Assumption of Mary (Ering)
The Roman Catholic parish church of the Assumption of Mary is a Gothic hall church in Ering in the Lower Bavarian district of Rottal-Inn . It belongs to the Ering Parish Association in the Simbach dean's office in the Passau diocese .
History and architecture
The church has been built using parts of the previous building since the middle of the 15th century. The year 1478 (1458?) Is painted on the north wall of the nave. The building was vaulted around 1480. Around 1525 the two-bay Anna chapel was added to the south side of the nave, and the year 1528 is painted over the west bay. The strikingly large, uniform building, with its spatial structure and the exterior and interior details, is one of the most sophisticated late Gothic churches in the region.
Exterior
The building consists of a single nave longhouse made of tuff stone blocks with a slightly drawn-in choir and tower on its south side. The late Romanesque tower substructure is provided with bulge-shaped separating sills and round-arched slotted windows. The eight-sided structure with connecting corner struts dates from the late 15th century. The buttresses on the nave are, like those on the tower structure, designed with an angular center piece; their decorative crowns are mostly broken off. The simple choir buttresses are divided by cornices, the choir windows are shortened. A plinth and sill cornices extend around the entire structure.
The southern view is characterized by the late Gothic additions. The two-bay Annakapelle (not to be confused with the pilgrimage church of St. Anna in Ering ) is located between the tower and the vestibule of the south portal ; to the west of the portal vestibule is the low All Souls' Chapel. The sacristy is built on the north side. The vault of the southern porch is provided with a rib star. The wall of the portal is richly profiled with round and pear rods. A profiled keel-arched forehead framing is arranged above the flanking columns, ending in a console with a male bust. On it stands an older, artistically and iconographically interesting stone figure of a protective cloak Madonna from 1441. Maria holds her child in her left hand, with her right she spreads her cloak over the pleaders grouped on this side.
Interior
The high and wide interior shows the preference for a long space typical of this region, which tends to be uniform. The slightly retracted, slightly higher choir with two yokes and five -eighth end connects to the two-bay nave . Both parts of the room are closed with reticulated vaults; The so-called Wechselberger figuration can be found in the nave . The ribs develop from semicircular services with polygonal capitals, which are presented in the choir of the wall, in the nave, strong shield arches . The ribs in the choir vault are partly shaped as branches. In the west there is a three-bay arched west gallery, the arcades of which are covered by largely cut-off keel arches, the finials of which extend into the parapet pierced with fish bubble tracery. During a sensitive restoration in 1955, the restrained color of the structure was exposed. The vault painting of the nave was left in its original condition. The beginning and crossings of the ribs are emphasized with tendrils, in the parietal diamonds are painted figures . At the vault of the end of the choir, remains of figurative paintings have been found, which apparently depict , among other things, the church fathers . Further painting fragments are preserved on the north wall of the nave.
Furnishing
The high altar, which is essentially late Baroque and has been modified several times, shows a painting depicting the Coronation of Mary from the mid-18th century, which has been modernized to fit into the altar. The valuable painting with deep, melting coloring is flanked by newly made side figures. The side altars date from around 1685. The painting of the southern altar by Jacob Vogel, dated 1686, shows the farewell of the Apostle Princes Peter and Paul. The approximately simultaneous pulpit shows arched fields for paintings of the evangelists in breast form on the body. Two baroque statuettes of the two Johns are attached to the gallery parapet, and a late Baroque cycle of small figures of the apostles can be found in the choir. The organ is a work by Orgelbau Bittner from 1933 with 14 stops on two manuals and pedal .
Anna Chapel
The Anna chapel is built onto the two eastern bays of the nave on the south side and connected to it by wide pointed arches, giving the impression of a side aisle. It is closed by a ribbed vault, which is particularly rich in the west yoke with arched arches and capped crossings. A wide pointed arch window is arranged in each of the two yokes, the western part of which is formed with round arched paths and circular passes.
The altar, dated 1709 with an inscription and incorrectly restored, shows a painting of Saints Anna and Joachim with the young Maria. The baptismal font, dated 1408, shows a tracery frieze on the round basin above a surrounding leaf tendril. An epitaph for Hans Christoph von Paumgarten and his wife from 1608 shows the risen Christ amid the four evangelists in an aedicule frame made of red marble. Another epitaph for Johann Joseph Franz Albert Thaddäus Maximilian Reichsgraf von Paumgarten and Frauenstein († 1772) shows a handcrafted, figure-rich structure made of wood in a white and gold setting with a framed depiction of the deceased as a half-length figure.
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. 116-117.
Web links
- Website of the Ering Parish Association
- Information about the Church of the Assumption on the website of the municipality of Ering
Individual evidence
- ↑ Information about the organ on the organ database Bavaria online. Retrieved August 27, 2020 .
Coordinates: 48 ° 17 ′ 54.8 ″ N , 13 ° 9 ′ 0.1 ″ E