Assumption of Mary (market forest)

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Church of the Assumption in Markt Wald

The Catholic parish church of the Assumption of Mary stands on the southern edge of the village of Markt Wald in the Unterallgäu district ( Bavaria ). The church building, which was built in the 15th century, is a listed building and bears the patronage of the Assumption , which is celebrated on August 15th. Around the turn of the century from the 17th to the 18th century, the church was redesigned in Baroque style. Towards the end of the 19th century, the church was redesigned in the neo-Romanesque style. The Assumption of Mary got its current appearance, partly with modern equipment, in the mid-1950s.

history

Memorial plaque for the pastor of Markt Wald

In the southern district of Markt Wald, called Soler , there was originally a pilgrimage chapel, a branch of Steinekirch. A pastor is mentioned for the first time in 1465, and the right of patronage over the church rests with the Wald dominion.

The existing church was built in the late 15th century under the pastor Friedrich Fuchsschwanz, mentioned in 1483. During this time, the vaulted choir, the church tower, the wall around the churchyard and the Sebastian altar dedicated to St. Sebastian were built. The nave was finished in 1499. The latter was handed down by a year on the former flat ceiling in the nave, which had to be replaced in 1727. The first, no longer existing, high altar was made in 1503. There are still three figures of this: the figure of Our Lady on the existing high altar, the figure of Anna Selbdritt in Steinekirch and the figure of St. Barbara in Oberneufnach . In 1590 there were a total of four altars in the church, two Marian altars and an Apostle and Sebastian altar. The visitation report from 1607 mentions paintings in the church, another visitation report from 1675 mentions two newly erected, magnificent altars.

The church was redesigned in Baroque style towards the end of the 17th and beginning of the 18th centuries under the pastors Simon Vetter (1688–1727) and Joseph Bez († 1736). Simon Vetter had a new pulpit built in in 1696 with his own resources, and in 1698 drafts for a new high altar were made by the cabinet maker Johann Hörmann from Mindelheim and the choir was stuccoed. Three new altars were consecrated in 1713 or 1714 and the year before, in 1712, a new organ was installed. The master bricklayer and stucco worker Michael Stiller from Ettringen rebuilt the nave between 1727 and 1730. During this renovation, the nave was extended to the west. The church tower, which until then had a gable roof, was equipped with a tent roof in 1825 .

In the course of a comprehensive renovation around 1870, the stucco and the frescoes were removed and the church furnished in a neo-Romanesque style. In 1869 a new high altar and a new pulpit , in 1880 and 1886 new side altars, as well as choir and confessionals were installed. During the later restoration in 1902, the stucco in the vault area was restored using old remains and new frescoes were created. Another renovation took place in 1950. The current high altar dates from 1953.

Building description

Sign with wooden plaque with the poor souls and three grave slabs underneath
Upper part of the church tower with sound arcades and tent roof

The church has a drawn-in, three-sided closed choir with three bays. Inside there is a Gothic needle cap barrel, the ribs of which have been chipped off. Corinthian pilasters, on flat templates with cranked, three-part entablature, structure the walls of the choir. There are half pilasters in the corners, kinked in the final corners of the choir and no pilasters on the apex . The arched windows in the choir and nave are raised and drawn in. At the end of the choir there is a walled-up arched window, the north wall has no windows in both axes, and only one axis of the south wall contains a window. On both sides, directly on the choir arch, there are basket arch doors, the north of which leads into the church tower and the south to the sacristy. Both doors have splendidly carved door leaves from around 1720. Above the doors there are protruding oratory balconies on both sides . The underside of the balconies is console-like and curved flat, the parapet is stuccoed and fielded. Between the choir and nave is the originally pointed arched and now parabolic re-entrant arch . At the fighters of the choir arch one STUCCO is cornice , mounted as well as on the pilasters in the choir. The nave of the church consists of a hall with four bays and a short, flat-roofed extension to the west. The ceiling of the nave is a basket-arched needle cap barrel. In the nave, the walls, similar to the choir, are structured by pairs of Corinthian pilasters on templates with cranked, three-part entablature. In the west axis of the nave there are two deep galleries . The lower gallery rests on four Corinthian, neo-baroque , wooden columns. The parapet of the lower gallery protrudes in the middle part by means of concave valleys. Compared to the lower gallery, the upper one is slightly set back and has a straight parapet.

On the choir facade there are strong buttresses , stepped at ⅔ height, around which the plinth and a cornice run below the window soles. The upper parts of the buttresses are pointed in a wedge shape and are converted back into a rectangle via protruding profiles, with a pent roof above . A three-pass arched frieze runs below the eaves cornice at the choir and the nave. The outlines of the Gothic and later walled-up pointed arch windows can still be seen on the south side of the nave. The late Gothic sign is in front of the chamfered south portal . The sign opened to the east and south by a pointed arcade is covered with a gable roof. Inside the sign there is an asymmetrical star rib vault on profile consoles. Three grave slabs are embedded in the lower area of ​​the south wall. Above it is a wooden panel with painted poor souls, probably from the 18th century. The square church tower is in the northern choir corner. The ground floor of the church tower has a groin vault , as well as an arched window on the east side and a rectangular door with classicist carved decoration from around 1800 on the south side. The four floors above have key notches. The two-storey upper part sits on top of this over an arched frieze. In the upper area there are three-part sound arcades separated by small columns . In the 18th century the sacristy was built in the southern corner of the choir. This is two-storey and covered with a pent roof. There is a groin vault on the ground floor of the sacristy. A Mount of Olives chapel is built on the west side of the sacristy. A neo-Gothic group of figures from the Mount of Olives can be seen in an arched niche.

Furnishing

Interior view of the Assumption

Piece

The stucco in the choir comes from Michael Stiller and was created around 1725 to 1727. The stucco includes the corinthian pilaster capitals and the acanthus leaves and pearl bars on the entablature. The latter can also be found on the crest of the choir arch. Rich profile frames run around the windows in the choir. The shield arches and stitch cap ridges have profiles and leaf bars. The other stucco work in the choir was removed in the 19th century. There is also stucco in the nave, which follows the type and style of the choir. This stucco is neo-baroque and was created in 1902.

Frescoes

The frescoes in the church come from Friedrich Jakob from Munich and were created in 1902. The choir frescoes show the Adoration of the Shepherds to the east , a small medallion with the Lamb of God at the top , and the Annunciation to the west . Medallions with biblical parables in grisaille painting are attached to the side of the spandrels . Starting on the north side from the east, the good Samaritan , the prodigal son and south, also starting from the east, the banquet of the rich man and poor Lazarus , as well as the enemy sowing weeds during the rest of the field workers . The three central frescoes on the ceiling of the nave show the marriage of Mary and Joseph, the Passage to the Temple and the expulsion from Paradise from the east . In the side gussets there are cartridges with blue, yellow ocher or red tone painting. On the northern side, Jesus and the Samaritan woman at the well, Jesus and Peter walking on the lake and the temptation of Jesus are shown. The opposite page shows the Emmaus meal , Jesus in the storm at sea and the baptism of Jesus .

High altar

The sculptor Hans Miller from Munich-Solln made the drafts for the new high altar which was made in 1953 by the sculptor Ignaz Hörmann from Babenhausen . The high altar made of wood and framed is a modern work that picks up on echoes of early classical motifs. The fields of the strip cladding are decorated with meanders . The tower-like, gilded, tabernacle rises on it . The upper part of the tabernacle consists of a round arch niche with a canopy made of wood from the early 18th century. The niche contains a small barrel vault , which sits on four winding pillars entwined with vines. In the center of the niche there is a classical metal crucifix with a tail base from around 1800. The further structure of the high altar consists of two strong, green marbled, Tuscan columns. Both columns are set with numerous candlesticks and each have an angel figure from 1720/1730 on their tops. In the large arched niche between the pillars, a framed wooden figure of Our Lady , standing on a crescent moon, is set up in a halo. The figure is a work from Ulm around 1500 and probably came from the circle of Jörg Syrlin the Younger . The two kneeling angels at the feet of Our Lady come from the middle of the 18th century. Above the arch is a crown, flanked by two seated putti . The putti were created around 1720/1730. A dove of the Holy Spirit is attached to the ceiling of the choir above . In addition to the two strong columns, the figures of Saint Stephen (left) and George (right) from 1720/1730 are placed on consoles .

Side altar

Painting by Ferdinand Wanger in the north side altar. Acceptance of the corpse of St. Sebastian.

The two neo-Romanesque side altars are set up in front of the choir arch. They consist of two-column aedicules and were made around 1880/1886. Both paintings in the arched niches are by Ferdinand Wagner from Schwabmünchen from 1843. The painting in the north side altar depicts St. Sebastian detached from the tree trunk by two young women. The southern side altar shows the Assumption of Mary in his painting, a copy after Guido Reni .

pulpit

In 1880/1886 the neo-Romanesque pulpit was created with a Baroque touch. The body of the pulpit has three circular paintings on wood. These show Jesus Christ and two of the four evangelists .

Stalls

Hans Miller from Munich created the two modern confessionals with their baroque echoes in 1953 . The lay chairs are renewed. The tail cheeks of the lay chairs have acanthus carvings from the first quarter of the 18th century. On one of the front benches is the sacrificial stock with a baluster base from the 18th century. The choir stalls , the communion bench and the font are neo-Romanesque.

Procession poles

The processional pole for the Rosary Brotherhood was made around 1700 . The pole has a cup-shaped structure set with acanthus. A three-armed acanthus console with mounted wooden figures is placed on top of this structure. The figures represent Mary in the middle , surrounded by Saints Dominic and Catherine of Siena . In addition to this processional pole, there are another 18 brotherhood poles from the 18th century in the church. The brotherhood poles are crowned with radiant and painted metal shields. On the front the paintings of the metal plates show the secrets of the rosary and on the back the monogram of Mary .

  • Processional pole, circa 1700. The figures from left to right: Dominikus, Maria, Katharina von Siena.

  • Detail of a brotherhood pole, 18th century. The mystery of the rosary Jesus who crowned you, virgin, in heaven. ( Rev 12,1  EU ) is shown.

  • Brotherhood pole with the mystery of the rosary Jesus who was crucified for us. ( Joh 19,18  EU )

Wooden figures

Several wooden figures are set up in the church. On the north wall of the choir there is a crucifix from 1520/1530. Below is a pietà on a broad neo-coco console from the mid-18th century. Four half-figures from the mid-18th century are set up on the back of the choir stalls. To the north are Jesus and a prophet with an open book. Two more prophets are shown to the south with open books. The latter are likely to be a little more recent than the two first mentioned. The lecture crucifix comes from the second quarter of the 18th century. The mission cross , as well as the Infant Jesus of Prague and the lecture cross date from the 19th century.

painting

Votive picture from 1735

A cycle of apostles with half-figures from the first half of the 18th century is depicted in oval carved frames. The 14 stations of the cross were created around 1770/1780. The inscription Restored in June 1871 by Lamminet Josef pinxit on the back of the 13th Station of the Cross reminds of the restoration. Below the gallery, on the north wall, there is a large votive painting made of oil on wood from 1735. It bears a long inscription: While we Upper Austrian dermal pledge subjects of the lordship of Irmanshofen auf dem Wald, on July 11, 1735, because of disputes about the wood / and other hardships have been ambushed with a formidable execution crew; when all the subjects of Hauß went to the rectory / and the next day they met at Bußkreutz, and after a long verbal argument and opposition to one another in a hostile manner nothing seemed good on the part of the subjects, the subjects agreed with the mother. Released good things here on the Kor altar and took refuge: already read a holy mass through the pastor and prayed a rosary aloud and eagerly called on the Mother of God: also experienced her help immediately, in the man decided after the service held Inspruk to go to the highest government, whatever happened; and good expedience was also received there / Before such good deeds, and grateful remembrance of the Blessed Mother of God, we had this Votief tablet made. In the year MDCCXXX. In the votive picture, armed peasants face each other on the left and soldiers on the right in front of a field cross with Mater Dolorosa . The village and church can be seen raised in the background on the left, the castle ruins on the right. Above it, the image of grace can be seen flanked by angels.

Funerary monuments

Grave monument for Adam von Riethaim († 1578)

In the chancel of the church five grave monuments are placed on the walls, one on the north side and four on the south side. The northern grave monument made of red marble with a saying and frame, as well as an inscription in the upper part and below a cross with two coats of arms in laurel wreaths was erected for Paul Zehendner († 1601) by Zehendtgrueb, the Burgau councilor and caretaker of the Irmatzhoven lordship. The grave monument for Anna von Riethaim, born Riedtherin († 1568), is erected on the south side. The limestone slab depicts the deceased in a relief figure. The figure is flanked by four ancestral coats of arms, above which there is a small inscription tablet. To the right of it is the grave monument for Christoff Adam von Riethaim zu Yrmatzhofen auf dem Wald († 1578). He was the servant of Archduke Ferdinand of Austria. The sandstone slab shows an inscription at the top and a coat of arms in a circular aperture below. To the left of the grave monument with the relief figure Anna von Riethaim, two monuments to the pastor Joseph Bez († 1736), above, and Simon Vötter († 1727), below, are set in the wall. Both panels are made from Solnhofen limestone and have an Antiqua inscription.

In the sign there are three more grave monuments made of Solnhofen limestone. For Maria Benedicta Catharina Schuyerin, born von Depra, weyl. Hochgräfliche Wöllenburgische nurse († 1760) and the two pastors Dr. theol. Aegidius Johannes Ulrich von Spindler († 1776) and Johann Melchior Walter († 1817).

organ

View of the gallery with the Koulen organ from 1914

In 1914 the organ building company H. Koulen & Sohn built the organ in Assumption of Mary. It has two manuals and 23 orchestral registers. The organ is housed in a 5-part organ brochure with a combination of Art Nouveau and free pipe placement.

I Manual C-g 3
1. Principal 8th'
2. Octave 4 ′
3. mixture 2 2 ⁄ 3  ′
4th Drone 16 ′
5. Dolce 8th'
6th Gemshorn 8th'
7th Gamba 8th'
8th. Lull major 8th'
9. Trumpet 8th'
II manual
10. Violin principal 8th'
11. Darling Covered 8th'
12. Salicional 8th'
13. Vox coelestis 8th'
14th Transverse flute 4 ′
15th Fifth flute 2 2 ⁄ 3  ′
16. Picolo 2 ′
17th Third flute 1 3 ⁄ 5  ′
18th oboe 8th'
Pedal C – d 1
19th Violin 16 ′
20th Sub-bass 16 ′
21st Covered 16 ′
22nd Octave bass 8th'
23. trombone 16 ′

literature

  • Heinrich Habel: Mindelheim district . Ed .: Torsten Gebhard, Anton Ress (=  Bavarian Art Monuments . Volume 31 ). Deutscher Kunstverlag , Munich 1971, p. 208-213 .
  • Georg Dehio : Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag, Munich and Berlin 2008, ISBN 978-3-422-03116-6 , pp. 697-698 .

Web links

Commons : Assumption of Mary  - collection of images, videos and audio files

Individual evidence

  1. ^ Diocese of Augsburg
  2. ^ Bavarian State Office for Monument Preservation: Entry D-7-78-169-3
  3. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, p. 208
  4. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, pp. 208, 209
  5. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, pp. 209, 210
  6. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, p. 210
  7. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, pp. 210, 211
  8. ^ A b c d Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, p. 211
  9. ↑ a b c d e f Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, p. 212
  10. ↑ a b c d Georg Dehio: Handbook of German Art Monuments - Bavaria III - Swabia. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , p. 697
  11. ^ Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, pp. 212, 213
  12. ^ A b Heinrich Habel, Torsten Gebhard, Anton Ress (eds.): Mindelheim district (= Bavarian art monuments. Vol. 31). Deutscher Kunstverlag, Munich 1971, p. 213
  13. ↑ JP Bachem: Church Music Yearbook . tape 83, 84 , 2000, pp. 151 .
  14. ↑ Augsburger Allgemeine Zeitung: Markt Wald celebrates its great organ on January 8, 2014. Accessed on December 31, 2014 .
  15. ^ Günther Massenkeil (ed.): Church music yearbook . Volume 84, 2000, p. 151 .

Coordinates: 48 ° 8 ′ 7.9 "  N , 10 ° 34 ′ 53.3"  E