Assumption of Mary (Hadersbach)
The Roman Catholic Expositurkirche Mariä Himmelfahrt is an originally late Gothic, Baroque-style hall church in the Hadersbach district of Geiselhöring in the Straubing-Bogen district in Lower Bavaria . It belongs to the parish of St. Nikolaus Sallach in the Geiselhöring deanery of the diocese of Regensburg and is considered a work of art of national importance.
History and architecture
The church, which was probably founded by the Obermünster Abbey in Regensburg , was originally the seat of the Sallach parish. Hadersbach was once the destination of a Leonhardiritt . According to an inscription above the west portal, a new building took place in 1521. There has been evidence of a wealthy Brotherhood of Our Lady in Hadersbach since the late Middle Ages, which provided the financial means for the renovations in the 18th century. The church was significantly redesigned in the Baroque style in 1716/1717, the tower was raised in 1738–1740 and two side chapels were added in 1760–1765.
In the years 1765/1766, the interior was designed by Matthäus Günther and Franz Xaver Feichtmayer the Younger in the form of the Rococo, which was completed until after 1770. This collaboration between two busy artists led to a room design that is valued in the Dehio handbook as a noble, moderate Rococo work of art of national importance. The interior was renovated in 1993–1999.
Outside
The almost unadorned exterior of the church shows remnants of the once Gothic structure such as the retracted choir with buttresses, the undivided substructure of the tower added to the north of the choir and the west facade with buttresses and steep gable. The half-round closed side chapels, which connect in the central axis of the nave and the upper structure of the tower with pilaster strips with cranked cornice and a dome end with a lantern, belong to the Baroque era .
The west portal is dated to 1521 and is designed in a transitional style between Gothic and Renaissance. Under the lintel, the profiled garment shows two console figures dressed in period costume as atlases and a crescent moon Madonna in relief and is flanked by two angel figures. Two stone reliefs from the late 15th century are walled in with the baroque sign , showing Mary with the child between St. Catherine and St. John Evangelista and the handkerchief of Christ held by angels.
Interior
The interior is characterized by the unifying Rococo decoration. The nave is broadly proportioned. The slightly indented choir with two axes ends in a three-sided conclusion. The longitudinal extension is softened by the laterally adjoining chapels, which are brightly lit, counterbalance the choir and emphasize the centralization. All parts of the room are closed off with barrel vaults with stitch caps , which are higher in the choir than in the nave and where the post-Gothic origin of the room can still be recognized.
Ceiling paintings and stucco
The ceiling paintings in the ship were signed by Günther and given the year 1766. They are relatively well preserved. The main painting depicts Esther , who was elevated to the rank of Queen of the Persians , who obtained a renunciation of persecution of the Jews on the throne of her husband Ahasver . The painting shows Esther fainting in front of the throne of Ahasver, who touches her with the scepter. Above it, the coronation of Mary as intercessor of the believers before Christ is shown as a typological model. This reference to the Old Testament was made clear by Gunther by repeating the scepter motif. A ray of light emanates from Maria on the personification of Bavaria , below the church of Hadersbach is shown. The elegant, theatrical group of figures with Esther falling to the ground in front of the king is highlighted in subtle light colors and effectively staged by Günther.
The (partly typological) references are continued in the other ceiling paintings. In the ceiling paintings of the choir is the Assumption of Mary into heaven shown, based on the presentation of the Ascension in the altarpiece. In the choir, as in the ship, there are cartouches associated with the main painting with the monochrome representation of scenes from the life of the Virgin Mary. In the southern chapel the erection of the brazen serpent is shown in the ceiling painting , with the typologically corresponding representation of the crucifixion in the altar sheet . In the north side chapel, the saints Leonhard and Wendelin are shown, carried by angels to the clouds, also related to the altar sheet with the depiction of the saints as patrons of the peasants.
The restrained stucco work by Feichtmayr emphasize the stitching caps as a frame and incorporate the monochrome picture fields by connecting them to the main frescoes with the curved frames. The profile bands and the rocaille work are tinted turquoise and run into gold-plated leaf and flower tendrils. The volute-like vaulted consoles in the choir are decorated with festoons made of liturgical implements and ecclesiastical signs of dignity.
Furnishing
The stately high altar was built in 1721 and was given a painting by Joseph Anton Merz from Straubing, which depicts the Assumption of the Virgin based on the famous painting Assunta by Titian . Moving figures of the two Johannes von Simon Hofer from Straubing are arranged on the passageways. The side altars in the chapels were designed by Feichtmayr around 1780. The simple canopy structures are designed in a transitional style from the Rococo to the beginning plaited style and equipped with altar leaves from the cattle cartridge, which are of popular freshness, presumably from the Günther workshop. The pulpit is made of stucco marble by Feichtmayr and has an economical Rococo decoration.
The baptismal font from the first half of the 16th century shows representations of saints, evangelists and church fathers on the fields of the pyramid-shaped wooden lid. On the front side altars, which were built in 1942 in a form adapted to the rococo, a Madonna and Child from around 1440 and a St. Lawrence from the late 15th century are set up. In the north side chapel there is an artistically valuable, life-size depiction of Our Lady of Sorrows from around 1730, presumably by Simon Hofer, which may have once belonged to a crucifix. The figure is characterized by the unity of pathetic movement and artistic drapery. The organ is a work by Anton Ehrlich (Straubing) from 1843. It comprises ten registers , which are distributed over a manual and the pedal .
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. 185-187.
Web links
Individual evidence
- ↑ Information on regiowiki.pnp. Accessed May 31, 2019 .
Coordinates: 48 ° 47 ′ 51.2 ″ N , 12 ° 22 ′ 48 ″ E