Maria Immaculata (Schwennenbach)
The Catholic parish church Maria Immaculata in Schwennenbach , a district of Höchstädt in the district of Dillingen an der Donau in the Bavarian administrative district of Swabia , dates back to a choir tower church from the 14th century. The current building was built in the second half of the 17th century and was enlarged and raised in the middle of the 18th century. The furnishings in the Rococo style , the frescoes by Johann Anwander and the stucco decor by Bartholomäus Hoiß come from this period .
history
Schwennenbach was the seat of a parish early on . Between 1543 and 1618 the place was Protestant . In 1704, with the exception of the church , Schwennenbach was burned down by the imperial family before the battle of Höchstädt . From 1710 until after 1800 the miraculous image , the figure of Our Lady erected in the church in 1686, was the destination of a pilgrimage .
In 1577, the choir tower was built on foundations from the 14th century by Bernhard Ranneissel. From 1678 to 1682 the building master Georg Danner rebuilt the nave . Between 1755 and 1757 the church was probably enlarged and raised by Simon Rothmiller.
architecture
Exterior construction
The square, four-story tower is by cornices organized and run by a gable roof covered. On the third floor, round-arched, coupled sound arcades open up in segment-arched niches. Above the door of the northern growing one's spoils from the 15th century walled, an ogee with pinnacles and scrolls .
inner space
The single-nave choir tower church is divided into three axes . The nave is covered by a hollow vault with stitch caps . To the east is a retracted, arched, closed choir with a flat dome and side oratorios . The walls of the choir and the nave are divided by pilasters . In the east, flat altar niches open up in the sloping corners of the nave . The western end is formed by a double gallery with curved parapets resting on wooden pillars .
Piece
The stucco decoration with elaborate shellwork cartouches is dated around 1767 and attributed to Bartholomäus Hoiß. The inscriptions in the two stucco cartouches on the choir arch point to the essential unity of God the Father, Son of God and Holy Spirit (“Deo ter VnI”) and the Immaculate Conception of Mary (“MarIae sIne Labe ConCeptae”) to whom the church is consecrated. In the capital letters (MDCCLVIII) there is a chronogram with the year 1758.
Ceiling and wall painting
The ceiling frescoes in 1758 by the in Lauingen resident Johann Anwander running (1715-1770). The theme of the choir fresco is the veneration of the Schwennenbacher miraculous image by the population. The fresco on the choir arch depicts Mary's coronation. In the center of the nave fresco, Mary is taken into heaven by the Trinity . The portrayal of the Holy Spirit as a man is unusual. The scenes on the edges are dedicated to the defense of the faith. The vault gussets and stitch caps are decorated with stucco cartouches and scenes from the life of Mary ( Annunciation , Visitation , Birth of Christ and Adoration of the Shepherds, Three Wise Men , the twelve-year-old Jesus among the scribes, the risen one appears to his mother). The iconic representations of the grisailles are Marie symbols : a lily between thorns, a floating ark, the falling walls of Jericho, the body Dagons , a walled garden ( hortus conclusus ) with a snake against the ark with the blooming arum , the nonwoven fabric of the Gideon , the throne of Solomon .
In the stucco cartouches on the pilasters, the heads of the Twelve Apostles , painted using the fresco technique , are depicted. The Stations of the Cross in four-pass frames, painted in oil on plaster, were probably made by Johann Anwander.
Annunciation
Visitation (center), Fleece of Gideon (left), Solomon's throne (right)
Birth of Jesus and Adoration of the Shepherds
Jesus among the scribes
Collapse of the walls of Jericho
Furnishing
- The pulpit , the high altar and the two side altars date from around 1770 and were made by Joseph Dossenberger , the master builder of the Augustinian Canons of Wettenhausen .
- The two larger-than-life figures of the high altar represent St. Vitus (with oil kettle) on the left and St. Sebastian (with arrows in hand) on the right. They are attributed to Franz Karl Schwertle .
- The miraculous image in the middle shrine of the high altar, a wooden sculpture of Our Lady with the baby Jesus in a halo, is dated to the late 17th century.
- The pulpit is studded with putti who hold the attributes of the four occidental church fathers in their hands: the cardinal's hat of Jerome , the papal crown of Gregory the Great , the beehive of Ambrose and the spoon with which a boy gave St. Augustine to understand that it is as impossible to exhaust the sea as it is to fathom God. On the sounding board which are symbols of the evangelists represented: the bull of Luke , the winged man of Matthew , the eagle of John and the lion of St. Mark .
- In the niche opposite the pulpit there is a sculpture of the Apostle Paul , which is also attributed to Franz Karl Schwertle.
literature
- Georg Dehio : Handbook of German Art Monuments - Bavaria III - Swabia (arr.: Bruno Bushart , Georg Paula ) . 2nd Edition. Deutscher Kunstverlag , Munich 1989, ISBN 3-422-03008-5 , p. 944-945 .
- The art monuments of the district of Dillingen an der Donau , edited by Werner Meyer , in the series: The art monuments of Bavaria. The art monuments of Swabia. Vol. VII. District of Dillingen on the Danube . Munich 1972, ISBN 3-486-43541-8 , pp. 846-853.
- Georg Wörishofer, Alfred Sigg, Reinhard H. Seitz: Cities, Markets and Communities . In: The district of Dillingen ad Donau in the past and present . Edited by Landkreis Dillingen an der Donau, 3rd revised edition, Dillingen an der Donau 2005, pp. 304–305.
Web links
Individual evidence
Coordinates: 48 ° 39 ′ 41.1 ″ N , 10 ° 34 ′ 29.1 ″ E