St. Johannes (Dingolfing)

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Choir view from the southeast (2012)
Exterior view from the north (2006)

The parish church of St. Johannes is one of the landmarks of the Lower Bavarian town of Dingolfing . The stately, unplastered brick building with its approximately 83 meter high tower is a late Gothic building creation and is one of the most important late Gothic church buildings in Bavaria. Although the builders are unknown, the hall church can still be assigned to the Landshut Bauhütte and is thus in the architectural tradition of Hans von Burghausen and Hans Stethaimer . The church patrons are John the Baptist (day of remembrance: June 24th) as the main patron and the evangelist John (day of remembrance: December 27th) as the secondary patron.

location

View of the town of Dingolfing from the southeast, around 1840. The rather decentralized location of the parish church in the lower town is clearly visible

The church is located on a flood- protected terrace-like elevation to the right of the Isar and thus in the lower town, where the Bishop of Regensburg initially tried to assert himself . In contrast, the Upper Town, located on a mountain spur , was founded by the Wittelsbachers and thus by secular rule, who also appropriated the Lower Town in the 13th century. The parish church is also decentralized within this lower town , namely a little away from the historical buildings on a small hill.

history

prehistory

The church synod of the Agilolfingen tribal duke Tassilo III provides the first evidence of Christian life in Dingolfing . in the years 769/70 or 776/77. Based on archaeological findings, the conference location can now be clearly assigned to the current location of the parish church . There was probably a parish church on the site at that time . This assumption is confirmed by a document from the year 833 in which a royal court called Tingulvinga is located opposite a church. Excavations in the choir area from 1974 have this previous church, a small wooden church from the 8th / 9th centuries. Century archaeologically proven. The existence of a parish church is definitely proven for the first time in connection with the second Dingolfing synod in 932, to which Duke Arnulf II invited a total of 117 important personalities.

The church's patronage also points to its early importance as a baptistery for a larger area. If one assumes an existence already around the year 800, St. Johannes in Dingolfing can be counted among the oldest baptismal churches in Bavaria. However, the sacrament of baptism was probably not administered in the parish church itself, but rather in a baptistery in the vicinity. This was possibly on the site of today's shoemaker's band. Further soil findings from 1974 ensure that a Romanesque building in the form of a basilica was built around the middle of the 13th century on the same site . With a length of 32 meters and a central nave width of 8.5 meters, this was almost the same size as the present-day church.

Building history

Inscription at the start of construction in 1467. Transcription with abbreviations and omissions resolved : Anno d (o) m (ini) MCCCCLXVII on Eritag before Erasmi the first stain des paws was placed in the eren of the holy sand joh (anne) s gocztauffe (r) vn (d) ew (an) listed bey he (rre) n her flörian strasse (r) die czeit pfare (r) czw dinglfing vn (d) hanns loczenhofe (r) die czeit stat kame (re) r vn (d) jörg bropst czw the czeit pawmaister
Inscription for the vault decision 1502 with reproduction of the Bavarian duke coat of arms and the Polish royal coat of arms. Wording: Anno domni mccccc and ii iar on erchtag after sd ulrichstag the vault is finished worn almighty godfather keep your house so please di prudent heren peter hachreitr currently church to dingelfing un michel brobst currently statkamr and paumeister
Baroque figures of Saints Mauritius and Florian from the parish church. Today it can be found on a house gable in Dornwang, Moosthenning municipality.
Northwest view of the church tower from the middle of the 19th century with a baroque dome. Copper engraving by Josef Wolfgang Eberl .

Today's construction was started on June 2, 1467, as indicated by an inscription to the right of the south portal . Construction began at the time that Dingolfing belonged to the Duchy of Bavaria-Landshut , whose rulers went down in history as the “Rich Dukes”. It is not known why the previous church was given up after about 200 years. However, it can be assumed that in the late Gothic period it was an expression of urban self-confidence and prosperity to build a new, larger church - especially since this was the case in almost all of Bavaria's larger cities at the time. However, the new building could also have been a simple necessity, as the previous church was possibly damaged or destroyed when the city was stormed on June 14, 1436 in the war between Duke Ludwig von Bayern-Ingolstadt and his cousins.

Nothing more is known today about the builder of the church, named Jörg Brobst in the building inscription. It is likely to be a member of a Dingolfing dynasty and the town builder at the time, who only took over the building management activities. The main person responsible for the construction, often referred to as the foreman in the late Middle Ages, should, however, be settled in the Landshut construction works around Hans von Burghausen and Hans Stethaimer. The model for the construction was probably also the Heilig-Geist-Kirche in Landshut , built by the Landshuter Bauhütte , which was completed in Dingolfing in 1461, a few years before construction began.

From the consecration dates of individual side chapels, but also from a vertical joint in the masonry, it can be seen that the western part of the church was built first and then the eastern part with the choir was built by 1502. This meant that parts of the previous building, in particular its choir, could continue to be used for services during the construction period . An inscription on the vault of the eastern central pillar dates the vault decision of the hall church to July 5, 1502. The text is adorned with the ducal Bavarian coat of arms and the Polish royal coat of arms. The building inscription is also a memorial of the dynastic connection between the (Lower) Bavarian Wittelsbachers and the Polish Jagiellonians , which came about in 1475 through the wedding of Duke George the Rich with Hedwig Jagiellonica in Landshut . The side chapels were gradually added - with the exception of the Josephi Chapel to the northeast at the end of the choir, which was only built in 1686 by Pastor Mathias Haltmair. The church was largely completed between 1525 and 1530.

Gradually, the equipment of the church was completed in the period that followed. Two bas-reliefs , created around 1515 by the famous Landshut carver Hans Leinberger , are now in the Bavarian National Museum in Munich . In 1522 the so-called Colossal Lord of Dingolfing and a little later the figures of the two church patrons Johannes Baptist and Johannes Evangelist, who are now side figures of the high altar , were carved. These works also come at least from Leinberger's surroundings.

The west tower, which is so characteristic of church construction today, only reached the height of the nave until the 17th century . This is shown in a fresco by the painter Hans Donauer from 1590, which can be seen today in the Antiquarium of the Munich Residence . In 1636 the tower was then probably increased by one storey, as can be seen from a copper engraving by Matthäus Merian from 1644. In 1682 there was a further increase with a baroque onion dome , which was covered with red clapboards . At that time the tower reached a height of 63 meters. In the course of the regotization of the church, the tower was provided with a pointed helmet in 1868 and thus achieved its current appearance and its current height of 83 meters.

In the second half of the 16th century figural and ornamental Renaissance paintings were created on shield arches and pilaster strips , which were supplemented by various wall paintings of a similar style in the 17th century . These works were whitewashed in white during the Baroque period and were only partially exposed again during the last major renovation in 1974.

In the high baroque period, around 1680, the original late Gothic furnishings were largely removed and replaced by baroque pieces. For example, a baroque high altar with columns and Corinthian capitals was built that almost reached the vault. The following has been handed down to this altar: The large altar sheet, which emerged from the hand of the Dingolfing master Friedbichler, was the church's best ornament; it represented the Mother of God with the baby Jesus floating on the clouds, at her feet the two church patrons, pleading for the community. The statues of Saints Florian and Mauritius rose up on both sides in mighty size . In the upper part of the altar there was another oil painting “God the Father with St. Spirit "; the whole structure was crowned by three larger than life angels . The side chapels were also gradually adapted to the zeitgeist, albeit at different speeds , so that their appearance in the 18th and 19th centuries was probably rather inconsistent.

The current appearance of the church was essentially shaped by the regotization from 1867 to 1884. For example, in 1878 the windows were shortened above the side portals and all windows with new tracery of granite equipped. As a result, the roof of the portal porches on the north and south sides was raised to the level of the side chapels, while their roof trusses were rebuilt at the same time with a lower incline. In addition, the cemetery around the church, which was abandoned in 1803, was leveled in 1876 and the main staircase to the west portal was rebuilt in 1885. The Maria-Hilf-Chapel, which connects to the last yoke on the north side, was even demolished and rebuilt. Between 1880 and 1884 the interior of the church also got a new face. The furnishings were largely standardized again with numerous neo-Gothic pieces. The former church furnishings , however, were auctioned in 1884. The larger-than-life side figures of the baroque high altar, St. Florian and St. Mauritius, went to a farmer from Dornwang . The figures created at the end of the 17th century can still be seen on a house gable there today. The stained glass windows showing scenes from the life of Jesus Christ were also made during the regotization of the church. As early as 1863, today's west gallery was pulled in, so that the curved gallery above the sacristy , which was added in the 17th century, could be removed at the same time . Today there is an oratory on the upper floor of the sacristy , which is separated from the church by a glass window. In 1884 the elaborately carved church and choir stalls from 1681 were removed, with part of the choir stalls being incorporated into the new sacristy furniture. On May 8, 1885, the new altars were consecrated by the Regensburg Bishop Ignatius of Senestrey , thus completing the regotization.

In the year the west gallery was extended by about 1.20 meters by moving the parapet forward. The last major renovation took place between 1969 and 1975. Among other things, the outdoor area was paved and the stairs to the portals renewed. The roofs were also re-covered and the flooring in the interior of the church, marble slabs in a rose- pointed pattern , introduced in 1681 , replaced with Solnhofen slabs . Last but not least, parts of the Renaissance paintings were exposed again as described above. The next thoroughgoing church renovation is due for 2017 and 2018. In addition to the elimination of structural and structural damage in the area of ​​the roof, vault and walls, the focus should be on securing the valuable inventory of neo-Gothic glass windows.

architecture

Layout

Dimensions

The interior of the nave measures 37.30 meters in length and 17.55 meters in width. The church space is expanded by 3.00 meters each through the side chapels, resulting in a total width of 23.55 meters. The height of the vault in the interior is about 18 meters. The tower is exactly 83.12 meters high - including the four-meter high cross .

description

The parish church of St. Johannes is a three-aisled , late Gothic hall church in exposed brick, which includes six bays and a choir closure on five sides of the dodecagon. While the chancel is housed in the easternmost yoke of the central nave, the two side aisles continue to form an ambulatory which surrounds this chancel . The late Gothic rib vault extends over all three naves and shows an elaborate configuration that is sometimes referred to as the Wechselberger figuration . The term refers to the master craftsman Hans Wechselberger , who used this vault shape for the first time in several churches ascribed to him. B. used in the parish church of St. Stephan in Braunau am Inn . The vault is supported by twelve columns that separate the main nave from the two side aisles and a 13th column, which is roughly in the central axis of the main nave. The thirteen round columns on octagonal bases can be interpreted as an architectural metaphor for the twelve apostles and Jesus Christ in their midst, who support the church .

The church is surrounded by a wreath of ten side chapels. Side portals can be found in the fourth yoke on the north and south sides, each with a small vestibule, which was adjusted in height to the side chapels in the 19th century. There are six side chapels on the south side, with the front one facing the sloping side of the choir. The same applies to the north side. However, only four side chapels can be found here, as the two yokes east of the side portal are occupied by the sacristy . This is a little wider than the ring of the side chapels and has two floors, with the upper floor opening into the church interior via an oratory . The structure of the external structure is taken over by multi-stepped buttresses and three-lane tracery windows . The three windows of the choir with glass paintings take up about two thirds of the height of the wall, while the other nave windows are significantly shorter because of the side chapels underneath and also have no painting. The chapels themselves each have a four-lane tracery window, which is decorated with a glass painting.

On the west side is the approximately 83 meter high tower, the ground floor of which forms a vestibule open on three sides to the main portal. The four lower floors with a square floor plan are separated by cornices and are structured by pointed arches (second floor) or round arched panels (third and fourth floors). Above this, the tower - mediated by four equally high, polygonal corner turrets - merges into an octagonal shape. The four other floors contain the sound openings and tower clocks and lead over to the high pointed helmet that was put on in the 19th century. The top is made up of a tower ball and cross.

  • Tower from the west

  • Choir window from the east

  • Vault with keystone

  • Choir vault

  • Vault from the south

comparison

The floor plan of the nave is reminiscent of the Heilig Geist Spitalkirche in Landshut, which was completed in 1461, i.e. a few years before the foundation stone of the Dingolfing church building, and can therefore be regarded as an architectural model. In particular, the three-aisled shape and the ambulatory suggest this comparison. Deviating from the Landshut model with its side tower and its representative main portal, the church tower of the Dingolfing church was built to the west in front of the main nave, dispensing with a dominant west portal. In addition to the position and design of the tower, the wreath of ten side chapels, which were previously used by journeyman's brotherhoods and guilds , reminds of Landshut's Jodokskirche .

Furnishing

Colossal Lord God of Dingolfing (1522)

Remains of the late Gothic furnishings

Only a few parts of the late Gothic furnishings have survived. These mainly include two late Gothic wooden sculptures that are placed on the two arched pillars under canopies crowned with pinnacles . They represent the church patron John the Baptist and the evangelist John and are ascribed in art historical literature to the master of Dingolfing , who in turn is located in the artistic environment of Hans Leinberger . The figures were part of the original late Gothic high altar and were placed on both sides of the main portal in the course of the Baroque renovation in 1680. After they were temporarily housed in the shoemaker's chapel and in various side chapels, in 1940 they were integrated into the high altar instead of the bronze reliefs to the left and right of the tabernacle . They only found their current location during the renovation in 1975/76.

A late Gothic font made of red marble has also been preserved, the base of which was reworked in 1884 by the local master stonemason Niedermeier and provided with new tracery. Both the base and the transition area and the actual baptismal font are octagonal. Originally the baptismal font was placed on the west portal of the church, in 1976 it found its current place north of the chancel.

Particularly noteworthy and of high artistic quality is the monumental crucifix with a fully plastic representation of the crucified Christ, the so-called Colossal Lord God of Dingolfing . There is evidence that this has been hanging in the vault of the parish church since 1522. The longitudinal bar of the cross measures 7.00 meters, the transverse bar 3.60 meters. The body alone is 3.80 meters long. A comparably large choir arch cross from the late Gothic period can be found in the Martinskirche in Landshut , which in turn is evidence of the exemplary effect of the Landshut large churches on the construction and design of the Dingolfing parish church in every respect. A late Gothic Madonna relief by Hans Leinberger, which was part of the original furnishings, is now in the Bavarian National Museum in Munich . Otherwise nothing has been preserved from the original church furnishings in the late Gothic style.

High altar

View into the chancel. In the foreground the modern people's altar, behind it the neo-Gothic high altar (1883). The neo-Gothic choir glass windows (1881) can be seen in the background.

In addition to the colossal Lord God of Dingolfing , the neo-Gothic high altar made of gray sandstone is the second dominant element of the church furnishings. It was made in 1883 by the Munich stonemason company Baumeister und Zwisler based on a design by Munich art professor Anton Seder . Three pinnacles , which strive towards heaven in the typical Gothic sense, structure the altar structure. The greatest height is the central pinnacle, which roughly coincides with the choir column. The main branch contains the artistically designed tabernacle , an exposure niche flanked by two bronze angel figures and a place for the figure under a canopy, which varies over the course of the church year. These are the Christ Child , the risen and teaching Savior as well as Maria Immaculata - all by the Dingolfing sculptor Alois Riesenhuber.

On both sides of the tabernacle there are bronze reliefs depicting models of the sacrifice of the Mass from the Old Testament (from left to right): the sacrifice of Abel (slain by his brother Cain), Abraham (sacrifice of Isaac as a symbol of the turning away from human sacrifice) and Melchizedech (the first priest in the Scriptures to offer bread and wine) and the healing by the bronze serpent ( Num 21.4–9  EU ). Under the open cafeteria there are relics of the catacomb saint Tigrinus in a metal sarcophagus, which were acquired in 1683 for the Franciscan monastery in the Upper City and after its secularization came to the parish church in 1802. There the bones were initially housed in the Peter and Paul Chapel and integrated into the new high altar in 1883.

Choir stalls

The elaborate carved choir stalls from 1882, which came from the Munich workshop of Ludwig and Jakob Mutter, are also part of the interior of the chancel . It continues in such a way that it encloses the high altar and thus separates the chancel from the ambulatory. Carved figures can be seen on the canopy of the choir stalls, with one figure assigned to each seat. On the left there are the four evangelists Matthew (winged person), Mark (lion), Luke (bull) and Johannes (eagle). The biblical prophets Jeremiah , Isaiah , Daniel and King David are shown on the right . It is noticeable here that the figure of David replaces that of the fourth great prophet Ezekiel . All the figures shown except for John are accompanied by a biblical quote, for the evangelists from the beginning of “their” Gospel.

Choir window

The three glass windows in the choir area were designed in 1881 by Franz Xaver Zettler, a court glass painting company from Munich. In the lower area the eleventh, twelfth and thirteenth stations of a cycle of the stations of the cross that was never completed are shown. Instead, there are now fourteen cross-way panels from 1900 in the side chapels, which were made available free of charge in 1976 by the parish of Hauzenberg . The three Stations of the Cross, designed as glass paintings, are arranged in a clockwise direction. The 11th station is on the left choir window (Jesus is nailed to the cross), the 12th station on the middle (Jesus dies on the cross) and the 13th station on the right (Jesus is removed from the cross). Furthermore, the adoration of the Magi , the Last Supper and the resurrection of Jesus Christ are depicted in the central choir window . In the left window you can see scenes from the life of John the Baptist. In the lower area, the saint refers to Jesus with the words "See the Lamb of God ", above the baptism of Jesus in the Jordan and the beheading of the Baptist are shown. The right window of the choir is dedicated to the patron saint of the church, the evangelist John. It shows Salome , mother of John and at the same time relatives of Mary , the martyrdom of John in Rome and his appearance to the Virgin Mary as a crescent Madonna .

pulpit

Neo-Gothic pulpit (1884)

The oak pulpit was made in 1884 by the sculptor Michael Hoch from Waldershof based on a design by the Munich art professor Joseph Knabl . On the polygonal body there are reliefs of the divine teacher Jesus, surrounded by the four evangelists. The sound cover, which is also polygonal, was originally installed higher and was only reduced to its current height in 1933, is crowned by a pinnacle and shows small figures of great preachers of the church. Depicted from left to right are the Saints Paul , Dominic , Petrus Chrysologus , Anthony of Padua , Francis of Assisi , Petrus Canisius and Peter .

More pictures

On the pillar on the right in front of the chancel is a late Gothic Madonna with a crescent moon carved in the Baroque period with the baby Jesus. According to oral tradition, this could come from the Expositurkirche Heilig Drei König in Frauenbiburg . However, there are also indications that point to an origin from the side church of St. Giles in Brunn . On the north side of the nave, another late Gothic figure from the late 15th century can be seen above the entrance to the sacristy. This represents Saint Aegidius and was the central figure of the high altar in Brunn until 1985. A little to the west of it is a wall painting of the Madonna of the Protective Cloak, created by Balthasar Lacher from Munich in 1888, and a painting by the Dingolfing painter Josef Friedbichler, originally placed on the baroque high altar, of Mary with the baby Jesus and the two church patrons at her feet - John the Baptist on the left , right the Evangelist John - shows.

Other late Gothic figures that were moved from Brunn to the parish church to protect against theft are Saints Leonhard and Sebastian above the side portal and Maria and Christophorus on the two pillars of the west gallery. On the side above the north entrance figures of Saints Johannes Baptist and Wolfgang can be seen. On the back wall of the nave there is a figure of the Savior at Rest from the second half of the 18th century. It is given to the famous Landshut sculptor Christian Jorhan the Elder. Ä. attributed. It is flanked by two canvas paintings of the flagellation of Christ and the betrayal by Judas , which were carried during the Good Friday procession in the 18th century . The heavy door of the west portal, like the other two church doors, made of oak in 1885 , is decorated with carved images of the four evangelists.

In particular on the north wall of the nave, between the north portal and the sacristy door, a number of high-quality epitaphs by ducal and electoral caretakers from Dingolfing and noblemen from the area have been preserved. Eberl partially described and noted down these inscriptions.

Side chapels

Late Gothic frescoes in the cloth makers' chapel , dated 1494
Depiction of St. Martin on a late Gothic fresco in the Bäckenknecht chapel

The ten side chapels, which connect to the nave in the south and north, all have similar furnishings. The neo-Gothic altars were made in 1884 by the local sculptor Alois Riesenhuber. The stained glass windows were created a year later at the Schneider'schen Kunstanstalt in Regensburg . The equipment of the individual side chapels is shown below; the numbering corresponds to the church floor plan shown above.

1. Kreuzkapelle or Cloth Maker's Chapel (consecrated on March 11, 1482)

The altar of the oldest side chapel shows in a half relief Jesus Christ on the cross and angels who collect the holy blood of the crucified in a chalice . Another relief can be seen in the predella , which depicts the poor souls in purgatory . The saints Johanna Chusa , Veronika and Johannes Nepomuk act as assistant figures . The almost life-size assistance figures of the former baroque altar, which represent Saint Severus and Pope Gregory the Great , are now in the Dingolfing Museum of Local History. The stained glass window shows the coronation of Mary in heaven. Special features of this chapel are the baroque vaults painted with vases and foliage and the late Gothic frescoes . On the back wall of the chapel you can see Christ in the mandorla , who holds judgment on Judgment Day and is flanked by two trumpet angels. The paradise scene with the snake on the apple tree can be seen on the right below this representation . In the rear shield arch there are clockwise depictions of St. Severus (bottom left), the patron of the cloth makers, of Pope Gregory the Great and of Saints Erasmus , Wolfgang and Helena . On the south wall of the chapel you can see the sending of Jesus into the Passion by God the Father as well as a representation of the “Heilstreppe”. The latter was used in earlier times to explain the transmission of prayer: the person prays to Mary , who turns to the Son of God, who in turn forwards the request to God the Father. Finally, on top of various text fragments, there is a depiction of St. Christopher , dated 1494.

2. Aloisius Chapel or Bäckenknecht Chapel (consecrated on March 16, 1482)

The eponymous saint is depicted as the central figure on the altar of this side chapel. It is flanked by figures of Saints Wolfgang (left) and Benno (right). St. Francis Xavier is shown in the extract . The predella is adorned with a relief showing Jesus instituting the Eucharist . The death of Mary is depicted in the glass window. The late Gothic wooden relief of the Nativity on the south wall is of particular interest . It should be a wing of the original high altar. The vault in this chapel is also painted; the marbled painting with putti heads dates from the 16th century. In 1933, a cycle of pictures from the time the chapel was built was exposed on the back wall, depicting the Seven Joys of Mary .

3. Sacred Heart Chapel or Tailor's Chapel (built before 1525, probably going back to a messbeneficium donated in 1475)

The altar shows a three-dimensional representation of the Sacred Heart, flanked by figures of Saints Margareta Maria Alacoque (left) and Theresa (right). The excerpt shows a figure of St. Francis of Assisi . In the predella there is a baroque canvas painting with the title “Head of St. John”. The stained glass window shows the mission of the Holy Spirit . Another baroque canvas painting can be seen on the back wall. It shows Maria Immaculata standing on a globe and crushing the head of the snake ( Gen 3.15  EU ).

4. Immaculate Conception Chapel or Fisherman's Chapel (built before 1525)

The altar of this chapel shows a figure of Immaculata in the extract. Paintings of the 15 traditional rosary secrets on wood can be seen on the reredos and predella .

5. St. Peter and Paul Chapel or Baker Chapel (built before 1525)

The winged altar in this chapel contains the reliefs "Peter heals the lame" and "Paul preaches in Athens " as well as the paintings on wood " Saul's Conversion " and "Liberation of St. Peter". In the top you can see figures of Saints Peter and Paul, surrounded by Katharina (left), Barbara (right) and Notburga (above). Under the cafeteria there are various relics from the church's earlier baroque altars. The resurrection of Jesus Christ is shown in the stained glass window.

6. Sebastianikapelle or Corporis-Christi-Kapelle (first mentioned in 1512)

The altar of this chapel shows a painting of the eponymous saint by the painter Anton Bernreiter from Dingolfing . The saints Florian (left) and Leonhard (right) act as secondary characters . Relics of the catacomb saint Martialis are contained in a shrine made by the local goldsmith Fastlinger under the cafeteria . The stained glass window depicts the discovery of Jesus in the temple .

7. Josephi Chapel (built around 1686)

The altar in the youngest side chapel contains a figure of the eponymous saint in a central position. Secondary characters are Saint Stephen and Mary Magdalene . The representation of the Lord in the temple is shown in the glass window .

8.Michael's Chapel (built after 1525)

In contrast to the nine other side chapels, the original masonry altar table has been preserved here. Fragments of late Gothic painting, probably seraphim , can still be recognized today. This altar table served as a model for the design of the people's altar after the Second Vatican Council . The altarpiece by the Munich artist Ludwig and Jakob Mutter from 1889 shows the Archangel Michael slaying the dragon, accompanied by Gabriel , Raphael with the pilgrim's staff and Tobias with the fish. In the predella you can see an image of the Virgin, which, according to legend, was taken unharmed from the burning cellar of a house when the city of Ofen was conquered in 1625 and was housed in the Franciscan monastery church until secularization. The stained glass window in this chapel - in contrast to the other side chapels - was designed like the choir stained glass windows by the Munich court glass painting company Franz Xaver Zettler. A much older fragment of glass has been added to the window, which shows the birth of the Lord. The exact time of origin of this glass painting is in the dark; There are also contradicting information on this in the literature. Either it was created in connection with the Crusades , i.e. in the 12th or 13th century, or when the church was built. Remains of a fresco from the 17th century have been preserved on the inner chapel wall above the shield arch. The resurrection of Jesus Christ and the donor of the painting are shown. The figural and ornamental decorative painting in the reveals of the pillars, on the other hand, dates from the 16th century.

9. St. Anne Chapel or Maurer -and- Carpenter Chapel (built before 1525)

The altar of this chapel shows a relief of the holy mother Anna teaching Mary to read . The secondary figures represent the saints Elisabeth (left), Monika (right) and Augustine (above). The bones of the catacomb saint Faustina rest under the cafeteria in a metal shrine belonging to the Dingolfing goldsmith Fastlinger. The Visitation of Mary is depicted in the glass window . Also worth seeing are the frescoes by Teisbach painter Markus Held from 1770, which can be found on the back wall of the chapel. Again you can see how the mother teaches Anna Maria to read; in addition, Mary's temple passage is shown.

10. Mary Help Chapel or forged -and- Wagner Chapel (built after 1525)

On the altar of this chapel is a copy of the miraculous image of Mariahilf by Lucas Cranach the Elder. Ä. appropriate. This is framed by angel figures. There are also reliefs and figures of the fourteen helpers on the altar . During the National Socialist era, a figure of the holy brother Konrad was placed next to the altar - based on the saint's biography, it should be understood as a silent protest against the developments at that time. On the back wall of the chapel there is a large baroque panel painting of the seven refuge .

organ

View to the organ gallery
Steinmeyer organ from 1884, rebuilt in 1986 by Georg Jann

The organ of the church was in 1884 as Opus 255 of GF Steinmeyer & Co. built. The cone chests -instrument with mechanical play and key action originally comprised 29 Register on two manuals and pedal . In 1986 it was restored by Georg Jann from Allkofen near Laberweinting and - according to the size and importance of the church - expanded to 34 registers. Today's disposition is as follows:

I main work C – f 3
1. Bourdon 16 ′
2. Principal 8th'
3. Dumped 8th'
4th Tibia 8th'
5. Gemshorn 8th'
6th Salicional 8th'
7th Viola di gambe 8th'
8th. Octave 4 ′
9. flute 4 ′
10. Fifth 2 2 ⁄ 3  ′
11. Octave 2 ′
12. Mixture IV-V 2 ′
13. Trumpet 8th'
II Hinterwerk C – f 3
14th Violin principal 8th'
15th Hollow flute 8th'
16. Lovely Gedackt 8th'
17th Dolce 8th'
18th Aeoline 8th'
19th Fugara 4 ′
20th Transverse flute 4 ′
21st Nasard 2 2 ⁄ 3  ′
22nd flute 2 ′
23. third 1 3 ⁄ 5  ′
24. Fifth 1 1 ⁄ 3  ′
25th Mixture IV 1 1 ⁄ 3  ′
26th Clarinet 8th'
Pedal C – d 1
27. Principal bass 16 ′
28. Sub-bass 16 ′
29 Violon 16 ′
30th Fifth bass 10 2 ⁄ 3  ′
31. Octave bass 8th'
32. cello 8th'
33. Flute bass 4 ′
34. trombone 16 ′
  • Coupling : I / II, I / P, II / P
  • Playing aids : 4 fixed combinations (p, mf, f, ff) , negativecombination

Bells

In both world wars , the bells had to be delivered to the parish church of St. John, but some came back unscathed at the end of the war. A total of four historical bells are still preserved. The main ring today consists of five bells with the tone sequence a 0 –c 1 –d 1 –f 1 –a 1 , the so-called Parzival motif . The bells involved hang in the large belfry one floor above the tower clocks . There is also a sixth bell, the death and train bell, which is the smallest and is only rung as a soloist . The bells in detail:

No. Surname Casting year Caster Weight [kg] Chime
1. Christ the King bell 1950 Johann Hahn, Landshut 3384 a 0
2. Mary Queen of Peace 1922 c 1
3. Trinity Bell 1704 Gordian Schelchshorn , Regensburg 1420 d 1
4th Mother of God Bell 935 f 1
5. St. John's Bell 550 a 1
6th Death and train bell late Gothic ? 132 ?

Surroundings

A stone relief can be seen on the north-western buttress of the parish church, which dates from the time the church was built or even from the previous building. The literature is also divided about the depicted scene. Either it is about Jesus Christ and the unbelieving Thomas or the handing over of the keys from Jesus to Peter. South of the tower is located at a shed roof , a provided with various figures of Olives representation from 1789, on the south side of the church building is since 1845 a mission cross mounted, which is a figure of 2000 Dolorosa was added, which also from the middle of the 19th century. Century. Numerous old epitaphs can be seen both on the outer wall of the church and on the walling of the former cemetery .

South of the parish church is the small church of the Most Holy Trinity , which is also known as the Schusterkapelle or the Erasmikapelle . The small late Gothic building was built in the second half of the 15th century and thus around the same time as the parish church. The small roof turret was put on in 1895. Inside is the former town hall bell. The neo-Gothic altar structure (without figures) was originally intended for the Expositurkirche in Frauenbiburg. However, when it was not found to be suitable there, it was reworked for the Trinity Church in 1876. It contains late Gothic figures of the enthroned Mother of God with baby Jesus, Saint Joseph and the Three Kings. In conversation Enge is a wooden group of the mercy seat . The Way of the Cross of the Trinity Church was made in 1930 by the painter Gottschalk from Taufkirchen as a copy of the Way of the Cross by Martin von Feuerstein in the Munich parish church of St. Anna im Lehel . In addition, a Pietà on the south wall, which dates from the 18th century, and a figure of St. Joseph with baby Jesus from the 19th century, which is placed above the entrance on the west side, are of particular interest.

In the 17th century, the church was a grown west Karner expanded and by the 19th century Lourdesgrotte added. In the Karner there are numerous painted and inscribed skulls in two niche openings on the south wall, most of them from the period from 1800 to 1870. In the middle above it is a crucifix with the Mater Dolorosa under glass. On both sides of it are two old picture panels painted according to biblical passages. From left to right these are: the hour of death ( Lk 12.46  EU ), the entrance into bliss ( Matt 25.34  EU ), the fall into damnation ( Matt 25.41  EU ) and the judgment seat of God ( Rom 14, 12  EU ). Right at the top, a narrow frieze runs across the entire south wall of the Karner , on which the resurrection of the dead at the Last Judgment and Jesus Christ, accompanied by two trumpet angels, are depicted. Archaeological investigations in 1974 showed that at the time of the predecessor building of today's parish church there was already a charnel house in its southeastern part.

The parsonage belonging to the church is a stately two-storey baroque building with a high hipped roof , which the Dingolfing master builder Georg Weigenthaler built in 1729. It is accessible from the former cemetery via a representative gate.

  • Schusterkapelle, south of the parish church in the historical cemetery, with attached Karner and Lourdes grotto .

  • Baroque Karner of the Schusterkapelle

  • Lourdes grotto from the 19th century

  • Vicarage before restoration (2006)

literature

  • Josef Wolfgang Eberl : History of the city of Dingolfing and its surroundings. Freising 1856, pp. 115–174 ( digitized version )
    • Josef Wolfgang Eberl: History of the city of Dingolfing and its surroundings. Freising 1856. Unchanged reprint with attached biography of Eberl by Johann Baptist Nirschl, Dingolfing 2004. ISBN 978-1-270-86062-4 ; Pp. 115-174.
  • Anton Eckart: The art monuments of Lower Bavaria. Issue 1 District Office Dingolfing . R. Oldenbourg, Munich 1912, pp. 16-31 ( digitized version ).
  • Fritz Markmiller: City parish church St. Johann Bapt. and evang. in Dingolfing. (= Little Art Guide No. 1569). Schnell & Steiner, Munich 1985. ISBN 978-3-7954-5276-6 .
  • Peter Morsbach, Wilkin Spitta: City churches in Lower Bavaria. Verlag Friedrich Pustet, Regensburg 2003. ISBN 978-3-7917-1863-7 .
  • Hans Schmid: Dingolfing. The parish church of St. John the Baptist and Evangelist. (= Peda art guide No. 728). Art Publishing House Peda, Passau 2008, ISBN 978-3-89643-728-0 .

Web links

Commons : St. John  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Schmid, p. 2f.
  2. ↑ a b c d e f g h i Schmid, pp. 4–10.
  3. ↑ Eberl, p. 125.
  4. ↑ a b c d Schmid, p. 13.
  5. ↑ a b c d e f Schmid, pp. 14–21.
  6. ↑ Schmid, p. 26f.
  7. ↑ Schmid, p. 21f.
  8. ↑ a b Schmid, p. 23, p. 26, p. 39–42.
  9. ↑ Schmid, p. 14, p. 31f., P. 36f., P. 42.
  10. ↑ a b c d e f g h i j Schmid, pp. 27–39.
  11. ↑ a b Schmid, p. 42.
  12. ↑ Dingolfing, Germany (Bavaria) - Catholic parish church St. Johannes . Online at orgbase.nl. Retrieved October 14, 2016.
  13. ↑ Dingolfing, St Johannes: Festgeläut . Online at www.youtube.com. Retrieved October 14, 2016.
  14. ↑ a b c d Schmid, pp. 44–48.

Coordinates: 48 ° 37 ′ 41.7 ″  N , 12 ° 29 ′ 54.5 ″  E