Maria Trost (Nesselwang)

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Pilgrimage Church of Maria Trost

The Catholic Church Maria Trost is a pilgrimage church above Nesselwang in Bavaria . The church, located in a forest clearing at an altitude of 1123 meters on the north-eastern slope of the Alpspitz , which can only be reached on foot, is clad in the Baroque style . The construction of the pilgrimage church goes back to the miraculous image of Maria Plain , venerated here around 1658 , which is now in Maria Plain .

history

The pilgrimage to Mary originates from a painting of the Mother of God , which was found undamaged under the rubble after a fire in 1633 . The baroness Argula von Grimming, wife of the highest guardianship officer in Regen , exchanged the sooty painting and had it installed in her castle chapel. After her death, her son Rudolph von Grimming inherited the so-called Maria-Trost-Bild, who initially brought it to his noble residence in Müllegg in Salzburg , but then put it on the Plainberg in 1652 , which led to its admiration. As a result, a copy of the picture was made, which remained on the Plainberg, while Rudolph von Grimming took the original picture with him while traveling and on a pilgrimage to Einsiedeln . He liked the Allgäu landscape, whereupon he settled down as a Klausner on the Wankerberg. In 1658, because of the growing number of believers who wanted to venerate the image, a wooden wayside shrine was built over which a wooden chapel was built. A year later, the wooden chapel was replaced by a brick chapel, and a sacristy was added in 1659. These old parts represent the present choir . In 1662 the first Holy Mass was read in the chapel. The founder of the pilgrimage, Rudolph von Grimming, was expelled from the country in 1663 due to resentment and interventions from other pilgrimage sites, while the original picture came into the care of the parish of Nesselwang. From 1665 to 1676 it was then in the episcopal ordinariate in Salzburg. The prince-archbishop of Salzburg, Max Gandolf , who was in office from 1668 , had planned the transfer to the newly built church on the Plain .
During the War of the Spanish Succession , the number of pilgrims visiting Maria Trost above Nesselwang increased, as did the amount of donations. Therefore, from 1704, the church building could be expanded to include today's nave, and the consecration of the completed church in 1725 was carried out by Bishop Alexander Sigismund Count Palatine von Neuburg. In a visitation protocol from 1740 there is talk of the miraculous Mother of God and the sanctuary on the high mountain . The fortune at the time was 5,500 guilders. Between 1759 and 1770 the interior decoration was completed, which includes frescoes, stucco side altars and the pulpit. The meanwhile considerably increased wealth made this possible. In the years 1769 and 1770 the two-storey hermitage was added. To date, the pilgrimage church has had to be renovated twice, but without any structural renovation. The most recent renovation was ceremoniously completed on Ascension Day 2019. The church is a listed building .

Furnishing

Miraculous image

The miraculous image is one of a total of four images of Mary from the time of Rudolf von Grimming, who founded the pilgrimage. It was painted over several times with the intention of matching it to one of the other three pictures and to embellish it. Because of this overpainting, none of the pictures is an exact copy of another.

Ceiling frescoes

Who painted Maria Trost's frescoes is still unknown. The pictures are unsigned and undated. The ceiling frescoes of high artistic quality with a Marian image program adorn the entire flat ceiling of the nave . In the middle field, the whole world, symbolized by the representation of the four continents, pays homage to Our Lady in the form of the Queen of Heaven on the globe. An angel shows her on a sheet of paper the view of Nesselwang, who - like the continents - also pays homage to Our Lady and is blessed by the baby Jesus on her arm. In the eastern field of view with an excellently painted dome, angels present the miraculous image of Mary Consolation. In the western dome you can see the theme popular in the 18th century: Mary in the mirror of the old covenant ; the Immaculate appears to Joachim and Anna , who are asking for a child . The coat of arms of the Nesselwang sovereign, the Augsburg Bishop Joseph Landgraf zu Hessen-Darmstadt (1740–1768) can be seen as a grisaille painting in the intermediate belt against the middle field .

Votive tablets

The church has 38 votive pictures from the late 18th and early 19th centuries. For safety reasons, only photo reproductions were made in the pilgrimage church. In addition to the votive tablets, there are also two wax votive hands.

High altar

The high altar was carved in 1710. It is dated on the reverse by the sacristan and hermit Georg Unsin. The very colorful altarpiece was painted in 1717 by Johann Georg Schall , an artist from Nesselwang. It shows the Assumption of Mary. Two other altar paintings by Schall have come down to us in Regensburg. The setting of the altar was possibly based on the model of the Maria Plain church.

A structure with six columns that accompany the altarpiece rises above the altarpiece. The gable is crowned by an extension with a shell-shaped dome in which Jesus is shown in the temple as a group of figures. The overall impression is determined by the six twisted pillars. Benedict XIV privileged the altar in 1745 with indulgences for the deceased. In 1982 the altar was reconstructed according to its original structure.

Side altars

The side altars are of the same quality as the high altar. The right altar is dedicated to St. Joachim, the left to St. Anna. The stuccoed Rococo superstructures are decorated with classical elements. The extensions are adorned with putti heads, putti and volutes, the columns have no tectonic function. For the bicentenary in 1859, plaster figures were placed in the niches. The whereabouts of the original figures is not clear. The sculptor Armin Luda from Nesselwang carved two figures in 1982 that corresponded to the style of the second half of the 18th century and donated them to the church. The frames were made by Margot Luda, who was also responsible for the designs for the dining halls of both altars. In consultation with the monument office, Winfried Bernegger from Lechbruck redrafted the stucco work. By installing a tabernacle in the Anna altar, it was transformed into a sacramental altar. Since no comparable altars are known, a dating and attribution is currently not possible.

Carved figures

  • In the niche of the sign is a representation of Christ in the dungeon, it was carved around 1910 by Johann Georg Hirsch from Günzburg. A privately owned figure from the second half of the 18th century served as a model.
  • A crucifix with a mourning Mary hangs on the north wall. It was made around 1650. The sculptor is not known.
  • The figure of the mourning Maria from a crucifixion scene originally comes from the old parish church in Nesselwang. Presumably this is a work from the workshop of Nikolaus Babel. The associated thieves were brought to the chapel in Thal in 1942. There is a donor's inscription on the good thief: Georg Straub Böck had this picture made in 1704 .
  • The figures of Mary and Christ Salvator were probably carved by Ignaz Erdt at the beginning of the 18th century.

Other equipment

  • A book of miracles from 1753 is kept in the parish archive.
  • The high-quality pulpit is lavishly decorated with stucco work. Builder and exact construction time are not known.
  • In two glass cases in the choir, votive works made of silver and wax and monastery works from the 18th to 20th centuries are exhibited.
  • The Way of the Cross consists of 15 stations, the 14th station is signed LC Weiß pinx 1846 . Ludwig Caspar Weiß lived in Rettenburg from 1793 to 1867. Before that there was a way of the cross in the style of the Nazarenes, which was signed Dolci 1869 , it was exchanged for that of Weiß in 1935.
  • The pews were made by the Pöllath company from 1934 to 1935. According to an expert opinion, the cheeks were made from larch wood according to original patterns.
  • The door of the north portal was made by the master carpenter Schön from Nesselwang.

Bells

  • The once existing larger bell was cast in 1869 and had to be handed in during the First World War . The bell foundry Andreas Hirt from Kempten cast a new bell weighing 150 kg in 1928 as a replacement. It carried the inscription: In danger to soul and body - My consolation, O Maria, stay! This bell was drafted in World War II and replaced in 1952 by a new bell that was cast at the Gebhard bell foundry in Kempten.
  • The small bell weighs 75 kg and was hung in the turret in 1671 at the time of Prince-Bishop Johann Christoph von Freiberg. The inscription reads: Otto Sartor zv Kempten / poured me . It is adorned with a crucifixion group, a handkerchief of Veronica, a mother of God in a halo and the coat of arms of the prince-bishop.

organ

The instrument was installed in 1913 by Gebr. Hindelang from Ebenhofen. It has the registers Saliconal 8 ', Gedackt 8', Octav 4 ', Subbass 16', Pedalkoppel and Kleinmixtur. The organ was repaired in 1982 by the Zellhuber company from Altstädten.

literature

  • Margot Luda and Franz Xaver Greß: Pilgrimage Church of Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986

Web links

Commons : Maria Trost (Nesselwang)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, pp. 4-6.
  2. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 12.
  3. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 7f.
  4. ↑ Bavarian State Office for Monument Preservation, file number D-7-77-153-19.
  5. ^ Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 16.
  6. ^ Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 8.
  7. ^ Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 17.
  8. ^ A b Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 18.
  9. ^ Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 18f.
  10. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 19.
  11. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 8.
  12. ^ Margot Luda and Franz Xaver Greß pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 17.
  13. ^ A b Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 19.
  14. ^ A b Margot Luda and Franz Xaver Greß, pilgrimage church Maria Trost Nesselwang in the Allgäu , Anton H. Konrad Verlag, Weißenhorn 1986, p. 20.

Coordinates: 47 ° 36 ′ 29 ″  N , 10 ° 30 ′ 40 ″  E