Assumption of Mary (Bonbruck)

Interior view of the Parish Church of the Assumption

Counter view of the west gallery

The Roman Catholic parish church of the Assumption of Mary in Bonbruck , a district of the Bodenkirchen municipality in the Lower Bavarian district of Landshut , is a neo-Gothic relay hall that was built in 1892/94 instead of a late Gothic building from the 15th century. The building is registered as a monument with the number D-2-74-120-24 at the Bavarian State Office for Monument Preservation .

history

The church in Bonbruck was a noble own church of the Ebenhausers, who had a closed Hofmark at the site since 1406 at the latest . This belonged to the parish of Aich . The exact origins of the church are, however, in the dark. The church tower is said to have been essentially Romanesque until the renovation in the late 19th century . The first documented mention of the church dates from 1436. At that time, the vicar von Aich and the church members of the Frauenkirche zu Panbruck bought wood for a new building of this church, which was probably built around 1450. The master builder Hans Maurer von Landshut appears as a witness to this certification . This is possibly identical to the famous Hans Stethaimer , who continued the construction of the Landshut Martinskirche after the death of Hans von Burghausen in 1432 . In 1482 the church in Bonbruck appears for the first time in a diocesan register; it is only assigned to the dean's office in Seyboldsdorf . In a Regensburg visitation protocol from 1508, it is described for the first time as a branch church of Aich.

After the Deuring Hofmark and Schloss Bonbruck took over in 1639 , they very soon began to renovate the church, which was thwarted by the turmoil of the Thirty Years' War and was probably only completed after the end of the war. This created a single -bay choir room 11.50 meters long and 7.20 meters wide . This was a little wider than the single-nave nave and significantly elevated compared to this. In addition, the nave was 3.50 meters lower than the choir and was - also due to its proximity to Bina - a damp, dark room. This uncomfortable situation for the members of the branch community lasted around 250 years.

Since Bodenkirchen , originally also a branch of the parish of Aich, was raised to an expositur shortly before 1724 and thus received its own pastor, this "expositus" also looked after the branch community of Aich. In 1890 the young priest Georg Diermeier took over this office. With regard to the old Bonbruck church, he has passed down the following saying: “You get the impression of going into a cellar rather than a church.” This was the incentive for him to implement the long-cherished renovation plans for the Bonbruck church as quickly as possible.

As early as 1853, when major repairs to the walls and roof structure had to be carried out , the first thought of a conversion, as the old church could only hold about half of the believers at Sunday mass. Since the sum of around 4,000 guilders estimated by the construction aspirant Leonhard Schmidtner from Landshut seemed too high, it was left with the urgently needed repairs for the time being. Another cost estimate for 3,376 guilders, which the Vilsbiburg master mason Anton Wagner prepared in 1859, was also turned down. Instead, the church roof was repaired for no less than 824 guilders. It was only after Georg Diermeier became an expat in Bodenkirchen in 1890 that the conversion plans began to be implemented. The contract was awarded to the master mason Josef Eder junior from Geisenhausen , with whom an amount of 20,000 marks was agreed.

The demolition began on March 7, 1892. The old nave including the Romanesque tower and about half of the presbytery were put down. The new building, a neo-Gothic relay hall, was brought under the roof at the end of August. In November, the new church was largely completed so that services could be held in it. In the following years, 1893/94, the new building now had to be adequately equipped. Another 20,000 marks were estimated for this. The three neo-Gothic altars and the pulpit , which were created by the Landshut sculptor Michael Mayer , alone accounted for 11,000 marks . Already in 1867 he had furnished the newly built parish church of Johannesbrunn . In addition, new church stalls and a wooden double gallery were installed, which were made by the local master carpenter Erlmeier. In the course of the church renovation, the surrounding cemetery was also redesigned. For example, the graves were rearranged and aligned, the entrance was repaved and the cemetery wall covered.

The church was consecrated on June 7, 1894 by Bishop Ignatius of Senestrey , who described the new building as the "pearl among the country churches, an ornament of the Bina valley ". In 1910, electrical lighting was installed in the interior. After three of the four bells purchased in 1876 had to be given in for war purposes during the First World War , three new bells were purchased in 1923. In the years 1923-24 the compartment tray by was Munich architecture and decorative painter Joseph Elsner junior in bright color adopted . In 1936 a new holy grave was erected in front of the high altar . In January 1942, the three newer bells were again used for military purposes. They were not replaced by three new bells until 1950, supplementing the single bell from 1876. In 1947 the cemetery, which has been expanded several times to this day, was given a new wall made of Ruhpolding marble . A comprehensive exterior renovation was carried out from 1954 to 1956, followed by an interior renovation that lasted until 1960. The pulpit and the side altars were removed from the church, the high altar was shortened and made of stone gray. Its original version was only restored in 1992 during a renovation by the Hasselmann company from Plattling .

In 1974, in accordance with the requirements of the Second Vatican Council , a people's altar , an ambo and some sediles made of Bulgarian Monastir sand-lime brick were purchased. The altar consecration took Auxiliary Bishop Vinzenz Guggenberger before September 28 1975th In 1981/82 the parish church received a new organ , which had previously been restored by Orgelbau Sandtner from Dillingen an der Donau . In order to be able to accommodate the instrument, which is now much larger than its predecessor, the upper gallery had to be removed. The organ consecration took place on September 19th, 1982. The last extensive exterior and interior renovation took place between 2000 and 2004. The altar area was redesigned, the shell was overlaid according to old findings, the floor and chairs were restored and a new heating system was installed so that almost no moisture damage has occurred so far . Bonbruck had already been raised to the position of Expositur in 1935, and then in 1947 was raised to the position of parish curate . With effect from December 8, 2001, it was finally converted into an independent parish . A parish community with Bodenkirchen has existed since 1996.

architecture

The east-facing, three-aisled relay hall is designed in the neo-Gothic style. Only the one-yoke choir with a three-sided end originates in its core from the 15th century, i.e. from the late Gothic. Like the four-bay nave, this is structured on the outside by double buttresses and a simple roof frieze. The window openings are all designed in an ogival shape. The protruding west tower is also neo-Gothic and has a square substructure that merges into an octagonal tower just above the roof ridge by means of a cornice . On this four-sided, ogival sound openings (below) and tower clocks (above) are arranged one above the other. An eight-sided pointed helmet with a ball and cross rises above four triangular gables .

The interior is accessible via two portals on the north and south sides. The three naves and the choir are spanned by a neo-Gothic ribbed vault in a star configuration. The choir arch and the divider arches are also pointed. In the rear central nave a wooden gallery has been drawn in, which carries the stately, three-manual organ.

Furnishing

Altars

High altar

The church interior is dominated by the neo-Gothic high altar by the Landshut sculptor Michael Mayer. The altarpiece with a central Baroque relief of the Assumption of Mary by Landshut sculptor Franz Raimund Scherrich rises above a stone canteen that rests on two pairs of neo-Gothic columns . This is flanked by the side figures of the “princes of the apostles” Peter and Paul . The superstructures of the two side altars at the end of the side aisles were removed during the renovation in the 1950s. Above the stone canteen of the right side altar there is a late Gothic choir cross from the late 15th century, which may have come from the school of Hans Stethaimer and is flanked by figures of Saints Franz Xavier and Johannes Nepomuk . There is also a baroque figure of Mater Dolorosa at the foot of the cross . The counterpart in the left aisle is a late Gothic figure of the Madonna , backed by a halo, which was also made in the workshop of Heinrich Helmschrot in Landshut at the end of the 15th century. It is flanked by figures of Saints Anthony of Padua and Francis of Assisi .

There are also remnants of two previous altars. In the choir hangs an altar panel of the Assumption of Mary painted in oil on canvas in the Baroque period (around 1660) . In the chapel on the ground floor of the tower, two late Gothic altar wings can be seen with depictions of the apostles Peter and Paul. Three other baroque paintings could also come from earlier altars in the church: hll. Sebastian and Katharina ; Mary Magdalene weeping for the crucified; St. Francis Xavier.

The redesign of the liturgical places due after the liturgical reform of the Second Vatican Council was carried out according to the designs of the sculptor and academy professor Georg Brenninger from Velden . The popular altar , ambo and sedile are made of Bulgarian Monastir limestone .

Figurative equipment

On the pillars in the central nave there are neo-Gothic figures of Saints Barbara , Katharina, Florian and Sebastian. In the rear area there are also figurative representations of the Holy Family , the brother Conrad , the Fátima Madonna and St. Joseph , all of which date from the 20th century. In the tower chapel there is a figure of the Sacred Heart from the 19th century. In the All Souls' Chapel in the cemetery there is also a crucifixion group showing Mary and the “favorite disciple” John at the feet of the crucified.

organ

Immediately after the church was rebuilt, a used organ was purchased in 1894 . This was replaced just four years later by an instrument made by the Munich organ builder Franz Borgias Maerz . The pneumatic cone store instrument with free-standing console comprised nine registers on a manual and pedal . It had the following disposition :

I Manual C – f ³
1.	Principal	8th'
2.	Dumped	8th'
3.	Salicional	8th'
4th	Gamba	8th'
5.	Octav	4 ′
6th	Transverse flute	4 ′
7th	mixture	2 ² ⁄ ₃  ′

Pedal C – d ¹
8th.	Sub-bass	16 ′
9.	Violonbass	8th'

Coupling : I / P, super octave coupling
Playing aids : Tutti

In 1982 the parish church received a significantly larger instrument instead of the Maerz organ, which was originally built in 1966/67 by the Munich organ builder Carl Schuster for the Jesuit church of St. Michael there. In 1982 it was restored by Orgelbau Sandtner from Dillingen before it was installed in the Bonbruck parish church. The very impressive instrument for a village church comprises a total of 26 registers on three manuals and a pedal. The disposition is as follows:

I main work

1.

Principal

8th'

2.

Gemshorn

8th'

3.

octave

4 ′

4th

Flute

4 ′

5.

Nasard

2 ² ⁄ ₃  ′

6th

flute

2 ′

7th

Mixture IV

1 ¹ ⁄ ₃  ′

8th.

Trumpet

8th'

II Rückpositiv

9.

Wood-covered

8th'

10.

Prefix

4 ′

11.

Coupling flute

4 ′

12.

octave

2 ′

13.

Larigot

1 ¹ ⁄ ₃  ′

14th

Scharff III

1'

15th

Krummhorn

8th'

Tremulant

III breastwork

16.

Reed flute

8th'

17th

Pointed flute

4 ′

18th

Principal

2 ′

19th

Tertian

1 ³ ⁄ ₅  ′ + 1 ¹ ⁄ ₃  ′

20th

Cimbel II

1 ¹ ⁄ ₃  ′

Tremulant

pedal

21st

Sub-bass

16 ′

22nd

Principal bass

8th'

23.

Covered flute

8th'

24.

Chorale bass

4 ′

25th

Back set IV

2 ² ⁄ ₃  ′

26th

bassoon

16 ′

Coupling : III / II, III / I, II / I, III / P, II / P, I / P
Playing aids : Uncouple, crescendo, roller off, tutti, pedal combination I, pedal combination II, automatic pedal, hand register off, crescendo off, all tongues off, tongue individual stop, 3 free combinations

Bells

Shortly before the new church was built, four bells were purchased in 1876. The heaviest bell dedicated to the Immaculate Conception of Mary weighed 1,250 kilograms. This was followed by a bell consecrated to St. Franz Xavier weighing almost 480 kilograms and a bell consecrated to St. Joseph weighing around 300 kilograms. The smallest bell was dedicated to St. George and weighed 110 kilograms.

Today four bells ring from the neo-Gothic tower, three of which were cast in the Holy Year 1950. Their cartridge and inscriptions are as follows:

1. St. Peter

St. Peter and St. Paul - pray for us

2. St. Francis Xavier

Bonbruck twice watched my downfall in the war and yet faith and love created me anew

3. St. Joseph

Vivos voco - mortuos plango - vulgara frango (lat. "I call the living - I mourn the dead - I break the lightning")

4. St. George ( death bell )

Help us St. George in the last dispute

literature

Georg Schwarz, Wolfgang Mandl, Gerhard Stadlbauer: The upper Bina valley between the rivers Vils and Rott . Published by the cath. Pfarramt Bonbruck, 1994. pp. 45-50.