Assumption of Mary (Semerskirchen)
The Roman Catholic parish church of the Assumption of Mary in Semerskirchen , a district of the Herrngiersdorf community in the Lower Bavarian district of Kelheim , is one of the oldest parish churches in the Regensburg diocese . Although it was first mentioned in a document in the 13th century, it is assumed that it was founded in the 9th century. The current building combines elements of style and furnishings from the Romanesque , Gothic and Baroque styles .
history
The church is probably one of the oldest still existing churches and one of the oldest parish churches in the diocese of Regensburg . This is supported by the original patronage of Beata Maria Virgo , under which the Bavarian ducal family of the Agilolfingers founded numerous churches, especially in the 9th century. It is therefore reasonable to assume that the church and parish in Semerskirchen also came into being in the 9th century. The floor tile covering under today's nave , which was partially exposed during a renovation in 1994 , is dated to around 1000 AD. The church in Sanctmarienchirchen (today Semerskirchen) was first mentioned in a document in 1273. At that time, the patronage was transferred to the former Augustinian canons of Rohr . In 1280 the vacant parish of Sittelsdorf - located only about two kilometers southwest of today's parish church - was merged with the parish of Semerskirchen. These two parishes, as well as the neighboring parish of Sandsbach, are now among the oldest in the Regensburg diocese.
The oldest parts of today's building fabric come from the Romanesque style, i.e. from the 13th century at the latest. These include the foundation walls of the nave , as can be seen from the partially exposed limestone masonry , and the substructure of the tower . The latter has added round-arched twin windows , which make this stylistic assignment seem safe. In addition, the remains of a Romanesque apse were excavated below the present choir . However, this was replaced by a larger, Gothic choir in the middle of the 15th century, which has been preserved to this day. The former “ soul chamber ” was subsequently added to its south side , which can be recognized by the walled-up pointed arch window in the choir.
After severe damage in the Thirty Years' War , the church was rebuilt around 1640. Under the Rohrer provost Patritius von Heydon , who was in office from 1682 to 1730, the church was given a Baroque style. The high altar , consecrated in 1688, testifies to this . Around 1710 the tower received its octagonal tower with the distinctive, clapboard-covered onion dome . In the course of the Baroque era, the sacristy was built on the north side of the choir, the church portal was moved from the south side to the tower ground floor, a vestibule was added to the west side of the tower and the two lower tower floors were connected to the nave to gain space. The last major church renovation was carried out in 1994.
architecture
The parish church of the Assumption of Mary rises picturesquely above the village pond of Semerskirchen. The east-facing hall church includes a nave with three bays and a single - bay choir, which - typical of the late Gothic - is provided with a five- eighth end. The nave and choir are united under a common gable roof . Except for the arched window openings, the exterior is largely undivided, with no windows being used in the central nave yoke. Sacristy extensions were added to the choir on the north and south sides .
The protruding west tower has an undivided, square substructure, the substance of which comes from the late Romanesque. Above the tower clock , i.e. well above the roof ridge of the nave, the tower merges into an octagonal tower by means of a cornice , which was built in the Baroque period. This is structured by pilaster strips and has round-arched sound openings on four sides. A mighty tower onion serves as the upper end, which - rather untypical for the area - is covered with wooden shingles. The parish church of St. Peter in the neighboring village of Sandsbach has a similar clapboard covering.
The church interior is accessed through the ground floor of the tower. This room is separated from the actual church space by a grille. A gallery with a straight parapet has been drawn into the rear nave yoke . The wall to the tower was laid down both below and on the gallery in order to gain more space for the worshipers and for the organ . The nave and the slightly retracted choir are spanned by a baroque cross vault.
Furnishing
Stucco and ceiling paintings
The sparse stucco decoration in the choir was created around 1730. Two cartouches are framed with tendrils and foliage - to the east with a Christ monogram and to the west with a Mary monogram - and the ceiling fresco in between. The latter was only created in 1912 by Johann Böckl and represents the patronage theme of the Assumption of Mary . The painting of the nave ceiling is also by Böckl. The main picture shows the Annunciation to Mary . The painted cartouche on the choir arch with the inscription AVE / MARIA / GRATIA / PLENA refers to this . The cartouches on the nave vault, painted using the grisaille technique, represent symbols with Marian titles from the Lauretanian litany .
High altar
The baroque high altar, consecrated in 1688, has two round columns above the base, which surround a shell niche, as well as two outer, winding columns under cranked entablature. Carved cheeks with foliage are attached on both sides. The tall tabernacle was not changed to its current state until the 1960s. The structure, flanked by volutes , is supported by four round pillars marbled in blue. On top is a figure of the Mother of God with baby Jesus from around 1600. The already mentioned shell niche forms the background for the main figure. In the altar extract , between the gable and volute, is the upper picture flanked by two angel figures with a representation of Saints Barbara and Catherine .
Side altars
The two side altars are from the period around 1700. They are, as usual, on both sides of the choir arch, however, are due to the small width of the nave turned to the nave walls. The altars each have two winding columns, entwined with foliage, which rest on volute consoles . On each side there is a carved cheek with vine tendrils; these carvings were taken from an unknown altar and added to the side altars later. The altar extension is located between the gables on cranked entablature. On the north (left) side altar, St. Wendelin is depicted in the main picture , and St. Anthony of Padua in the oval excerpt . The southern (right) side altar shows the martyrdom of St. Sebastian in the main picture, and St. Rochus in the upper picture .
People's altar, ambo and baptismal font
The modern folk altar with a depiction of the wedding at Cana was erected in 1994 over the altar foundation of the previous medieval building. Like the ambo, it comes from the sculptor Alfred Böschl from Adlhausen . Both works of art should create a reference to the Romanesque baptismal font through their indicated chalice shape . This largely unadorned stone rests on a square base and was created in the second half of the 13th century. It is placed in front of the north side altar.
pulpit
The baroque pulpit is attached to the north of the choir arch . It has a polygonal , blue-gray marbled body with simple, red-brown marbled fields and gold-plated fruit pendants on the edges. The also polygonal sound cover with a relief of the Holy Spirit dove on the underside is decorated with gilded carvings on the edge .
Other equipment
The figural decoration of the church includes two late Gothic carvings from the late 15th century. The figures representing Saints Sebastian and Wolfgang are housed in the choir room. Also in the choir is a crucifix, a mission cross with a baroque body, which was installed in 1966 . On the back wall of the nave there is a baroque figure of the Mother of God with the baby Jesus from the 18th century. The Way of the Cross comprising 14 panels has been preserved in its original baroque frame. The modern apostle candlesticks , which are attached to the reconstructed apostle crosses based on findings , were created by the Nuremberg artisan Klaus-Peter Scherer in 1996.
organ
An organ for the parish church of Semerskirchen was completed in 1895 by Martin Binder from Pfaffenhofen an der Ilm . The single-manual instrument consisted of six registers . During the renovation in 1994 it was replaced by an instrument made by Johannes Schädler from Donaustauf . The purely mechanical slider tray instrument is housed in a three-part, centrally raised prospectus . This is decorated by veil boards with acanthus scrollwork. The organ has eight registers on two manuals and a pedal . The disposition is as follows:
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- Coupling : II / I, I / P, II / P
Bells
The bells, which are extremely stately for a village church, include five bells with the striking note sequence e 1 –g sharp 1 –h 1 –c sharp 2 –e 2 , which corresponds to an extended Salve Regina motif . The second largest was the only one to survive the two world wars . It was made in 1850 by Joseph Anton Spannagl from Regensburg and consecrated on April 24th of that year together with two other bells by Bishop Valentin von Riedel . In 1923 two new bells were consecrated again, which had been purchased to replace war losses. However, these had to be given back in the Second World War . Karl Czudnochowsky made the remaining four bells that complete today's ringing in Erding in 1950 .
Surroundings
There is a small cemetery around the church, which is surrounded by a wall from the 18th or 19th century. To the north of the church is the also listed rectory , a two-story, baroque saddle roof building from 1707/08. A baroque Madonna figure has been preserved in an arched wall niche . A single-storey hipped roof building , which was built in the 18th century as a wooden block , serves as the parish barn .
literature
- Karin Hösch: Churches in the parishes of Sandsbach and Semerskirchen. Published by the Catholic parish office of Semerskirchen, Peda-Kunstführer No. 168/2001, Art Publishing House Peda , Passau 2001. ISBN 3-89643-172-2 .
Web links
Individual evidence
- ↑ a b c d Hösch, p. 16f.
- ↑ Laabertal pilgrimage route . Online at prospektbestellung.toubiz.de; accessed on January 16, 2017.
- ↑ a b c d e f g h Hösch, pp. 17 and 20–22.
- ^ Assumption of Mary / Semerskirchen . Online at www.orgelbau-schaedler.com; Retrieved June 17, 2017.
- ^ Semerskirchen, Parish Church of the Assumption of Mary . Online at www.glockenklaenge.de; accessed on January 16, 2017.
- ^ Semerskirchen (KEH), Parish Church of the Assumption - full bells . Online at www.youtube.com; accessed on January 16, 2017.
Coordinates: 48 ° 47 ′ 7.8 " N , 12 ° 4 ′ 49.6" E