St. Johannes Baptist and Blasius (Loppenhausen)
The Catholic parish church of St. Johannes Baptist and Blasius is located in Loppenhausen , a district of the municipality of Breitenbrunn in the Unterallgäu district in Bavaria . The late Gothic church building is a listed building.
history
Already in the years 1157, 1173 and 1179 goods and a church in Loppenhausen were mentioned in papal letters of protection. These goods were owned by the St. Blasien Monastery . Bishop Hermann von Konstanz confirmed the monastery possessions in 1189. In 1203 the church set was again confirmed as monastery property by Bishop Hartwig von Augsburg when Berthold von Hebelichsberg claimed it. On April 6, 1529 the monastery became the property of the Lords of Frundsberg . From this point on, the rule of Mindelheim held the right of patronage .
The church building is a late Gothic building from the late 15th or early 16th century. The church tower is likely to come from the same time and bears the two dates 1522 and 1524. Around 1710 the church was rebuilt. During this renovation, the nave, the stucco decorations and frescoes in particular were changed. The church including the baptismal font, communion bench and tabernacle was rebuilt around 1800. A disfiguring renovation took place in 1885. The stucco in the nave was removed and replaced with decorative painting. Furthermore, altars and a pulpit in the neo-renaissance style were added. In the course of an interior restoration under the direction of the Mindelheim architect David Eberle in 1923/24 an attempt was made to restore the baroque character of the church. So again stucco and frescoes were created in the nave, and altars and a pulpit in the neo-coco style were set up. Further renovations took place in 1939, 1951 and 1953, among others.
Building description
The choir of the church has moved in and consists of two yokes with a 5/8 end. In the inclined axes and the adjoining southern axis of the choir, retracted, round-arched windows are embedded, with the pointed arch window in the apex of the choir being walled up. The walls are structured by flat templates with Corinthian pilasters . The pilasters tapering towards the top are painted marble-like, at the upper end there are pieces of entablature. The choir is completed by a Gothic stab cap barrel with parabolic shield arches. The ribs were chopped off. On both sides in the second yoke from the west there is a door. The door on the south side leads into the sacristy, the door on the north side into the church tower. There is an arched oratorio opening on the south side of the choir. The choir is connected to the nave by a re-entrant arch . In the reveal of the choir arch, as in the choir itself, there are pilasters with entablature, whereby the entablature of these pilasters is stronger. The choir arch is closed in a semicircle and lined with stucco profiles. The nave consists of a hall with a mirror ceiling over a cove between profiled cornices. The nave is divided into three window axes, consisting of drawn-in and arched windows. A two-story gallery is built into the west side of the nave . This gallery, built around 1710, has straight, marbled wooden parapets. The parapets are structured by hermen pilasters and wide octagonal fields in between. There is an arched door to the south below the gallery. Two arched windows are installed both under the lower gallery and above the upper gallery.
The outer facade of the choir has a circumferential base with stepped buttresses . The wedge-shaped upper part of the buttresses is transformed into a rectangle by means of valleys and profiles under the desk roof. A neo-Gothic profile can be found on the eaves of the choir, as well as on the nave and the sacristy. A pointed arch panel is located on the outside around the south portal, around which the sign was added in the 18th century . The sign is opened on the south and east side by arcades. Inside the sign contains a groin vault. On the west side of the church there is a housing that is open to the sign with an arched niche. In this niche there is a neo-Gothic grave Christ. Above the niche there is a round-arched Mount of Olives niche with neo-Gothic figures. Next to the entrance door is a ribbed sandstone holy water font. The church tower is built to the south of the choir and is 41 meters high. The seven-storey church tower was built from bricks that have not been plastered since 1939. From the second tower floor, corner pilaster strips are available that enclose the gable with a cross-gable roof. The floors are divided by intersecting arches. There are small rectangular openings on four floors, the top floor is opened by a three-part arcade with thin intermediate columns. The year 1522 is engraved into a brick on the fourth floor on the east side to the right of the frieze. The second year 1524 is embedded in the eaves at the top of the left terracotta pilaster strip. The initials JD with a stonemason's mark in the middle can be seen on the right pilaster strip. The sacristy was formerly located on the ground floor of the church tower with its ribbed vault . In the 18th century, the sacristy was built as an extension in the southern corner between the choir and nave. In the 19th century the sacristy was increased. Since then it has consisted of two floors with barred arched windows.
Furnishing
The three altars in the neo-coco style from 1924 were created by the Schier company from Munich based on designs by David Eberle. The painting marked Anton Niedermaier from Hohenbrunn was created by him in 1924. The high altar consists of a two-pillar, concave structure. The altarpiece shows the resurrection of Christ . God the Father is shown in the altar excerpt . The two side altars are also two-pillar. The north side altar shows Saint Dominic receiving the rosary from Mary. The picture in the excerpt above shows the Immaculata . The death of Joseph can be seen on the altarpiece of the south side altar. Saint Joseph with baby Jesus is depicted above the altar.
In 1924 the frescoes in the choir from 1710/1720 were exposed again. The scenes of the Annunciation , the baptism of Jesus and the beheading of John the Baptist are shown in detail, starting from the vertex in an easterly direction . The side gussets show the birth of Jesus and the sermon of John the Baptist on the north side from the east and on the south side, also from the east, the flight of the Holy Family and John the Baptist from Herod . The Ecclesia with cross and chalice can be seen in red clay painting above the altar in the apex of the choir. Alternating in ocher yellow and red tone painting in the stitch caps on the north side from the east are the Immaculata standing on a ball with the Trinity above , an angel announcing the birth of John the Baptist, John the Baptist in the desert and John the Baptist in prison shown. Opposite you can see St. Blaise above the church of Loppenhausen, the Visitation of the Virgin Mary, the Resurrection of Christ and the Entombment of Christ. The side shield arches show in red and yellow ocher tone painting on the north side the torture of St. Blaise, mother with child before St. Blaise, St. Blaise protecting two young men in the forest from a bear. On the other hand, the beheading of St. Blaise and St. Blaise walking on the lake in which he was about to be drowned are shown. The frescoes in the nave were created in 1923 by the brothers Alois and Matthäus Haugg from Ottobeuren . In the middle picture you can see a clavarium mountain with the name Gebr. Haugg 1923 . The four western church fathers are depicted in grisaille painting in the diagonals . Starting clockwise from the northeast, these are Ambrosius , Hieronymus , Gregory and Augustine . The paintings, with depictions of the secrets of the rosary, on the two gallery balustrades are originally from around 1710 and were uncovered again in 1924. From left to right on the upper gallery parapet are the birth of Christ , the Visitation of the Virgin Mary , Annunciation, Coronation of Mary , Assumption of Mary , Pentecost , Ascension Day and on the lower gallery parapet representation in the temple, the twelve-year-old Jesus in the temple, Mount of Olives, flagellation, crowning of thorns, Jesus falls under the cross and see the resurrection.
The pulpit , like the altars, was manufactured in 1924 by the Schier company from Munich, also based on plans by David Eberle. The neo-coco pulpit has purple stucco marble and is partially gilded.
The marbled baptismal font was made from wood around 1800 . The transversely oval, vase-shaped basin rises above a pedestal with garlands of cloth. The cover of the baptismal font is concave and conical. The lid is crowned with a wreath of roses and a dove of the Holy Spirit with outspread wings. The previous baptismal font was made from oak by Johann Jakob Geiger in 1680 . He carried a group of figures with the baptism of Christ by Martin Döttel. Both artists came from Mindelheim .
The classical tabernacle was made around 1720 and is made of wood. On the tabernacle there is a small, composed crucifixion group , also around 1720. In the sacristy there is a wax Christ child from around 1800.
Several wooden figures are set up in the church. Around 1480, St. Blaise was created on the north wall of the choir. Opposite is the neo-Gothic figure of John the Baptist. The crucifix and the Mater Dolorosa on the south wall of the nave date from the second quarter of the 18th century . In the middle of the 18th century, both the lecture crucifix in the choir and the lecture crucifix with its corpus were made of bronze. The Johannessschüssel was made around 1500, the Resurrection Savior around 1730/1740.
The 15th station of the cross - all in carved rococo frames - bears the name Ioannes Metsch P. at the bottom left and the name of the year 1752 is the name of the honorable / Sebastian Fischer from denne berg- / höff the H. Creutz make away / Lasen. The painting of St. Aloysius on the north wall of the choir dates from around 1800.
The choir stalls and choir doors are neo-baroque and paneled. The communion bench dates from around 1800 and is white and gold. The balusters are shaped like hermaphrodites and fluted. The lay stalls were created around 1710 . It has richly curved cheeks with a spiral acanthus carving. The neo-baroque organ case dates from 1919. The roughly carved sacrificial box, the upper part of which is made of iron with ribbons and rosettes, probably dates from the 18th century.
Various grave monuments are attached to the church both inside and outside. In the nave, consisting of Solnhofen slab , for Pastor Ignatius Ieger 1754 with antiquain script and an engraved chalice in the tail frame. The wrought iron cross on the southern exterior dates from the first half of the 18th century. A sandstone slab was attached to the eastern wall of the cemetery for Anna Stebenhaberin, who was born in Strelerin in 1573. It consists of a sandstone slab with a relief coat of arms in a circular aperture, above which there is an antiquain script. For the virgin Ammalei Strellin in 1563, the meanwhile heavily weathered sandstone slab with beveled upper corners and antiquine inscription was created on the cemetery wall. It also has an antiquain script and an engraved coat of arms underneath.
literature
- Heinrich Habel: Mindelheim district - Bavarian art monuments . Ed .: Torsten Gebhard, Anton Ress. Deutscher Kunstverlag, Munich 1971, p. 203-206 .
- Georg Dehio: Handbook of the German art monuments - Bavaria III - Swabia . Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , pp. 677 .
Web links
Individual evidence
- ^ Diocese of Augsburg
- ^ Bavarian State Office for Monument Preservation: Entry D-7-78-121-19
Coordinates: 48 ° 9 ′ 43.1 ″ N , 10 ° 23 ′ 42.6 ″ E