Maria Immaculata (Elsendorf)
The Roman Catholic parish church Maria Immaculata in Elsendorf is a baroque country church in the Lower Bavarian Abenstal . Politically, the municipality of Elsendorf belongs to the district of Kelheim , ecclesiastically the parish of Elsendorf is part of the Abensberg-Mainburg dean's office . The patronage of the church is celebrated on the solemnity of the Conception (December 8th). It is registered as a monument with the number D-2-73-163-11 at the Bavarian State Office for Monument Preservation .
history
History of the parish
Building history
Today's baroque church was built on medieval remains from 1718 to 1721. The tower substructure was taken over from the previous church, possibly also the three-sided choir closure - actually a typical style feature of the Gothic . In 1748 Anton Kapeller became pastor of Elsendorf. He had the church equipped with altars in the Rococo style and had the tower raised. From 1754 to 1756 the characteristic octagonal superstructure with onion dome and lantern was built , which characterizes the landscape of the middle Abenstal. The earlier connection to the Admont Abbey could also have played a role, as such towers are much more common in Styria. In addition, Pastor Kapeller had the church painted in rococo style around 1760 - probably by the Ingolstadt painter JF (Johann Felix?) Hölzl, who signed the Annunciation fresco in the choir room in 1761 .
Between 1854 and 1857 the rococo furnishings on the altars were significantly reduced in favor of neo-Romanesque style elements. The cross altar on the north wall of the nave and the pulpit opposite on the south side also date from this period . The neo-Romanesque furnishings were made by the sculptor Max Puille, who is one of the most important representatives of historicism in Bavaria. In the years 1907 and 1908 the ailing roof structure had to be renewed. As a result, the entire flat ceiling suspended from the roof structure including the cove was removed. The large nave fresco by JF Hölzl also fell victim to this. The new plastered ceiling that was drawn in in 1908 and the cove were designed by the painter Josef Wittmann from Munich with new ceiling paintings. In 1953 the foundation of the tower had to be reinforced due to subsidence . An interior renovation was also carried out during which, among other things, the allegories from the Lauretanian litany created by Wittmann were partially painted over on the hollow. After another renovation in 1980, subsidence again occurred in 1997. In the following year, the foundations of the sacristy extensions were reinforced with small bored piles. In 1999 and 2000, therefore, there was again reason to renovate the interior, during which, among other things, the upper floor of the double gallery was enlarged.
description
architecture
The baroque church building consists of a three-bay nave with a rectangular floor plan . On the west side is the characteristic tower , the basement of which provides the main entrance to the interior. The two-bay, three-sided closed choir is built on the east side . Two-storey sacristies are built onto both sides of the choir and open above the sacristy doors to oratorios in the altar house. While the heavily drawn-in choir is spanned by a pressed cap barrel, the nave has a flat ceiling with a large hollow. The window openings are made comparatively high and close at the top with minimally drawn-in round arches. The structure between the window axes is made in the interior by flat pilasters , on the outside only by subtle plaster strips. Of particular interest and beauty is the slender west tower, which was given its present-day shape through an extension in the Rococo period. The three lower floors are square and come from a previous medieval building. A three-storey octagon tower is built on top of it and contains the belfry and tower clocks. The upper end is formed by a double onion dome , a lantern between the two onions and a tower ball and cross at the top .
In addition to the actual church building, the ensemble also includes the adjoining cemetery with some remarkable tombstones from the second half of the 19th century in the neo-Renaissance style . In the cemetery there is also the soul chapel, a steep-roofed building with a rectangular floor plan from the 18th century, the Ölberg chapel from 1603 with old figures from a Mount of Olives scene and at the northern end the modern morgue, a pent roof building also with a rectangular floor plan with a free-standing tower probably originated in the 1960s. On the opposite side of the street is the rectory , a simple two-storey hipped roof building from 1713, which was built over foundation walls from 1588. An outbuilding also dates from 1713, a single-storey building with a half-hip roof.
Furnishing
The rococo high altar is located in the end of the choir under a canopy painted illusionistically in the best rococo style , which when viewed from a distance looks like part of the altar structure. The actual altar structure has four pillars and consists of three main elements: the tabernacle with the book with the seven seals and the Lamb of God , which actually dates from the time it was built; above the figure of Mary with the baby Jesus surrounded by a halo in neo-Romanesque style, which comes from Max Puille, as well as the relief representation of the Holy Trinity in the altarpiece. The decorations on the high altar, especially on the capitals , as well as the two angel figures and the vases in the entablature zone can also be assigned to the Rococo style.
The two side altars to the left and right of the choir arch are also made in this style. The left side altar is dedicated to the Holy Trinity. The altar sheet may have been on the high altar until the neo-Romanesque redesign. In the altar extract the martyrdom of St. Sebastian is shown, on a small oval picture in the Predella zone St. Joseph . The latter is signed with: “Joh. F. Hölzl pinxit Ingolstadt Ao 1754 ". On the right side altar, St. Isidore is shown in the main picture. On the north wall of the nave, between the first and second window axis from the east, is the cross altar, a neo-Romanesque creation by Max Puille. A crucifixion group is shown in the center: Christ crucified is accompanied by his mother Mary and his favorite disciple John .
The pulpit , which no longer has a staircase today, has a comparatively simple design; it comes from the neo-Romanesque style epoch. The work of Max Puilles comprises a polygonal pulpit with figure niches between small columns and a sound cover on the underside of which a dove of the Holy Spirit is depicted. A cycle of the Stations of the Cross dates from the second half of the 18th century; the confessionals are neo-baroque .
The large ceiling fresco in the nave, a work by Josef Wittmann from 1908, shows the patronage representation of Maria Immaculata. In the center of the blue globe, Mary is depicted in the radiant light of the sun, surrounded by numerous angels on banks of clouds. A dove of the Holy Spirit hovers in front of the sun. On the underside, the Pope proclaims the dogma of the Immaculate Conception of Mary to a college of cardinals and bishops , a theology professor , numerous friars and ordinary believers . Stations of the life of Mary are themed in the oval medallions of the nave, for example the Candlemas and the Visitation of the Virgin Mary . The original frescoes over the arched windows of the sacristy oratorios are by JF Hölzl. They show the preaching of the Lord through the archangels Gabriel and Mary who willingly receive the message.
literature
- Sixtus Lampl : Elsendorf - Parish Church of the Immaculate Conception . Schlossverlag Valley, 2000.
Web links
Individual evidence
Coordinates: 48 ° 42 ′ 33.4 " N , 11 ° 48 ′ 30.5" E