Raiten
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Raiten
municipality Schleching
Coordinates: 47 ° 44 ′ 24 ″ N , 12 ° 26 ′ 16 ″ E
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| Height : | 561 m |
| Area : | 6.33 km² |
| Residents : | 242 |
| Population density : | 38 inhabitants / km² |
| Postal code : | 83259 |
| Area code : | 08649 |
 Raiten local church
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Raiten is a part of the municipality Schleching in the district of Traunstein in Bavaria .
geography
The Schlechinger district of Raiten is in an exposed location. The Wössener Tal branches off towards the southeast (towards Unterwössen ) and the Tiroler Ache valley continues towards the southwest (to Schleching) , which ultimately offers direct access to Tyrol . For this reason, the roads branch off here via Schleching to Kössen and the equally important route over the Maserer Pass to Reit im Winkl . If you come from the south - from the direction of Schleching - you will not get far behind Raiten on the federal highway 305 , on the German Alpine Road .
Location description
The place is mostly built up on the four farms in the village. The church is called "Maria zu den seven Linden" and is an inconspicuous church from the outside, which is located above the village on the slope. A moor area known as Mettenhamer Filz begins below the village. In the north, Raiten is bordered by another moor area - the Lanzinger Moos. About 250 people live in the village.
Branch and pilgrimage church
The nave of the pilgrimage church Maria zu den seven Linden dates back to the 12th century and is located in the middle of a mountain cemetery with wrought iron grave crosses. The name of the church was derived from the linden trees and their number that still stand around the Kirchbichel. The remains of the defensive tower in today's nave belonged to a former donjon (size of today's remains in the nave: 3.2 m × 5 m) and the adjacent nave formed the castle chapel in the 12th century - the building history is similar to that of Urschalling church on these points. In the 15th century (1440) the eastern choir and the sacristy were added, and around 1500 an ossuary was built on the sacristy. The renovations made a new consecration necessary, which was carried out on May 2, 1511 by the Bishop of the Chiemsee diocese, Berthold Pürstinger . The 17th century brought many changes for the small church:
- 1640: The windows in the nave are enlarged
- 1640: New side altar structure from the Grassau parish church
- 1643: New high altar tabernacle
- 1662: New high altar
- 1689: Larger choir windows and brick paving
- 1690: Entry of a wooden ceiling and a gallery and reduction of the wall thickness
- 1692: New pews
- 1696: The former keep, which had previously served as a tower, was torn down to the level of the church roof due to the risk of collapse and the church roof was extended accordingly
The last major change in the image of the Raiten church was made in 1700/02 with the construction of the tower on the west side. The builders were the bricklayer Michael Steindlmüller from Staudach-Egerndach and the carpenter Georg Aigner from Piesenhausen . The church was restored in 1942 and most recently in 1969. A major interior and exterior renovation took place between 1983 and 1993. The tower was last renovated in 1997.
Today's entrance is in the tower on the south side and on the nave, also on the south side. Outside of the church, the timbered arbor around the choir and the so-called eyelets on the south side, a protruding canopy on wooden supports, are particularly striking. Inside there are some structural features, such as the staircase from the gallery to the attic, which dates back to the times of the keep. In 1948 frescoes from the construction period were discovered in the end of the choir and on the former central window four wall paintings with Saint Barbara and Saint Agnes, as well as Albertus Magnus and Nikolaus von Myra, each under canopies , which should have been created around 1430 (according to other information: around 1450). An ornamental frieze from around 1440 was also discovered, presumably by a master in the vicinity of Conrad Laib from Salzburg , who was probably also involved in the painting of the Streichenkirche. The high altar from 1662 was created by Thomas Huber. From the middle (according to other information: from the 2nd half or from the end) of the 15th century comes the miraculous image in the high altar, a seated, crowned Mother of God with baby Jesus and apple ("naively felt"), which was restored to the high altar in 1941 was used and was originally clothed in fabric - it is about 83 cm high. All other sculptures on the altar (angels, side figures, figure of Saint Gertrud von Nivelles etc.) come from Melchior Hofmayr . The tabernacle is from the middle of the 18th century. Saint Gertrude von Nivelles was also the former patroness of the church, she is the saint for people in need and is shown with a mouse, as shown in Raiten, as she should also protect herself from mouse plagues. The side altar was built around 1780 (according to other information, 1750) with copies (1979) of three figures after Melchior Hofmayr around 1662. The annunciation group on the south wall dates from the middle of the 18th century (angel also copy). Balthasar Fröhl's pulpit was created in 1852 for the church in Pietzenkirchen. Choir arch cross from the beginning of the 16th century. Also: panel of Holy Sorrows and large painting Coronation of Mary with a view of Raiten (1790). Pietà group from the 18th century as a copy. Some votive tablets from the period from 1656, including the votive pictures from 1782 and 1793 with images of fires in Raiten, as well as a cloth-clad image of Mary in the picture from 1782. The organ from Baumburg monastery has been in Raiten since 1870. The church stalls are from 1692 by the carpenters Piechl from Wössen. Brick paving in the nave from 1689. Glass windows in the choir from 1920. Outside, the Mount of Olives and the figure of St. James in the Osen from the 17th century are worth seeing.
Because of the robbery of the church figures on the night of August 12th to 13th, 1973, copies were made. To secure the other art objects, a grid was attached under the gallery, which allows the visitor to take a look at the interior and especially the high altar.