Assumption of Mary (Haindling)
The Roman Catholic pilgrimage church of the Assumption of Mary in Haindling is located in the district of the same name in the Lower Bavarian town of Geiselhöring in the Straubing-Bogen district . Due to its location on a hill at the foothills of the Gäuboden , the famous church ensemble with the neighboring cruciform church is visible from afar. The pilgrimage to Haindling is one of the oldest in Bavaria . Even today, around 65 groups of pilgrims from far and wide visit the Marian pilgrimage site every year .
history
The Sankt Emmeram monastery in Regensburg has demonstrably owned goods in Haindlingberg since the 9th century and in Haindling and the neighboring Hainsbach since 1031. In 1266 Pope Clement IV confirmed the right of patronage to Haindling to the monastery, i.e. the right to appoint a pastor . The Marian pilgrimage has been documented since 1333, when a Marienkapelle already existed in Haindling. In 1337, the Regensburg bishop Nikolaus von Ybbs established a chaplaincy . At the latest since then, the pilgrimage has been documented as being secured. The growing popularity of pilgrimages brought Haindling to a second chaplaincy in 1352 and a third in 1419. At the same time, a plethora of indulgences were given in Haindling by bishops and cardinals , so that it can be assumed that it is of supraregional importance as a place of pilgrimage . In 1439 the first pilgrimage church was completed on the site of today's Marienkirche. It was probably a hall church in the late Gothic style.
In order to take into account the growing importance of the pilgrimage, a second church was built a little later in Haindling, which today still exists as a cruciform church . Its oldest building structure probably dates from around 1480. In the Renaissance era , during the tenure of Abbot Hieronymus II Feury (1609–1622), both churches were modernized - entirely in keeping with the Counter-Reformation . The cruciform church in particular underwent major changes during this time, while work on the Marienkirche was essentially limited to adding heights to the tower. The Munich court architect Martin Bartholomäus Viscardi was responsible for the work .
A hundred years later, Abbot Wolfgang II Mohr (1719–25) had the Marienkirche built almost from scratch as a baroque wall pillar church. During the three-year construction period from 1719 to 1722, mainly craftsmen from the surrounding area were active. The master builder from Geiselhöring was master mason Johann Pfättinger / Pfäffinger. During this time, Father Bonifaz Schachtner, who was then active in Haindling, founded the Arch-Brotherhood of the Holy Trinity . Due to the continued flourishing pilgrimage in 1733 or 1734 that was Benedictine - provost of the monastery St. Emmeram of Hainbach by Haindling in the newly built Klösterl laid. The building that still exists today is located around 150 meters southeast of the church. The most famous clergyman in the Haindling from 1784 until the secularization in 1804 as Prior and provost active Roman Zirngibl , then as archivist and historian member of the Bavarian Academy of Sciences .
With the secularization, both the provost's office and the pilgrimage came to an abrupt end. Pastoral care in Haindling take since secular priests of the diocese of Regensburg. Today Haindling is a branch of the parish Hainbach, dedicated to the city parish of St. Peter and Erasmus in Geiselhöring in a Pfarrverband located. In 1816 the nave vault of the church collapsed due to poor statics and was subsequently replaced by a slatted vault. The ceiling frescoes were of course completely destroyed.
It was not until the 20th century that pilgrimage was slowly revived. The old school and sacristan's house in Haindling, south of the church, was completely renovated in 2003 and has since been home to the parish hall . An extensive interior renovation has been underway since 2015, which will take at least until 2019.
architecture
The pilgrimage church, a traditional one, is a five-bay wall pillar church, which has a clearly drawn-in three-bay choir with a three-sided end. The rear nave yoke is spanned by the two-storey west gallery , which was renovated in 1816 . The nave and choir are equipped with a barrel vault with stitch caps , whereby the nave vault had to be rebuilt after the collapse in 1816. Since then this has only been supported by wooden slats. The side chapels between the mighty wall pillars are vaulted by short transverse barrels.
While the nave walls were largely rebuilt in the Baroque period, the masonry of the sacristy attached to the south of the choir still comes from the previous building. The two-story, square tower basement with pointed arch windows was also taken over from the Gothic church. The octagonal superstructure and the onion dome , on the other hand, were only added between 1624 and 1631. At the west portal, the former main portal of the pilgrimage church, the baroque design language is particularly visible. The portal is flanked by two Ionic pilasters and crowned with an explosive gable.
Furnishing
Frescoes and stucco
During its construction, the pilgrimage church received an extensive cycle of frescoes , compiled by the later Prince Abbot Anselm Godin de Tampezo and executed by the Straubing baroque painter Joseph Anton Merz . Godin placed the close connection between Haindling and the Sankt Emmeram monastery in the foreground. Therefore, scenes from the lives of the house saints Emmeram , Dionysius and Wolfgang could be seen on the ceiling of the nave . Over the side altars ten advocates of grace from the Mother of God to saints of the Benedictine order were painted. In addition, on the choir arch on the nave side was the Mother of God in Glory, surrounded by saints of the Benedictine order and flanked by the coat of arms of the Imperial Abbey of St. Emmeram and his abbot at the time, Wolfgang II Mohr.
While the previously described frescoes were completely destroyed when the nave ceiling collapsed in 1816, the ceiling frescoes in the choir have been preserved to this day. They are arranged in three rows of three paintings each and show scenes from the life of Mary. The motifs are from east to west: in the middle the depiction of Jesus in the temple, the engagement of Mary and Mary Immaculate ; on the left the birth of the Virgin , the Annunciation to Mary and the flight into Egypt ; on the right the Temple Walk of Mary , the Visitation and Death of Mary. Corresponding to this, twelve emblems with Marian symbols are shown in the stitch caps. The choir arch shows a representation of the "Beautiful Maria of Regensburg" on the altar side, a very important pilgrimage in the Middle Ages , which is venerated by eight saints and blessed with a connection to the monastery of Sankt Emmeram.
After the re-vaulting, the nave ceiling was repainted in 1816 - presumably by Franz S. Merz, a grandson of Joseph Anton Merz - and reworked in 1957 by the Parsberg painter Walter Scheidemantel. Four scenes of the glorification of Mary are shown, including the miraculous image with a view of Haindling. Angels carry the Ave Maria on banners in the stitch caps .
The stucco in the nave, however, is still in its original state. It was created in 1721 by the Geiselhöring sculptor Simon Hofer and includes impressive stucco capitals with flower and acanthus decoration . The elaborate rococo trellis in the chancel, which frames the oratorios located there , comes from a later period. The canopy and curtain draperies , cartouches with the Bavarian diamond coat of arms, hermen and putti were made by the Geiselhöringen sculptor Thomas Wagner in 1762.
Altars
Most of the altars in the church were made by the Geiselhöringer carpenter Thomas Lehner. Most impressive is certainly the high altar , which takes up the entire width and height of the choir room. The altar structure is supported by four columns on each side, with each column having a twisted shaft. These columns support the cranked entablature on which the eight-column altar extension sits. Volutes above the two outer columns lead over to this. The four pillars on the left and right of the extension carry the upper end in the form of a segmental arch . The different veneer patterns made of walnut, cherry and pearwood are particularly striking . The central high altar shows the Assumption of Mary ; the dove of the Holy Spirit and Jesus Christ are also depicted on it. The Holy Trinity is completed by the depiction of God the Father in the extract . On the tabernacle there is a silver reliquary cross about 30 centimeters high, which was donated in 1714 by Regensburg Auxiliary Bishop Albrecht Ernst Graf von Wartenberg . Between the two outer pairs of pillars stand figures of Mary's parents, Joachim and Anna , framed in white and gold , which were created by Simon Hofer.
The two choir arch altars are constructed similarly to the high altar. The Sebastian altar to the left of the choir arch is the place of worship of the Sebastian Brotherhood founded in 1714 to protect against the plague . The altarpiece shows Saint Sebastian shielding Haindling from the plague arrows with his shield. Another patron saint against the plague, Saint Rochus , is shown in the extract . In the cafeteria there is a wooden figure of St. Sebastian, which was carved in 1681 by the Bogen sculptor Johann Gottfried Frisch . To the right of the choir arch is the altar of grace , which is also the place of worship of the brotherhood to the Most Holy Trinity. In a case donated in 1739 is the Haindlinger miraculous image, a 48 centimeter high wooden figure of the Mother of God with the baby Jesus in largely original form. The pedestal with the crescent moon, the scepter of Mary, the crowns of Mary and the baby Jesus as well as the halo are from the year 1715. It is flanked by reliquary niches added in 1861 . The altar panel shows the Holy Trinity, the extract shows Saint Joseph . The wall niche next to the altar of grace serves as a chapel of grace; numerous votive tablets and other votive offerings can be seen here.
The six side altars are located in the other wall niches. On the south side these are from east to west: the Wolfgang altar with an altarpiece of the three saints Emmeram, Dionysius and Wolfgang, venerated in the monastery of Sankt Emmeram, and with a depiction of Saint Nicholas in the extract; the Andreas altar with an altar sheet from the martyrdom of St. Andrew , a top image of St. Christopher and a high-quality wooden figure of the Madonna of the Crescent Moon by a Landshut master from around 1480; the altar of the Sorrowful Mother of God with an altarpiece of the Mater Dolorosa , an extract of St. Anthony of Padua and a shrine with a sculpture of the Holy Sepulcher from the second half of the 18th century. The altars on the north side are from east to west: the Leonhard altar with an altar sheet by the two cattle patrons Leonhard and Wendelin , an upper image of St. Martin and an image of the heart of Mary in the cafeteria ; the Barbara altar with a depiction of the martyrdom of St. Barbara on the altar sheet and an extract of St. Apollonia ; the Benedictine altar with an altar sheet by the founder of the order Benedict of Nursia and a picture with the title "Christ and the Apostle Thomas " in the extract.
Other equipment
The choir stalls with two five seats originate from the first half of the 17th century and were taken over from the previous church. The individual stables are made of different types of wood and divided by pilasters. The pulpit was made by Thomas Lehner in 1721. The corpus is divided into four fields by protruding volute pilasters that contain images of the four church fathers by Joseph Anton Merz . On the cover with acanthus volutes there is a trumpeting angel and numerous putti, all of which are white and gold. The most striking of the memorial plaques in the church is the limestone epitaph for Gabriel Kastner von Hainsbach († 1565), the last fiefdom holder in Haindling. It is also called "the ice cold of Haindling", as the surface of the grave monument feels very cold regardless of the season. The four bells of the sanctuary with the sound sequence dis 1 -fis 1 -GIS 1 h 1 were cast in the 1940s by Anton Gugg from Straubing.
The organ case , decorated with acanthus ornament , was created by Johann Konrad Brandenstein and dates from 1730. It is divided into five parts, the two outer parts being higher and each containing an angel figure framed in white and gold. The disposition of this original instrument has not been handed down. In 1875, Martin Binder built a new mechanism into the historic case with his Opus 1. It had six registers on a manual and pedal . There is currently a musical mechanism with two manuals by Ignaz Weise from 1914 in the church. This instrument is heavily infected with woodworm and can no longer be played. Therefore, the entire wind turbine was dismantled a long time ago (as of spring 2016).
See also
literature
- Bonifaz Schachtner: Haindling / Short description of the ancient miraculous grace = Orth and pilgrimage ... , Regensburg 1738.
- Roman Zirngibl: History of the Probstey Hainspach , Munich 1802.
- Die Kunstdenkmäler in Niederbayern , Volume XXV District Office Mallersdorf, Munich 1936, pp. 103-135.
- Karl Tyroller: History of the construction and furnishing of the pilgrimage church in Haindling . In: Annual report of the historical association for Straubing and the surrounding area , 84th year, Straubing 1983, pp. 149–178.
- Parish office Haindling (ed.): Marienwallfahrt Haindling , with texts by Christine Riedl-Valder, Geiselhöring 2013.
Web links
- Internet presence of the Marienwallfahrt Haindling
- The bells of the Haindling pilgrimage church on YouTube
- Report of the diocese of Regensburg on the ongoing renovation measures
Individual evidence
- ↑ a b c d History of the pilgrimage site . Online at www.marienwallfahrt-haindling.de. Retrieved May 28, 2016.
- ↑ a b c d Pfarramt Haindling, pp. 3–6.
- ↑ a b Pfarramt Haindling, p. 6f.
- ↑ a b c d Pfarramt Haindling, p. 7f.
- ↑ a b c d Description of the pilgrimage church of the Assumption . Online at www.marienwallfahrt-haindling.de. Retrieved May 28, 2016.
- ^ Haindling (SR), place of pilgrimage: bells . Online at www.youtube.com. Retrieved May 28, 2016.
- ↑ a b Georg Brenninger: Organs in Old Bavaria . GeraNova Bruckmann, 1982, Munich ISBN 3-7654-1859-5 . Pp. 84 and 155.
- ^ Christian Vorbeck: The organ builders Martin Binder and Willibald Siemann. A contribution to organ building in the time of the German late romanticism. Copy of the original catalog raisonné. Siebenquart, Cologne 2013, ISBN 978-3-941224-02-5 .
- ↑ Sighting by organ cleaners
Coordinates: 48 ° 49 '18.9 " N , 12 ° 25' 4.7" E