St. Jodok (Landshut)
St. Jodok , also called Jodokskirche , is the second oldest parish church in Landshut after the parish church of St. Martin . In addition to the Martinskirche and Heilig-Geist-Kirche , it is one of the three large Gothic brick churches in Landshut's old town. Construction, like several other Landshut churches, began in the High Gothic period in the second half of the 15th century, i.e. during the late Gothic period. Most of the furnishings today come from the Neo-Gothic period in the 19th century.
location
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The parish church of St. Jodok is located in the Freyung district, founded in 1338, in the middle of the square of the same name. This dominant position in the middle of a street market , which is often found in church buildings from the 19th century, is almost unique for a medieval church in Bavaria. The cemetery around the church, which , according to the city model by Jakob Sandtner from 1570, was surrounded by a high wall, was abandoned in 1806. As a result, the market square and cemetery were transformed into a promenade in the Biedermeier style , which is now a park-like design and is used for the Landshut Christmas market during Advent .
Patron of the Church
The name of the church goes back to Jodok , who was born in Brittany in the 7th century and later worked in Picardy . He is venerated as a saint in the Catholic Church.
After his death around 669, Jodok's bones came first to Winchester in England , but from 977 back to Josse sul Mer. There Jodok founded a hermitage in 665, which later became a Benedictine abbey. Duke Heinrich XIV , the founder and benefactor of the church, owned a relic of the saint, which he was likely to have received from Ludwig the Bavarian. At his request, he had the church consecrated to this saint.
The rather unusual patronage is celebrated on December 13th.
history
The construction of the church was commissioned by Duke Heinrich XIV in 1338 as the future center of the newly founded Freyung district. The elevation to the parish took place in 1369, when the church building was already provisionally completed. This high Gothic building, which is stylistically between the simple mendicant order churches of the 13th and early 14th centuries and the representative late Gothic brick churches , already comprised the choir with crypt , the basilica nave , with the central nave having only a flat ceiling instead of the vault , and the lower part of the tower.
In a fire in 1403, the north wall of the central nave collapsed. As a result, not only a simple reconstruction took place, but the original concept was significantly further developed. First of all - according to the dating between 1438 and 1449 - the side aisles were extended by side chapels. These essentially fulfilled three functions: a liturgical function as altar rooms for the numerous mass beneficiaries of various guilds and wealthy families; also a static function to stiffen the high side walls; Finally, a financial function, since the foundations and outer walls were built along with the chapels, which were completed up to the roof at the expense of the respective donors (guilds and noble families) . After completion of the side chapels, the vestibules of the side portals were added. Between 1470 and 1480 the vaulting of the central nave took place under Pastor Caspar Westendorfer. At this time the tower was probably already completed, while the tower side chapels were not built until the end of the 15th century. With the exception of the construction of the organ gallery on the west side of the nave in 1611, no significant changes were made to the structure of the church for a long time.
From 1780 to 1789 the Freising Canon and Jesuit Damian Hugo Philipp von Lehrbach worked as pastor at St. Jodok .
From 1838 to 1845 Johann Baptist Zarbl was pastor at St. Jodok. From 1839 he initiated the regotisation of the church according to the plans of Leonhard Schmidtner , one of the leading neo-Gothic architects in southern Bavaria. The most conspicuous structural measures are the "stylish" extension of the sacristy south of the choir, which was carried out as the first measure in 1839, and the addition of the sacrament chapel, which was built in 1855 as a counterpart to the sacristy on the north side of the choir. In addition, windows in the central nave, which were shortened when the chapels were added in the 15th century and made oval about 200 years later, were restored to their original shape and size in 1875 and were provided with tracery made of artificial stone . To do this, the roofs of the aisles had to be lowered, which since then have no longer been covered with roof tiles , but only with sheet metal . Even under Pastor Zarbl, the regotization of the previously largely baroque furnishings began, which continued until around 1890. The acquisition of the new main organ by GF Steinmeyer & Co. in 1890 can therefore be seen as the conclusion of the regotization of St. Jodok. 1844 and 1880 and again in 1913 were made by the painter Martin heart rewrites the room shell. It was not until the renovation from 1986 to 1997 that the original room setting in the so-called "Landshuter Ocher" was restored.
The most extensive renovation in church history after the reconstruction as a result of the fire in 1403 took place in the years from 1986 to 1997. The church had to be completely closed because of the danger of collapse. Similar to other Landshut churches, the foundations of wooden piles at St. Jodok were also rotten, as the groundwater level had dropped sharply in the 20th century as a result of the canalization of the Isar and the construction of the Maxwehr . In addition to the complete renewal of the foundation (7 million DM), numerous consequential damage to the building fabric (7.5 million DM) had to be repaired. In addition, in the course of the work, the interior of the church was redesigned in line with the Second Vatican Council , a choir organ was purchased, which was placed on the front of the south aisle instead of the Corpus Christi altar, which was inherited in 1968, and the sacrament chapel was converted into a baptistery . With a total cost of around 30 million Deutschmarks , St. Jodok was one of the most expensive construction sites in the Archdiocese of Munich and Freising at the time .
architecture
The Jodok Church is a three-nave pillar basilica with a single-nave, three- bay east choir in the width of the central nave. To the north of the choir, the ash chapel , the Christophorus chapel and the baptistery are located as an extension of the side aisle . South of the altar house is the two-storey sacristy, which was expanded in the 19th century. The nave, which comprises six bays, has a side chapel attached to the north and south in each yoke. An exception is the fourth yoke from the east, where there are lobbies to the two side portals . Side chapels and portal vestibules are combined with the side aisles under a low, sheet-metal pent roof over which the upper aisle extends. In contrast, the choir, which is closed on three sides, is structured with buttresses.
On the west side of the nave is the tower, which also has the width of the central nave and its design is reminiscent of the tower of the Martinskirche. Above four square floors, which are structured by pointed arches, it merges into the octagon with the help of four stair turrets. As with the Martinsturm, the turret in the south-east is significantly higher than the other three and is the only one leading up to the bell floor . The clock storey, which is accompanied by the corner turrets, is loosened up by pointed arches, while the bell storey above it is provided with all-round, pointed-arched sound openings and is accompanied by corner struts . The transition to the brick pointed helmet is marked by a kind of truss wreath , which can be found twice in a similar shape on the Martinsturm. A finial forms the upper end , the leaves of which were renewed in copper by the master plumber Paul Weiß in 1860 .
To the left and right of the tower are the Anna Chapel (north) and the Oberndorferkapelle (south) as an extension of the aisles. Up until 1958 there were small corner turrets on their gables, which corresponded to the still existing stair turrets on the sacristy and baptistery. In the interior, the main and side aisles are separated by profiled, pointed arcades that rest on massive pillars. Above this rises from filigree-looking, semicircular wall services, the ribbed vault of the central nave. This is clearly emphasized by the side aisles, which are spanned by a less elaborate ribbed vault. The side chapels, which were once donated by noble families and guilds, as well as the vestibules of the side portals are again equipped with a ribbed vault, the choir with a ribbed vault. In the westernmost nave yoke, an organ gallery was installed in 1611, which is decorated with high-quality stucco in the style of the late Renaissance .
Below the choir there is a crypt , the so-called Vitus crypt , which was laid out when the church was built. Since the renovation from 1986 to 1997, access has again been via a staircase in the ash chapel . With five bays, each stretching over three naves, the crypt takes up the entire space below the presbytery. The simple groin vault is supported by round pillars that rest on stone plinths. Only in the altar area is the vault framed and here rests on stone pillars. The sparse lighting of the room comes from three small windows on the eastern front, while the side windows in the north and south have all been walled up over time.
Dimensions
The total length of the church is around 68.50 meters. The central nave is about 38.50 meters long; the choir 21.50 meters; the western vestibule on the tower ground floor is 8.50 meters. The width of the church is around 31.00 m. The central nave is around 8.00 meters wide; the side aisles each around 6.50 meters; the chapels each around 4.50 meters. The height of the central nave is 18.35 meters; that of the aisles 9.90 meters; that of the chapel 8.10 meters. The height of the steeple is estimated at 77 to 80 meters, depending on the reference point. This makes it the second highest church tower in Landshut after the " Martinsturm ".
Furnishing
Sanctuary
The liturgical center of the church today is the altar area, which is three steps higher than the pointed choir arch . This was designed in 1996 in the course of the church renovation according to the specifications of the Second Vatican Council . The performing artist was the sculptor Friedrich Koller from Laufen an der Salzach . Among other things, he created the folk altar and the ambo , which, like the floor , are made of Adnet red marble , the sediles and the lecture cross with cross bars made of rock crystal and bright red rubies , which symbolize the wounds of Christ . The actual presbytery is separated by a curtain made of filigree gold hangings, which is stretched between seven high candlesticks, and can therefore also be used as a separate prayer room, which is accessible via the ash chapel .
The eye-catcher in the presbytery is the neo-Gothic high altar created in 1863 by the Munich sculptor Anselm Sickinger . In its design as a winged altar with filigree cracks, it is heavily based on Gothic models. The central axis of the altar is reserved for Christ. On the tabernacle door he is depicted in the handkerchief of Veronica , above which his Eucharistic body is worshiped in the exposure niche , above which he is transfigured on Mount Tabor with Moses (left) and Elijah (right) and in the crack as part of a mercy seat that holds the Depicts Holy Trinity . On both sides of the exposure niche, under tracery canopies, are the parish priest Jodok (left) and Saint Sebastian (right), who is venerated as the city patron of Landshut and also as the second parish patron. Above Jodok, two small figures of the Old Testament kings David and Melchizedek can be seen in the burst; two prophets can be seen above Sebastian . The opened altar wings show elaborate reliefs with scenes from the life of Jesus and his mother Mary , the back of the wings are provided with simpler reliefs, which are based on the Lent Gospels . There are further reliefs on the paneling of the cafeteria , where scenes from the Passion of Jesus are depicted. From left to right there is a scene from the Mount of Olives , the burial and the resurrection of Jesus Christ . A former high altar figure, the larger than life representation of St. Jodok from around 1520, created by the Landshut sculptor Hans Leinberger , can be viewed today in the Bavarian National Museum in Munich.
In addition to the high altar, the choir stalls are also of the neo-Gothic style. However, the reliefs in the corner of the wall to the left of the high altar date from the time the church was built. They are the last remains of an originally nine meter high sacrament house that were restored during the last renovation. In contrast, the late Gothic sacristy portal on the north wall of the sanctuary is much better preserved. Two colored, stone prophet heads with banners can be seen on the lintel . The iron-studded door, which is dated to 1482, is located behind a late Gothic iron grille. In the diamond fields between the sheet metal strips you can see punched figures of Jodok, lilies and rosette patterns .
Longhouse
The neo-Gothic pulpit is attached to the pillar between the second and third nave yoke from the east. It was created in 1865 by the Landshut sculptor Max Schuller and rests on a richly decorated pulpit. The four evangelists Matthew , Mark , Luke and John with their attributes are depicted in half-relief on the body. The four church fathers Ambrosius , Augustine , Gregory the Great and Hieronymus are grouped around a sculpture of the Apostle Peter on the sound cover . At the top is a figure of Jesus Christ as the ruler of the world, who has raised his right hand in a blessing and carries the gospel in his left hand. Directly under the pulpit is the Gospel Shrine designed by Friedrich Koller in 1997 . A colored crucifixion group from around 1700 can be seen on the opposite pillar . The figures of Johannes and Maria Magdalena were added around 1780 by the Landshut sculptor Christian Jorhan the Elder , who had his workshop in Freyung. The artistically carved rococo chair cheeks from around 1740 can be classified in a similar style.
Under the west gallery, directly in front of the main portal, there is now an octagonal late Gothic font from around 1680, which is used as a holy water font . On either side of the main entrance two red marble in the rear wall of the nave epitaphs admitted: one and ducal for the Knights Pfleger Peter of Old House († 1513), which was created by the Landshut sculptor Stefan Rottaler, and one for the 1619 in the Thirty Years' War fallen Ch. L. Ernst von Hagsdorf. On the front wall of the north aisle, next to the passage to the ash chapel, a life-size figure of Mary with baby Jesus can be seen since 2005 , which was created around 1490 by an unknown master. The figure is surrounded by a modern gold ring with six candlesticks. The square became vacant after the neo-Gothic rosary altar was removed in 1968 . Accordingly, on the front wall of the south aisle, the choir organ, newly acquired in 1997, is located in place of the neo-Gothic Corpus Christi altar, which was removed at the same time. Immediately next to it, a late Gothic relief of the Lamentation of Christ was uncovered during the previous church renovation . On the adjacent arcade pillar, remains of a fresco of the crucifixion of Christ can still be seen, which was related to the Gothic side altar erected there.
Side chapels
The side chapels were originally donated by aristocratic families and guilds, who were accordingly allowed to determine the furnishings of their chapel. From the beginning of the regotisation in 1839, however, the aim was to achieve “purity of style”, so that the furnishings in the side chapels should now also follow an overarching concept. Therefore, by around 1880, the high chapel grilles were removed, the baroque frescoes and stucco work whitewashed and replaced by neo-Gothic vaulted ribs, and neo-Gothic altars and windows with elaborate glass paintings were purchased. The former high altar of the Franciscan monastery church , which was demolished during the secularization and was moved to the Jodok church in 1808, was lost during the regotization. In the following, the equipment of the individual side chapels will now be roughly explained, starting with the brewing chapel next to the choir organ in the southeast .
The altar of twelve messengers in the Bräuerkapelle was made by the Mayer'schen Hofkunstanstalt in Munich in 1870 . The group of apostles, which is separated according to the three-part altar structure, and the figure of the risen Christ in the burst come from the Tyrolean sculptor Joseph Knabl. The stained glass window shows the martyrdom of the “princes of the apostles” Peter and Paul . It was also executed in 1882 based on a design by Joseph Knabl.
In the adjoining Frauenberger chapel , which is reminiscent of the noble family of the same name, a winged altar from the Landshut art institute Marzell Mayer can be seen, which is dedicated to the veneration of the Heart of Mary . The altarpiece was created by the Innsbruck history painter Albrecht Steiner von Felsburg . It shows Mary as a protective mantle Madonna , with St. Agnes on the left and St. Barbara on the right pointing to the sacred heart of the Blessed Mother. The two figures of John the Baptist (left) and Saint Anna (right) flanking the tabernacle, Saint Jodok in the cracks and the group of figures of the Holy Family in the predella were created by Josef Kopp in 1875. The stained glass window from 1884 shows the adoration of Baby Jesus through the three kings . On the back wall of the chapel, a late Gothic fresco from around 1460 was uncovered, which shows that Moses received the Ten Commandments . In individual fields, these are explained with German-language banners for the common people.
The weaver's chapel was originally dedicated to St. Ulrich and today contains an altar in honor of St. Aloisius , which was made by Marzell Mayer in 1873. The figures - Saint Alosius in the center, flanked by Saint Thomas Aquinas (left) and Stanislaus Kostka (right) - were in turn carved by Josef Kopp. The two angel figures in the predella refer to the attributes of St. Aloisius: the skull as a sign of repentance, the lily symbolizing chastity and the discarded crown as a sign of renunciation of worldly power. The stained glass window from 1884 shows a vision of Saint Anthony of Padua , who appears in the prayer of the baby Jesus. The scene is accompanied by Saints Martin of Tours and Teresa of Avila . A late Gothic fresco depicting St. Bishop Erhard has been preserved on the arch pillar .
Behind the southern side portal is the Fragnerkapelle (merchants and shopkeepers), which has always been consecrated to the town's patron Sebastian. Therefore, the so-called Sebastianspflege after his first martyrdom is shown on the altar painting by the Munich artist Josef Holzmaier . The altar structure was made in 1848 by Anselm Sickinger based on a design by Landshut architect Anton Harrer. The altarpiece is flanked by figures of St. Korbinian with the bear and another holy bishop with a church model. In the stained glass window, St. Sebastian can be seen as a Roman officer , who in this capacity is considered to be the comforter of the imprisoned Christians. In the back wall of the chapel there is a reliquary with the bones of Saints Jodok and Sebastian. Above it hangs a painting by Raymund Scherrich, created in 1658 for the baroque high altar at the time, depicting St. Jodok. Finally, on the arch pillar are its attributes - the pilgrim's hat, the shell , the pilgrim's staff and the discarded crown - in a modern composition by Friedrich Koller from 2007.
The carpenter's chapel is the last chapel to be built onto the south aisle. The Vesper image altar was created in 1876 by the Mayer'schen Hofkunstanstalt based on the model of early Gothic canopy altars. The Pietà with mourning angels comes from Joseph Knabl; the assistant figures of Saint Catherine of Siena (left), Bernhard von Clairvaux (right) and Ottilia (in the extract) were created by Josef Kopp. He also made the relief in the predella, which shows the encounter of Maria Magdalena with the risen Christ. Christ's death on the cross is shown in the stained glass window . Due to the theme of the crucifixion and resurrection, the carpenter's chapel serves as a memorial for the deceased and fallen in the parish.
- Stained glass windows of the side chapels
Frauenbergerkapelle
Adoration of the Magi
Fragnerkapelle
Sebastian as comforter of the imprisoned Christians
Carpenter's Chapel
Meeting of Mary Magdalene with the Risen One
Butcher's
Chapel of Jesus' Mount of Olives
Franz Xaver baker's chapel as apostolic legate in Goa
Hutmacherkapelle
Miraculous transfer of the body of Katharina
Schusterkapelle
Vision of Margareta Maria Alacoque
Eckherkapelle
Death of St. Joseph
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Fragments of frescoes from the mid-16th century in the Anna Chapel
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In contrast to the other side chapels, the two chapels to the left and right of the tower were originally designed as separate church rooms. Today there are no more altars, the tower side chapels contain confessional rooms. The Oberndorferkapelle attached to the south of the tower , which dates back to a benefice of the Landshut patrician family of the same name in 1484, owned the patronage of All Souls' Day . The vault here has curved ribs, a configuration that cannot be found anywhere else in the Jodokskirche. From the neo-Gothic altar, which was dedicated to the poor souls and to St. Lawrence , the altar sheet and the wings are still preserved. To the north of the tower is the Anna Chapel , in which the former altar painting, here by Josef Holzmaier, has also been preserved. There are also fragments of a painting in the chapel that was probably made in the mid-16th century. In 1962 the depiction of the wise and foolish virgins ( Mt 25.1-13 EU ) was exposed. The coat of arms of George the Rich and his wife Hedwig of Poland , i.e. the bride and groom of the Landshut wedding , can also be seen on one of the keystones .
The westernmost chapel, which is attached to the north aisle, is known as the butcher's chapel . The altar was erected in 1842 as one of the first neo-Gothic altars in the Jodokskirche and, like the one in the carpenter's chapel, is reminiscent of an early Gothic canopy altar. A life-size figure of Christ at rest can be seen under the canopy . The saints Andreas (left), Rupert (right) and Christophorus with the baby Jesus (in the predella) act as assistant figures . The scene of the Mount of Olives can be seen in the glass window. A faded late Gothic fresco on the back wall of the chapel shows the resurrection of Jesus Christ.
The adjoining baker's chapel contains an altar dedicated to St. Francis Xavier , a Jesuit missionary . This has the same structure as the altar in the opposite Fragnerkapelle and was created like this in 1848 by Anselm Sickinger. The altarpiece by Josef Holzmaier shows St. Franz Xavier doing his missionary work against the background of an exotic coastal landscape. In the two niches are St. Benno on the left and St. Rupert on the right. In the stained glass window, St. Francis Xavier is depicted as the Apostolic Legate in Goa . In this chapel room there are also two late Gothic frescoes: behind the altar extract, the crucified Christ and two praying men, possibly the donors, are barely visible; on the back wall is a depiction of the Madonna in the protective cloak dated 1523 , which was heavily revised in the 19th century.
To the east of the north portal is the Hatter Chapel , the altar of which has been consecrated to Saint Catherine since the 16th century . Today's altar dates from 1872 and was built by the Mayer'schen Hofkunstanstalt. The central relief shows the mystical marriage of Catherine with the baby Jesus. The assistant figures are St. Anthony of Padua on the left and St. Francis of Assisi on the right . In the predella there is also a relief of the miraculous transfer of the corpse of St. Catherine by angels to St. Catherine's Monastery on Mount Sinai. In the stained glass window, Catherine is depicted, who defends her Christian faith in front of Roman scholars and the emperor.
The shoemaker's chapel contains another altar from the Mayer'schen Hofkunstanstalt, which is dedicated to the Sacred Heart of Jesus and designed as a counterpart to the Herz-Mariä-Altar in the Frauenberger chapel opposite . In the central position there is a large painting by Albrecht Steiner von Felsburg, which shows Jesus enthroned on a rainbow , how he presents his most sacred heart to the viewer . The saints Karl Borromeo and Leonhard (left) as well as Amalia and Ursula (right) are depicted on the altar wings . There is also a figure of St. Nicholas of Tolentino in the cracks . In the stained glass window, the vision of St. Margaret Maria Alacoque is shown, in which Jesus Christ instructs her to ensure that his most sacred heart is worshiped. On the back wall of the chapel there is an oil painting by Johann Baptist Zimmermann .
At the eastern end of the north aisle you will find the Eckher Chapel - named after the Eckher von Kapfing family , from which, among others, the Freising Prince-Bishop and founder of the Loreto Monastery , Johann Franz Eckher von Kapfing and Liechteneck (1649–1727), emerged. The neo-Gothic altar, built in 1870, is dedicated to St. Joseph . Accordingly, a figure of the saint with the baby Jesus on the shoulders can be seen in the central niche, which was created by Joseph Knabl. The minor figures of St. John Nepomuk (left) and St. Ulrich (right) also come from this . The death of St. Joseph is depicted in the stained glass window, which was made to a design by Joseph Knabl. There is also an ornate neo-Gothic confessional in the chapel .
- Altars of the side chapels
Bräuerkapelle
Twelve Messenger Altar
Frauenbergerkapelle
Herz-Mariä-Altar
Weaver's Chapel
Aloisius Altar
Fragnerkapelle
Sebastianialtar
Carpenter's
Chapel Vesper Altarpiece
Metzger chapel
Rest altar
Bakers chapel
Franz Xaver Altar
Hatter Chapel
Catherine Altar
Schusterkapelle
Herz-Jesu-Altar
Eckherkapelle
Joseph Altar
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The row of chapels added in the 15th century extends on the north side with the Christophorus chapel even beyond the aisle. The ash chapel is located between the chapel, which today does not have an altar or a glass painting, and the choir . Their name comes from the gravestones of the noble von Asch family that were moved here in 1855. The ash chapel, initially the last room in the church, was vaulted at the beginning of the 16th century and connected to the presbytery through an ogival opening. Today, as already indicated, the chapel serves as a lapidarium for tombstones and provides access to the Vitus crypt. In addition, on the east wall is the former altarpiece of the Corpus Christi altar, which was made around 1690 and features a communion scene by the Munich painter Andreas Wolff .
Finally, to the east of the ash chapel , the baptistery is built on. In 1629 the first chapel was built in its place, the Maria-Einsiedel-Chapel . This was demolished in the Neo-Gothic period and replaced in 1855 by a "stylish" new building, which was originally dedicated as a sacrament chapel. In the course of the last church renovation for the time being, the chapel room was rededicated as a baptistery in 1996 and therefore houses the twelve-sided baptismal font of the church made of red marble. This is likely to have originated around 1520, originally stood at the main portal and was moved to the west wall of the Oberndorferkapelle in the 17th century before it found its current location in 1996. On the east side of the chapel, a red marble relief of the crucifixion of Christ and a sandstone mount of olives scene, both made in the late Gothic period around 1470, have been set into the walled window niches since 1973. In 2003, glass windows from Derix from Taunusstein , designed according to a design by the artist Jochem Poensgen , were installed in the remaining openings .
crypt
In addition to the simple altar, the furnishings of the crypt are limited to a large grave slab made of red marble, which is reminiscent of the knight Heinrich von Staudach († 1483). This stands today on the north side wall at the height of the altar. Until 1937 it was located in front of the altar in the manner of a donor's high grave , where there is an underground tomb . The three eastern window openings were widened in 2002 and provided with onyx panes by the sculptor Friedrich Koller.
Portals
The southern side portal, which was probably built around 1460, is an outstanding example of late Gothic craftsmanship. Like the north portal, it is protected by an open vestibule spanned by a ribbed vault. A group of figures can be seen above the portal. In addition to Christ, who, as in the Thomas story ( Jn 20 : 24-29 EU ), touches his chest wound, this also includes the apostles Peter and Paul. The portal is framed by two hollow throats , the inner one showing six male busts under canopies. These remind of the physical works of mercy by means of banners . In the outer hollow, between acanthus tendrils, three naked men and three monkeys can be found, who are supposed to represent the viciousness and stupidity that oppose the works of mercy. Around the outside, other banners mention the spiritual works of mercy.
The main portal on the west side of the church leads into a vestibule, which is spanned by a ribbed vault in a star-shaped configuration. The central piece of equipment is a large neo-Gothic cross that was created in 1841 by the sculptor Joseph Otto Entres.
Overall, the north portal is far less complex than the south portal. However, the depiction of St. Veronica with the handkerchief , which can be found over the top of the portal, is impressive . The late Gothic mural was created at the beginning of the 16th century and was restored in 1904. The ribbed vault in the vestibule of the north hall is additionally compressed by painted ribs, so that a tracery configuration is created.
Organs
St. Jodok houses two organs : the old main organ on the west gallery and a new choir organ that stands on the front wall of the south aisle. Both instruments are designed to sound very different and thus complement each other.
After the organ gallery was built in 1611, the first instrument was installed there in 1625 by the Munich organ builder Hans Lechner. Today's large main organ by Georg Friedrich Steinmeyer (Opus 412) dates from 1890 and is a romantic work with a total of 30 registers on two manuals and pedal . It was rebuilt in 1966 by Gerhard Schmid from Kaufbeuren and its disposition slightly changed. The last overhaul was done in 1997 by the organ builder Armin Ziegltrum from Steinrain near Pfaffenberg . The zinc pipes used in 1917 because of the delivery of non-ferrous metals were also replaced. The original disposition from 1890 was as follows:
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- Coupling : II / I, I / P, II / P
For liturgical practice, Jürgen Ahrend (Op. 147) created a two-manual choir organ with a total of 15 stops in a neo-Gothic prospectus in 1997 . As a counterpart to the large organ, the disposition of the purely mechanical choir organ is designed for the performance of "old masters" music from before 1800. It reads as follows:
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- Coupling: II / I, I / P, II / P
Bells
The three oldest bells rang at the Landshut wedding in 1475. After the confiscation and melting down of the baroque bells in 1917, the ringing was redesigned and larger in 1919 according to the disposition of an expert. The then newly cast bells fell victim to delivery in 1942. For the 650th anniversary in 1988, the bell was supplemented by the expert's disposition and with funds from the restoration association.
1. Jodok bell
- Bas-relief "St. Jodok "by Marlene Neubauer-Woerner :" Holy Parish Patron St. Jodok + please for us Donated by the Church Restoration Association St. Jodok 1988 "
- h ° 3,500 176 140 Perner Passau 1988
2. Gentlemen's Bell
- + hoc signum magni regis est in cuius manu omnia sunt - adoremus eum - quoniam ipse fecit nos +
- d '3,100 171 137 Landshut foundry 1454
3. Sebastian Bell
- Bas-relief of the city patron of Slavko Oblak: "Holy city patron + Saint Sebastian + pray for us"
- e '1,500 132 106 Perner Passau 1988
4. Women's bell
- + anno dni m ccc xlvll - osanna filio david benedictus qui venit in nomine domini rex israhel o rex glorie veni cu pace sanctus o maria
- fis' 1,950 135 108 Maister Stephan Ziengießer and Maister Hannsen Clefeldt horn master Landshut
5. Rosary bell
- Bas-relief Rosary Madonna by Karl Reidel: "- 1942 abused for the war - re-cast in 1988 - St. Mary receive peace"
- a '620 99 80 Perner Passau 1988
6. measuring bell ("pull bell")
- "I am the way, the truth and life - nobody comes to the father through me" - Johannes XIV - Lienhard Peringer poured me into Landshuet when one pays MDXXXXVIII
- cis "260 88 70 Lienhard Peringer Landshut 1548
literature
- Joseph Schwind : Damian Hugo Philipp Graf von und zu Lehrbach (1738–1815) the benefactor of the Speyer cathedral. Jäger'sche Buchdruckerei, Speyer 1915.
- Hans Bleibrunner: Landshut. The old Bavarian royal seat: a guide to its sights. Landshut Tourist Office V., Landshut 1988.
- Volker Liedke: Monuments in Bavaria - City of Landshut. Schnell & Steiner, Munich 1988, ISBN 3-7954-1002-9 .
- Marianne Mehling (Ed.): Knaur's cultural guide in color - Lower Bavaria and Upper Palatinate. Droemer Knaur, Munich 1995, ISBN 3-426-26647-4 .
- Reinhard Böllmann, Stephan Kaupe, Dagmar Müller: Landshut - Parish Church of St. Jodok. (= Peda art guide No. 935). Art Publishing House Peda, Passau 2014, ISBN 978-3-89643-935-2 .
Web links
- Internet presence of the parish of St. Jodok
- Website of the Stadtkirche Landshut
- Flash of the outside inscriptions
Individual evidence
- ↑ Böllmann, Kaupe, Müller; P. 2f.
- ↑ a b c d e f Liedke, p. 150ff.
- ↑ a b c d e f Böllmann, Kaupe, Müller; Pp. 3-7.
- ↑ Schwind, 1915.
- ↑ a b c d Parish Landshut-St. Jodok: Parish Church of St. Jodok . Online at www.jodok-landshut.de. Retrieved December 18, 2015.
- ↑ a b c Böllmann, Kaupe, Müller; Pp. 10-12.
- ↑ a b Böllmann, Kaupe, Müller; P. 45f.
- ↑ Böllmann, Kaupe, Müller; Pp. 13-15.
- ↑ a b Böllmann, Kaupe, Müller; Pp. 20-24.
- ↑ a b c d e f Böllmann, Kaupe, Müller; Pp. 28-37.
- ↑ Böllmann, Kaupe, Müller; P. 37.
- ↑ a b c d e Böllmann, Kaupe, Müller; Pp. 39-44.
- ↑ a b Böllmann, Kaupe, Müller; Pp. 15-20.
- ↑ Böllmann, Kaupe, Müller; Pp. 8-10.
- ↑ Böllmann, Kaupe, Müller; P. 38f.
- ↑ Böllmann, Kaupe, Müller; P. 47.
- ↑ Landshut, Germany (Bavaria) - Catholic parish church Sankt Jodok . Online at orgbase.nl. Retrieved October 23, 2016.
- ↑ Orgelbau Ahrend: Information on the disposition on the website of the organ builder ( memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Online at www.orgelbau-ahrend.de. Retrieved March 25, 2012.
Coordinates: 48 ° 32 ′ 10.8 ″ N , 12 ° 9 ′ 27.6 ″ E