Assumption of Mary (Rotthalmünster)
The Church of the Assumption of Mary in the Rotthalmünster community in the Passau district is a three-aisled, late Gothic parish church of the parish in the dean's office in Passau-Süd in the diocese of Passau .
Local history
Rotthalmünster owes its existence to the oldest own monastery , a certain monastery of the Benedictine order . The convent was founded in the years 730-740 by the founder of the noble Wilhelm under Duke Hugbert (725-736) with the permission of Duke Odilo (736-748), both of whom come from the Agilolfinger family . The place name comes from the Latin word Monasterium (in German Münster). The name "Marckh Münster im Roth Thal" later became Rotthalmünster.
Building history
In place of today's church, a parish church was built in the second half of the 12th century, the Romanesque tower base of which is still present. In 1452 the church was torn down except for the tower, shortly afterwards the construction of today's church began under master builder Hans Wechselperger from Burghausen . The construction was carried out by Pastor Egidius Kräl, whose epitaph is attached to the choir. In 1733 the tower was rebuilt by the Landshut court builder Johann Georg Hirschstetter . In 1900, the side walls were extended by neo-Gothic vestibules for a larger gallery.
During interior renovations in 1958 and 1984, several dates were uncovered and restored, some of which are incompatible with the stylistic findings: the year 1479 is painted on the west side of the choir arch, 1479 on the end walls of the aisles in the north and 1453 in the south.
architecture
The exterior of the church is characterized by the mighty roof, which continues as a towing roof over the side aisles, which were remodeled in a neo-Gothic style and provided with window tracery. The west facade is also neo-Gothic, which was created by extending the side aisles up to the line of the former tower above. The superstructure of the tower shows bevelled corners and pilasters and is crowned by a double onion dome. Several gravestones in red marble are attached to the choir.
Inside the church is designed as a relay hall with a choir the width of the central nave. The lower aisles are of different widths. The effect of the stately room is impaired by the installation of the gallery and the raising of the floor.
The four-bay nave is remarkably broadly proportioned. The octagonal pillars merge into the arcades without a fight . Short service pieces take up the ribs, the consoles of which have been renewed in a neo-Gothic style, with the exception of the eastern pair. The two-bay choir is a little too high and ends in a three-eighth end .
The connection of the choir to the nave is characterized by irregularities resulting from the axis shift of the choir in relation to the nave. It is precisely at this critical point, on the north wall of the choir next to the choir arch, that the maker's mark by Hans Wechselperger is attached. On the north side of the choir there is an oratory illuminated through tracery windows. The irregular breaks in the east walls of the aisles are also striking.
The irregularities continue in the vault area. The alternately warped vault figures of the south aisle are particularly striking and are interpreted in the literature as an intentional puzzle . In contrast, the figures in the central nave of the nave and the choir and in the north aisle are more evenly designed and show different, but uniform star configurations.
A mural in the choir, inscribed 1594/1595, shows a cycle of apostles with a creed.
Furnishing
The black polished, gilded high altar with a slim proportioned structure from around 1700 with tightly coupled twisted columns shows a painting of the Assumption of Mary in heavy, dark coloring. The assistant figures of the church fathers St. Gregory and St. Augustine.
The northern reredos from the same period shows considerable side figures of Saints Apollonia and Ottilie from 1520/1530 with remnants of old frames. The southern rococo table with a painting from 1767 is equipped with two finely carved figures of Saints Anna selbdritt and Joachim with a new version, which are very likely from Wenzel Jorhan from Griesbach from around 1740. On the altar is a carved Pietà from the turn of the 16th and 17th centuries. Century with a renewed version, which is probably a replica of a late Gothic group.
A carved figure of St. John Nepomuk from the time is also attributed to Wenzel Jorhan. The life-size sculpture is moved in a strong S-curve and shows the saint with his attribute, the cut-off tongue. A baroque painting that hangs over the sacristy door and depicts the former altarpiece shows the Holy Night and is apparently by Johann Caspar Sing from around 1700.
The neo-baroque pulpit is attached to the choir arch. A Madonna and Child (2nd half of the 17th century) from the vicinity of the Schwanthaler workshop is located on the north-eastern central nave pillar. The vaulted ceiling is adorned with delicate tendril paintings.
The organ from the year 1962 , made by the Passau company Orgelbau Eisenbarth , is inserted on the parapet of the upper gallery .
Surroundings
Church fortification
The former church fortification is similar to the fortified church in Kößlarn and shows a preserved remnant of the fortifications and the so-called Portalstöckl to the southwest. The basement is late Gothic, the gateway is arched on two floors with ribbed vaults, heraldic keystones and maker's mark. The upper floor is neo-Gothic.
Wieskapelle
The late Baroque side church has its origins in the Thirty Years' War, in 1644 Pastor Paul Reiser had it built a little north of today's pilgrimage chapel made of wood in honor of the painful Mother of God. In the years 1737–40 the Wieskapelle was built in its current location under Pastor Joachim Häring (1735–46) with the help of the soldiers of Lieutenant Alois von Lemmingen a Coulman according to plans by the master builder Thomas Wöger. It was expanded in 1836 and set up as a war memorial in 1920.
The building is a simple late baroque hall with a flat ceiling over a throat. The altar dates from around 1740. A Pietà from 1430 with a baroque Corpus Christi is displayed as a miraculous image. The choir grille was made in 1774 by master locksmith Johann Georg Gruber from Schärding.
Timetable
| year | event |
|---|---|
| 730-740 | Foundation of the first aristocratic own monastery by the noble Wilhelm Duke of Bavaria |
| 12th century | Construction of a Romanesque church |
| 1343 | Grant of patronage to the Aldersbach monastery by Emperor Ludwig IV. |
| 1452-1481 | New construction of today's late Gothic parish church based on plans by Hans Wechselperger |
| 1733 | Baroque elevation of the church tower under Johann G. Hirschstötter |
| 1737-1740 | Construction of the Wieskapelle |
| 1806 | Elevation to an independent parish |
| 2000 | Inauguration of the newly designed chancel |
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. 597-599.
- Anna Hochleitner: Rotthalmünster. Parish Church of the Assumption. Schnell and Steiner, Regensburg 2004, ISBN 3-7954-6499-4 .
Web links
Coordinates: 48 ° 21 ′ 35.9 ″ N , 13 ° 12 ′ 12.6 ″ E