Assumption of Mary (Jenkofen)
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The Roman Catholic branch church of the Assumption of Mary in Jenkofen , a district of the municipality of Adlkofen in the Lower Bavarian district of Landshut , is a late Gothic pseudo-basilica . The branch church of the parish of St. Johann Baptist in Hohenegglkofen is particularly known for the glass paintings on the choir windows , which today are among the most valuable Gothic works of art in Bavaria .
history
The Wittelsbachers already owned Jenkofen in the 14th century . After the local aristocratic family Harskircher died out in 1416, their fortune also fell to the Wittersbach dukes . In 1422, Duke Heinrich the Rich of Landshut founded a benefit in honor of the Assumption of Mary in Jenkofen. Seven years later, another foundation of Henry the Rich was added in honor of St. Nicholas . The three-aisled church was built soon after 1422 and, like the whole town, was placed under the protection of the duke. Heinrich the Rich made the farms in Jenkofen and the surrounding area available for the maintenance of the beneficiaries and the church. This first phase of construction probably comprised the three western nave bays . These have a uniform construction (apart from the later change in the curvature of the south aisle) and details clearly stand out from the rest of the building. Incidentally, the previous building remained temporarily in place.
In 1447, Heinrich the Rich donated the two well-known round windows behind the high altar, the glass paintings of which are now considered works of art of European standing. In 1449 he also donated another benefit in honor of the Three Kings . Around this time the two eastern nave bays and the choir were built. Based on the stylistic features, one can conclude that it was built around the middle of the 15th century.
Building repairs were carried out in 1630 by the Landshut court mason Ferdinand Pader, in 1680 by the Geisenhausen mason master Stephan Walthör, in 1690 by the mason Georg Stainaicher, and in 1795 by the Landshut town mason Thadeus Leitner. The latter also built a new sacristan's house in Jenkofen in 1791 .
architecture
The church is a late Gothic three-aisled pseudo - basilica, but is also sometimes referred to as a relay hall - as in the official description of the Bavarian State Office for Monument Preservation . The roof spanning all three naves speaks in favor of classification as a relay hall. Since the central nave is one storey higher than the side aisles, the classification as a pseudo-basilica is more appropriate. The resulting upper storey has no windows because of the roof, but is occupied by large wall frescoes .
Exterior construction
The nave has three naves, with the side naves around a third narrower than the central nave. All three ships are united under a common gable roof . The nave comprises five bays , with the fourth bay from the east in the north and one in the south each containing an entrance portal . The two eastern bays are shorter than the older west bays and, due to the thicker outer walls, are slightly drawn in. A portal can also be found on the west side of the central nave. All three portals are pointed arched and have walls with round bars (two on the west and south portals, one on the north portal) and throats .
The two-bay choir, closed on three octagonal sides, faces east. It is only slightly wider than the central nave. To the north of the choir, slightly receding into its structure, the squat-looking tower (a so-called choir flank tower) is built on over a rectangular floor plan . This comprises five floors of unequal height . While the lower floors are almost undivided, the top floor (which contains the bell cage) has an ogival sound opening on each side , flanked by two equally large ogival diaphragms . A constricted onion dome forms the upper end . The ground floor of the tower contains the sacristy . A steep, wood-paneled staircase is arranged in the corner between the choir and the tower .
At the end of the choir there are three pointed arched windows with late Gothic two-lane tracery . The reveal is partly inclined, partly stepped and chamfered. On the northern sloping side of the end of the choir, instead of the window, there is a pointed arch panel into which the two valuable round windows are embedded one above the other. In the south aisle there are two wide, four-part pointed arch windows with noses. The other windows are just as wide, but arched . The small pointed arch windows on the west side of the nave are not original; they were created in the 19th century in the neo-Gothic style. On the outside of the choir there are weak triangular struts and a roof frieze . The nave has rectangular buttresses that have been separated. Except for the two eastern yokes of the north aisle, it is designed without a base.
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The church is surrounded by an abandoned cemetery . In the cemetery wall, which, like the church, is likely to have been built in the 18th century, there are two gates , to the south and northeast of the church building, each with a pointed arch and a steep stepped gable . The walls and gates have exposed brickwork.
inner space
The three naves of the nave are separated by two four unequally wide pillars that support the pointed dividing arches . The two eastern arcades each have full grooved walls, while in three western parting arches only the arch is grooved, but the pillars are chamfered . The south-eastern pillar is provided with a wall pillar- like reinforcement towards the central nave , which rises almost to the base of the vault. The three naves are spanned by rib vaults in different figurations. The fields each encompassing a yoke are always separated by belt ribs that are reminiscent of pointed belt arches . All five bays of the central nave and the three western bays of the north aisle are equipped with a ribbed vault , the last two with round keystones . In both eastern yokes of the north aisle there is a star vault with plate-shaped keystones and applied heraldic shields . In the south aisle, simple net configurations without keystones predominate. In the three western bays of the side aisles, the vaults on the surrounding walls arise from weak, beveled wall pillars and pointed arches. In the central nave and in the three western bays of the side aisles, the ribs are pear-shaped and rest on profiled, half- octagonal consoles . In the two eastern yokes of the side aisles, the ribs are double grooved and rest on simple pointed consoles, which are partially profiled and decorated with pointed heraldic shields. A wooden gallery has been inserted in the rear yoke of the central nave . The parapet is decorated with quatrefoil ornaments.
The choir arch is pointed and bevelled on both sides. On the east side (towards the choir) it has a bevelled pillar reinforcement. The rib vault in the choir has a network configuration and does not have keystones. It rises from rectangular, beveled wall pillars and pointed arches. The pear-shaped ribs rest on semicircular profile consoles. Due to the re-entrant choir flank tower, the top of the vault is slightly shifted from the central axis, resulting in a certain irregularity of the vault. The sacristy on the ground floor of the tower is spanned by a ribbed vault with a large, round keystone. The ribs rise directly from the wall and are partly pear-shaped, partly simply grooved.
Dimensions
- Total length: approx. 31 meters
- of which choir: 9.35 meters
- of which nave: 21.40 meters
- Width of the choir: 6.70 meters
- Width of the nave: 14.50 meters
- of which central nave: 5.40 meters
Furnishing
Stained glass
The most important pieces of equipment are likely to be the two round windows with late Gothic glass paintings , which can be found in the northern sloping side of the choir closure. Hans Bleibrunner , former district homeworker for Lower Bavaria, pays tribute to the works of art in his cultural history of the Bavarian Unterland from 1982 as follows:
“ The round windows donated by Duke Heinrich the Rich in 1447 in the village church of Jenkofen are among the top achievements in European glass painting. "
Both windows have a diameter of about 1.30 meters. Especially the upper one impresses with the successful composition and the enormous luminosity of the colors. The master of the stained glass is unknown; a Landshut master can be accepted. Joachim Sighart suspects in his history of the fine arts that they come from Hanns Siber, who at around the same time created fourteen glass windows for the Frauenkirche in Straubing (1442) and other windows for the church of the Prüll Charterhouse .
The upper round window shows the seated, crowned Virgin Mary with the baby Jesus . Maria is dressed in a white cloak and a purple undergarment. Your feet stand on an inverted crescent moon . The child is naked. Golden yellow rays emanate from the group, contrasting with the white and blue damask background . A five-fold ring of stylized clouds frames the image. The four inner cloud rings are (from the inside out) in the colors green, red, yellow and red. The outer ring contains, distributed between blue, red and purple clouds, the golden yellow inscription in Gothic minuscule : o Mary help us sunderen and sunderinn .
In the lower round window you can see the founder, Duke Heinrich the Rich, kneeling in full armor with a white and blue diamond cloak and the ducal banner in his left arm in front of the patron saints Barbara , Elisabeth , Margareta and Katharina . The crowned saints are sometimes shown with their attributes , for example St. Barbara with the tower and St. Catherine with the wheel. They stand on stylized blue clouds and are clad in white coats. While Barbara's coat is closed, St. Elisabeth's undergarment is purple, St. Margareta is yellow and St. Katharina is crimson. The motto of Duke Henry the Rich can be read on a banner below the group: wolt h got . The handkerchief of Christ, carried by angels, hovers over the saint . The cloud rings are arranged as in the upper round window, but are partially covered by the figurative representation. The year 1447 can be seen at the bottom of the yellow cloud ring, which refers to the year Heinrich the Rich founded the windows. On the outer ring of the cloud there is the inscription in Gothic minuscule: o parmherziger got sparm thou about us poor sunder and sunderin .
The two other windows in the end of the choir also have late Gothic glass paintings. The entire ogival window opening is filled in here. These glass paintings show a clear stylistic development, especially with regard to the representation of the dynamics in the figurative scenes. In terms of the composition of the motifs and the splendor of colors, however, they are noticeably inferior to the two round windows. These glass paintings were created later than the two round windows, probably around 1460. The arrangement of the paintings probably does not correspond to the original composition; however, this cannot be perfectly reconstructed . Both windows are divided into four main fields.
The saints Christophorus (top left), Sigismund (top right), Sebastian (bottom left) and the Mother of God with Child (bottom right) are shown on the east window in the end of the choir . Southeastern window includes representations of St. George as the dragon slayer (top left), the Beheading of Saint Catherine (top right), of St. Christopher (bottom left) and the mounted St. George (bottom right). In the foreground of almost all the pictures is the coat of arms of the respective noble donor, including members of the families Aham, Closen , Fraunhofen, Nothaft and Seyboldstorff . The background is filled with Gothic canopy architecture and the white and blue damask background. The three-pass ornaments of the window tracery are each decorated with a half-length angel in front of an identical background.
Another small stained glass, also dating from the 15th century, is set into one of the south choir windows. It represents the ducal-Bavarian coat of arms.
Mural
The wall paintings in the choir and in the nave of the nave are also of great historical value . These were made according to the date around 1600 and executed in the Renaissance style, still have strong echoes of the Gothic style. The decorative frescoes are partially painted over; the original color scheme is unknown. They were only rediscovered between 1903 and 1905 and conserved in 1907/08 .
The Annunciation to Mary (left) and the Seven Sorrows of Mary (right) are depicted on the north wall of the choir, within the shield arches . Under the first painting there is an inscription, which cannot be completely reconstructed, with the year 1599 and the coat of arms of the Patzinger family. The representation of the Seven Sorrows is surrounded by seven round pictures on which the circumcision of Christ, the flight into Egypt , the twelve-year-old Jesus in the temple , Christ carrying the cross , the crucifixion , the lamentation and the burial can be seen. The reveal of the shield arch and the sides of the two wall pillars that frame the image are decorated with painted foliage . On the east side of the choir there is a scene with two angels wearing the handkerchief of Christ. This painting, like the ornamental painting of the window reveals in the choir, is likely to have been created at the same time as the two aforementioned pictures.
The frescoes on the high walls of the central nave are ten rectangular fields with passion scenes, which are surrounded by ornamental frames in the style of the late Renaissance . On the north side (from west to east) the entry into Jerusalem , the Last Supper , Christ on the Mount of Olives , the carrying of the cross and the death of Christ are depicted. On the south side (from east to west) the Descent from the Cross, the Entombment, the Resurrection , the Ascension of Christ and the sending of the Holy Spirit can be seen. In addition to several scenes, praying donors and their coats of arms are shown. Some of the pictures are dated to 1599 and 1604 respectively. Inside above the south portal there is another, probably simultaneous representation of the Ascension of Christ.
Outside above the south portal, protected only by a wall niche, there is another fresco that was uncovered at the beginning of the 20th century. It shows the saints Maria, Michael and Leonhard as well as several donor figures. Below is the inscription MARIA VICTORIA . The heavily damaged painting is done in the Baroque style, so it should have been created later than the frescoes in the interior. The depiction of the Last Judgment , which can be found to the west above the choir arch, can not be assigned to the wall paintings from around 1600 . It dates from the second half of the 19th century.
Fresco of the Annunciation in the choir
Fresco of the Seven Sorrows of Mary in the choir room
Fresco of Christ's death on the cross in the nave
South portal with baroque fresco
Frescoes of the Last Judgment on the choir arch
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Altars
The high altar has a neo-Gothic wing structure . It contains valuable late Gothic carvings and panel paintings from around 1480, which are attributed to the Landshut School due to their similarity to the sculptures on the high altar of the St. Georg branch church in Gelbersdorf . In terms of the richness of detail in the sculptures, the representation in Jenkofen is slightly superior to that in Gelbersdorf. In the middle shrine there is a late Gothic, almost life-size Madonna and Child on a small pedestal. The crescent moon is held by two little angels. On the inside of the late Gothic altar wing there are framed wooden reliefs . The Annunciation to Mary (above) and the Adoration of the Magi (below) are depicted on the left, the birth of Christ (above) and the death of Mary (below) on the right. The original ornamental setting is preserved on the frame of the altar wing. On the outside of the wings there are paintings: on the left the Visitation of Mary (above) and the representation of Jesus in the temple (below), on the right the birth of Mary (above) and the Madonna in protective cloak (below). Below the middle shrine there is a wooden relief of the Last Supper from around 1510/20. This used to be found on the north side altar.
The two side altars on the front sides of the side aisles, designed as counterparts , are neo-Gothic and have a decorative structure with pinnacles . On the north side altar (from left to right) figures of Saints Johannes Nepomuk , Leonhard and Florian can be seen, on the south side altar (from left to right) Saints Barbara, Katharina and Scholastika . The middle figure is slightly larger than the two side figures. On the north side altar there is a small reliquary , on the south side altar there is a tabernacle with a depiction of the Sacred Heart on the door .
High altar
Left wing of the high altar
Right wing of the high altar
North side altar
South side altar
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Other equipment
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The pulpit is a remarkable baroque work from the second half of the 17th century. The polygonal pulpit with winding corner pillars is decorated with baroque cartilage and angel heads. The high, almost in the form of a dome , the sound cover shows on the underside a representation of a Holy Spirit dove.
In the central nave there is a figure of the Mother of God with Child from around 1420. Baroque figures of Saints Sebastian (left) and Rochus (right) from around 1700 are placed on both sides of the choir arch . In the north aisle there is a former baroque altarpiece of the Lamentation of Christ. The Baroque Way of the Cross consists of fourteen framed oil paintings on canvas . Also noteworthy is the inside of the west portal, which is decorated with Baroque carvings from the second half of the 17th century. Numerous votive tablets are reminiscent of a formerly flourishing pilgrimage (from the Baroque period to the 20th century) and bear witness to many wondrous answers to prayer.
organ
The organ was built in 1885 by Franz Borgias Maerz from Munich . The mechanical cone shop instrument comprises five stops on a manual and pedal in the following disposition :
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- Coupling : I / P, pedal octave coupling
Web links
- Internet presence of the parish Hohenegglkofen on the website of the parish association Achdorf-Kumhausen
Individual evidence
- ↑ a b c d e f g h i j k l m n o p q r s t u v w Anton Eckardt (ed.): Art monuments of the Kingdom of Bavaria - District Office Landshut . Oldenbourg, Munich 1914, pp. 132-143 ( digitized version ).
- ↑ a b c d Parish Association Achdorf – Kumhausen: Filial and pilgrimage church of Mary Immaculate Conception in Jenkofen . Online at www.erzbistum-muenchen.de; accessed on May 10, 2020.
- ↑ Joachim Sighart: History of the fine arts in the Kingdom of Bavaria from the beginnings to the present . Cotta, Munich 1862/63, p. 641 ( digitized version ).
- ↑ Bavarian organ database online
Coordinates: 48 ° 31 '55.8 " N , 12 ° 14' 6.4" E