Assumption of Mary (Essenbach)
The Roman Catholic parish church of the Assumption of Mary in Markt Essenbach in Lower Bavaria in the Landshut district is essentially a late Gothic church, the choir vault of which, according to the inscription on a keystone, was completed in 1470. A three-aisled hall church emerged from this through multiple extensions over the centuries . The furnishings in the Baroque and Rococo styles are remarkable, some of which were made by the famous Landshut sculptor Christian Jorhan the Elder . The Assumption of Mary is a protected cultural asset under the Hague Convention and is registered as a monument with the number D-2-74-128-1 at the Bavarian State Office for Monument Preservation .
history
Previous construction
Essenbach was first mentioned in a document in 831 , when Hitto, the abbot of Mondsee Monastery, transferred his estate at Heisenbach to the Regensburg Cathedral Chapter . This resulted in a small manor must have developed since 1263 donated the brothers Konrad and Friedrich von Perge the environment beyond its Wasserburg a late Romanesque and early Gothic church consisting of the nave and semicircular apse . The tower, which originally served as the keep of this castle and therefore has about two meters thick infill masonry between two brick shells, had no connection to the church building at that time.
Development of today's church building in late Gothic and Baroque
During the heyday of the Wittelsbach sub-duchy of Bavaria-Landshut , a late Gothic church was built around 1470 in place of the late Romanesque-early Gothic predecessor building, which corresponds to today's choir and four eastern bays of the central nave. In addition, the medieval keep was raised around this time and turned into a church tower ; he received his octagon attachment, the gallery and the brick pointed helmet . The builder of the church is unknown, but due to various stylistic elements it can be assigned to the Landshut Bauhütte, which at that time was working on the completion of the St. Martin monastery basilica, among other things .
Based on a vow made during the Thirty Years' War and since the Essenbach church was ultimately spared from destruction, the north aisle was added around 1670 and dedicated it as a Marian or women's chapel to the Mother of God . In order to connect this with the existing nave, four arched arcades were quickly broken out of the side walls . In 1713 the south aisle followed, which was connected to the central nave in the same way. This finally established the connection to the previously free-standing tower, which is slightly twisted compared to the church building. A similar historical development can be seen, for example, in the St. Emmeram basilica in Regensburg or in the parish church of St. Florian and Wolfgang in Kirchberg .
Renovations in the 20th century and elevation to parish in 1922
In the years 1910/11, all three naves were lengthened by two yokes to the west in a mixture between Neo-Baroque and Art Nouveau - in the style of Heinrich Hauberrisser . In addition, today's gallery was built and the late Gothic sacristy was extended by a yoke to the east. In 1922 Essenbach was hived off from the Altheim parish and the Essenbach parish was founded; the later dean Josef Müller became the first pastor. More recently, the church pews were renewed in 1982 using the baroque cheeks, and in 1988/89 the sacristy was expanded to roughly double the area . In 1994, finally, a new, baroque was predisposed organ installed and the Second Vatican Council appropriate preparation of the people's altar and ambo made without was that it interfered with the existing facilities of the presbytery. Both pieces of equipment were stylistically aligned with the rococo altars.
architecture
Development of today's church building
The parish church is now a three-aisled hall church, with the central nave with the slightly retracted, east-facing choir forming the late Gothic core. The two aisles were added in the Baroque period. All three ships comprised only four bays until the beginning of the 20th century ; it was not until 1910/11 that the building was extended to the west by two yokes.
Exterior construction
The choir, which dates back to the late Gothic period and has not been plastered on the outside, consists of three bays and a choir closure on three octagonal sides, each of which contains ogival window openings. The middle window, covered on the inside by the high altar, was added in the baroque period. The exterior of the altar house is structured by triangular pilaster strips , a coffin cornice and a roof frieze that has now been plastered and whitewashed . On the north side of the choir is the sacristy, which was expanded twice in the course of the 20th century and therefore now extends in width over the north aisle.
The central nave is only slightly wider than the choir and, like the two side aisles, comprises six bays. The tower, which has been twisted a few degrees in relation to the naves, jumps noticeably into the fourth and fifth yokes of the south aisle; in the sixth yoke the reduced width is retained. The rear yoke of the north aisle was also made narrower than the rest. The width of the aisles and the design of their roofing are not based on the usual late Gothic proportions ; therefore, not only its furnishings, but also the construction time can be assigned to the baroque. All three naves are united under a common gable roof , which also includes the altar house. With the exception of two small windows at the level of the organ gallery, the central nave no longer has its own lighting since the side aisles were added. The windows in the aisles are rounded at the top and bottom . The building has three portals : each in the fifth yoke of the side aisles and on the rear wall of the central nave. Except for the presbytery, the entire exterior is painted yellow; only the window reveals are white.
The substructure of the massive tower, which takes up around two thirds of the total height, goes back to the core of the Romanesque predecessor church and has around two meters thick infill masonry between two brick shells. The largely undivided exterior still refers to its original function as a keep. Only immediately before the transition to the octagon are there two rectangular panels with a German band and a final round arch frieze on each side . The squat octagonal superstructure is decorated with pointed arches on the sloping sides; on the other sides are the tower clocks and the ogival sound openings . The upper conclusion is again German volume. The late Gothic superstructure is crowned by a unique tuff gallery with corner pinnacles , which looks like a crown, but was reproduced in concrete in the 20th century , and a brick, eight-sided pointed helmet with a finial .
inner space
The choir and central nave, both built around the same time, are spanned by a late Gothic rib vault in star-shaped figuration with stitch caps . Rectangular , beveled wall pillars with semicircular services and similar shield arches support the vault. Its ribs spring from the semicircular services without intermediation. The vault has round keystones, the eastern keystone in the choir has a head relief and the second from the east bears the year of construction (1470). The pointed choir arch , bevelled on both sides, is slightly drawn in and also has a semicircular service, which unusually continues to the apex of the arch. The vault in the historical part of the sacristy has - as in the choir and central nave - star-shaped figuration and rests on semicircular profile consoles . A rosette is placed on the round keystone .
Arched arcades, which were broken out of the side wall of the central nave during the Baroque period, convey the transition to the side aisles. Rectangular pillars that support the separating arches have remained. These were decorated with baroque cornices . Both aisles are spanned by a barrel vault with stitch caps. The rearmost yoke of the central nave is covered by the choir or organ gallery.
Dimensions
The Bavarian State Office for Monument Preservation specifies the following dimensions in a floor plan :
- Total inner length: 36.25 m
- Inner length of the choir: 10.90 m
- Inside length of the nave: 25.35 m
- of which extension 1910/11: 9.60 m
- Total inside width: 20.00 m
- Internal width of the choir: 8.00 m
- Inner width of the central nave: 8.75 m
- Inner width of the north aisle (1st – 5th yoke): 4.60 m
- Inner width of the south aisle (1st – 3rd yoke): 4.90 m
- Total tower height: 40.50 m
- Tower height to the bell chamber: 24.25 m
Furnishing
The rich furnishings, which are mainly in the Baroque and Rococo styles, are remarkable. Particularly noteworthy are the baroque wall paintings and stucco work in the north aisle from around 1670 as well as the high altar and the two arched altars, which were made in the workshop of the famous Landshut sculptor Christian Jorhan the Elder. Ä. come. A figure of the crescent moon Madonna on the altar of the north aisle and a Pietà in the south aisle have been preserved from the late Gothic period .
High altar
The main piece of equipment in the choir is the high altar , which - like the side altars - was designed by Christian Jorhan the Elder. Ä. was created around 1780/90. It is in the style of the late rococo with already recognizable classical influences. The four-pillar structure rises above a double base zone and, thanks to its curved shape, fits well into the three-sided choir closure. The wooden structure, which can be assigned to the style and marbling of the Zellner family workshop from Dorfen , bears the large altar panel with the patronage depiction of the Assumption of Mary. Above it is an oval excerpt , which - including the Holy Spirit dove crowning the altar in the halo - shows the Holy Trinity .
In the cafeteria there is the rotating tabernacle with a gem cross , i.e. a gold-plated and silver-plated victory cross, which is flanked by two reliquary tablets. On top of this, the Lamb of God can be seen on the book with the seven seals , flanked by four small putti . Jorhan has modeled draperies above the two pointed arch windows in the end of the choir , including carved figures of Saints Catherine (left) and Barbara (right). Figures of the "weather saints" John and Paul are located between the pairs of columns on the left and right .
Other equipment in the choir room
On brackets to the wall services that separate the choir bays apart, carved figures of the four find Evangelists with their attributes : Matthew with the angel's head , Mark with the lion , Luke with the bull and John with the eagle , who in moving stance the church visitors just the Gospel seems to be turning to.
The baroque, marbled baptismal font is designed in the shape of a goblet and has a clasp-studded lid, which bears small figures of Jesus Christ and John the Baptist . The modern folk altar and the modern ambo were modeled on this, both of which date from 1994 and are designed as marbled wooden structures. Also worth seeing is the Rosary Madonna on the choir arch.
Choir arch altars
To the left and right of the choir arch are the two-pillar rococo side altars, which were also made by Christian Jorhans the Elder, at a slight angle so that they can still be accommodated in the central nave. Ä. come. The left side altar shows a representation of St. Sebastian on the altar sheet . It has a curved, framed excerpt, on which angels can be seen worshiping the sacrament of the altar . On the pillars there are figures of two holy bishops without recognizable attributes . The right side altar shows on the altar sheet a depiction of the adoration of Jesus by the Magi , in the excerpt a depiction of the birth of Christ and on the pillars figures of the rural saints Isidore and Notburga .
Other equipment in the central nave
The rococo pulpit was created in the middle of the 18th century and should therefore be several decades older than the three Jorhan altars. It has a curved, polygonal body, which is decorated with a gold-plated frame and on the edges with gold-plated volutes . On the back wall there is a representation of the Good Shepherd . The dove of the Holy Spirit is depicted in relief on the underside of the sound cover , with a fanfare angel on top .
Also noteworthy are the baroque chair cheeks from around 1710/20, which have acanthus carvings in two different designs and are now part of the church stalls, which were renewed in 1982 .
North aisle (Marien or Frauenkapelle)
The north aisle , designed as a Marien or Frauenkapelle, is richly decorated with elaborate stucco work on the ceiling and colored wall paintings from the time of origin around 1670/80, which, according to the style, may come from Schliersee artists. The rococo altar was created much later.
At the front of the nave there is a two-pillar rococo altar that contains a figure of the Madonna of the Crescent moon with the baby Jesus . This dates from around 1500 and is therefore one of the oldest pieces of equipment in the church. When the altar was made, the figure was placed on a high base, surrounded by a gilded halo, crowned with a canopy and surrounded by six putti. Mary's parents, Saint Joachim and Saint Anna act as side figures . In the curved altar extract a Marian monogram can be seen, surrounded by clouds and a halo. This is flanked by two angel figures seated on volutes. Like the high altar, this side altar has a slightly curved shape.
Over the entire vaulted ceiling of the left aisle there are richly decorated frameworks and strip ornaments with angel heads, flower vases, fruit pendants, vines , cornucopia , palm and laurel branches as well as freely shaped cartouches . The central and at the same time most elaborate representation can be found in the third yoke from the east: a relief of the crucifixion of Christ in the middle of a cross-shaped stucco frame. In the adjacent corner panels, various instruments of Christ's passion can be seen, for example the lantern of Judas , the burning torches of the cohort that Christ captured on the Mount of Olives , the whip column and the whip rods, the chain on the column, the crowing cock, the water bowl, in which Pilate washed his hands in innocence, the pimple for driving in the cross, hammer and pliers for nailing, the stick with the vinegar sponge and the lance with which Jesus' side was pierced.
The artist presents the second central theme of his work above the Marien Altar. Various attributes of the Mother of God are shown here: a putto with the crown of Mary, another putto with a branch of lily , a censer with rising incense , a dove of peace , an altar with a monstrance , sun and moon as a sign of Mary, the tower of David and a cherub with the sea star , a draw well for the healing waters as a source of life and a cherub with a mirror ( "you mirror of justice"). Near the gallery, a putto is holding a lily over a palm tree as a sign of chastity (Mary), next to it another putto - floating over a Lebanon cedar - with the roses of love. Numerous putti and various motifs from the Lauretanian litany can be seen in the gusset between the stitch caps .
The framed wall paintings between the windows show from east to west: Saint Anthony of Padua to whom the baby Jesus appears, the Annunciation to Mary by the Archangel Gabriel , a protective cloak Madonna with a portrait of the Schütz couple and their children, the Assumption of Mary into heaven and in the last image, which was cut off in the middle because of the gallery extension, a kneeling male figure who cannot be further identified. The wall paintings on the pillars of the central nave contain from east to west: St. Irmingard or Walburga , St. Ottilia as the patroness of those suffering from the eyes, St. Florian extinguishing a burning house and St. Leonhard as patron of the cattle. In the arcades themselves depictions of the Cross of Christ can be seen in stucco frames.
South aisle (Michaelskapelle)
The south aisle, on the other hand, is much more unadorned, but contains the oldest altar in the church, a baroque altar with four winding columns and acanthus carvings . This was made around 1713. The altarpiece shows the archangel Michael fighting against Lucifer , the oval extract shows Saint Sebastian . A “holy body” can be seen in the predella zone . This piece goes back to an old custom , which is supposed to remind of the martyrdom of early Christians. The retable was later adapted to the rococo altars and now has a similar marbling. In comparison to the left aisle, the right aisle is decorated with stucco frames on the vault only extremely sparingly. It does, however, contain Baroque figures of St. Sebastian and a larger than life-size Johannes Nepomuk ; also a late Gothic pietà and a baroque mission cross , which is attached to the back of the pulpit column.
organ
In 1940 the parish church of the Assumption of Mary received a new organ , which was built by Michael Weise from Plattling . The pneumatic cone-store instrument with free-pipe prospect and free-standing console comprised 17 registers on two manuals and a pedal . The disposition was as follows:
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- Pairing : II / I, II / P, I / P, Super II / I, Sub II / I
In 1994 the Weise organ was replaced by a new instrument from Orgelbau Sandtner from Dillingen , which is still in operation today. It has 26 stops on two manuals and a pedal. The playing and register actions are mechanical. The disposition and the design of the prospectus are based on baroque models and thus refer to the furnishings of the church. The disposition is in detail:
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- Coupling : II / I, II / P, I / P
- Playing aids : Organo pleno on / off
Bells
The church has four bells:
- Holy Cross bell, 30 quintals
- Sacred Heart Bell, 17 quintals
- Marien bell, 11 quintals
- Joseph's bell, 7 quintals
literature
- Sixtus Lampl : Essenbach and its churches . Schlossverlag Valley, 2008.
Web links
Individual evidence
- ↑ a b c d Sixtus Lampl: Essenbach and his churches . Schlossverlag Valley, 2008. pp. 4-6.
- ↑ a b c d e f g h i j k l m n o p q r s t u Rectory food Bach, Mette Bach + Mirskofen: The Parish Assumption . Online at www.pfarramt-essenbach.de ; accessed on December 22, 2019.
- ↑ Marktgemeinde Essenbach: Churches & Parishes . Online at www.essenbach.de ; accessed on December 22, 2019.
- ^ A b c d e Sixtus Lampl: Essenbach and his churches . Schlossverlag Valley, 2008. p. 7f.
- ↑ a b c d e f g h i j Anton Eckardt (Hrsg.): Art monuments of the Kingdom of Bavaria - District Office Landshut. Oldenbourg, Munich 1914, pp. 83ff. ( Digitized version ).
- ^ Sixtus Lampl: Essenbach and its churches . Schlossverlag Valley, 2008. p. 6.
- ↑ a b c d e f g h i j k l Sixtus Lampl: Essenbach and his churches . Schlossverlag Valley, 2008. pp. 8-13.
- ↑ a b Bavarian organ database online
- ^ Sandtner organ building: Opus 217: Essenbach, cath. Parish Church of the Assumption . Online at www.sandtner-orgelbau.de ; accessed on December 23, 2019.
- ^ Sixtus Lampl: Essenbach and its churches . Schlossverlag Valley, 2008. p. 4.
Coordinates: 48 ° 36 ′ 40.7 " N , 12 ° 12 ′ 59.3" E