St. Mary's Assumption (Fürstenfeldbruck)
The Church of St. Assumption of the former Cistercian - monastery Fürstenfeld is located within the monastery district on the edge of today's major district town Fürstenfeldbruck in Upper Bavaria . The baroque wall pillar construction was elevated to the status of a royal country courtyard church after secularization and has served as a parish or side church since 1953 . The monumental church is considered a major work of baroque sacred architecture and decorative art in Bavaria.
history
The new baroque building began with the laying of the foundation stone on August 5, 1700. The original plans come from the Munich court architect Giovanni Antonio Viscardi , a native of Graubünden . Construction work was stopped as early as 1701 and only continued under the direction of Johann Georg Ettenhofer in 1716 . The choir was completed in 1723 and the nave was consecrated in 1741. The facade was completed in 1747 and the tower in 1745. The interior decoration dragged on until 1766.
In the course of the Bavarian secularization in 1802/03, the Fürstenfeld monastery was abolished. The impending demolition could be prevented by the rededication to the royal country courtyard church (1816). In 1923 the Benedictine Abbey Ettal leased the monastery from the Wittelsbach Compensation Fund . The lease agreement lasted until 1950, the following year the brothers Fürstenfeld left. Since 1953 the church has served as a parish church for the western part of the city of Fürstenfeldbruck. After the construction of the modern parish church of St. Bernhard (1964), the former monastery church was annexed to the parish of St. Magdalena. Since then, the huge sacred space has only served as a side church for weddings and church services. From 1965 to 1978 the church was extensively renovated and the exterior version was adapted to the original findings.
description
The outside of the church is 87 meters long and 32 meters wide. The ridge height is 43.5 meters, the tower is 70 meters high and is laid out to the north in the angle between the choir and the nave. The elongated choir jumps in strongly, the semicircular apse is structured by buttresses .
The colossal two-storey west facade is closed off by a volute gable. The five axes are separated by six double columns; there is another pair of columns on the gable. The capitals are Tuscan on the bottom, Ionic on the upper floor and Corinthian on the gable. The central niche of the gable contains copper statues of the Redeemer and the saints Bernhard and Benedict .
The floor plan and spatial design of the monumental wall pillar construction clearly refer to the model of St. Michael in Munich , whose spatial concept was adopted here. For example, the entrance bays in the nave and choir are shortened, and an attic is inserted between the main cornice and the vault . The strict concept of the late Renaissance , however, was magnificently reinterpreted and enriched in typical baroque style.
Like the choir, the five bays of the wall pillar hall are spanned by a barrel vault with strong belt arches, the chapels between the wall pillars by transverse barrels. Marbled half-columns are placed in front of the strong pillars. The view of the believer entering from the west is directed directly to the high altar , the room is staggered downwards like a baroque theater backdrop. The high chapel rooms create a monumental impression of the space, the “Italian” mood is obvious.
Furnishing
- Wall-mounted equipment
The southern high-baroque architecture is covered by an unusually magnificent decoration, which already shows the lightness of the Rococo . The stucco work in the choir was done by Pietro Francesco Appiani from 1718 to 1723, the nave was designed by Jacopo Appiani from 1729 to 1731. The decoration in the presbytery consists of bands, acanthus and leaf tendrils, shells, putti and flower baskets. In the nave, Jacopo Appiani also enriched the stucco with latticework, vases and valances.
The paintings of the vaulted fields are late works by Cosmas Damian Asam (choir 1723, nave completed in 1731) and show a complicated iconographic connection between the event of salvation and the life of St. Bernard. From west to east one recognizes the dream of mother Bernhard, the Christmas vision, the conversion of the Duke of Aquitaine, the attire of the patron of the order, visions of the saint are depicted above the cross altar. The history of the monastery is discussed in the choir. After the pre-determination of the building site by angels and the foundation, Mary follows as patron of the order and angels making music. This cycle is completed by the altar panel of the high altar, which shows the Assumption of Our Lady.
- Altars
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The high altar was built between 1759 and 1762, probably based on a design by Egid Quirin Asam . The inclusion of the choir windows in the architectural structure is unusual. Two pairs of columns flank the altarpiece (Assumption of the Virgin, by Johann Adam and Johann Nepomuk Schöpf ). The statues of Saints Zacharias and Joachim, Anna and Elisabeth are assigned to Franz Xaver Schmädl .
The side altars in the nave chapels are consecrated to Saints Hyacinth , Sebastian, Benedikt, Florian, Josef, Johann Nepomuk, Peter and Paul (double patronage), Bernhard, Clemens and the Mother of God. There is also the cross altar between the nave and the choir on the choir steps. It was reconstructed in 1978. The altar sheet of the stucco marble altar Egid Quirin Asams (1746) shows the departure of the apostles Peter and Paul from Rome . Here, too, the altar leaves are accompanied by marbled columns.
- pulpit
The pulpit on the first left nave pillar bears fine rococo decorations above the heavy baroque structure, such as the symbols of the four evangelists. The preaching apostle Paul stands on the cover .
- organ
(→ see main article: Organs of the Fürstenfeld monastery church )
The organ on the west gallery is the only almost completely preserved two-manual work from the first half of the 18th century in southern Bavaria. The sculptural work of the case was done by Johann Georg Greiff in 1737, the work comes from the Donauwörth master Johann Georg Fux (1736/37). The instrument has slide chests and mechanical playing and stop actions and comprises 27 stops with 1505 sounding pipes. Some of the registers and wind chests were taken from the organ from the Gothic previous church, which was around 100 years older (builder: presumably Hans Lechner from Munich). This is also the reason that all keyboards have the so-called short octave in the lowest octave. The instrument was last restored by Orgelbau Sandtner between 1977 and 1978 .
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- Coupling : manual coupler to pedal, sliding coupler I / II
- Remarks
- * = Registers come in whole or in part from the previous instrument from 1629.
- M = 1850 new by Max Maerz
- S = reconstruction by Sandtner (1978)
- Other equipment
The larger-than-life statues of the founders by Roman Anton Boos (1765/66) flank the choir arch . On the left is Duke Ludwig the Strict in his armor , on the right his son Emperor Ludwig the Bavarian with a crown and orb. Both figures are painted white and gold.
Four oratorios (around 1760) jump out over the simple choir stalls made of veneered walnut wood (by Friedrich Schwertfiehrer, around 1720/34) , the fine stucco decoration of which is attributed to Thassilo Zöpf . An oratorio on the gospel side has housed the choir organ by Josef Zeilhuber from Altstädten since 1948. JN Schöpf painted the large oil paintings with depictions of the church fathers.
A remnant of the high altar of the previous church is set up at the feet of the emperor. The grape Madonna with the child is a masterpiece of late Gothic sculpture in Upper Bavaria. The child's reach for the grape is interpreted as a symbol of the later suffering of Christ.
The wrought iron grilles under the west gallery are very decorative works by the local blacksmith Anton Oberögger (1780), which were reworked in 1862 by the Munich company Kraus-Maffei.
- The southern sacristy
The southern or summer sacristy next to the choir contains some remains of the late Gothic high altar of the previous church in its anteroom. Two linden wood figures show the hll. Benedikt and Bernhard, two panel paintings the sending of the Holy Spirit (Pentecost miracle) and the adoration of the child. Both panels are attributed to Master Sigmund von Freising (around 1470/80).
The room itself is characterized by the imaginative stucco work by Jacopo Appianis (around 1730). On the walls hang some paintings from the former monastery, such as a portrait of Abbot Gerard Führer and a depiction of the beheading of Mary of Brabant (19th century). A visit is possible as part of a guided tour.
literature
- Clemens Böhne: The Fürstenfeld Monastery and the veneration of St Leonhard In: Amperland , Volume 1, 1965, pp. 8-10.
- Thomas Bachmair, Peter Pfister , Hugo Schnell: Former Cistercian Abbey Church in Fürstenfeld. 15th edition. Regensburg 2007. (Schnell & Steiner Art Guide, 6).
- Georg Dehio: Handbook of the German art monuments. Bayern IV: Munich and Upper Bavaria. 3. Edition. Munich, Berlin 2006, ISBN 3-422-03115-4 .
- Markus T. Huber: The appropriation of Ludwig of Bavaria by posterity. Memoria and representation using the example of Munich and the Fürstenfeld Abbey. In: Hubertus Seibert (Ed.): Ludwig the Bavarian (1314-1347) Empire and rule in transition . Regensburg 2014, ISBN 978-3-7954-2757-3 , pp. 495-525.
- Birgitta Klemenz: Fürstenfeld monastery church. Between time and eternity. Regensburg 2004, ISBN 3-7954-1678-7 .
- Sabine Leutheußer: The baroque furnishing programs of the former Cistercian abbey churches Waldsassen, Fürstenfeld and Raitenhaslach. Munich 1993, ISBN 3-88073-477-1 . (tuduv studies / series art history, 61).
- Volker Liedke, Peter Weinzierl: Fürstenfeldbruck district. Munich 1996, ISBN 3-87490-574-8 . (Monuments in Bavaria. Volume I.12).
- Peter Pfister, Wolf-Christian von der Mülbe: The Cistercian monastery Fürstenfeld. Regensburg 1998, ISBN 3-7954-1159-9 . (Schnell & Steiner, Great Art Guide; 39).
Individual evidence
Web links
- Fürstenfeld monastery church , official website of the parish
- Equipment of the Fürstenfeld monastery church, in the Warburg Institute Iconographic Database .
Coordinates: 48 ° 10 ′ 10.4 ″ N , 11 ° 14 ′ 58.1 ″ E