped transverse straps of the pillar spaces that cut into the nave barrel vault are influenced by the rooms of Johann Michael Fischer, such as in Osterhofen and Fürstenzell monasteries . The pillars are provided with entablature pieces on the front side, flat pilaster strips are arranged in the choir. Despite the very simple architectural structure, the frescos with decorative painting and framing, which also extend to the pillars and walls with decorative pilasters and ornate window frames, give the church a magnificent effect. The altars fit into the renaissance room in rococo decoration in regular succession from the time of construction to the late 18th century.
The ceiling paintings were executed by Franz Anton Rauscher based on a signature in the lower right of the ship. The first work of the then twenty-year-old painter has a strong decorative effect. Christ's work of redemption is treated according to the name of the church. The choir depicts Christ caught before the cross on the stairs of a palace. The fresco in the nave extends over the entire area of the vault up to the incision of the transverse straps. In the east, the expulsion from paradise is shown, which is shown as a magnificent portal architecture in rococo style, from which the sunlight shines. To the west of it, St. Michael defeats the dragon and the angels that follow him. In the middle the Holy Trinity is shown in front of a golden sun halo, to the side the figures of Ecclesia and the synagogue . The paintings are bound in gold brocade, which covers the remaining areas, the stitch caps and the cross straps over the windows are patterned lighter. Lively curved ribbons with rocaille work , which imitate white stucco , intervene in the rectangular frame of the nave fresco. The ribbons grow out of vase-shaped cartouches that stand over the entablature of the pillars. On the brocades of the cross straps, church fathers and evangelists are depicted in light grisaille painting . The gold and the shadowed white of this decoration are recorded in the fresco as determining tonal values. The brilliant white tunic of Christ stands out from this.
Furnishing
The very elaborate high altar from around 1642 extends into the vault and was changed in 1782 with decorative trimmings in plait style . The retable was also redesigned with light marbling and gilding by Zacharias Lehrhuber from Landshut. The altar sheet was created by Matthäus Lettenpichler around 1642 and is comparable to the stylistically related high altar sheet of the parish church in Braunau that has been secured for this painter . The flat structure is provided with an altar extension and cheeks, which are designed as openwork aedicules . From the original altar, the noteworthy carved figures have been preserved, which depict the Mother of God, Saints Catherine and Barbara and, to the side, Saints Augustine and Norbert . Remnants of the cartilage decoration have been preserved. The remarkable altarpiece depicts the resurrection of Christ, who is received by God the Father floating in the center of the picture. The sky is populated by the 24 elders and the angels. The picture can be assigned to the late Mannerism , the figures are slim and softly modeled in light colors with preferred red tones and slightly changing refractions.
The early baroque altar was built between 1660 and 1680. It is designed as a two-column red marble aedicula with limestone reliefs and depicts the martyrdom of St. Sebastian and (in the predella ) the Fourteen Holy Helpers .
The side altars in front are each designed in pairs as a counterpart . The third pair dates from around 1650 and is provided with strong, freely developed cartilage ; the figures are coarse, the large figures on the left altar were later replaced. The second pair, according to the dating of the paintings and the year on the coat of arms of the left altar, is from 1690 and is treated in the same way on the main floor and the extension with segment-arched gable legs and smooth and twisted columns. The paintings are signed and dated and are by C. Franz Reicher (right) and Anton Perdold (left). The first pair was made around 1780. The northern reredos are richly designed in the late Rococo style with figures by Joseph Deutschmann . On the far right is the signature of the Landshut barrel painter Zacharias Lehrhuber with the year 1782. In the middle stands the Mother of God enthroned on clouds, who hands the scapular to St. John of Matha , who is standing to the side . The other figure on the side shows Saint Felix of Valois , furthermore two bound slaves are shown, whom Johannes von Matha brings freedom. The figurative decoration of the southern reredos is simpler and noticeably weaker, so that it is probably not from Deutschmann. The pulpit has a plait style and is dated 1802 on the inside of the door. A tombstone for Abbot Petrus Zistler († 1453) from Master Erhart has been preserved in the choir. The organ front with an elegant decoration of the early Rococo is attributed to Joseph Matthias Götz and was taken in 1751. It is crowned by a clock held by trumpet angels . An organ built by Johann Ignaz Egedacher in 1735 with 13 stops on a manual and pedal was broken off in the 19th century and replaced by a new one.
literature
- Georg Dehio : Handbook of the German art monuments. Bavaria II - Lower Bavaria. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03122-7 . Pp. 620-622.
Web links
Individual evidence
- ↑ Information about the organ on orgbase.nl. Retrieved April 17, 2020 .
Coordinates: 48 ° 30 ′ 21.6 " N , 13 ° 11 ′ 42" E