Virgin Mary Sacrifice (West)
The Roman Catholic parish church of Mariä Sacrifice in the west , a district of the Mallersdorf-Pfaffenberg market in the Lower Bavarian district of Straubing-Bogen , is a late Gothic hall church that was built at the end of the 15th century and redesigned in Baroque style in the 18th century . The stately building with a 60 meter high tower , the rich furnishings and the Rosary Brotherhood , founded in 1627 and still in existence today, testify to its former importance as a pilgrimage church and justify the popular nickname Dom in Labertal. The patronage of the parish church is celebrated on the Remembrance Day of Our Lady in Jerusalem , November 21st. The church is registered as a monument under the number D-2-78-148-44 at the Bavarian State Office for Monument Preservation .
history
An early Romanesque church, a hall building with a retracted rectangular choir from the late 10th century and a Romanesque building from around 1230/40 have been documented by excavations at the site of today's parish church .
The core of today's parish church goes back to a late Gothic building, which has largely been preserved to this day. The fact that ten cardinals granted indulgences on certain festive days for the building ut Parochialis Ecclesia beate Marie in western churches in 1483 , which also underscores the importance of the West as a place of pilgrimage to the Virgin Mary, may have played a decisive role in financing the new building . The choir, the nave up to the eaves level , parts of the tower (the three-storey substructure with the tower chapel and oratory and the lower octagonal storey ) and the north portal date from this time . The south-facing portal was built a little later, probably around 1500. As the architectural forms on the tower show, the church was built using the brick technology typical of the Landshut construction works.
After the parish rights had passed to the Mallersdorf monastery in the 17th century , this endeavored in the 18th century to equip the church with new furnishings in line with contemporary tastes. The two side altars were purchased under Abbot Heinrich Widmann in 1741; In addition, the tower was given a baroque finish with an onion dome . A new high altar followed in 1787 under Abbot Gregor Schwab, with statues by the famous Landshut rococo sculptor Christian Jorhan the Elder. Ä. has been loaded. Like the side altars, the Kistler work on the high altar was carried out by the Mallersdorfer monastery carpentry, which therefore has a significant share in the furnishings. The baroque furnishings were completed in 1860 with the pulpit , which the Westen pastor Stern acquired for 175 guilders from the parish church of Atting near Straubing . The local baroque church and its furnishings had to give way to a new neo-Gothic building.
The parish church underwent a decisive change through a restoration in 1914. After the patronage of the Assumption of Mary (evidenced for example by the information in the Regensburg register of 1665: Titulus ecclesiae parochialis BV Assumpta ) was changed to the Sacrifice of the Virgin in the 19th century was, there was also a refurbishment with liturgically interesting, partly didactic-looking orientation in accordance with the new patronage festival. For this purpose, changes were made to the three altars, glass windows from the Schneider workshop in Regensburg were installed and a sculpture of mother Anna , who teaches Maria to read, was acquired from the parish church of Taufkirchen (Vils) . In addition, the neoclassical stucco was added.
architecture
Exterior construction
The distinctive appearance of the church building, which has given it the nickname Dom im Labertal , is essentially based on the 60-meter-high, five-storey tower, which "sets a mighty vertical accent in the Laberauen like a pillar and conveys a particularly picturesque image with the surrounding trees". The three-storey substructure with a square floor plan is structured by late Gothic pointed arches. The floors are separated by circumferential, tile-covered cornices . Just above the height of the ridge , the tower goes over to another cornice, mediated by buttresses , as they are known from the Landshut construction works, into the octagonal superstructure. In addition to other pointed arches, it contains tower clocks on four sides and, divided between the two octagonal floors, two sound openings lying one above the other. While the lower octagonal storey still belongs to the late Gothic style, the upper one was not built until the renovation in 1741. It contains round arches and is structured by flat Tuscan pilasters . A constricted onion dome with an elegant lantern forms the upper end . In literature, the baroque upper floor is attributed to the Landshut court mason Johann Georg Hirschstötter .
Like the tower, the entire east-facing church building is painted yellow. In addition to the nave with four window axes, it includes a clearly drawn-in, three-bay choir with five-eighth end , which is structured on the outside by multi-stepped buttresses. Both structures are of the same height and are united under a common gable roof . The originally pointed arched window openings, all of which have white pilaster strips , were rounded off when the church was baroque. While the tower on the south side nestles in the corner between the nave and the choir, a new sacristy was added to the north side in the 19th century . A small, closed vestibule is attached to the otherwise undivided west facade, which contains the west portal from the time of the first Baroque renovation around 1740. This is the only access to the interior of the church today; the Gothic portals on the south and north sides were added, but their ogival contours can still be seen from the outside.
inner space
The interior of the parish church was redesigned in baroque style around 1740 under the Mallersdorfer Abbot Heinrich Widmann. The nave and choir are spanned by a baroque barrel vault with stitch caps , which rests on mighty pillars with cranked capitals and is decorated with neoclassical stucco. As part of the church renovation in 1914, a double gallery was installed in the rear nave yoke , the upper floor of which carries the organ . The baptistery on the tower's ground floor is accessible from the choir and is also used to store some valuable tombstones. This was previously used as a sacristy and has not been remodeled in the Baroque style. The star vault, which arises from pointed consoles, dates back to the time the church was built around 1480. It ends in a keystone that is decorated with a relief of the Mother of God with the baby Jesus .
Furnishing
West portal
The baroque west portal, which was created during the renovation carried out in 1741, consists of a stone door frame , into which a new, double-leaf wooden door was inserted during the most recent renovation . The protruding cornice on the lintel is supported by two ionizing pilasters. Above this, in a niche in the wall, there is a figure of Maria Immaculata , a mother of God with baby Jesus on a globe. The niche is framed by four volute pilasters , two of which point to the front and two to the sides. These carry a further, segment-arching upward rambling cornice, which crowns the portal. To protect the portal from the weather, a small, closed porch has recently been added to the west facade of the parish church.
pulpit
Most important piece of equipment of Westener parish church is the Rococo - pulpit from around 1755, from the workshop of the Straubinger sculptor Mathias Obermayr comes. It came to the west in 1860 from the parish church of Atting, which was then demolished in favor of a neo-Gothic building, and here completed the baroque furnishings of the parish church. It is attached to the north side of the choir arch , i.e. immediately next to the left side altar . On the curved-edged pulpit there are figures of the four church fathers with their attributes (from left to right): Augustine with the child , Gregory the Great with the tiara , Jerome with the lion and Ambrosius with the beehive.
In between there are gilded reliefs in rocaille frames (from left to right): Transfiguration of Christ on Mount Tabor , the last supper , the torture of John in the oil kettle. Further reliefs are on the staircase - John with the poison cup of Aristodemus, John and Peter with the lame-born - and on the back wall of the pulpit - crucifixion group with John and Mary. The theological concern of the relief cycle is therefore to relate various events from the life of the Evangelist John to the Passion of Christ. Finally, on the cover, there is a plastic representation of John on Patmos, who is currently writing down his revelation . Above it rises a gilded eagle, his attribute.
Altars
The high altar from 1787 is a high quality Rococo work by the Mallersdorfer monastery carpentry. The structure is supported by two pairs of columns and two flat pilasters, all with gold-plated , ionizing capitals . The mighty round pillars frame the stately, gilded tabernacle with exposure niche and worshiping angels, as well as the figure of Mary with child standing on a pedestal above. Mary carries a scepter in her right hand, her head is surrounded by a halo; the baby Jesus holds a gilded orb in his left hand as a sign of his power, while the right is raised in a gesture of blessing. The figure is crowned by a canopy ; The draperies flowing down are apparently held back by four putti , thus giving the viewer a clear view of the figure, which was only acquired in 1914. At about the same height as the far cantilevered entablature there is a Holy Spirit dove in the middle in a halo; above it, on the cloud, a half-length figure of God the Father, which, like the main character, was not incorporated into the high altar until 1914. The top , crowned by a cross , is accompanied by four filigree volutes that swing out wide on the entablature.
However, the two figures above the side passages of the high altar are of particular interest. They come from the workshop of the famous Landshut sculptor Christian Jorhan the Elder. Ä. St. Sebastian is shown on the right, St. John the Evangelist on the left . The latter figure has a special dynamic through a kind of helical movement. This so-called figura serpentinata can usually be found in the works of the Rococo sculptor Ignaz Günther .
The two walnut-colored, partly gilded side altars are older than the high altar; they were created by Mallersdorfer Klosterschreinerei around 1740 and executed as counterparts. The altar leaves, however, date from the early 20th century; they were painted by Alois Kainz from Pfaffenberg and only came to the Westen parish church during the renovation in 1914. The left altar panel shows Mary surrounded by her parents Anna and Joachim , the right the stoning of St. Stephen . The excerpts, on the other hand, are original baroque and were simply redesigned in 1914. They show the saints Florian (left) and Leonhard (right).
Stained glass window
On the occasion of the church renovation in 1914, new windows with glass paintings from the Schneider workshop in Regensburg were installed. In the choir, you can see St. Anne with the young Maria (north) and St. Joachim at Mary's temple passage (south). The stained glass windows in the nave show St. Peter Canisius with the catechism and St. Kreszentia von Kaufbeuren .
Other equipment
Almost nothing is left of the originally numerous votive offerings , which testified to the lively pilgrimage activity to the west. The devotional objects were removed over time during various renovation measures. However, the earlier miraculous image has been preserved , a Straubing terracotta figure from around 1480, which is said to have stood at the high altar earlier. The late Gothic figure shows a crowned Mother of God with the baby Jesus. A high-quality wall altar decorated with cartilage with a replica of the Black Madonna of Altötting , which was probably made in the Mallersdorfer monastery joinery around 1640, bears witness to the former veneration of the Virgin Mary. It was not until 1914, however, that a baroque figure of the holy mother Anna, who taught Maria to read, was acquired. It originally comes from the parish church of Taufkirchen (Vils).
The baptismal font , which is housed in the tower chapel, is a late Gothic work from the early 16th century - one of the few pieces of furniture that still dates from the time the church was built. The hemispherical basin, decorated with foliage and ribbon work, rises above a winding shaft.
literature
- Michael Schmidt: Churches of the parish west. (= Little Art Guide No. 2390). 2nd edition, Schnell & Steiner, Regensburg 2008, ISBN 978-3-7954-6217-8 .
Web links
- Exterior and interior photos of the parish church of the Sacrifice of Mary in the west on kirchturm.net
Individual evidence
- ↑ a b c d Schmidt, p. 5f.
- ^ Schmidt, p. 6.
- ↑ a b c Schmidt, p. 6f.
- ↑ a b c d e f g h i Schmidt, pp. 6-10.
Coordinates: 48 ° 45 ′ 46.9 ″ N , 12 ° 14 ′ 1.5 ″ E