Assumption of Mary (Oberhatzkofen)

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Parish church of the Assumption on a hill above the Labertal
inside view

The Roman Catholic parish church of the Assumption of Mary in Oberhatzkofen , a district of the town of Rottenburg an der Laaber in the Lower Bavarian district of Landshut , is a rococo building that is attributed to the Landshut court mason Johann Georg Hirschstötter . The stately church, which was built in 1743 instead of a previous church from the 13th century, is located on a hill above the Great Labertal between Pfeffenhausen and Rottenburg.

history

The previous building of today's parish church was probably built in the 13th century, i.e. in the early Gothic period. The substructure of the tower is still preserved today. As is often found in the Hallertau, it appears bulky and compact, as it had a protective function for the entire village in the Middle Ages. The cemetery wall, which was built at the same time and was only replaced by a new building in the 1960s, exuded a certain defensive character with its thick masonry and the forty centimeter high loopholes in the shape of a slot and key. The room built on to the north of the tower and equipped with a reticulated vault typical of the period, which was previously used as a sacristy and morgue , dates from the 15th century and is therefore late Gothic.

The actual church interior, however, comes from the Rococo style and was built in 1743 and consecrated in 1786, the same year as the side church of St. Margareta in the neighboring village of Niederhatzkofen . Because of the large time difference between the year of construction and the year of consecration, it could be a rededication. The stylistic correspondence with the pilgrimage church of St. Leonhard in Oberotterbach points to the Landshut court mason Johann Georg Hirschstötter as the master builder. However, the bourgeois master builder Johann Reissmayr, son of the Landshut plasterer Niklas Reissmayr, gave the parish church of Oberhatzkofen as a reference when building the new parish church in Erharting near Neuötting in 1753/54.

The church was renovated three times in the 20th century: first in the years 1906 to 1909; then shortly after the Second World War , with the original color scheme largely being painted over; and finally in 1985 by the Richter company from Regensburg , whereby the original version was restored according to the findings. In 1993 the church received its popular altar .

description

Exterior view from the south
Double gallery
View into the choir room
Madonna figure on the high altar
Representation of the Holy Trinity at the excerpt from the high altar

architecture

The stately hall building , which is oriented exactly to the east, is kept very simple on the outside, which is actually atypical for the Rococo style epoch. Only the so-called bass violin windows, the "ox eyes" above and the portals flanked by pilasters on the north side and to the sacristy indicate the richly colorful interior. The nave of the church with rounded corners comprises three window axes, the slightly indented choir has a window axis and the Holy Spirit window in the segmental arched apse , the morning light illuminates the figures of the high altar and gives them an aureole . The large span of the flat barrel vault with stitch caps in the nave and the flat dome in the choir were achieved by means of plastered wooden formwork . The beginning of the vault is covered by a circumferential, richly profiled cornice , which seems to be supported by flat pilasters with Corinthian capitals . A double gallery has been installed on the west side of the nave. Both floors have a curved parapet with frame stucco and rest on three pillars. Access to the gallery is via a spiral staircase , the circular staircase of which is attached to the nave on the west side.

The largely undivided tower is built onto the north side of the choir. Above the square substructure from the early Gothic period, which is now used as a sacristy, is the baroque structure with the belfry . This merges into the pointed helmet that was put on around 1880 via four triangular gables .

Furnishing

The furnishings of the parish church impress with their uniformity in the style of the early Rococo. First of all, the numerous stucco decorations should be mentioned, for example the climbing, lattice and shell work around the choir dome, on the oratorio parapet in the choir room, on the window frames and on the apostle chandeliers . In the four spandrels of the choir vault there are stucco reliefs of the four church fathers Ambrosius , Augustine , Gregory the Great and Jerome . The large ceiling fresco in the nave is more recent, but blends in well with the Rococo furnishings. It bears the signature “G. Halter 1907 ”, so the original painting should have been painted over or restored during the church renovation from 1906 to 1909. The Holy Trinity and the Blessed Mother Mary are depicted today , surrounded by Trinitarian monks . On the right side of the painting a half-painted, half-stuccoed angel is depicted, blurring the boundaries between painting and sculpture in the best Rococo manner .

The four-column high altar made of red and light blue stucco marble altar with a three-tier structure forms the central focal point of the entire room. To the left and right of the cafeteria there are life-size figures of the apostles Peter (left) and Paul (right). Between the two rises the gilded and richly decorated rococo tabernacle , which is crowned by a small figure of the risen Christ. The middle step of the altar includes four twisted columns, so-called braided columns. In between you can see a late Gothic figure of Mary with a baby Jesus , which forms the center of the altar. This is a miraculous image from 1480 to 1490, which depicts Mary as Queen of Heaven with a crown on a cloud. The figure is arranged against the background of a halo, which probably dates from the 19th century. There are also life-size figures of Saints Florian (left) and Sebastian (right) above the side passages . The altarpiece, decorated with vases, angels and flower garlands, contains a colorful group of wooden figures of the Holy Trinity under a tasseled canopy .

The side altars, which are inclined on both sides of the choir arch , also each have four columns and each contain two side figures. They are made of stucco marble, the color of which corresponds to that of the high altar. The altarpieces, like the ceiling painting, were added during the renovation from 1906 to 1909. On the left altar sheet the martyrdom of St. Sebastian is depicted, in the excerpt you can see St. Mary with her parents Joachim and Anna . As side figures you can see St. Gertrud von Helfta (left) and St. Barbara (right). The right altar panel shows the Holy Family , in the upper picture St. John Nepomuk can be seen. The side figures are Saint Leonhard (left) and Saint Wendelin (right). The beautiful Rococo pulpit is also made from the same stucco marble. The body and sound cover have a curved shape; the latter is crowned by volutes and an angel's head. Opposite the pulpit is a beautiful wooden cross, also from the time the church was built. On the pilasters in the nave there are also three life-size stucco figures: the Mater Dolorosa and Saint Anthony of Padua with baby Jesus on the north wall of the nave and a holy monk on the south side. The Way of the Cross, painted on canvas with beautiful rococo carved frames, the cheeks with foliage and banding, and the two confessionals , one of which was rebuilt and thus changed, also date from the mid-18th century.

Also noteworthy is the font made of Kelheim marble , a basin decorated with tracery on an octagonal base. It is dated to the first half of the 15th century and should therefore still come from the furnishings of the previous church. The stone was restored in 1993 by the local master stonemason Lauri Seidl and provided with a gold-plated lid. At around the same time, Seidl also manufactured the new people's altar, which is matched in shape and color to the high altar, according to the plans of the pastor at the time . Today's organ , a one-manual slider chute instrument with a total of ten registers , was made by Josef Grübl from Waltendorf ( Niederwinkling municipality ?) , According to a label above the manual . The historical instrument was built in the last quarter of the 19th century.

Funerary monuments

The grave slabs on the inside and outside walls of the church also deserve some attention. Inside there is a grave monument made of Solnhofen limestone on the south wall for Pastor Georg Ferdinand Killy, who died in 1784 and who played a key role in founding the Oberhatzkofener elementary school. The tomb of Anton Schlemmer, who died in 1838 and was the first teacher in Oberhatzkofen, is also located on the northern outer wall. This page also contains the epitaphs for the priests Petrus Steinhart († 1682), Andreas Brandsteidl († 1733) and Jakob Gradl († 1832) who were active in the village. On the west side of the tower building is the grave slab of Theodor Heinrich Freiherr von Kreittmayr and his brother Xaver, who died in 1818 and 1820 at the age of 19 and 22. They were grandsons of the Bavarian electoral law reformer Wiguläus von Kreittmayr (1705–1790) and masters of Niederhatzkofen Castle . The epitaphs for Maria Barbara Stainlein († 1741), manager of Niederhatzkofen, and her daughter Maria Elisabeth are attached to the outside of the south wall.

Gothic frescoes

In the sacristy, which - as already mentioned - is located in the early Gothic tower substructure, remarkable frescoes from the late 13th century were discovered during the church renovation in 1985 . The room was probably used as a chancel by the previous church, a so-called choir tower church. The ogival vault is covered with early Gothic paintings from a height of about three meters. The frescoes underneath were probably painted over in the Renaissance and Baroque periods , but have been destroyed by various technical installations and were merely preserved in 1985. Their exposure will therefore be a task for future generations.

The exposed frescoes are kept in a few near-earth colors, with an ocher tone and a dark wine red dominating. It depicts a cycle of Mary, so to speak a picture Bible from the perspective of the Mother of God Mary. An ocher-colored starry sky with wine-red stars can be seen on the ceiling, which is interrupted by four circular vignettes depicting the four evangelists and their symbols . While the west wall has no pictures, as the old nave was probably connected here, scenes from the Old Testament are depicted on the north wall and scenes from the New Testament on the south wall . On the east wall, so to speak between the Old and New Testaments, an angel is depicted, which is drawn larger than the other figures. It could be the Annunciation Angel announcing the birth of Christ to Mary. Perhaps the birth and death of Christ on the cross were also depicted here, as large parts of the fresco were destroyed by the round-arched redesign of the window opening in the baroque period. In the Old Testament (north wall) the focus is on the one hand on the depiction of the fall of Adam and Eve , the expulsion from paradise and the dove as a sign of the Old Covenant ; on the other hand, the story of Joachim and Anna and the conception and birth of their daughter Maria are shown. From the New Testament (south wall) the Ascension of Christ , the Pentecost miracle and the New Covenant are shown in the form of a dove sent by God the Father. The scenes shown show that the old church of Oberhatzkofen was already considered a large Marian shrine when it was built in the 13th century, when the veneration of Mary arose.

literature

  • Wilhelm Niedermeier: Parish church Mariae Himmelfahrt Oberhatzkofen with side church St. Margareta Niederhatzkofen . Church leader, Pinsker-Verlag GmbH, Mainburg around 1993.

Web links

Commons : Mariä Himmelfahrt (Oberhatzkofen)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d Niedermeier, p. 6f.
  2. ↑ a b c d Description of the parish church of the Assumption of Mary in Oberhatzkofen . Online at www.pfarrei-rottenburg.de. Retrieved June 24, 2016.
  3. ↑ a b c d Niedermeier, pp. 8–11.
  4. ↑ Niedermeier, p. 11f.
  5. ↑ a b Niedermeier, pp. 12-17.

Coordinates: 48 ° 41 ′ 29 "  N , 11 ° 59 ′ 59.3"  E