Maria Bründl (Landshut)
The Roman Catholic pilgrimage church Maria Bründl (also Maria Brünnl ) in Landshut 's Berg district is a baroque pilgrimage church that was built in 1719. It belongs to the Heilig Blut parish in the Archdiocese of Munich and Freising .
location
The little church on the southern outskirts of Landshut can only be reached via a footpath that continues to Salzdorf . It is located at about 475 m above sea level. NN near the so-called Weickmannshöhe ( 498 m above sea level ) and is visible from afar, especially to the south, for example from the Salzdorfer Tal.
history
The origin of the pilgrimage to Maria Bründl goes back to the Landshut Riemer Thomas Amplatz. On September 29, 1661, he learned of a spring on the side of the road from Landshut to Geisenhausen , which had dried up for years and was now allowing water to flow again. The very next day he prepared the spring with a wooden railing for later use as a place of pilgrimage. On October 21, 1661 he placed a cross column with a copy of the Maria-Hilf picture by Lucas Cranach the Elder. Ä. which he had bought a few years earlier on a pilgrimage to Passau . In the same year, Amplatz himself built a small wooden chapel over the mercy column - financed from the offerings of travelers passing by. A pilgrimage, popular among the citizens of Landshut, quickly developed, which was nourished by reports about the miraculous spring water and numerous votive offerings . On April 13, 1663, the Bavarian Elector Ferdinand Maria visited the small chapel on his way to Altötting . As a side effect of the pilgrimage even a small "bathing establishment" was established. In 1666 a stone chapel was finally built instead of the wooden one.
After the death of Thomas Amplatz in 1674, the pilgrimage initially stagnated. Even the Klausner , who had lived in Maria Bründl since 1676, mostly showed little interest in the little church. Only when Klausner Balthasar Falkner moved in in 1706 did the pilgrimage experience a renewed upswing. Since he held devotions and solicited donations for the expansion of the sanctuary, the chapel was structurally improved and consecrated for the first time on August 27, 1710 by Auxiliary Bishop Johann Sigismund Zeller von Freising , so that services could now be held in Maria Bründl. With the appointment of Georg Christoph Pexenfelder as parish vicar of Heilig Blut in 1711, another great sponsor of the pilgrimage site came on the scene. Pexenfelder held his post until 1764, so the first hundred years of pilgrimage history are very well documented thanks to his and Amplatz 'records. In 1719 Pexenfelder received permission to have the present baroque pilgrimage church built in place of the chapel . The construction work must have been carried out between May 22nd and October 20th, 1719, since the image of grace was specially transferred to the parish church during this period. In the following year, the building was again consecrated by Johann Sigismund Zeller . The furnishing of the interior dragged on for a long time. In 1726 the high altar was built by the Landshut sculptor Anton Neu, and in 1745 the side altar was added. The pulpit , decorated with four medallions by the famous Landshut sculptor Christian Jorhan the Elder. Ä. , was only created in 1795.
Maria Bründl's last hermit moved out in 1731. Since then the church has been looked after by a sacristan . Influenced by the zeitgeist of the Enlightenment and secularization , the considerable fortunes of the pilgrimage church were used around 1800 to finance the newly founded school in Berg ob Landshut. In 1808 the pastor of Heilig Blut had the more than 200 votive tablets removed and the baroque wall and ceiling paintings whitewashed. The three main paintings on the top of the vault were exposed again in 1968. Further baroque frescoes were restored during renovations in 1987 and 1988, when the statics of the vault were also improved. By 2007 the church was extensively renovated inside and out. In the course of the Second World War , the two bells of the church had to be handed in in 1942, but they could be retrieved undamaged in 1948. Today the pilgrimage chapel is mainly used for silent prayer. Holy Mass is read once a week, every Monday at 8 a.m. On the thirteenth of each month praying pilgrims also always a Fatima - Rosary .
description
architecture
The small hall building is unusually not facing east, but rather facing south. It comprises three yokes , to which the three-sided choir closure is directly connected. The choir has the same width as the nave and is not drawn in. The yoke is separated by flat pilasters on the inside and white pilaster strips on the outside , which clearly stand out from the ocher wall color . The slender baroque tower, which is crowned by a beautiful onion dome, is built on the north side . A small sacristy is attached to the sloping part of the choir , which faces south-east. To the west is the small fountain house and the church portal . If you enter the interior through this, you will find below the organ gallery , a simple wooden construction that is drawn into the rear nave yoke. The space under the gallery is separated by a simple grille. The interior is spanned by a barrel vault with stitch caps .
Furnishing
The high altar in walnut wood with inlays takes up the entire width of the nave and to a certain extent separates the end of the choir from the nave. It has two side passages and was created in 1726 by the Landshut sculptor Anton Neu. The central representation of the six-columned altar is the Maria-Hilf-Gnadenbild donated by Thomas Amplatz, which is surrounded by a beautiful gilded copper frame from 1764. The latter was made by the Landshut goldsmith Martin Spitzlberger. Above the miraculous image, two small angel figures hold a half-crown set with precious stones over the head of Mary. Below are two more angels who seem to hold the image of grace aloft. The excerpt , flanked by two volutes , shows God the Father and the Holy Spirit , thus completing the Holy Trinity . On the stone altar strip from the 19th century is a tabernacle in baroque forms. It shows a cross particle in a small reliquary and the altar cross with an ivory body. Above the side passages there are figures of Mary's parents, St. Joachim (left) and St. Anna (right). The setting of the high altar in gold and silver comes from the Landshut painter Georg Franz Fischer.
The side altar from 1744/45 is placed at an angle on the nave wall. Its structure is supported by two sinuous columns. The altarpiece with a depiction of the marriage of Mary to Joseph of Nazareth is also by Georg Franz Fischer. In the excerpt you can see another painting by Fischer, a representation of the coronation of Mary, and the equilateral triangle as a symbol for the Holy Trinity . Opposite the side altar is the classicist pulpit, which was made in 1795 by the Landshut master carpenter Thomas Zimmermann. On the polygonal body there are medallions of the four evangelists by Christian Jorhan the Elder. Ä. There are numerous votive offerings on the nave walls. Among them are votive tablets from the early days of the pilgrimage, such as a picture from 1664 that was donated by the unmarried child maid Regina von Altfraunhofen . It hangs on the right side of the nave right next to the grille and shows an allegorical representation of Mary as a toad . There are also newer votive tablets in the little church, for example a picture created in 1946 by the Landshut artist Veit Högner, which commemorates the bombing raids on Landshut Central Station on March 19, 1945. The four arched windows in the front bays contain glass paintings by Georg Pfaffenzeller from 1892. They show four Marian themes: the Visitation of the Virgin , the Immaculate , the Birth of the Virgin and the Annunciation . The chair cheeks in the early Rococo style come from the parish church of St. Sebastian in Furth near Landshut .
A single-manual organ with a total of six registers has been on the gallery since 1904 , which was made in 1832 by the Landshut organ builder Joseph Schweinacher and was originally housed in the Heilig Blut parish church. The onion dome has a wooden belfry with two bells that are still rung by hand today. Both bells had to be delivered during World War II, but luckily they came back to the pilgrimage church. Nothing more is known about the age of the larger bell; the year 1900 is carved into the smaller one.
literature
- Kath. Pfarramt Heilig Blut in Landshut (ed.): 350 years of pilgrimage Maria Bründl in Berg ob Landshut - origin and history of pilgrimage up to our time , commemorative publication by Walter Pöschl, Landshut 2011.
- Stephan Kaupe: Berg ob Landshut - The churches of the parish of Holy Blood. Peda art guide No. 962/2015. Art Publishing House Peda , Passau 2015. ISBN 978-3-89643-962-8 .
Web links
Individual evidence
- ↑ a b c d e Catholic Parish Office Heilig Blut in Landshut (ed.): 350 years of pilgrimage Maria Bründl in Berg ob Landshut - origin and history of pilgrimage up to our time , Festschrift by Walter Pöschl, Landshut 2011.
- ↑ a b c Kaupe, pp. 25-29.
- ↑ a b Catholic parish office of the Holy Blood in Landshut: Maria Bründl . Online at www.heiligblut.de ; accessed on August 13, 2016.
- ↑ a b c d Kaupe, pp. 29–31.
- ^ A b Anton Eckardt (ed.): Art monuments of the Kingdom of Bavaria - District Office Landshut . Oldenbourg, Munich 1914, p. 55 ( digitized version ).
Coordinates: 48 ° 31 '21.2 " N , 12 ° 9' 53.4" E