Assumption of Mary (Landau)
The Roman Catholic parish church of the Assumption of Mary in Landau an der Isar , a town in the Lower Bavarian district of Dingolfing-Landau , is the largest Baroque church in the lower Isar valley and one of the few parish churches built in this era in a wide area. The wall pillar church was built from 1713 according to the design of the master builder Dominikus Magzin, who also created the plans for the Cistercian monastery church in Aldersbach . The stately church in the upper town of Landau, around 60 meters above the Isar valley, is dedicated to the Assumption of Mary ( Assumption Day ; memorial day: August 15).
history
Shortly after Landau was founded by the Bavarian Duke Ludwig den Kelheimer in 1224, the first church was built opposite the ducal castle. From this Romanesque building from around 1250, the substructure of the tower with the characteristic round arch friezes has been preserved to this day. In 1262 the parish seat was moved from what is now Unterframmering . The building was changed in the Gothic period, i.e. in the 14th or 15th century.
The right of presentation , which originally belonged to the Bavarian Duke, was transferred in 1473 to the University of Ingolstadt , which was newly founded by Duke Ludwig the Rich . With the move to Landshut in 1800 and on to Munich in 1826, the right of presentation to the Landau parish also changed. It has only been with the Bishop of Passau since 1973 .
In 1713, when the plague in Landau claimed more than 80 lives, the parish priest Philipp Rappoldsberger began building the new parish church in the baroque style . The plans for this were provided by the builder Dominico Mazio from Graubünden , Germanized Dominikus Magzin, who was based in Landau from 1690 to 1711 and then moved to Passau . The construction was possible thanks to the generous bequest of Baroness Maria Theresia von Puchleiten at Wildthurn Castle , a noble residence southeast of Landau. In the same year the roof structure was put on by the Landau master carpenter Wolfgang Heringer . This can be seen from an inscription on a beam in the roof truss above the choir room. A large part of the still uniform baroque furnishings - high altar , the majority of the side altars and the pulpit - were built before the church was consecrated in 1726. The parish church of the Assumption in Landau was to remain the only parish church in Lower Bavaria next to St. Paul in Passau Baroque period was built from scratch.
The new parish church was also damaged in the town fire of 1743, when Landau was to be destroyed by French and Austrian troops during the War of the Austrian Succession . In 1747, Landau's city mason, Andreas Heinrich, repaired the damage. The tower dome still preserved today was made in 1774/75 by the city carpenter Johann Ulrich Neff. The cemetery around the parish church , which was reserved for the deceased from the aristocratic, clerical and civil class, was closed in 1804. Since then, all of the city's deceased have been buried in the Heilig Kreuz cemetery.
Johann Baptist Huber , an energetic resistance fighter in the Third Reich, who was included in the German Martyrology of the 20th Century , is also closely associated with the parish . From 1931 he was the parish priest of Landau and because of his lectures, sermons and press articles he was targeted by the National Socialists. In addition, he unwaveringly continued the church youth work. After he was interrogated and imprisoned several times, he was taken to Dachau concentration camp in June 1942 before he died of emaciation on September 13 of the same year in the Schwabing Clinic .
The church underwent renovations in the years 1900 to 1913 and 1950 as a result of war damage from the bombardment of the city on April 30, 1945; also 1972 to 1974, 1989 to 1991 and 2007. During the last renovation measure for the time being, mainly the exterior construction was repaired. In addition, the late Gothic were Josef chapel to the Baptistery and the Romanesque Allerseelenkapelle to a place of quiet devotion transformed.
architecture
The parish church of the Assumption is located at the upper end of the upper town square of Landau. The tower with its annexes on the south and north sides has advanced far into these. In its five lower floors, the tower still belongs to the Romanesque style epoch, as can be seen from the structure of the round arch friezes. The storey separation and the edges are each covered with pilaster strips . The latter is also continued in the baroque superstructure, which contains the belfry . The late baroque onion dome from 1774/75 rises above a profiled cornice running all around , which is deflected upwards to form a round arch at the height of the tower clocks .
On the north side of the tower there is a baroque Ölberg chapel under a hipped roof . In the south, a two-storey crypt chapel is built under a pent roof . The All Souls Chapel , which is now modern in design, is located on the lower floor . A Romanesque arched portal was found in it , so that the small room may have served as an anteroom to the Romanesque predecessor of today's church. Later the room was used as a Karner ; hence the current name. The late Gothic St. Joseph's Chapel is located on the upper floor and has a filigree ribbed vault .
Opposite the tower, the nave and choir , both in the Baroque style, are angled slightly to the north. Both are united under a common gable roof , which is hipped over the choir closure. The nave comprises five yokes ; the choir on the east side has two bays and is closed by a semicircular apse . The sacristy , which also has two bays, is attached to its north side . The exterior of the nave and choir is structured by large, high arched windows. The yoke separation is done by pilasters. The westernmost nave yoke contains access to the interior on the north and south sides. The two portals are designed as counterparts and are each framed with house stones and crowned with explosive gable attachments.
The portals lead into the space below the organ loft , which rests on two square internal pillars, is vaulted under a groin vault and is separated from the rest of the church by a grille. The interior of the stately hall church is spanned by a barrel vault with belt arches and stitch caps and divided by massive wall pillars with wide beams. Between these there are eight room-high side chapels , each of which contains a baroque side altar. The ceiling of the nave and choir is sparingly covered with stucco in the form of leaf rods and profile strips .
Furnishing
High altar
The baroque high altar of the parish church is dated to 1725 and was consecrated in 1726. It takes up almost the entire height of the choir and also separates the end of the choir from the rest of the church with its side passages. The mighty brown altarpiece is richly decorated with lush foliage and ribbon work as well as with inlays in walnut wood . Two columns on each side, which support a heavily cranked entablature with the altarpiece , accompany the altar sheet. This was signed by the electoral court painter Johann Kaspar Sing from Munich and dated 1713. According to the patronage of the Church, it shows the Assumption of Mary and her coronation by the Holy Trinity .
The painting is flanked by figures of saints, each arranged between the columns: on the left Saint Barbara with a chalice and sword and on the right Saint Catherine with a martyr's palm and wheel. Above the side passages there are figures of the Jesuit saint Ignatius of Loyola , accompanied by a small one Boys with a book, and Franz Xaver , accompanied by a dark-skinned figure who is supposed to remind of his work as a missionary in India . The two figures express the connection to the University of Ingolstadt, which is run by the Jesuit order and which exercised the right to present the Landau parish priest until it was dissolved in 1800.
Below the altar sheet is a rotating tabernacle containing a cross particle reliquary from around 1736. According to the master's mark and hallmark , it was created by the Munich goldsmith Johann Christoph Steinbacher. The partly gold-plated , partly silver-plated cross shows a medallion-shaped particle housing on the trunk of the cross , which is surrounded by a halo and flanked by angels with tools of passion . The base with volutes at the side contains a small figure of Mater Dolorosa in a shell niche .
Immediately above the altar sheet is a cartouche with the coat of arms of the Puchleiten and Pelkoven family of donors , flanked by two angels; above it a gilded canopy and draperies . The altarpiece with the upper image of the Nativity swings open between two lateral volutes . This is flanked by figures of the "weather saints" John and Paul .
Side altars
The eight side altars are located in the side wall niches and are each aligned to the east, whereby the opposite altars are always designed as counterparts with the same structure. The two altars in the second yoke from the east came into the church in 1764/65, those in the western yoke also in the second half of the 18th century. The other four side altars date from the time the church was built around 1720.
The Sebastian altar in the first chapel on the south side and the Catherine altar opposite each have four round columns, an altarpiece and excerpt painting as well as two side figures and are lavishly decorated with foliage, ribbon and shell work. The Sebastian Altar was donated by the Sebastian Brotherhood founded in 1481 . The altar sheet from 1656 is again a donation from Hans Adam Grimm von Grimmelshausen, who was the electoral caretaker at Eschlkam near Furth in the forest . It probably comes from the school of Carraccio, so it is of Italian origin. The martyrdom of St. Sebastian and the care by St. Irene are shown . St. Francis Xavier can be seen in the extract. The saints Karl Borromeo (left) and Rochus (right) act as assistant figures , who are considered to be plague cartridges alongside Saint Sebastian . The Katharinen altar on the north side contains an altar sheet created by the Landau painter Alois Kaufmann, which depicts the mystical engagement of the saints with Jesus Christ . In the excerpt one recognizes the poor souls in purgatory . The assistant figures represent the saints Luzia (left) and Apollonia (right).
The altars in the second side chapel from the east are donated by the city pastor Benno Ulk from 1764/65. They also have four columns, this time winding, and each contain an altarpiece by the Swabian painter Vitus Felix Rigl . The Anna altar on the north side contains a representation of St. Anne, the mother of Mary , on the main painting . The excerpt shows the patron saint of the founder, St. Benno von Meißen . The side figures depict the Saints Joseph (left) and Zacharias (right). The opposite guardian angel altar contains an altarpiece of the Archangel Raphael , flanked by figures of the Apostle James the Elder (left) and the holy founder of the order Francis of Assisi (right). In the upper picture, St. Mary is depicted as the queen of heaven . Splinters of the grenade that hit the church on April 30, 1945 are incorporated into the altar . On the antependium is a painting by the artist Rose von Ranson from 1945. It depicts the parish priest Johann Baptist Huber, who is blessing the town of Landau on his deathbed .
In the third side chapels from the east there are altars with only two twisted columns. The southern Leonhardialtar shows the eponymous saint on the altar panel, which was created by the Landau painter Joseph Riederer according to the date in 1780. Saint Martin can be seen in the excerpt . The assistant figures represent the saints Kajetan (left) and Theresa von Ávila (right). The north altar of Anthony contains an altar sheet by the painter Georg Franz Fischer, who lives in Landshut and which is dated to 1722 and depicts the saint Franciscan Antonius of Padua. In the upper picture you can see the founder of the order Francis of Assisi, flanked by other Franciscan saints. The assistant figures represent Saints Peter of Alcantara (left) and Johannes Capistranus (right), also members of the Franciscan order. The Antonius Altar thus refers to the Franciscans working in Landau, who looked after the Maria Steinfels pilgrimage until the secularization in 1802 .
The two altars in the western side chapels have the simplest structure: They each contain two winding columns, but no assistant figures. On the altar panel of the northern Nepomuk altar, the namesake , who was only canonized in 1729 , can be seen. In the extract the Holy Trinity is shown. The southern Wolfgang altar contains a painting by the Regensburg diocese, which is attributed to the Landau painter Alois Kaufmann. The main picture of the Catherine altar comes from this . In the upper picture the adoration of the Magi is shown.
pulpit
The baroque pulpit , which is located on the second wall pillar on the north side, dates from the time the church was built and, like the altars, is decorated in dark brown tones and decorated with gilded ornaments . The polygonal pulpit, accessible via a staircase, is occupied by volute pilasters at the corners . In the fields in between there is gold-plated bandwork. A Christ monogram can be seen on the back wall . On the sound cover decorated with foliage , volutes swing up to form a pedestal that carries a figure of Salvator mundi with a globe.
Baptismal font
The Romanesque font from the 13th century is the oldest piece of equipment in the church. It is a hemispherical shell of the Bavarian Forest - granite , which has a circumferential tendrils Fries. It stands on a round base manufactured in 1990. During a restoration in 2008, the baroque copper lid and the corresponding copper bowl were replaced by a silver bowl. Since this careful restoration, the baptismal font has been housed in the late Gothic St. Joseph's Chapel. So that the ceiling of the All Souls Chapel below can support the 640 kilogram stone, it was specially reinforced with a concrete slab.
Late Gothic furnishings
In addition, some works of art from the previous late Gothic building have been preserved in the parish church. The high altar at that time, designed as a winged altar , is now in the Joseph's Chapel . On the front of each wing there are two late Gothic reliefs from around 1490. The representations are heavily overlaid and partly gilded. The scenes were each composed under a canopy decorated with tracery and other ornaments and are crowned by a keel-arch frieze with pinnacles . Depicted are the birth of Christ (top left), the adoration of the Magi (top right), the presentation of Jesus in the Jerusalem temple (bottom left) and the death of Mary (bottom right). The wealth of detail in the individual scenes testifies to the great skill of the unknown carver; for example, a mouse can be seen on the relief of the death of the Virgin Mary scurrying out from under the death bed of Our Lady. On the back of the altar wing there are baroque paintings depicting the same scenes.
The three figures of the late Gothic winged altar, which were also made around 1490 in a Landshut or Passau sculptor's workshop, are now on consoles on the front sides of the southern wall pillars. A crowned crescent Madonna can be seen on the central pillar, carrying the baby Jesus in her left hand and the scepter characterizing her as the Queen of Heaven in her right . The crescent moon is held by two small angel figures. To the left of it is Saint Catherine with the broken wheel, to the right of it Saint Barbara with the tower. Both of them have a male bust at their feet, symbolizing the victory of the two saints over their tormentors (with Catherine the Roman Emperor Maxentius , with Barbara their own father Dioscuros) and paganism in general.
The larger-than-life choir arch crucifix was also adopted from the previous building. It is also late Gothic and is dated around 1500. The same applies to the six-armed chandelier made of brass , which is mounted in the choir. It has lush foliage and tracery decor and is crowned by a small figure of the rosary queen in a halo. A late Gothic figure of St. Christopher has also been preserved in the vestibule under the west gallery . Since 2005 there has been another sculpture from this period depicting the Archangel Michael . It is owned by the Heilig Kreuz Church Foundation .
- Reliefs of the late Gothic winged altar (around 1490)
Birth of Christ
Adoration of the Magi
Presentation of Jesus in the temple
Mary's death
Funerary monuments
There are also some grave monuments in the church . In the first side chapel on the north side is the red marble epitaph of the church donor Maria Theresia von Puchleiten († 1707). It was made in 1711 by the Landau stonemason Christian Wagner and, in addition to the inscription and coat of arms, has two skull reliefs . Below the organ gallery, right next to the north portal, there is another red marble tombstone for Maria, geb. Noicheringer († 1590) and her three spouses. Its structure is divided into three parts: an inscription below, framed by scrollwork; in the middle the representation of the deceased and their husbands with coats of arms; Above is a relief of the Coronation of Mary by the Holy Trinity, which is possibly intended to make a reference to the patronage of the church. Finally, on the first southern wall pillar, a gravestone for the electoral Kastner Joseph Anton von Planck († 1763) and his wife can be seen, which was made in 1764. It is a pyramid-shaped tomb with a crowning skull.
Other equipment
The artistically designed choir stalls and the celebrant's seat in the presbytery date from 1803 and 1806 respectively and are in the classical style. The initials A. G. refer either to the artist or to a possible donor . Relief medallions with half-length portraits of Jesus Christ (center) and the apostles Peter (left) and Paul (right) are attached to the back wall of the choir stalls . The sideboard in the presbytery, a bas-relief with the Annunciation to Mary and a confessional , which can be found in the second chapel on the south side , were also created with the initials AG and around the same time .
A large votive plaque in the first chapel on the south side bears witness to the plague epidemic that raged in Landau in 1713 . You can see the annual plague procession of the Landau citizens, which was praised at that time. Arrows fall from the sky in the background to symbolize the plague. That is why the plague cartridges Sebastian and Rochus intercede with the Holy Trinity for the city of Landau. Also of particular importance is the baroque grille with elaborate tendril and ribbon work that separates the space under the west gallery from the rest of the church. It bears the initials FK , which stands for the Landau artisan Ferdinand Kaiser, and is dated to 1728. The most recent piece of equipment in the church is a modern, gold-plated devotional cross by the Eggenfelden artist Joseph Michael Neustifter in the Romanesque All Souls' Chapel .
organ
The first organ in the parish church was built in 1717 by the Landau organ builder Franz Nicodemus Frosch. This comprised a work with five registers on one manual . The three-part prospectus of this instrument is still preserved and today serves as a (voiceless) parapet positive . The substance of the large prospectus comes from an organ from 1741, which was built by the Landshut organ builder Franz Mitterreither. Michael Fuchs created the existing arrangement of the two parts of the case in 1835. In 1860 the organ was subjected to a general overhaul by Anton Ehrlich before the baroque organ was abandoned at the end of the 19th century. After several organ builders had submitted cost estimates, the decision was made in favor of GF Steinmeyer & Co. from Oettingen . In 1902 she had the baroque case enlarged and built a romantic organ with 28 registers on two manuals and a pedal . The mechanism of the Rückpositiv of the baroque organ (its third manual) was dismantled and stored in the attic.
In 1979 the parish received a new organ from Michael Weise from Plattling , which was created using numerous old pipe materials . The back positive of the baroque organ, stored in 1902, was also used again. The way organ that the zeitgeist "neo-baroque" disposes was comprised a total of 39 registers on three manuals and pedal. In 2010 and 2011 the organ builder Andreas Utz from Pielenhofen carried out a general refurbishment of the instrument. Since then, thanks to the new disposition, the romantic ideal of sound has come into its own again, as numerous pipes from the Steinmeyer organ from 1902 have been preserved. In addition, the baroque Rückpositiv was repositioned: it can now be found in the main organ below the main work. The historical case of the Rückpositiv is still preserved with silent prospect whistles. The connections between the buttons and the game valves are now made of carbon , which should enable precise and smooth playing.
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- Coupling : I / II, I / III, I / P, II / P, III / P
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- Coupling : I / II, I / III, I / P, II / P, III / P
- Playing aids : setter system
Notes (Note)
Bells
A five-part Salve Regina bell with the tone sequence c 1 –e 1 –g 1 –a 1 –c 2 sounds from the tower of the parish church of the Assumption of Mary . The following bells are involved:
| No. | Surname | Casting year | Caster | Weight [kg] | Chime |
|---|---|---|---|---|---|
| 1. | Maria Immaculata (Parish Bell) | 1948 | Rudolf Perner, Passau | 2170 | c 1 -3 |
| 2. | "Empress" | 1799 | Joseph Spannagl, Straubing | 1390 | e 1 -13 |
| 3. | St. Sebastian (official bell) | 1948 | Rudolf Perner, Passau | 610 | g 1 -4 |
| 4th | St. Michael (measuring bell) | 435 | a 1 -? | ||
| 5. | St. Franz Xaver ( death bell ) | 260 | c 2 -5 |
In 1942 the bells of the parish church had to be handed in for war purposes. Only the death bell, dedicated to St. George , remained in Landau. On July 14, 1947, one of the confiscated bells was returned to Landau undamaged. This was donated in 1799 by the Landau iron merchant Georg Kaiser and his wife Theresia and was now affectionately called "Kaiserin" after their last name.
Exactly one year later, on July 14, 1948, four new bells from the Rudolf Perner bell foundry in Passau could be raised. Each of these bells bears the image of its patron saint; This decoration comes from one of his students, the sculptor Anton Rückel , on the recommendation of the academy professor Josef Henselmann . Each of these bells also has a verse in church Latin ; These are translated into German: I came through Americans / In Landau I saw them / I greet my sister who has returned / I hope for a new fatherland. The Michaeli bell also serves to commemorate pastor Johann Baptist Huber and contains the inscription: In memoriam reverendi Parochi Johanni Huber † 13.09.1942 (Latin: "In memory of the venerable pastor Johann Huber"). At the same time as the new bells were raised, the old death bell was removed; its function is now taken over by the Xaveri bell, the smallest of the new bells.
literature
- Monika Soffner-Loibl: Landau - City Parish St. Mariä Himmelfahrt. Peda art guide No. 808/2010. Art Publishing House Peda , Passau 2010. ISBN 978-3-89643-808-9 .
Web links
Individual evidence
- ↑ a b c d e f Soffner-Loibl, pp. 2–5.
- ↑ a b City of Landau an der Isar (ed.): Churches in Landau , leaflet of the cultural office of the city of Landau and the Lower Bavarian Archaeological Museum in the Kastenhof.
- ↑ a b c Soffner-Loibl, p. 5.
- ↑ a b c d Soffner-Loibl, pp. 6-10.
- ↑ a b c d e Soffner-Loibl, pp. 10–12.
- ↑ a b c d e Soffner-Loibl, pp. 21-25.
- ↑ a b c d RegioWiki for Lower Bavaria & Altötting: Church of the Assumption of Mary (Landau) . Online at regiowiki.pnp.de. Retrieved January 5, 2017.
- ↑ a b c Soffner-Loibl, p. 14–17 and p. 20
- ↑ a b c The organ . Online at www.christianmueller-organist.de. Retrieved January 4, 2017.
- ↑ a b c d Landau an der Isar, Germany (Bavaria) - Catholic parish church Sankt Mariä Himmelfahrt . Online at orgbase.nl. Retrieved January 4, 2017.
- ↑ a b Soffner-Loibl, p. 28.
- ↑ LANDAU adIsar (DGF), Parish Church of the Assumption - full peal . Online at www.youtube.com. Retrieved January 5, 2017.
Coordinates: 48 ° 40 ′ 8.2 ″ N , 12 ° 41 ′ 28 ″ E