Martinskirche (Landshut)

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St. Martin's Basilica in Landshut
Memorial stone for Hans von Burghausen on the outer wall of the south aisle

The Landshut parish and collegiate church St. Martin and Kastulus ( basilica minor ), St. Martin or Martinskirche for short , was started as a hall church by master builder Hans Krumenauer around 1385 and was completed by around 1500 with the significant participation of Hans von Burghausen . With its extraordinary architecture, verticalized over its dimensions, in which elements of high and late Gothic are combined , the church is one of the most important Gothic monumental buildings in southern Germany . The tower of Landshut Martinskirche is at 130.1 meters the tallest brick tower in the world and the tallest church tower in Bavaria .

The Moosburg Collegiate Foundation was transferred to Landshut (St. Martin) in 1598 at the instigation of Duke Wilhelm V, where it was abolished in 1803. In 1937, at the request of Cardinal Faulhaber , the old collegiate monastery was opened by Pope Pius XI. set up again.

Building history

The heavily subdivided tower of the Martinskirche from the southwest

Previous construction

The predecessor of today's church probably came from the time the city ​​was founded in 1204. During archaeological investigations in 1980, the foundations of a three-aisled late Romanesque basilica 50 meters long and 27 meters wide were excavated in the eastern part of the nave, with a free-standing bell tower attached to the west Chapel was upstream. As the street level was raised by three meters during the reconstruction of Landshut after the devastating fire of 1342, the church had to be rebuilt.

The Gothic church and its builders

Hans Krumenauer

The exact start of construction of the Gothic church is not known. The first presumed construction proof is a document drawn up in 1389 in which a certain "maister Hanns, paumeister czu sand Martein" appears as a seal request. In the opinion of large parts of the research, that maister Hanns is already Hans Krumenauer , the later master builder of the Passau Cathedral . Peter von Baldass, however, questioned this claim as early as 1950, because the term master builder had a much wider range of meanings in the Middle Ages than in today's language. Only an entry in the messenger book of the brotherhood of the Hospice to St. Christoph am Arlberg from 1395 names a "Maister Hanns, der K [r] umnauer, stai [n] mecz zu Lannczshut" . Krumenauer was not only responsible for the sights , i.e. the plan of the new building, which was binding for the subsequent builders; he also built the choir and the east section of the three-aisled nave by 1400 . There is also evidence of a mass foundation for the Landshut patrician family von Asch, who donated the Magdalenenkapelle north of the choir during this time. However, Krumenauer's activity in Landshut ended early when he was appointed to the Passau Dombauhütte in 1405 .

Hans von Burghausen

In 1406, the construction supervision of the newly emerging Martinskirche was transferred to Hans von Burghausen (actually Hanns Purghauser ). In return, the Bavarian Duke Heinrich the Rich presented him with a house immediately south of the construction site (now at Spiegelgasse 208). The seven eastern bays of the hall longhouse (without vaults ) were built under Purghauser's direction . The western north portal with an inscription dated 1429 was also built under him.

After his death in 1432 he found his final resting place in the Martinsfriedhof next to the church. While the cemetery has not existed since the beginning of the 19th century, a memorial stone with a bust on the outer wall of the south aisle commemorates the master and his numerous works that he left behind in old Bavaria and Austria .

Hans Stethaimer

The author of the picture is Purghauser's nephew Hans Stethaimer , who was equated with Hans von Burghausen for a long time. He completed the two western bays of the nave and the aisle chapels and began building the world-famous brick tower with the two-storey flank chapels, the Altdorf chapel in the north and the baptistery in the south at the earliest in 1441 . Hans Stethaimer was also responsible for the west portal, which was built around 1452.

Stefan Purghauser

After Stethaimer died around 1460/1461, Stefan Purghauser , son of Hans von Burghausen and 1471 as "mayster Stefan [Purghauser] vom Stainwerch" attested to, took over the construction management. Around 1475, the nave, which had been closed with a temporary flat ceiling, received its rib vaults (presumably the work of the stonemason Thoman Altweckh) and a high saddle roof. It was not until 1500, after more than 100 years of construction, that the construction of the Martinskirche was completed with the roofing of the huge west tower.

From the 16th century until today

In 1598, at the instigation of Duke Wilhelm V of Bavaria, the collegiate monastery of St. Castulus was moved from Moosburg to Landshut; the Martinskirche became a collegiate church . In 1604 the relics of St. Castulus were also transferred there. The monastery was abolished in 1803 as part of the secularization , but rebuilt in 1937 (without the old monastery assets). In 2001 the collegiate church was elevated to a minor basilica . The collegiate chapter currently consists of five canons (canons) and the chairman, provost (and pastor ) Monsignor Franz Joseph Baur.

The parish of St. Martin has been part of a so-called parish association with the Heilig Blut parish on Landshuter Hofberg since September 1st, 2004. The board of directors of this parish association is also Monsignor Baur.



  • Inside length of the main nave (with choir): 92 meters
  • Inner width of the nave (with insert chapels): 28.65 meters
  • Clear interior height of the ships: 28.80 meters
  • Tower height: 130.08 meters
  • Built-up area: 2,668 square meters

construction materials

With the exception of the sculpted components (such as portals, friezes , tracery and buttress roofs ), which are made of house stone , brick , bonded with lime mortar, is the predominant building material. 5000 fir wood piles were used as the foundation, which are completely immersed in the groundwater to counteract decay.

Exterior construction

North side of the church with Magdalenenkapelle

Nave and choir

The Martinskirche is a three-aisled hall church with nine bays . Low insert chapels are built in between the deep buttresses on the side walls. On both sides of the third and seventh yoke there are portal porches with richly designed canopies made of stone. The side walls of the nave are divided into two zones: the walls of the insert chapels are exposed to light through broad, five-lane, the side aisle walls through tall, narrow, three-lane tracery windows that almost completely fill the wall surfaces between the buttresses. The conclusion is a painted-on frieze band made up of four snowshoes in a row , which also runs around the retracted, four - bay choir; this joins the nave in the width of the central nave in the east and is closed in five octagonal sides. Its wall design largely resembles that of the nave, but the much less deep spaces between the buttresses only contain low, open arched niches for epitaphs and tombs. The sacristy is built on its south side . Its two western window axes with pointed arch portals and windows date back to the Gothic period, the eastern parts with their own apse are Baroque elements. The so-called Magdalenenkapelle with a separate choir closure and corner pinnacle is built on the north side of the choir . In the corner between the north wall of the choir and the nave there is a polygonal stair tower that leads to the roof structure.

Tower and flank chapels

On the west facade rises the highest brick tower in the world with 130.1 meters , which also contains the west portal vestibule. Its nine storeys taper towards the top and are structured by pilaster strips , pointed arches and cross-braces. At the transition from the square to the octagonal floor plan above the fourth floor, four slim, hexagonal stair turrets also rise up. Although they all contain a spiral staircase , you can only get to the belfry via the snails in the southeast corner, which clearly towers above the others . Two filigree truss crowns (the lower one rests on eight pinnacles) surround the eight-sided pointed helmet . The ground floor of the tower is flanked on both sides by chapel rooms, the Altdorf chapel and the baptistery , the west sides of which are sloping. Its two floors with three-lane tracery windows are divided by a wide four-pass frieze .


Nave and choir

Interior view of the central nave towards the choir
Interior view of the central nave towards the organ gallery

The central nave of St. Martin consists of nine bays on a transverse rectangular floor plan. They correspond to nine square yoke spaces in each of the two side aisles; these are opened through pointed arches to the insert chapels or the lateral portal porches. While the south aisle has a straight end, the north continues into the Magdalenenkapelle. The westernmost yoke of the nave is completely taken up by the organ gallery, which rests on three pointed arcades . The large arcade in the nave is framed by a keel-arched frame with crabs . The parapet behind it has ornamental jewelry made of snowshoes and fits. Richly profiled services with fighters and leaf capitals stretch a continuous net vault on the slender, octagonal pillars in the central nave. The side aisles, however , have ribbed vaults , also with circular keystones . The aisle vaults are not continuous; rather, the individual yoke spaces are separated from one another by profiled separating arches . On the wall side, they are stored on services that take up the profile of the vault ribs and are interrupted by figure canopies at the level of the arch attachment of the insert chapels. As a counterpart to the opposite free pillars, there are only flat wall templates on the longitudinal walls of the aisles. The vaults of the insert chapels have variants of the mesh rib configuration. A re-entrant, bevelled triumphal arch separates the nave from the single-nave choir. There, wall services rise on a trapezoidal floor plan directly into the mesh vault, which ends in a ribbed star at the end of the choir.

In the architecture of the nave, elements of high and late Gothic are combined. Their special effect is primarily due to the strong verticalization of the individual components, as is typical of high Gothic architecture. At a height of 22 meters, the central nave piers are only one meter wide and therefore hardly appear as a building mass. The pillars still have profiled cornices and the services have leaf capitals, which visually separate the load-bearing components from the vault. However, these structural elements are poorly developed. This creates the impression that the pillars and services merge into the vaults without interruption and radiate them, as it were. Due to the longitudinally stretched octagonal floor plan and the narrow position of the individual pillars, the rows of pillars look like a continuous wall for the entering visitor, which hardly allows any view into the aisles. As a result, the pillars not only increase the vertical extension of the room, but also provide a visual separation of the central and side aisles. The choir also plays a decisive role in the interior design. It shows clear references to the architecture of the mendicant order of the 13th and 14th centuries and thus stands in the tradition of comparable and stylistically conservative choirs from the hand of Hans Krumenauer (including in the Carmelite Church of Straubing and the Passau Cathedral). Its height is two and a half times its width. In addition, the high tracery windows, which fill almost the entire wall surface including the shield arches , also support the striving upwards.

In interaction with the indirect light of the side aisle windows, the choir windows make the main nave look like a light tunnel towards the presbytery . This effect is increased by the continuous main nave vault. While the components are clearly demarcated from one another in the transverse direction, a ( nonetheless directed) spatial standardization occurs in the longitudinal direction between the main nave and the choir . It is a feature of the dawning late Gothic, for which the abolition of the boundaries between the individual parts of the room - both lengthways and crossways - is characteristic. A late Gothic design feature are also the insert chapels on the side aisles, which Hans von Burghausen probably introduced in Bavaria. In comparison to the parish churches in Dingolfing or Eggenfelden , which were built later, their significance for the spatial impression is minor.

Interior view of the Altdorf Chapel to the west


The Magdalenenkapelle, which was built at the same time as the main choir, is located in the eastern extension of the north aisle and is opened to this by a triumphal arch. Because of the stair tower in the angle between the choir and the east wall of the nave, the breakthrough is shifted from the axis to the north. The room consists of two small, rectangular yokes. They are closed off by a diamond-shaped net vault on wall services with built-in figure tabernacles.

Tower flank chapels

The basement of the chapels on both sides of the tower are accessible through profiled, ogival passages in the west wall of the nave. Its interior appearance is decisively shaped by the asymmetrical floor plan created by the sloping west corners.

The southern baptistery is not vaulted on the upper floor and has a diamond-shaped ribbed vault on the ground floor.

The northern Altdorfer or Antonius Chapel, consecrated around 1495, has a more complicated net vault on both floors. In the basement, the ribs rest on the wall facing the tower on heraldic consoles , on the north wall on profiled services with leaf capitals. The round keystones provide information about the name and donor of the chapel: They show the eagle as the coat of arms of the former diocese of Chiemsee and the personal coat of arms of Bishop Georg Altdorfer von Chiemsee, who came from the Landshut patriciate ; Although his epitaph is also in the chapel, his tomb is not.

Building sculpture

Farmer's portal in the southwest
West portal

West portal

The main portal is inserted on the west side of the tower between the cascading, multi-stepped buttresses. It is dated by research to the time around 1452 and was created under Hans Stethaimer's direction. The pointed arch opening of the vestibule is framed by a mighty profiled keel arch frame, which is studded with crabs and crowned by a finial ; behind it is a parapet pierced with three and four passports . In the throats of the actual portal, which is located inside the vestibule, figures are placed on plinths, as well as in the trumeau .

Side portals

Similar to the west portal, the side portals on both sides of the third and seventh aisle bay have richly carved canopies. The time of origin is controversial in research. The north-west portal is the oldest and bears the year 1429. The three other portals are assumed to have been built between 1450 and 1480, with the south-west portal being regarded as the youngest.

The diagonally opposite portals are each designed in the same way: the peasant portal in the southwest (around 1480/90) and the bride portal in the northeast (around 1465) have wedge-shaped cantilevered canopies with a row of figures under the cornice and an inscribed pointed arch opening with a keel-arch framing; Figure tabernacles with crowning pinnacles frame the front hall facades. The canopies of the baptismal portal in the southeast (around 1450/55) and the citizen or Linbrunner portal northwest (1429) are open in double pointed arches, which are framed by keel arch frames with finials and describe a saw-shaped plan.



High altar

Iconographic program of the front of the high altar
View of the front of the high altar

One of a kind in the old Bavarian region is the high altar in the choir head, whose shrine and cracks are completely carved from sandstone . A foundation inscription on an angel's banner on the reverse indicates that the altar was created around 1424. The executing sculptor was probably Hans Stethaimer , who also directed the construction of the Martinskirche. During the Baroque period in 1664, contrary to the usual practice, the altar was not torn down; rather, it served as a substructure for a contemporary reredos by the court carpenter Augustin Kien (d) le with an altarpiece of the Assumption of Mary by Johann de Pay and Hieronymus Münderlein. During the regotization in 1857, the baroque structure was removed and attempts were made to restore the original appearance of the late Gothic retable. Among other things, the wooden altar wings, which have already been removed, the row of figures in the lower register and the middle relief of the upper register (original destroyed in 1832, new version by Max Puille ) and the blown piece were newly created . The altar consists of a dining hall with one of Maßwerkblenden and a quatrefoil with tendrils cross spruce Stipes (see. Also adjacent diagram). The low predella take as high reliefs carved half-figures of apostles , prophets and church fathers into quatrefoil frame. A broad profile frame surrounds the box-like altar shrine. It is divided into two registers, in which figures and reliefs made of fired clay are set. Today's stone-colored version dates from the 19th century; the original Gothic figures and reliefs were, however, painted in color. Between Puilles eight full figures under canopies in the lower register is the tabernacle with a keel-arched opening and accompanying angel reliefs. It belongs to the original Gothic stock of the altar and represents a special feature at a time when the sacraments were still the rule for the storage of the host in churches, separate from the altar . The upper register of the shrine contains five reliefs: the mantle division of the church patron St. Martin , the neo-Gothic Annunciation of the Lord and the two-field adoration of the kings . Two large, octagonal tabernacle towers with figure niches and crowning pinnacles surround the central shrine. Three more form the burst with the central crucifixion group . The back of the altar is also lavishly carved. The depicted people carry a wealth of banners containing texts related to the Eucharist . In the predella zone, analogous to the front, there are the half-figures of prophets and apostles. In the upper register of the shrine there are neo-Gothic statues of the apostles on figured console stones, which also show prophets.

People's altar and ambo

The people's altar as well as the pulpit in 1983 by the Munich sculptor Hans Wimmer made of light gray stone. Both pieces of equipment are kept very simple and draw the attention of the church visitor specifically to the ornate Gothic high altar. The ambo bears the beginning of the Gospel of John as an inscription on the side in Latin: “In principio erat verbum et verbum erat apud Deum et Deus erat verbum” (German translation: “In the beginning was the word, and the word was with God, and God was the word"). The letters I, V, V, D, D, V are written in capital letters. The front of the lectern shows a cross relief with four roses sprouting from the corners.

The Altarmensa protruding over the altar stipes bears the Latin inscription: "O RES MIRABILIS: MANDUCAT DOMINUM PAUPER SERVUS ET HUMILIS" (German translation: "O wonderful thing! There is a poor man, a slave and a little one eating."). The passage comes from Panis angelicus , a 13th century hymn attributed to Thomas Aquinas . The stipes have a cross relief on the front. Behind it is a reliquary grave with the bones of St. Castulus , which is also indicated by the Latin inscription "Ossa S. Castuli". There are two different star patterns on both sides of the strip. The back is adorned by two birds feasting on a stone pine nut , a symbol of resurrection and immortality.


Gothic pulpit (1429)

An important work of art in Gothic stone carving is the hexagonal pulpit from 1429, carved from a single stone. The choir arch cross from 1495 has a total length of 8 m. The body, carved from a trunk of lime, is 5.80 m long and has an arm width of 5.40 m and is one of the largest crucifixes of the late Gothic period. It was made by the Ulm carver Michel Erhart in a similar way to his famous crucifix in Schwäbisch Hall . The richly decorated choir stalls, carved in oak, date from around 1500. It is probably the most beautiful of its kind in Lower Bavaria and served as a model for that of the Abbey Parish Church in Altötting . Also noteworthy is the "Rosary Madonna" created by Hans Leinberger around 1520 , one of the most important works of art by this master. The larger-than-life statue of the Virgin Mary can be seen on the eastern end wall of the south aisle and used to be in the nearby Dominican Church .

The numerous grave monuments from the 15th and 16th centuries are also interesting. Those of the former Landshut Chancellors are particularly stately executed, including the grave slabs of Doctor Martin Mair († 1481) by the Munich stonemason Matthäus Haldner, Doctor Wolfgang Viehbeck († 1576) by Hans Werner and Augustin Baumgartner († 1599) by Hans Maas . There are also the "knight grave stones" of the ducal land clerk Caspar Flitzinger († 1440) by Hans Stethaimer, that of Hans Veit von Törring († 1582) by Christoph Kofler and the ducal councilor Wolf von Asch zu Asch († 1589) by Hans Werner. The red marble epitaph of Bishop Georg Altdorfer von Chiemsee († 1495) comes from the Augsburg carver Hans Peuerlin the Elder. M. The epitaphs of the patrician families Schweibermair, Schilthack, Leoman and Hammerpeck were made by the Burghausen stonemason Franz Sickinger .


Baroque organ brochure by Hans Georg Weißenburger (around 1625)

The Martinskirche has two organs : the main organ on the west gallery with 75 stops on four manuals and pedal and the choir organ with seven stops on one manual and pedal.

Main organ

As early as 1485, a small organ was occupied on the "little music choir" above the sacristy. The west gallery was only moved after the transfer of the monastery chapter from Moosburg to Landshut. A little later, the Martinskirche received its first large organ. It used to be assumed that this was made around 1620/25 by the organ builder Hans Lechner, who comes from Irlbach near Straubing and works in Munich . However, recent research suggests that Christoph Egedacher d. J. when the Straubing organ building family of the same name was masters of the first large organ in St. Accordingly, the organ was only built around 1680. Since the organ prospectus, which still exists today, was built by the Landshut carpenter Hans Georg Weißenburger from 1625, there are definitely doubts about this new assumption.

This first large organ from Lechner or Egedacher had at least 15 stops on probably two manuals and a pedal. However, the individual registers can no longer be assigned, as only the original register boards have been preserved.

Since the organ was in very poor condition around 1900, an organ from the Heinrich Koulen & Sohn company was installed in the historic case by Hans Georg Weißenburger in 1914 . This comprised 70 registers on three manuals and pedal and is considered the last Bavarian grand organ of the Romantic period . This meant a significant increase in size compared to the previous organ, so that the prospectus had to be expanded to include the two side pedal towers. The instrument was badly damaged by an American tank shell in April 1945, shortly before the end of the Second World War , but could be rebuilt with a slightly different disposition . Further small repairs were carried out by Julius Zwingel in 1955 and Ludwig Wastlhuber in 1968. At last the organ consisted of 72 registers. In 1983 the instrument was dismantled due to frequent repairs. It is now in the Organ Center Valley of Sixtus Lampl , where it is stored in the depot. The original disposition (with 70 registers) by Heinrich Koulen from 1914 was as follows:

The Koulen organ was replaced in 1984 by today's instrument, Opus 51 by the Landshut organ builder Ekkehard Simon . The solemn inauguration of the organ, to this day one of the largest in the Archdiocese of Munich and Freising , took place on November 11, 1984, the feast day of the church patron St. Martin. In 2013 the Thomas Jann company from Allkofen near Laberweinting carried out a general cleaning . At the same time the organ also received a new, grown directly on the housing game table - as already in the organ by Lechner or Egedacher. The Simon organ has 77 registers with a total of 5,471 pipes on four manuals and pedal. It has a mechanical play and an electrical stop action . The disposition is as follows:

I main work C – a 3
01. Principal 16 ′
02. Dumped 16 ′
03. octave 08th'
04th Wooden flute 08th'
05. Gamba 08th'
06th Great fifth 05 13
07th octave 04 ′
08th. Night horn 04 ′
09. Major third 03 15
10. Fifth 2 23
11. Super octave 02 ′
12. Cornet IV 08th'
13. Large mix V-VI 02 23
14th Small mix IV 01 13
15th Trumpet 16 ′
16. Trumpet 08th'
17th Vox Humana 08th'
II Oberwerk C – a 3
18th Principal 08th'
19th Lead-covered 08th'
20th Quintad 08th'
21st octave 04 ′
22nd Reed flute 04 ′
23. octave 02 ′
24. Forest flute 02 ′
25th third 01 35
26th Pointed fifth 01 13
27. Oktavlein 01'
28. Sharp V 01 13
29 Zimbel III 012
30th Dulcian 16 ′
31. Cromorne 08th'
III Swell C – a 3
32. Drone 16 ′
33. Flute principal 08th'
34. Tube bare 08th'
35. Viola da gamba 08th'
36. Beat 08th'
37. octave 04 ′
38. Transverse flute 04 ′
39. Fifth flute 02 23
40. Sif flute 02 ′
41. Third flute 01 35
42. Plein Jeu V-VI 02 ′
43. bassoon 16 ′
44. oboe 08th'
45. Clairon 04 ′
IV breastwork C – a 3
46. Wooden dacked 08th'
47. Willow pipe 08th'
48. Principal 04 ′
49. Coupling flute 04 ′
50. Nasat 02 23
51. octave 02 ′
52. recorder 02 ′
53. third 01 35
54. Seventh 01 17
55. None 089
56. Undecime 0811
57. Cymbal III-IV 012
58. Rankett 16 ′
59. Shawl shelf 08th'
60. Carillon 08th'
61. Zimbelstern
Pedal C – f 1
60. Principal 16 ′
61. Violonbass 16 ′
62. Sub-bass 16 ′
63. Fifth bass 10 23
64. octave 08th'
65. Pommer 08th'
66. Third bass 06 25
67. octave 04 ′
68. Pointed flute 04 ′
69. Flat flute 02 ′
70. Bass tine III 05 13
71. Rauschbass V 02 23
72. trombone 32 ′
73. trombone 16 ′
74. Trumpet 08th'
75. Light trumpet 04 ′
Tremulant small pedal
  • Coupling : I / P, II / P, III / P, IV / P, IV / I, III / I, III / II, IV / II, Sub III-II, Super III-II, Sub III, Super III
  • Playing aids: 16-fold set combination, 1 free pedal combination, tutti, pre-pleno, pleno, tongue individual storage, manual 16'-ab
  • Remarks:
  1. Range: c 1 -d 3 .

The baroque organ front by Hans Georg Weißenburger was built around 1625 and is one of the oldest of its kind in southern Germany. In its original shape with split gables and a wide predella zone , it is reminiscent of early baroque altar structures. The explosive gables were lost in the course of regotisation in the 19th century. However, style elements of the Renaissance can be identified, for example the masks and consoles in the predella as well as the capitals , which seem to almost float above the heads of angels. Probably the most serious intervention in the course of the centuries was the addition of two neo-baroque pedal towers to the side in order to accommodate the significantly larger number of stops of the Koulen organ. As a result, the originally three-part brochure is now five-part. With the hanging mirror pipes in the three-part flat panel prospect in the middle, the case has a real specialty. Above the prospectus is a small turret with a clock, which is crowned by the coat of arms of the Landshut monastery chapter.

Choir organ

In 1909 the organ building company GF Steinmeyer & Co. from Oettingen am Ries built a new choir organ on the "little music choir " above the sacristy, where a small organ was already housed in the 15th century. The instrument comprised a total of 14 registers and was built into a neo-Gothic case. In the 1970s, this organ was sold in favor of the new organ in the neighboring women's chapel . The replacement is a chest organ with seven registers built in 1997 by Orgelmanufactur Vleugels from Hardheim . This is located on the south side of the chancel between the sacristy door and the choir stalls. The color of the oak casing is matched to the latter. The disposition is as follows:

I Manual
1. Bourdon 8th'
2. Salicet 8th'
3. Slack 4 ′
4th Quint 2 23
5. Principal 2 ′
6th third 1 35
7th Sub bass 16 ′


The tower houses a collection of ten historically very important church bells , all of which, with the exception of the small train bell, form the main bells. The so-called letter or majuscule bell bears part of the alphabet as an inscription in Gothic capitals . It hangs in a wheeled bell chair and is used to open festive services. At Christmas 2008, due to renovation work on the tower, three previously unused bells could be integrated into the bell cage, which had six bells to date. The bells ring in an unusual sequence, the largest church bell of which is one of the largest in the archdiocese . A special feature is the parish bell , which has a very steep shape and, with its relatively high weight, exceeds the rosary bell , which is deeper in clay . The bell rings on high celebrations and on very special occasions on the evening before and a quarter of an hour before high mass. On such days there is a ringing of the two big bells half an hour before the start.

Casting year
Foundry, casting location
(kg, approx.)
( HT - 1 / 16 )
1 Provost bell 1767 Lorenz Kraus, Munich 2100 7672 g sharp 0 +6 Death of the Pope, Bishop or Provost
2 Dean's bell 1766 Lorenz Kraus, Munich 1860 5264 h 0 +5 Christ's Mount of Olives Prayer (Thursday evening),
Christ's death hour (Friday, 3 p.m.)
3 Parish bell 1767 Lorenz Kraus, Munich 1470 3000 dis 1 -2 Parish requests, preludes for parish services
4th Rosary bell 1723 Langenegger and Ernst, Munich 1350 1600 d 1 -8 Devotional, rosary prayer
5 Ave or barrier bell 1766 Landshut foundry 1200 1100 g 1 +1 Angelus chimes
6th Bavarian 1488 Matthias Herl, Landshut 1100 840 a 1 ± 0 Ten o'clock fair on weekdays
7th Christian doctrine or dining bell 1626 Bartholomäus Wengle, Munich 830 314 h 1 -
8th Sweden or Vespers bell 1519 Hans Graf, Landshut 620 224 g 2 -
9 Loretto bell 1738 Franz Anto Rode, villa 490 56 g 2 -
10 Train bell 1698 Andrä Gärtner, Salzburg 600 168 f 2 -
Letter or
capitals bell
before 1400 unknown 410 50 of the 3rd -

List of provosts of the collegiate chapter

From the transfer from Moosburg to Landshut in 1598 to its abolition in 1803

Since the rebuilding in 1937



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  • Erich Stahleder: St. Martin Landshut (= Schnell, art guide No. 212), actual. Reprint d. 20th edition, Schnell & Steiner, Regensburg 2002, ISBN 978-3-7954-4185-2 .
  • We are the pillars in your home. Festschrift about the structural renovation of the parish and collegiate church Sankt Martin zu Landshut 1946–1991 under the prelate Prelate Johann Keller (1947–1967), HE Heinrich Graf von Soden-Fraunhofen (1968–1972), Prelate Heinrich Fischer (1972–1991) , ed. from the Catholic Church Foundation St. Martin Landshut, Landshut 1991.
  • Mathias Baumgartner, Bernhard Schömann, Erich Stahleder: Collegiate and Parish Church of St. Martin Landshut (= Spiritual Church Guide ), Regensburg 2003; 2., updated Edition 2010 (Schnell & Steiner) ISBN 978-3-7954-1578-5 .
  • Günther Knesch: St. Martin zu Landshut. Building and architecture (with contributions by Josef Deimer, Bernhard Schömann and Ursula Weger, with recording by Florian Monheim), Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-2234-9 .

Gothic church and master builder question

  • Peter von Baldass: Hans Stethaimer's real name. Schroll, Vienna 1950 ( Wiener Jahrbuch für Kunstgeschichte XIV), ISSN  0083-9981 .
  • Harriet Brinkmöller: The spatial conception of the master Hans von Burghausen in his main works. Diss. Phil. University of Bochum, Brockmeyer, Bochum 1985, ISBN 3-88339-432-7 .
  • Eberhard Hanfstaengl: Hans Stethaimer. A study of the late Gothic architecture of old Bavaria. Hiersemann, Leipzig 1911 ( Art History Monographs 16).
  • Theo Herzog: The Landshut School in its historical development. - Part I. In: Negotiations of the historical association for Lower Bavaria. 82, 1957, ISSN  0342-247X .
  • Theo Herzog: Master Hans von Burghausen, called Stethaimer. His life and work. In: Negotiations of the historical association for Lower Bavaria. 84, 1958.
  • Volker Liedke: Hanns von Burghausen. 2 volumes. Weber, Munich 1985–1986 ( Ars Bavarica 35/36 and 39/40).
  • Hans Puchta: Contributions to the Stethaimer problem. In: The Minster. Journal for Christian Art and Art History. 28, 1975, ISSN  0027-299X .


  • Stephan Kaupe, Edith Mayrhofer-Hildmann: Landshut - The organs of the parish of St. Martin. Peda art guide No. 943/2014, Passau 2014, ISBN 978-3-89643-943-7 .

Notes and individual references

  1. a b after inspection flights by Geospector Munich in autumn 2014. The company Geospector, which carried out the drone flights, gives a value of 130.08 meters. Previous literature value: 130.6 meters
  2. World record tower only 130 meters high. Retrieved January 5, 2020 .
  3. Volker Liedke: City of Landshut . Schnell & Steiner, Monuments in Bavaria II.24, Munich / Zurich 1988, pp. 60–62.
  4. ^ Bavarian Main State Archives Munich, Section I General State Archives, GU Landshut No. 195, quoted from Volker Liedke: Hanns von Burghausen, Weber . Ars Bavarica 35/36, Munich 1985, p. 57.
  5. Harriet Brinkmöller: The spatial conception of the master Hans von Burghausen in his main works . Diss. Phil. University of Bochum. Brockmeyer, Bochum 1985, p. 23.
  6. ^ Georg Dehio: Lower Bavaria . Edited by Michael Brix : Handbook of German Art Monuments Bavaria II . Deutscher Kunstverlag, Munich / Berlin 1988, pp. 288–289.
  7. Erich Stahleder: St. Martin Landshut . Schnell & Steiner, 20th edition, Munich 2000, p. 6.
  8. Peter Baldass: Hans Stethaimer's real name . Schroll, Vienna 1950, (Wiener Jahrbuch für Kunstgeschichte XIV), p. 52.
  9. ^ German legal dictionary of the Heidelberg Academy of Sciences .
  10. quoted from: Erich Egg & Matthias Mayer: Stefan Krumenauer and Tirol . In: The Minster. Journal for Christian Art and Art History 7 , 1954, pp. 93–95.
  11. Dehio 1988, p. 294.
  12. Brinkmöller 1985, p. 23.
  13. Lost document, quoted from: Negotiations of the Historisches Verein für Niederbayern 20 , 1881, No. 3/4, pp. 211–212.
  14. ^ Eberhard Hanfstaengl: Hans Stethaimer - a study of the late Gothic architecture of old Bavaria . Hiersemann, Leipzig 1911 (Art History Monographs 16), p. 11.
  15. ^ Summary of the research discussion in Brinkmöller 1985, pp. 16–21.
  16. The dating is based on a dendrochronological analysis of the fir wood posts used to build the tower (Peter Kurmann. In: Alfred Fickel (Ed.): St. Martin zu Landshut . Trausnitz, Landshut 1985 (Hans von Burghausen und seine Kirchen I), p. 39 ).
  17. Stadtarchiv Landshut, Urk. No. 1506a, quoted from: Liedke, 1985, p. 67.
  18. Herzog, Theo: The Landshut School in its historical development. Part I, in: Negotiations of the historical association for Niederbayern 82 , 1957, p. 25.
  19. On the one hand, two dates (1474 and 1477) on the roof of the choir refer to the construction of the vaults and roof structure, and on the other hand, the date when the roof beams were felled was dendrochronologically dated to 1475 (Kurmann, in: Fickel, 1985, p. 39).
  20. Liedke 1985, p. 49; Kurmann, in: Fickel, 1985, p. 39.
  21. ^ Hans Puchta: Contributions to the Stethaimer problem . In: The Minster. Journal of Christian Art and Art History 28 . 1975, pp. 39-49.
  22. Hanfstaengl. 1911, p. 16.
  23. On Altdorfer's relationship with Landshut, cf. u. A. Dieter Dörfler: The Chiemsee Bishop Georg Altdorfer. The bishop's throne on the island of Herrenchiemsee as the seat of the Landshut bishop . In: Chiemgau leaves. Entertainment supplement to Traunsteiner Tagblatt 9 , 2007.
  24. Catalog No. 26 (Friedrich Kobler), in: Franz Niehoff (Ed.): Vor Leinberger. Landshut Sculpture in the Age of the Rich Dukes 1393–1503, Vol. 2, Landshut 2001.
  25. Catalog No. 28 (south-east portal) No. 46 (south-west portal) (Friedrich Kobler), No. 38 (north-east portal) (Katharina Benak) in: Franz Niehoff (ed.): Vor Leinberger. Landshut Sculpture in the Age of the Rich Dukes 1393–1503, Vol. 2, Landshut 2001
  26. a b Dehio 1988, p. 296.
  27. Stahleder 2000, p. 8.
  28. Baumgartner, Schömann, Stahleder 2010; P. 21f.
  29. Baumgartner, Schömann, Stahleder 2010; P. 22.
  30. a b Volker Liedke: Monuments in Bavaria - City of Landshut. Schnell & Steiner, Munich 1988, ISBN 3-7954-1002-9 , p. 60 ff.
  31. a b c d e Kaupe, Mayrhofer-Hildmann; Pp. 4-11.
  32. Otmar Heinz: Early Baroque Organs in Styria - On the Genesis of a South German-Austrian Type of Instrument of the 17th Century. Berlin 2012. (Research on the historical regional studies of Styria, published by the Historical Commission for Styria. Volume 53). Pp. 161 (footnote 375) and 162.
  33. a b Landshut, Germany (Bavaria) - Collegiate Church of St. Martin . Online at Retrieved March 21, 2016.
  34. Organs, stored in the depot . Online at Retrieved March 21, 2016.
  35. Kaupe, Mayrhofer-Hildmann; P. 14f.
  36. Landshut, Germany (Bavaria) - Collegiate Church of St. Martin, choir organ . Online at Retrieved March 21, 2016.
  37. ^ Günther Knesch: They tell the time and the hour - clocks and bells to St. Martin . Druckerei Schmerbeck GmbH, Tiefenbach 2009, p. 24, ISBN 978-3-00-027585-2 .

Web links

Commons : Martinskirche (Landshut)  - Collection of images, videos and audio files

Coordinates: 48 ° 32 '2.9 "  N , 12 ° 9" 3.9 "  E