Leinberger Altar

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The Leinberger Altar in the Kastulusmünster of Moosburg is a high altar by the Landshut sculptor Hans Leinberger from around 1508 to 1514. The fragment of the grand piano retable , preserved in its present form, is considered the main work of the artist and is one of the most important altars in old Bavarian art history at the transition from late Gothic and Renaissance. The colored version comes largely from the 19th century, attributes, small figures and other parts of the reredos were partly supplemented, replaced and expanded during the restoration. Reliefs of the shrine wings removed around 1800 with scenes from the martyrdom of St. Castulus are attached to the choir wall next to the altar. After the relics of the saint were removed , the altar was consecrated again in 1602.

Leinberger Altar

Structure of the reredos

The exchanged on the 1937 Mensa of Ruhpolding marble aufsetzende altarpiece consists of predella , shrine and conversation Enge . It is almost 13 meters high and 4.29 meters wide. The total height including the cafeteria is 14.40 meters. The location is the late Gothic choir of the minster. A total of 25 figures are attached to the altar, including ten large, four medium and eleven smaller ones. Due to the later colored version, it cannot be proven whether these were made as finely chased as the altar panels. What is certain today is that the entire reredos originally had a glue-bound brown ink frame , which enabled a thin, monochrome layer of the frame and thus left the carved details visible. In addition, a uniform looking overall work was achieved, as the figures are made of linden wood and the shrine is made of spruce.

Apart from the shrine guards, the late Gothic reredos follows the structure of southern German-Alpine altar structures. The rectangular tiered shrine is a design that originated in the Netherlands and is common in southern Germany. The altar structure was organically designed in the clearest possible way. The high altar around the shrine appears to be flooded with light thanks to the four pointed arched windows with their clear hexagonal panes in the choir wall and the openwork, ornamental bursts of the altarpiece. The artistic design suggests that Leinberger was in charge and leading in all areas. Leinberger's interest in an artistically progressive way of thinking is particularly evident in the altar reliefs about the story of the suffering of St. Castulus. Familiar design patterns and the associated wishes of the client limited the artist's freedom of design, but with the reliefs, Leinberger was able to realize his own ideas thanks to the lack of reference works of art. Particular attention is drawn to the robes, bodies and faces of the figures, in which the moving style he used and developed is clearly evident.

Predella

Double doors of the predella with the donors

The surface dimensions of the predella are 440 × 82 centimeters without the cornice.

The five pictures on the front and back of the predella were executed by the Landshut court painter Hans Wertinger 1515-16. On the front there are two arched wing doors, behind which a niche is hidden. The donors of the high altar are depicted on these doors in a vaulted architecture with a red canopy. The Moosburger Stiftskapitel can be seen on the right. In front Probst Theoderich Mair in a red gown , choir shirt and choir fur coat, red biretta and a choir book. Below him is his coat of arms, a red cap with a white ermine in a gold field. Since Mair died in 1507, he probably donated his part of the amount for the altar by will. Behind it are the dean with a choir book in hand and another 17 canons, of whom the faces of elves are recognizable. On the left wing, Duke Wolfgang , the guardian of the princes behind him , kneels . In his hands are a five-part rosary and a brown beret . Outside, Duke Wilhelm IV kneels . The banner of the Landshut dukes leans on his shoulder. To his right are Ludwig X and Ernst . The coats of arms of the donors are depicted on the side panels next to the wings, on the right that of Moosburg and on the left that of the Landshut line of the dukes . The back of the predella is decorated with the fifth picture by Hans Wertinger, Christ Carrying the Cross . In front of Jesus Christ in the center of the picture, Veronica kneels with the towel . On the right are Mary and John, and behind them Simon of Cyrene lifts the crossbar.

On the inside of the double doors there were probably carved reliefs by Leinberger. The preserved background painting by Wertinger indicates the motifs The Three Marys at the Grave and Pentecost . As a replacement, Joseph Knabl carved the neo-Gothic inner wing reliefs Annunciation and the Birth of Jesus in 1862 . He includes Wertinger's originally painted landscapes and sky zones.

It was originally a picture predella, not a relic predella. However, the associated relief was lost. After the restoration in the eighteenth century, the niche in the predella was no longer used. Only since 1862 has there been a neo-Gothic reliquary with the relics of St. Castulus, which were rediscovered in the tumba of the altar and remained in Moosburg in 1604.

shrine

Shrine figures: Holy Castulus, Mary with Jesus, Emperor Heinrich II.

The shrine is located between the predella and the ornamental splinter. It is divided into three areas by two thin, twisted columns with high bases and a pinnacle capital. On the consoles supported by columns, the figures of St. Castulus, Jesus in the arms of Mary and Emperor Heinrich II , shielded by pinnacle canopies. The altar program of figures is never chosen arbitrarily - these four figures already appear on the tympanum of the Romanesque west portal.

Theotokos at the Romanesque west portal

In particular, the figure of the Madonna fascinates research and stimulates numerous interpretations. The Marie relief on the tympanum above with the word Theotokos titled, translated Theotokos . On the border of the hood of the Madonna on the altar stands MARIA GOTES GIVER . In addition to the advertised text to Gewandsaum their grace paenula several Majuskelbuchstabenfolgen whose contents can only be assumed today. It is very likely that these are abbreviations for mariological sentences. The letters HL at the end of a sequence of letters could refer to Hans Leinberger. The figure of Mary is carried by four little angels, which should indicate the four winds and thus identify Jesus as Lord of the Cosmos. In the eighteenth century, she was given a scepter in her right hand , while earlier, following the Hodegetria scheme, she may have pointed to Jesus sitting in her left arm. There is evidence of the later rotation of the figure in order to allow the heads of Jesus and Mary to look equally towards the nave, while Jesus used to look into the nave as the center. In the Madonna, Leinberger impressively shows the strongly moving folds of the robes. The Y-fold motif of Maria’s robe, which is retrospectively borrowed from the Soft Style , places the roughly two to three year old Jesus in the middle and formally presents him. He raises his right hand in the Latin gesture of blessing and places his left hand on a globe. Its mandorla-shaped outline gives the overall figure , which thus resembles a monstrance , a eucharistic context, as can be found in the Clipeus Madonnas. This style is also characterized by the isolated sitting posture. According to Georg Lill, the figure of the Mother of God has the Roman miraculous image of Santa Maria del Popolo as a model. The Madonna probably also embodies Ecclesia , i.e. the church. This is indicated by means of the interior of the shrine, which is modeled on a church (three-aisled structure, vaulted canopies) and the male, armed assistant. In order to get enough space for the 63 centimeter deep figure in the shrine, the back of the shrine has a polygonal recess. For the later rotation of the figure, the left of the four Saumengel had to be trimmed on the back. The angels' supine position is unusual. The Madonna towers over the other two shrine figures by a foot. The Y-fold motif used on the cloak also appears on the two shrine guardians.

The figure of St. Castulus holds a sword wrapped in a bandage in the left hand and the martyr's palm in the right hand. The words IHS MARIA are repeated continuously on the borders . Emperor Heinrich II is shown as an old, thoughtful man in Maximilian armor. As an attribute , he holds a sword in his right hand and a model of Bamberg Cathedral in his left. It is believed that he held a scepter instead of the sword until 1782. The two figures represent the relics and the foundation of the monastery. They relate to each other in terms of posture, wrinkle style and clothing.

The shrine also houses three smaller figures. James the Elder is depicted in the canopy above the Madonna . Hidden from the viewer, next to the heads of Castulus and Heinrich II. On the shrine cheeks, the original figure Paul and a Peter from 1782 are attached.

Shrine Guardian

John the Baptist and John the Evangelist

On the outside of the corpus stand as non-knightly shrine guardians John the Baptist and John the Evangelist . Since in southern Germany rather immobile, painted inactive wings were attached next to the shrine, this design method is unusual. In contrast to the shrine figures, the two figures are also worked on the back. Your posture is symmetrical.

The 1.60 meter tall Johannes Baptist is depicted with a flag of the cross, a book and a lamb, and is carried by two angels. On the hem of the garment stands Prebuit hyrtum tegimen camelus artubus sacris (“The camel delivers rough clothes to the holy members”). The lamb is framed by U-folds. The Lamb and the Book refer to two sermons given by John the Baptist in which he announces the coming of the sacrificial Lamb and points to the fulfillment of the Old Testament.

The figure of the right shrine guard was given the attributes book and chalice in the eighteenth century, which speaks in favor of a reinterpretation of the evangelist John. There are different interpretations of which saint the figure originally represented. The most likely variant is St. Sebastian with bundles of arrows in his hands. Other theories call John of Rome with the attributes of a spear and a keychain and St. Vitus .

Burst

Crucifixion group

Above the shrine, in the two middle fields of the extract, there is a crucifixion group just under life-size. Mary and John turn to Christ on the cross. It is Leinberger's first known depiction of the Crucified, the basic style of which he retained in his later works. The crucifixion group is lined with four little angels who hold the tools of passion, pliers and nails, lance and scourge, hyssop staff and hammer, and the crown of thorns.

A little lower to the left and right of it are the diocesan saints Korbinian with bishop's staff, miter and the bear at his feet, and on the opposite side King Sigismund with crown, scepter and orb .

The two worshiping angels kneeling on the shrine above Castulus and Emperor Heinrich are from the nineteenth century. The crown of the two floating, original angels above the statue of Mary is from this time. It replaced a baroque and therefore not original crown. Originally, the floating angels could have held a tapestry, a scroll or something similar in their hands.

Altar wing

Two altar wings were attached to the rotating bar table, but when closed they met at an obtuse angle. In the 1850s the removal of the same is documented for the first time. The exact time for this is not known. These wings were attached to the rotating pillars of the shrine flanks, which are fixed in rotating pans on the predella. The castulus reliefs attached to the wings are now hanging on the wall to the left and right of the altar. Four Marien boards attributed to Hans Leinberger could also have hung on the wings, which are now in the possession of the museums of the city of Landshut. By removing the wings, the shrine and assistant figures can now be seen at the same time.

Castulus reliefs

Castulus reliefs: arrest and interrogation
Castulus reliefs: torture and burial

The reliefs with scenes from the life of St. Castulus were attached either to the inside or outside of the swiveling wings of the altar. Originally presumably also provided with a brown ink, they were painted white in 1782. After acceptance, they were first attached to the choir wall together with the wings and were later stored in the upper sacristy. In 1898 they were painted over with color, framed and hung again on the choir wall. Wood vision was achieved by leaching the reliefs in the years 1937 to 1939. The majority of researchers suspected this wood-sightedness as the original condition for the entire reredos until the discovery of the brown ink during the restoration 2002–2011.

By removing the colors, the chiseled processing of the reliefs became visible again. All shapes and surfaces are worked out down to the last detail. As was established in 1937/38, the pupils and lips were painted directly onto the wood in black and red respectively. In the Landshut school, it was common to use an unreal environment or a simulated flat stage. Leinberger, on the other hand, tries to create a large section of the room, builds an antique-renaissance-style architecture as a background, dresses the soldiers in armor that looks like Roman, and castulus and the audience in fashionable costumes.

The first relief shows the arrest of the preaching Castulus, who works as a master chef for Emperor Diocletian . At the moment of his arrest by two soldiers, he is preaching in his room. The audience of his sermon, four women and three men with rosaries, are shown in the picture on the right. The second relief shows the interrogation of the castulus surrounded by four soldiers before Emperor Diocletian. The ruler demands that the prisoner sacrifice to Jupiter, which Jupiter refuses. The third relief shows the torture of Castulus, who is being beaten by three soldiers with lead clubs, suspended from a crossbar. A fourth soldier and - hidden behind a tree - Emperor Diocletian watch. In the fourth relief, Kastulus is buried alive. Two soldiers poured sand on him, while two others continued to abuse him. The emperor, surrounded by five people, observes the situation from a balcony.

Marian reliefs

Lill suspected Marian reliefs on the outside of the wings. According to Weber, the four Marien reliefs assigned to Leinberger from the Hohenwart cycle may have been attached to the inside of the wing. The first relief shows the Annunciation with Mary at the praying desk and the Annunciation Angel. In the second relief the birth of Jesus is shown. Mary and Joseph are facing the newborn baby, in the background are two shepherds, an ox and a donkey look through a window. The third relief from the Resurrection shows Christ rising from the sarcophagus. Two out of three soldiers sleep. The fourth relief depicts the Ascension of Christ, surrounded by Mary and the apostles. Compared to the castular refliefs, there are still weaknesses in perspective that suggest an earlier dating of the carvings. The Marian reliefs have a - presumably multilayered - version. Finer carved details are therefore not recognizable.

Restorations

In 1604 the first repairs were carried out on the altar.

In 1782 the altar was extensively restored and redesigned because it was "unmounted and completely destroyed". The concept should have been developed by Christian Jorhan the Elder . He had Anton Mayrhofer paint the altar polished white and gold for 800 guilders. He provided the figures with drapery borders in the Rococo style, reinterpreted one figure as Johannes Evangelist and removed the swivel wings. Three carpenters were involved in the work.

Another deep intervention took place in 1862. The wood of the reredos was painted light gray, the figures painted in Nazarene style and the robes provided with elaborate gold ornaments.

During a further restoration between 1937 and 1939, the workshops of the State Office for Monument Preservation tried to soften the last historicizing new version. The ornaments were removed, but the figures were otherwise largely left in their coloring. The architecture of the reredos was painted red-brown and the castulus reliefs were removed.

1970-71 the figures were treated because of heavy woodworm infestation and the reredos cleaned.

The last restoration work so far took place in 2002–2011. The aim was to preserve the visual version of the figures in the editorial office from 1937–39 and to revise the architecture of the reredos. In doing so, it was possible to prove the original biscuit recording.

literature

  • Georg Lill : Hans Leinberger. F. Bruckmann Verlag, Munich 1942, pp. 35-101 ( The high altar in the collegiate church in Moosburg ).
  • Paul Maximilian Arnold: Hans Leinberger's Moosburger high altar. The climax of Bavarian altar architecture. (= Hans-Leinberger-Heft 1). Landshut 1990.
  • Heike Weber: "Mausoleum Stat in medio Chori" . On image use in collegiate collegiate churches in the Middle Ages, shown using the example of the Moosburg high altar by Hans Leinberger. Dissertation University of Bamberg, 2006.
  • Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. Art department of the Archbishop's Ordinariate, Munich 2011.

Web links

Commons : Leinberger-Altar  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 31, calls for an order from around 1508.
  2. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 4.
  3. ↑ Munich church radio: Small town with a large work of art - Moosburger Leinberger Altar has been restored. (No longer available online.) September 8, 2011, archived from the original on December 3, 2013 ; Retrieved November 30, 2013 .
  4. ↑ a b Georg Lill: Hans Leinberger. 1942, p. 42.
  5. ↑ a b c Georg Lill: Hans Leinberger. 1942, p. 44.
  6. ^ Georg Lill: Hans Leinberger. 1942, p. 52.
  7. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, pp. 12 and 29.
  8. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 29.
  9. ↑ a b Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 42.
  10. ^ Georg Lill: Hans Leinberger. 1942, pp. 46-47.
  11. ↑ a b Georg Lill: Hans Leinberger. 1942, p. 49.
  12. ↑ a b c Georg Lill: Hans Leinberger. 1942, p. 43.
  13. ^ Georg Lill: Hans Leinberger. 1942, pp. 100-101.
  14. ^ Georg Lill: Hans Leinberger. 1942, pp. 46, 94-96.
  15. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 82.
  16. ^ Georg Lill: Hans Leinberger. 1942, pp. 38-39.
  17. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 7.
  18. ^ M. Hartig: Church and art history of Moosburg. In: The Isargau. Fixed number for the 1100 year. Kastulus anniversary in Moosburg. 1st year 1927, p. 81.
  19. ^ Georg Lill: Hans Leinberger. 1942, pp. 39-41.
  20. ^ Georg Lill: Hans Leinberger. 1942, p. 46.
  21. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 129.
  22. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 10.
  23. ↑ a b c Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 38.
  24. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 134.
  25. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 37.
  26. ^ A b Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 52.
  27. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 47.
  28. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 8.
  29. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 50-52.
  30. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 263.
  31. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 234.
  32. ↑ a b c Georg Lill: Hans Leinberger. 1942, p. 54.
  33. ^ A b Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 49.
  34. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 210-211.
  35. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 9.
  36. ^ Georg Lill: Hans Leinberger. 1942, p. 56.
  37. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 62 and 229.
  38. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 261-267.
  39. ^ Georg Lill: Hans Leinberger. 1942, pp. 57-59.
  40. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 209-215.
  41. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 82-84.
  42. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 237.
  43. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 95.
  44. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 44.
  45. ^ Georg Lill: Hans Leinberger. 1942, p. 64.
  46. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 54.
  47. ^ Georg Lill: Hans Leinberger. 1942, p. 59.
  48. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 61-62.
  49. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 65.
  50. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 213.
  51. ^ Georg Lill: Hans Leinberger. 1942, p. 87.
  52. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 70.
  53. ↑ a b Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 12.
  54. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 47.
  55. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, p. 82.
  56. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 97.
  57. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 67-71.
  58. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 287.
  59. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 313-314.
  60. ^ Georg Lill: Hans Leinberger. 1942, pp. 64-65.
  61. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 64-67.
  62. ^ Georg Lill: Hans Leinberger. 1942, p. 65.
  63. ↑ Roland Götz: Parish Church of St. Kastulus, Moosburg. (No longer available online.) Archived from the original on December 3, 2013 ; Retrieved November 30, 2013 .
  64. ^ Georg Lill: Hans Leinberger. 1942, pp. 72-76.
  65. ^ Georg Lill: Hans Leinberger. 1942, p. 86.
  66. ^ Georg Lill: Hans Leinberger. 1942, pp. 78-82.
  67. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 72-73.
  68. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 45-46.
  69. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 103.
  70. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 87-89.
  71. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 40-41.
  72. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 339.
  73. ↑ a b Georg Lill: Hans Leinberger. 1942, p. 48.
  74. ↑ a b Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 67.
  75. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 286.
  76. ^ Paul Maximilian Arnold: Hans Leinberger's Moosburger Altar. 1990, pp. 136-142.
  77. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 286-287.
  78. ^ Georg Lill: Hans Leinberger. 1942, pp. 96-99.
  79. ^ Georg Lill: Hans Leinberger. 1942, pp. 88-89.
  80. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, pp. 337-365.
  81. ↑ a b c d e f Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 24.
  82. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 85.
  83. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 285.
  84. ^ Heike Weber: Mausoleum Stat in medio Chori. 2006, p. 35.
  85. ^ Georg Lill: Hans Leinberger. 1942, pp. 42-43.
  86. ↑ Norbert Jocher (Ed.): Moosburg. Parish Church of St. Mary and St. Castulus. High altar. 2011, p. 27.