Visitation of the Virgin Mary (Unterdietfurt)
The Roman Catholic parish church of the Visitation of Mary is a Gothic hall church in Unterdietfurt in the Lower Bavarian district of Rottal-Inn . It belongs to the parish of the Visitation of the Virgin Mary of Unterdietfurt in the Diocese of Passau and was the center of a Leonhardiritt until 1950 .
History and architecture
The church in Unterdietfurt was built in the second half of the 15th century as a three-aisled step hall made of brick masonry. It is one of the stately churches of the late Gothic in this region.
Exterior
The exterior is unadorned in plastered brick masonry and only works through the impressive mass grouping. The top of the tower alone is richer. The choir has double, the nave with single stepped buttresses, which are encompassed by a circumferential, cranked cornice. The renewed pointed arch windows show no tracery. The west tower, which is square in plan, is half indented into the nave and merged from a square substructure into the octagon using corner struts. The octagonal storeys are richly structured by thin triangular and flat templates as well as by pointed arches. The top floor shows an alternation of four pointed sound openings profiled in the wall with corresponding glare fields and is closed off by a pointed helmet from the 19th century.
The south portal in a strong keel-arch frame is equipped with a tympanum on a cantilever. The door leaves show rich late Gothic iron fittings.
Interior
The room is related to the room of the larger parish church Eggenfelden , but shows coarser details. It differs from this church in that the spatial directions are more balanced, to which the even light distribution contributes. The roughly square shape of the nave is comparable to the parish churches of Oberdietfurt and Staudach . The high-arched pointed barrel of the central nave is balanced by the downgraded choir and the equally high side aisles.
The four-bay nave is characterized by round pillars with abruptly attached dividing arches , which are profiled by a wide valley, round bar and bevel. The ribs are supported on semicircular service pieces over profiled polygonal consoles. The church differs from the specified comparable buildings by the asymmetrical vault shapes, which cause a stronger structure of the room. In the central nave, diamonds that are alternately shifted sideways are arranged in the net with square diamonds, which are clamped in the rib network via stitch cap ribs and short rib sections. In the side aisles, four-pointed eccentric star figures are interspersed, which are aligned in rhythmic alternation with the central nave or the outer wall.
The separation of the western yoke through the gallery strengthens the breadth of the space. The gallery has been changed in a neo-Gothic style, but the arching of the gallery in the aisle bays still dates from the construction period.
The choir, the width of the central nave, has two bays and ends in a three-eighth end . The network vault is based on semicircular services, which are presented to the flat shield arch positions. In contrast to the vaults of the nave, those of the choir are largely regular. The two rib figures, the eastern of which shows a regular star shape in the polygon, are separated from each other by a belt rib. The choir arch is slightly drawn in, chamfered and profiled with a round rod.
Furnishing
The artistically significant high altar from around 1500 previously served as a side altar. The neo-Gothic additions were largely eliminated later. A two-part shrine houses the carved figures of the apostles Simon and Judas Thaddäus, the setting of which is believed to date from the 19th century. Small canopy figures represent Saints Catherine and Barbara , a Madonna figure is missing. The three-part predella shows figures of the twelve apostles with Christ standing in the central niche. Carved coats of arms of Jörg Sulzperger zu Hofau († 1508) and his wife are attached to the open side wings. The four tall rectangular paintings of the open main wings represent the teaching and miraculous work of Simon and Jude Thaddäus and the martyrdom of both apostles. The two apostle figures with the detailed robes are more valuable than the associated paintings, similar to other altars in the region. It is one of the most elaborate late Gothic altars in the region.
A painting of the meeting between Maria and Elisabeth from 1793 was created by Johann Nepomuk della Croce . It shows the fine coloring and the already classical-influenced painting of this master from Burghausen . An Epitaph of Jörg Sulzperger († 1508) and his family originated, according to year at the balusterförmigen separation column with arms reliefs in the 1533rd Above it, in an arcade with a curved arch, there is a full-length relief of the Man of Sorrows , in front of whom the family of the deceased kneels. The unusually large red marble stone is one of the most elaborate Renaissance tombs in the region.
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. 701-704.
Web links
Individual evidence
- ↑ Information on the history of the church on the website of the congregation. Retrieved November 18, 2018 .
Coordinates: 48 ° 23 ′ 17.8 " N , 12 ° 39 ′ 35.7" E