St. Johann Baptist (Riedenburg)
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St. John the Baptist is the Roman Catholic town parish church of Riedenburg in Lower Bavarian district of Kelheim . The late baroque church is raised on the edge of the old town, on the slope below the Rosenburg . Characteristic of the church is the tower, which dates back to the Gothic period and has a very tall and slender pointed helmet , which can otherwise only be found in the Alpine region . The parish also includes the side church of St. Anna, the church of the monastery of the same name and the branch church of St. Martin , a Romanesque castle chapel from the 12th century, in the Aicholding district. The Riedenburg parish church is one of the protected architectural monuments in Bavaria.
history
There has been evidence of a smaller church on the site of today's parish church since the 13th century, which has always been consecrated to John the Baptist (memorial day: June 24th). The construction of today's late baroque church, including the medieval tower, took place in 1739. The builder is unknown; However, the entirety of the style elements speaks for the Landshut court mason Johann Georg Hirschstötter , who eight years later used them in an even more concentrated form when building the parish church of St. Andreas in Hofendorf .
It is proven that St. Johann Baptist in Riedenburg was a branch church of the parish Schambach (today part of Riedenburg), a so-called original parish , from which numerous parishes in the area were spun off over the course of the 14th century at the latest . After Riedenburg had already obtained a certain degree of independence as a curate with its own pastor , it was possible to set up its own parish in 1921.
architecture
Exterior construction
The east-facing hall structure consists of a nave with three and a half bays and an only slightly narrower choir , to which only a curve on the walls and eaves leads on to the exterior . This corresponds to the round columns at the western end of the nave. Like the side chapels built on both sides in the second yoke from the east, the choir is closed in the form of a semicircular apse . Due to the short length of the hillside property available, St. Johann Baptist is rather broadly proportioned compared to other baroque churches. The yellow-washed outer walls are only structured by the window openings framed by pilaster strips . In the nave, these are rectangular with a slightly drawn-in, round-arched end; above, as in the side apses, circular oculi are arranged. The choir has the same two-story window arrangement; however, the lower windows are designed as so-called bass violin windows in a curved shape, as can be found more frequently in rococo churches in the Landshut area.
On the west side of the baroque abuts the originating nor from the Gothic period tower, the nave is approximately centrally positioned and easily jump in in the nave. The slender, almost square tower substructure is largely undivided, while above the tower clocks on all sides there are also rounded arched sound arcades . Mediated by four triangular gables, there is the transition to the eight-sided, very pointed spire, which is crowned with a ball and cross. A chapel open to the outside is built on the north side of the tower, the so-called dungeon chapel with a representation of the Man of Sorrows . The sacristy is on the south side of the nave .
inner space
Due to the generous width of the church building and the numerous windows with sloping walls , with which, as with the Solnhofen limestone flooring, a scattering effect of the light is achieved, the interior makes a wide and light impression. It is spanned by a flat barrel vault with stitch caps , which is suspended from the roof structure as a so-called formwork vault over a wooden structure . It rises from a profiled cornice running all around , which in turn is supported on flat pilasters , which at the same time take over the yoke structure. The chancel is only raised by one step and set off from the nave by a barely noticeable choir arch , which is pressed due to the shape of the vault . A double gallery has been inserted in the rear half yoke of the nave . The lower storey rests on round columns; the upper floor, on which the organ stands, is supported by plastered , rectangular wooden pillars with caryatid angels. The parapets of both gallery floors are arched forward in the middle.
Gallery with caryatid angel
Gallery with caryatid angel
Furnishing
Frescoes and stucco
The side walls and ceiling are decorated with late baroque stucco ornaments in pastel shades on a white lime background, some of which already refer to the early Rococo in their shapes. The main elements are ribbon work , acanthus tendril work , shell work, flower pendants, rosettes , asymmetrically edged cartouches , dragon combs and lambrequins . In the stitch caps, the stucco is modeled as an illusion of brocade fabric, the edges of the stitch caps are framed by stucco molding. On the choir arch there is a curved banner with the inscription "VIDI SPIRITUM DESCENDENTEM QUASI COLUMBAM DE COELO" (I saw the spirit descend from heaven like a dove, Jn 1,32 EU ).
The two ceiling frescoes are surrounded by clear stucco frames: the smaller one in the choir has a simple, oval contour; the larger in the nave has a curved contour with four volutes , from each of which an acanthus frond protrudes into the interior of the picture. Both frescoes were redesigned in 1937 by the famous Munich church painter Josef Wittmann . The theme of the Visitation of the Virgin Mary is depicted on the choir fresco , i.e. the visit of Mary to her cousin Elizabeth . Zacharias , Elizabeth's husband, and Joseph , Mary's fiancé, can also be seen in the background . The motif is reminiscent of the patronage of the mother parish Schambach. The much larger, elongated ceiling painting in the nave, on the other hand, refers to the patronage of the parish church itself. In the eastern half of the picture, it shows the baptism of Jesus by John on the Jordan . In the middle of the picture, God the Father is shown, surrounded by several angels and facing the baptism scene. Below is the dove of the Holy Spirit , which sends the ray of grace down on Jesus. In the western half of the picture, which is rotated 180 degrees from the other depiction, one recognizes the sermon of John the Baptist in the solitude of the desert , in which he points to the coming Savior.
In the spandrels between the stitch caps of the nave , scenes from the life of the Baptist are depicted clockwise in several grisailles , which were also painted by Josef Wittmann in 1937 . On the south side you can see from east to west: The angel's announcement to Zacharias that a son would be born to him and his wife Elizabeth; the birth of the Baptist , when Zacharias writes on a board with his finger “John is his name” and then receives the language back; and the sermon in the wilderness , in which John points to Jesus Christ . On the north side the following scenes are depicted from west to east: John's penance speech before the ruler Herod Antipas , whom he accuses of illegitimate marriage to Herodias , the dance of Salome , the daughter of Herodias, as a reward for the dance on behalf of her Mother demanded the Baptist's head on a bowl, as did John before he was beheaded .
High altar
The high altar, created in 1748 by an unknown artist, attracts the attention of the churchgoer as soon as they enter the church due to its imposing size. Like the side altars, it consists of a wooden structure with a marbled frame in pink, beige and green tones. In the middle of a double base zone are the cafeteria and the baroque tabernacle , the doors of which are decorated with ears of wheat and grapes as well as the letters Alpha and Omega. Above that, the exposure niche is framed by two pilasters and two volute columns. Two winged worshiping angels sit next to them. At the top is either the Lamb of God or the pelican feeding its young with its own blood ; the two figures are interchangeable.
The structure rises above the second base on both sides with two round columns and pilasters arranged between them, all with richly decorated rococo capitals , and guides the view through the slightly concave column position to the large altar leaf. This shows the Annunciation to Mary by the Archangel Gabriel , who hands her a white lily with his left hand as a symbol of her chastity. With his right hand he points to the dove of the Holy Spirit in Glory. From this a ray of grace falls on the head of Mary, which is also surrounded by a subtle glory. Above the painting in a gilded frame is a cartouche held by two putti with rich acanthus leaves. The inscription reads: “AVE MARIA, GRATIA PLENA” (Hail Mary, full of grace).
The altarpiece is flanked by the life-size statues of John the Baptist (left) and the Evangelist John (right), each standing between the columns on the upper plinth. They are attributed to the sculptor Georg Wallner from Parsberg in the Upper Palatinate . John the Baptist holds the cross staff with the inscription "ECCE AGNUS DEI" (See the Lamb of God) in his right hand and looks up into the divine zone on the altar extension . The evangelist John bears the chalice with the snake sticking out and the gospel as attributes ; he looks at Mary in the main picture. On the outside side there are two small reliquary pyramids , above which carved and gilded acanthus cheeks are attached to the sides of the altar structure.
The multi-cranked cornice supported by the pillars, arching upwards in the middle and thus spanning a kind of arch over the aforementioned cartridge, is surmounted by the altar extension. This is almost as wide as the lower reredos and is in turn supported by two pairs of columns and two individual pilasters. Winged angel figures sit on the outer volutes; further inside, standing putti turn towards the fully three-dimensional excerpt. From a gold ball, Jesus Christ blesses the people praying in front of him with his right hand; in his left hand he holds the cross in the direction of his divine Father. He is enthroned next to him on the ball and holds the scepter in his left while he also holds his right hand protectively over the believers. A halo emanates from the two divine figures, which is impressively backlit by the oculus behind it, especially in the morning sun. Above it, under a canopy, the dove is depicted as a symbol of the Holy Spirit, who completes the Holy Trinity .
Side altars
The two side altars are designed in a similar way to the high altar, but only with two round columns, and placed at an angle in the curves on both sides of the choir arch. The northern (left) side altar, also known as the Marienaltar, contains the church's oldest work of art, a Gothic Madonna and Child , in the central shell niche, which is painted with a brocade pattern . Both figures were crowned in the baroque period. The side figures represent Saints Anthony of Padua (left) and Elisabeth of Thuringia (right). On the cafeteria there is a gilded plaque with a relief of the portiuncula apparition of Francis of Assisi . In the extract from the altar, which rises up between two rounded gable pieces, there is a painting of the presentation of the rosary by Mary to the founder of the order, Dominic , above another broken gable with a carved Marian monogram in the halo.
The southern (right) side altar, which is also called Sebastianialtar, is designed as a counterpart. In the central niche it contains a figure of St. Sebastian in the Nazarene style of the 19th century. The assistant figures depict the apostles James the Elder as a pilgrim and Judas Thaddäus with the club. On the cafeteria there is a relief of the Holy Family with a gilded background. In the altar excerpt, which is crowned by a Christ monogram in a halo, Saint Catherine is shown with the wheel .
There are also altars in the two side chapels, but they have no reredos. The cross of Christ rises above the cafeteria on the north side; underneath there is a figure of Mater Dolorosa . In addition, the figures of the evangelists Luke and John with their attributes of a bull and eagle stand on small pedestals . In the niche chapel opposite, a statue of St. John Nepomuk with a halo is placed on the middle pedestal . On the side consoles are the evangelist busts of Matthew with the winged man and Mark with the lion.
pulpit
The pulpit in opulent rococo forms is dated to the middle of the 18th century; as with the altars, the author is unknown. The curved pulpit, with pilasters on the edges, has a rocaille cartouche with the inscription "VERBUM DEI" (Word of God) on the front . The dove of the Holy Spirit is shown in relief on the underside of the sound cover ; On top, two putti flank the Old Testament tablets of the law, which are backed by a wreath of clouds and rays .
Other equipment
With the help of some epitaphs from the 15th to 18th centuries, the history of the founding of the parish church can be clearly understood. The oldest of these grave monuments is the red marble epitaph for pastor Heinrich Sandersdorfer († 1481) with a full-length representation of the clergyman. Another tombstone with a high -quality coat of arms tondo commemorates the founders Katharina Huntzhofer († 1560) and Hans Huntzhofer. The two grave slabs made of Solnhof limestone for the mayor Sebastian Striezl († 1742) and his wife Franziska Striezl († 1760), who were both great benefactors of the city and the church, contain sayings in Baroque style . Franziska Striezl is said to have donated the high altar of the parish church in 1748. On the southern outer wall is a neo-Gothic memorial stone for those who fell in the Franco-Prussian War of 1870/71.
Grave slab for Heinrich Sandersdorfer († 1481)
Grave plate for Katharina († 1560) and Hans Huntzhofer
Gravestone for Franziska Striezl († 1760)
The cross-way panels carved from wood on the wall pilasters and on the back wall below the gallery are framed in white and set in gilded, neo-baroque frames. Originally the relief figures were colored and the panels were surrounded by historicizing frames. The apostolic candlesticks on the pilasters on the wall are attached to elaborately designed stucco ornaments with apostle crosses . Under the choir arch on the right is the baroque baptismal font made of light limestone, which is equipped with a modern copper lid . The relief depicts the patronage of Jesus' baptism in the Jordan .
On the church stalls , which are arranged in two blocks with a central aisle, high-quality carved chair cheeks with bandwork from the time the church was built are attached. On either side of the choir there is a row of choir stalls carved from oak and walnut , which also contain rich inlaid work . At the eastern end of the choir stalls there is a richly decorated eternal light traffic light in the Rococo style. The suspension of the sacristy bell is also an artistic ironwork . To the front it shows a cross, in the middle a gold-plated Christ monogram.
organ
Organ history
The first information about an organ in the Riedenburg parish church dates back to 1807. At that time, the organ was repaired by an unspecified member of the Ehrlich family of organ builders, which was widely ramified, at a cost of 40 guilders . In 1862 another major repair of the organ was due. This was done by the organ builder Joseph Vogl from Deggendorf against payment of 284 guilders. He renewed one of the three registers of the pedals . In addition, Vogl was the first time the disposition of the organ. In addition to the three-part pedal work mentioned, this also included a manual work with seven registers. As early as 1866, the instrument was repaired again by an organ builder who was not mentioned.
In 1875 the old organ was so defective and out of date that the Nuremberg organ builder Augustin Ferdinand Bittner was commissioned to design and build a completely new organ including a prospectus . According to a drawing in the archive of the Bittner organ building company, the latter was made in three parts, with the middle part being slightly elevated. In addition, in contrast to the previous, probably baroque organ case, no veil boards were provided. In the following year 1876 the organ was installed; Bittner received around 1950 marks . In 1910 this organ was repaired by the Deggendorf organ builder Ludwig Edenhofer. A new winch with magazine bellows was installed - in line with technical progress . The expenses for this totaled 680 marks. Edenhofer also recorded the disposition of the Bittner organ. It comprised a total of ten registers, divided between a manual and a pedal. In 1926, a new blower motor, which made the old Kalkant superfluous - apart from more frequent power failures - was purchased for 420 Reichsmarks from the Aug. Laukhuff company from Weikersheim in Franconia . In addition, in the same year the Ehrlich & Schwindel company from Neumarkt in the Upper Palatinate was commissioned with a major renovation of the Bittner organ. The instrument was expanded by a few registers, all wind chests were renewed and converted from mechanical slide drawers to pneumatic pocket drawers. The work of the Ehrlich & Schwindel company was inadequate, however, so that the organ conversion had to be completed by a piano technician in order to make the instrument playable at all. Nevertheless, a total of around 3330 Reichsmarks had to be paid.
The renovation and expansion turned out to be a botch a few years later. Therefore, in 1934, the organ builder Michael Weise from Plattling recommended a new building using numerous registers of the Bittner organ. However, this was not implemented. Instead, in 1937 the Munich organ building workshop Siemann commissioned a large new building for almost 8,600 Reichsmarks, which provided for 17 stops on pneumatic wind chests in a modern free pipe prospect. In addition to the 13 registers distributed over the two manuals, the organ contained two real and two transmitting pedal registers. This plan was implemented, so that the new organ could be installed in 1938. It was expanded by a register in 1943 and remained in operation until 2001.
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Notes (Vogl note):
- ↑ before the repair in 1862: bassoon 8 ′
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Notes (Bittner's note):
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- Coupling : Upper octave coupling II
Notes (Siemann's note):
Today's organ
Due to the defective pneumatics of the Siemann organ, the Riedenburg church administration decided in 2000 to rebuild the organ. The order was placed with Orgelbau Vleugels from Hardheim in the Odenwald . By 2002 an instrument with again 24 registers, divided into two manuals and a pedal, and purely mechanical keyboard and register actions was created . A five-part, baroque-style prospectus with veil boards, which fits very well into the baroque interior of the church, has also been rebuilt. Due to the limited space in the upper gallery, it was decided for the first time to install a five-part Rückpositiv in the gallery parapet in order to still achieve a good sound result. The weight of this parapet, which protruded far forward, had to be suspended from a specially inserted wooden roof truss . In addition, a free-standing console was chosen to give the organist a better view of the choir and the chancel. On February 24, 2002, Auxiliary Bishop Vinzenz Guggenberger , who was then appointed diocesan administrator , consecrated the organ .
The arrangement of the organ is as follows:
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- Coupling : I / II, II / P, I / P
Bells
A three-part chime with the striking notes e 1 –g 1 –b 1 sounds from the tall, slender tower . All three bells were cast by the Bochum Association in 1922 . A fourth bronze bell from the Rudolf Perner foundry in Passau with the strike note c 1 is only rung as a soloist and serves as a transformation bell .
literature
- Georg Paula , Volker Liedke, Michael M. Rind : District of Kelheim (= Bavarian State Office for Monument Preservation [Hrsg.]: Monuments in Bavaria . Volume II.30 ). Schnell & Steiner publishing house, Munich / Zurich 1992, ISBN 3-7954-0009-0 .
- Maximilian Halbritter: Old houses in Riedenburg. Published by the city of Riedenburg, 1992.
- Kath. Pfarramt St. Johannes, Riedenburg (Hrsg.): New organ St. Johannes Riedenburg. Festschrift for the consecration of the new on February 24, 2002.
- Sixtus Lampl : The churches of the parish of St. Johannes Riedenburg. Schlossverlag Valley, 2010.
Web links
Individual evidence
- ↑ List of monuments for Riedenburg (PDF) at the Bavarian State Office for Monument Preservation, monument number D-2-73-164-9 .
- ↑ Culture & Adventure - Churches . Online at riedenburg.de; Retrieved April 9, 2016.
- ↑ a b c d Lampl, p. 8f.
- ^ History . Online at www.st-johannes-riedenburg.de; Retrieved April 9, 2016.
- ↑ a b c Lampl, p. 10f.
- ↑ a b c Lampl, pp. 20-22.
- ↑ a b c d e f Lampl, pp. 12-16.
- ↑ Lampl, p. 19.
- ↑ a b c d e f Festschrift Neue Orgel St. Johannes Riedenburg, pp. 6–9.
- ↑ a b New organs in the diocese of Regensburg - The Vleugels organ in the parish church of St. Johannes, Riedenburg . Online at kirchenmusik-regensburg.de; Retrieved August 19, 2017.
- ↑ a b Festschrift Neue Orgel St. Johannes Riedenburg, pp. 12-17.
- ^ Riedenburg, parish church of St. Johannes Baptist . Online at glockenklaenge.de; Retrieved August 19, 2017.
- ↑ RIEDENBURG (KEH), Parish Church of St. John Baptist - Main bells . Online at www.youtube.com; Retrieved August 19, 2017.
Coordinates: 48 ° 57 ′ 41.6 " N , 11 ° 40 ′ 58.7" E