Assumption of Mary (Furth im Wald)
| City parish church of the Assumption | |
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| Data | |
| place | Furth in the forest |
| builder | Michael Wolf |
| Construction year | 1725 |
| height | 45 m |
| Coordinates | 49 ° 18 '28.9 " N , 12 ° 50' 35.2" E |
The Stadtpfarrkirche Mariä Himmelfahrt is a Catholic parish church in the town of Furth im Wald in the Cham district .
history
Furth was raised to an independent parish in 1585. When the late Gothic church, which is shown in an engraving by Michael Wening , became too small, the foundation stone for a new church was laid on June 14, 1725. The builder was Michael Wolf from Stadtamhof , the paintings were created by Andreas Merz. The high altar was created between 1735 and 1738 by the master joiner Hans Wolfgang Fischer, the sculptor Johann Paul Hager from Kötzting and the painter Georg Andreas Zellner from Furth im Wald. The dome was added in 1739, and on St. George's Day in 1765, Auxiliary Bishop Baron von Wolframsdorf consecrated the church. In 1823 the church tower was raised.
At the beginning of the 1890s, the building was doubled according to the plans of Domvikar G. Dengler, and a transept with galleries and additional altars was added. Only now did the church receive its monumental west facade. The pulpit and the side altars were replaced by new creations in the neo-renaissance style , and the church was painted in the Nazarene style . The crypt was transformed into a Lourdes grotto . The rococo figures from the time of construction were also moved there, but they were returned to the chancel in 1923. On October 3, Bishop Ignatius of Senestrey consecrated the newly designed church.
In 1969/70 there was a new redesign with the extension of the choir room for a people's altar . The neo-renaissance creations from 1893 including the galleries were removed, the Nazarene paintings whitewashed except for the ceiling paintings.
art
Exterior
In addition to the city tower, the parish church dominates the townscape of Furth im Wald. The granite substructure of the west facade is enlivened by two niches. They contain two bronze works by Günther Mauermann, St. George and the apocalyptic woman . A wide staircase divides the facade. Above the portal there is a semicircular roof with the Christ monogram , above it a large crucifix.
The church tower has a height of 45 meters. The smallest but oldest Maria Hilf bell by Johann Erhard Kistler from 1764 can be seen in the lantern . The other bells are from 1949: Trinity (1750 kg) - D; St. Joseph (1180 kg) - E; Mary, Queen of Peace (810 kg) - F sharp; Christ King (450 kg) - A; Guardian Angel (310 kg) - H. At the top of the steeple is a figure of St. Florian.
Interior
The interior of the church has a considerable length of 48.50 meters, the transverse structure is 35.60 meters wide. The height of the nave is 13 meters, the width 13.50 meters. The 12 × 17 meter late Baroque high altar is the most important work of art in the church. It is flanked by two saints depicting Sebastian and Florian . In 1862, instead of the Adoration of the Three Kings , the high altar was given the painting of the Assumption and in the elevator a depiction of the Holy Trinity. Both pictures are from Hermann Anschütz .
The oak choir stalls were created in 1727 by the builder of the high altar, the master carpenter Hans Wolfgang Fischer. The frescoes in the choir arch from the same year, allegories of the four continents by Andreas Merz, were uncovered again in 1970. The fresco of the resurrection was created in 1893. The folk altar, the ambo, the sediles and the baptismal font were made in 1970 from light limestone by the sculptor Kurt Portzky. The baroque figures of St. Wolfgang and Emmeram are located on the choir arch . Further images show Felix von Cantacile and Franz von Paula .
A Pietà attributed to the sculptor Christian Jorhan the Elder is placed in the south transept . In the nave there is a relief of the Resurrection made from Solnhofer Kalk. Like the granite holy water font, it comes from the late Gothic church from the 16th century. The church chairs and confessionals from 1732 are works by Hans Wolfgang Fischer. The ceiling paintings from 1893 describe stages in Mary's life.
The Way of the Cross was painted from 1859 to 1861 by H. Oesterer based on a design by Joseph Führich under the direction of Joseph Schlotthauer .
The organ was built in 1788 by the organ builder Johannes Andreas Weis with two manuals and 19 registers . The instrument has been expanded several times over the years and has had 32 stops on three manuals and a pedal since 1982 . The Spieltrakturen are mechanically, the Registertrakturen electrically.
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P
- Playing aids : two free combinations, one free pedal combination, tutti, crescendo roller
The entrance to the lower church, built in 1893, is flanked by figures of St. Francis of Assisi and St. Anthony of Padua . Here you will find the Lourdes grotto with frescoes and a rosary cycle by Erwin Schöppl from 1952 as well as the group of figures of the "cross altar" mentioned in 1590, which existed until 1890. A crucified Christ from the Renaissance and a Mother of Sorrows from the Baroque period are preserved .
literature
- Heinrich Blab: Furth in the forest. City parish church Maria Himmelfahrt , art guide No. 1133, Verlag Schnell & Steiner, Munich, Zurich 1st edition 1978
Individual evidence
- ↑ Information on the organ in the parish church
