Visitation of the Virgin Mary (Ergolding)
The Roman Catholic parish church of the Visitation of Mary (colloquially known as the Frauenkirche ) in Ergolding in the diocese of Regensburg is essentially a late Romanesque complex from the 13th century with splendid furnishings in the Rococo style . The church is registered as a monument with the number D-2-74-126-3 at the Bavarian State Office for Monument Preservation . The Visitation of the Virgin Mary is not the largest church in the parish of the same name , which is why the main services take place in the subsidiary church of St. Peter .
history
As early as the 9th century, a manorial rule of the Bishop of Regensburg is proven in Ergolding . The former royal estate was 914 under the reign of King Conrad I a chapel founded , which was later converted into possibly the predecessor Peter's. In the 11th century Ergolding was divided into two different dioceses by drawing a border. This is how the two parish churches were created, the Peterskirche for the diocese of Regensburg and the Frauenkirche (Mariä Visitation) for the diocese of Freising . When the diocese border was moved to the Isar in 1157 , the Peterskirche was raised to the sole parish church. This condition lasted at least until at least 1665. The parish rights were probably only transferred to the Frauenkirche in the course of the Baroque style in the 18th century.
Today's Frauenkirche is a late Romanesque building from the 13th century, which was probably commissioned by the Ergoldingen pastor Gotschalcus in 1265 . Over the centuries, the building was partially redesigned. The Gothic sacristy probably dates from the 15th century, the north tower was built in 1580 according to the inscription . The church underwent the most profound change in the 17th and 18th centuries when it was baroque . In 1630 the master bricklayer Georg Reinhard from Mainburg was likely to have drawn in today's flat ceiling , in 1775 court master mason Felix Hirschstötter from Landshut worked at the church, in 1784 Josef Dirlinger from Rottenburg .
architecture
Exterior construction
It is a late Romanesque hall church with a retracted, almost square choir (5.15 × 5.45 meters) and a straight end of the choir. The nave (15.05 × 8.80 meters) includes five window axes , and has a steep, on the west side abgewalmtes roof. On the north side of the choir, the two-bay sacristy is built, which is united with the choir under a common steep gable roof . The tower is built on the north side of the ship in its western axis. The square substructure is divided into three floors by pilaster strips and has narrow light slots. The octagonal superstructure has round-arched sound openings on four sides , above which tower clocks . A pointed helmet from the 19th century forms the upper end . Between the sacristy and the tower, there are three arched arcades that were built around the same time as the tower during the Renaissance period. The eastern arcade was later closed by a wall. The vestibule on the west side, which contains the iron-studded wooden portal with a straight lintel , was built in the 19th century.
A round-arched Romanesque window has been preserved on the east side of the choir, which was partially walled up in the Baroque period. The remaining window openings were enlarged in the course of the Baroque era and now close with a slightly recessed round arch. On the east outside of the choir a late Romanesque holding arch is fries get equal on the south side a cross arched frieze time position. The arches have an exceptionally high diameter of around 1.50 meters and rest on simple, grooved consoles . The exterior of the sacristy is structured by corner and central strips, which, in contrast to the yellow-washed pilaster strips of the tower, do not stand out from the white tone of the outer wall. The masonry of the nave is slightly offset on the outside at a great height, which is due to the baroque renovation.
inner space
The choir has a barrel vault with stitch caps . The choir arch was changed in the baroque period and is now round arched. The nave is provided with a baroque flat ceiling over a hollow. In the sacristy there is a Gothic ribbed vault on chamfered pilasters with pointed arches . In the arcade vestibule on the north side there is a cross vault from the Renaissance period, which arises from square, bevelled pillars or from cornice pieces . A double gallery, which rests on slender columns, has been inserted in the west axis of the ship .
Furnishing
The interior is almost entirely in the Rococo style and was created in the last third of the 18th century.
Ceiling painting
The ceiling paintings, marked with the year 1767, were created by the Landshut baroque painter Sebastian Vischer and his successor Franz Xaver Schmidt. In the vaulted ceiling in the choir, for example, the Visitation of the Virgin Mary , the church's patronage , is depicted. The colorful painting is surrounded by rocailles , a brocade- like pattern and various grisaille paintings with various scenes from the life of Mary . The large ceiling fresco in the nave represents the sending of the Holy Spirit . It is surrounded by a curved stucco frame. In the corners there are further frescoes depicting the four evangelists with their attributes . Above the double gallery there is another curved stucco frame, which, however, has not been painted.
Altars
The altars were created in collaboration between the Kistler Johann Georg Stöcher and the famous Landshut sculptor Christian Jorhan the Elder . Ä. and the barrel painters Sebastian Vischer and Joseph Fürstenprey.
The four-pillar high altar with a decorative structure could be based on a design drawing by Jorhans from 1754, which is kept in the Neufraunhofen Castle Library. In the center above the tabernacle is a late Gothic image of grace of the Mother of God with a crown from around 1510/20, which was supplemented by the baby Jesus and a halo in the Baroque period . The upper area of the high altar is adorned with a gilded Marian monogram , surrounded by a halo, which is impressively illuminated by the round window behind it, especially in the morning sun . Figures of Saints Blasius (left) and Erasmus (right) stand above the two altar passages .
The two two-column side altars with a volute top are designed as counterparts and are also made in the Rococo style. The altar panel of the north side altar shows the beheading of John the Baptist , that of the south side altar shows the martyrdom of St. Erasmus. According to the inscription, this was created by Felix Finkenzeller in 1691. There is one above the cafeteria
pulpit
The pulpit was created in 1780 by the Altheim carpenter, Christoph Leitäscher, and painted in 1784 by the painter's son Alois Kaufmann. It has a polygonal body, which is structured by coiled corner columns. In between, there are half- reliefs of Christ Salvator and the four church fathers Ambrosius , Hieronymus , Augustine and Gregory the Great .
Baptismal font
The baptismal font is certainly one of the oldest pieces of equipment in the parish church. It was modified and lavishly carved in 1600 by a stone mason from Landshut . The font consists of a square foot with an edge length of 56 centimeters, a round stand and an 18-part shell basin. The total height is 96 centimeters, the diameter of the pool 85 centimeters. The lid was painted with depictions of the twelve apostles at the same time as the restoration of the baptismal font in 1600 . On top is a baroque group of figures depicting the baptism of Jesus .
Other equipment
On the left of the choir arch there is a figure of the Resurrection Christ , which was created around 1720 by the Landshut sculptor Anton Hiernle and captured by Rupert Schlögl. Opposite is a third Anna herself in the style of the early Renaissance, which is dated to the first half of the 16th century. On the north wall of the nave, right next to the pulpit, there is a crucifix with a figure of Mater Dolorosa , both life-size and from the workshop of Christian Jorhan the Elder. Ä.
organ
The organ of the parish church of the Visitation of the Virgin Mary was built by Michael Weise from Plattling around 1955 . It has a free pipe prospect and a free-standing gaming table . The control of the organ pipes takes place via pneumatic cone chests . The organ comprises a total of 13 stops on two manuals and pedal . The disposition is as follows:
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- Coupling : II / I, II / P, I / P, Sub II / I
At least since the baroque renovation of the church in the 18th century, there has always been an organ in the church. The first instrument was built by an unknown organ builder before 1778. This was replaced in 1798 by a used organ that the organ builder Michael Reithmayr from Nandlstadt installed. The direct predecessor of today's organ was made by the Landshut organ builder Johann Rödl in 1877; it comprised seven registers on a manual and pedal.
Rectory
Right next to the parish church is the rectory, a two-storey hipped roof building in the Baroque style. It was probably built in the 18th century, possibly parallel to the baroqueization of the church and its elevation to the parish church.
Web links
Individual evidence
- ^ Ergolding parish: Visitation of the Virgin Mary (parish church) . Retrieved January 19, 2016.
- ↑ a b c d e f g h i j k Gillmeier, Joseph: Ergoldinger Kirchen - Ein Führer. Pp. 6-8 and 22-43.
- ↑ a b c d e f g h Anton Eckardt (Hrsg.): Art monuments of the Kingdom of Bavaria - District Office Landshut. Oldenbourg, Munich 1914, pp. 76-80 ( digitized version ).
- ↑ a b Bavarian organ database online
Coordinates: 48 ° 34 ′ 39 " N , 12 ° 10 ′ 23" E