St. Martin (Langenpreising)
The Roman Catholic parish church of St. Martin in Langenpreising , a place in the Upper Bavarian district of Erding , is a late Gothic church from around 1500 that was later redesigned in the Rococo style. Since 2013, the Langenpreising parish has been part of the Wartenberg Parish Association , whose spiritual focus is the local parish church of the Birth of Mary .
history
The first documented mention of Long Preisings dates back to 767, when the Noble Ano de Prisinga (Ano of Preising) his inherited property to the Bishopric of Freising was transmitted. The wording in the document underlines the great importance of the place at that time. A ducal court was probably located there. A little later, in 782, the noble Fater de Prisinga (Fater von Preising) confirmed an earlier donation to a church in Langenpreising. It should have been an aristocratic own church which, according to Stahleder, was built in 739 at the earliest. However, as early as the 7th century, a ducal court chapel was the first building that preceded today's parish church. Around the year 1000 Berhta, the widow of Count von Ebersberg , sold goods in Langenpreising, a church and the obligation to pay tithes to the Reichsstift Obermünster in Regensburg . In 1142, Bishop Otto von Freising also transferred the tithes of the Freising Monastery to the Obermünster Imperial Monastery, which from this point on was the sole tithe lord in Langenpreising.
In 1315, Langenpreising was first mentioned as a parish in a diocesan registry of Freising . The right to present the parish was with the abbess of Obermünster, to whom the parish was incorporated . The land register of the Reichsstift shows Langenpreising in 1374 as a Hofmark with extensive possessions: the Amthof, two mills , thirteen fiefs and a forest . In the late Middle Ages , however, the Langenpreisingen pastor did not reside in the area, but was represented by a poorly paid vicar .
The oldest parts of the building still preserved today are the choir walls , which come from a late Gothic predecessor of the parish church built around 1500. Church accounts from 1669 show the first preparatory work for the construction of a new, early baroque nave. In 1756, the Erdingen city mason, Johann Baptist Lethner, raised the choir - still visible today on the strip of pilaster strips that surrounds the altar house at a great height. In keeping with the spirit of the times, the top was fitted with curved blind windows and a new roof structure was built on top . In 1758, again by Lethner, two two-story additions were made to the choir: the sacristy on the south side and a mirror image of this on the north side a chapel. The sacristy door made by the Erdinger carpenter Johann Michael Eckardt dates from the same year.
On August 16, 1769, the church tower collapsed in a storm and tore down parts of the previously very dilapidated nave with it. This misfortune forced the new building of the tower and nave, now in the Rococo style, which was carried out again by Johann Baptist Lethner. Since the cost estimate, financing plan and building application were only available at the end of 1770, completion can only be scheduled for 1771 at the earliest. In the years that followed, the splendid rococo-style interior was created, for which the Landshut sculptor Christian Jorhan the Elder , the Erdinger Kistler Peter Riester and his Dorfen colleague Anton Fackler were mainly responsible. The parish church finally achieved its current appearance with two measures, which were carried out in 1904 by the Moosburg master builder Karl Kohn: the addition of a small, quarter-shaped stair tower in the corner between the nave and the sacristy, which has since taken up the sacristy staircase , and the erection of two side spiral staircases that lead to the lower mezzanine floor.
In the course of secularization at the beginning of the 19th century, numerous parish pilgrimages were stopped; since then people have only made a pilgrimage to Maria Thalheim once a year . In 1837, the Vicariate of Wartenberg was separated from the Langenpreising parish and made an independent parish. The right to present the parish in Wartenberg, however, remained with the pastor of Langenpreising until 1934 and was only then transferred to the archbishopric. The following text has been handed down by Johann Baptist Prechtl from 1886 : Since the Strogen has very shallow banks, it is not uncommon for it to emerge over the same and flood the entire village. During such a time the pastor has to go to the church on a boat and the teacher has to get into it on an emergency walkway . It should be noted that the parish church and the cemetery, due to its slightly elevated position, mostly resembled an island during floods, while the rest of the village was often largely flooded several times a year. This deficiency was only remedied with the construction of the Strogen Canal in 1927/28.
architecture
The parish church is a stately hall building, consisting of a five-bay nave and a slightly narrower two-bay choir, closed on three sides, on the east side. The late Gothic choir comes from the Landshut Bauhütte, which is in the tradition of Hans von Burghausen , as can be seen from the strong, detached triangular struts as a typical stylistic feature . The nave has a pilaster structure and rounded corners - both of which are common features of Lethner church buildings. The five-storey west tower can also easily be assigned to the Erdinger master builder based on various characteristics. These include, for example, the slit-like light slits in arched niches that can be found in the lower four tower floors, but also the angled corners with volute swings on the bell storey and the onion hood with lantern .
The wide interior is spanned by a pressed barrel vault with stitch caps . This rests in the nave on pilasters with cranked beams. On the other hand, the vault of the choir, which is also drawn in by a choir arch , rises from wall pillars that protrude significantly further into the room and were provided with a strong cornice in the Baroque period. On both side walls of the altar house are the windows of the so-called winter choirs , framed by high-quality rococo carvings , two rooms on the upper floor of the choir extensions. In the west tower, however, the main staircase to the two galleries is housed, which cover the rear nave yoke. Compared to other rococo churches, the nave and choir are rather sparsely lit by high-altitude arched windows. The arrangement of the church stalls results in a central aisle, two side aisles and a cross aisle in the nave, which connects the two church portals in the westernmost yoke. In earlier times this made it possible to hold monthly processions .
The stucco in the nave and choir was only executed in the years 1902 to 1904 in the neo-baroque or neo-rococo style in subtle pastel tones . The designs come from the Munich architect Hans Schurr ; they were implemented by the Munich company Maille & Blersch . The cartouche above the choir arch bears the inscription VENITE / ADOREMUS / Ps. XCV (Latin: "Come, let us adore.", Ps 95.6 EU ). In 1989, glass paintings from 1884 were reinstalled in the windows in the inclined segments of the choir closure . The works of Karl Ulke from Munich show the saints Elisabeth (left) and Korbinian (right).
Furnishing
Most of the furnishings are stylistically located at the transition between Rococo and Classicism . The playfulness and lightness typical of the Rococo is already weakened in Langenpreising and clearly shows the influences of the classicism that was developing at the same time - recognizable, for example, by the serious expressions and the strict folds.
High altar
The early classical high altar with its side passages takes up a large part of the choir closure. It was created in 1783 from a collaboration between the Dorfen carpenter Anton Fackler and the important Landshut sculptor Christian Jorhan the Elder. Ä. Four staggered, marbled round columns with Corinthian capitals frame the altarpiece of the church patron Martin von Tours. The latter, represented as a Roman officer, shares his cloak with a beggar. Angels hover above, already holding staff and miter ready for the future bishop . Next to the painting are the figures of the Evangelist Johannes (left) and Maria Magdalena (right), both created by Jorhan , on the side consoles . Above these are sculptures of the apostles Peter and Paul , which also come from Jorhan. Figures of angels sit on two pedestals on the side of the cranked entablature. Towards the middle, volutes that are studded with other putti swing up to the curved altar extension. The extract shows the Holy Trinity .
Side altars
The early classical side altars, like the high altar, were created by Fackler and Jorhan in 1783. They are designed as counterparts and are very similar in structure to the high altar, even if the design is a bit simpler. Two round columns are arranged on the outside; Inside there are two flat pilasters that frame the altarpiece. From the cranked entablature, scrolls adorned with angels soar to the altar extension, which also contains a small painting. A gold-plated shrine is set up on each of the cafeterias .
The north (left) side altar shows in the main painting angels on clouds above a view of the town of Langenpreising, who carry a copy of the famous miraculous image of Mariahilf . Above that, God the Father is enthroned with the dove of the Holy Spirit in the midst of two other angels. The assistant figures created by Jorhan represent the parents of Mary, St. Anna and St. Joachim . St. John Nepomuk can be seen in the extract . The shrine on the cafeteria contains a niche for exposure and carries a figure of the risen Christ during Easter . The southern (right) side altar contains an altar sheet on which the martyrdom of St. Sebastian is depicted. This was signed by the painter Johann Baptist Geiger. The "peasant saints" Leonhard and Isidor serve as side figures . In the excerpt you can see John of Kraków , who was canonized in 1767 . A copy of the Altöttinger Madonna can be seen in the arched early Rococo shrine in the cafeteria . This is clad in richly decorated silver brocade . A pilgrimage , which has long since been extinguished today, developed around the miraculous image in the Baroque period . A total of 39 answers to prayer were recorded for the years 1735 to 1738.
In the 18th century there was still a fourth altar in the church: the so-called peasant altar, which was consecrated to St. Margaret . This should have been set up near the portals, so that the farmers were allowed to pray there even in dirty work clothes. The miraculous image of the Altöttinger Madonna was originally set up here.
pulpit
The late Rococo style pulpit was created in 1777 in collaboration with Peter Riester and Christian Jorhan the Elder. The latter, according to the cost estimate, had to make a large angel and other figures for 130 guilders for such a pulpit . Four small heads with different skin colors and headgear can be seen on the curved pulpit, symbolizing the four continents known at the time . On the side facing the congregation, a three-dimensional angel figure seems to float. This carries an open gospel book with grapes on top of her head . Three wooden reliefs framed in gold depict scenes from the Gospel : the parable of the workers in the vineyard ( Mt 20.1-16 EU ), the feeding of the five thousand ( Joh 6.5-13 EU ) and the parable of the sower ( Mk 4, 1-9 EU ). The rear wall of the pulpit is laterally decorated with draperies . On the underside of the sound cover a dove of the Holy Spirit is depicted in the midst of a halo. On top there are three putti, symbolic of justice, punishment and reward. A large angel figure with the tablets of the Ten Commandments stands raised on a pedestal on a globe from which three putti heads protrude.
Other equipment
On the side walls of the choir there are paintings of St. Barbara (north side) and St. Margaret, which were created in 1739 by the Wartenberg painter Franz Xaver Aiglstorfer. Next to it are two late Gothic sculptures of the Madonna of the crescent moon , holding the naked child in both hands, and of St. Bishop Martin. Below is a row of early classicist choir stalls . In the choir room, five epitaphs commemorate six pastors who have died and are buried here: Matthias Huber († 1724); Josef Heinrich Freiherr von Lemmingen († 1738), who was ordained a priest after the death of his wife , and his son Johann Ludwig Karl Freiherr von Lemmingen († 1746), who was also a pastor; Michael Heckenstaller († 1759), Johann Baptist Aloys Streib († 1794) and Kaspar Wolfgang Breitenbach († 1826).
The lay chairs have elaborate cheeks in the late Rococo style and, like most of the interior, were made around 1780. A special feature are the almost completely preserved name tags with Gothic script on a blue background, which date from the 1920s. The late Gothic baptismal font from around 1500 was placed near the left side altar, which is likely to come from the furnishings in the previous building. The octagonal basin made of red marble is located on a brick octagonal base . The four confessionals with early classical decor are set in wall niches in the nave . They are believed to have been created by Anton Fackler from Dorfen around 1785. Opposite the pulpit, on the south wall of the nave, you can see a crucifix with a figure of Mater Dolorosa , which according to the church bill of 1680 was created by the Erdingen sculptor Philipp Vogl.
The Stations of the Cross cycle is a copy made by an unknown master of the Stations of the Cross that Joseph von Führich created for the St. Laurentius Church in Prague . These were often imitated from 1847, so that the Way of the Cross in Langenpreising is likely to date from the second half of the 19th century. A votive plaque in honor of St. Leonhard reports on the rampant cattle epidemic in 1728 , from which Langenpreising was apparently spared. The Latin inscription reads: EX VOTO Parochi, et Communitatis in Langenpreising / Anno 1728. (in German: "Due to a vow of the parish and community in Langenpreising, 1728."). The contemporary view of Langenpreising is also interesting here, on which the former Gothic tower of the parish church can be seen with a pointed helmet .
organ
The organ of the parish church was built in 1972 by Orgelbau Sandtner from Dillingen an der Donau . It is housed in the upper gallery and has a five-part parapet prospect in Baroque forms. The purely mechanical cone store instrument comprises a total of 14 stops on two manuals and a pedal .
It replaced a two-manual organ with 12 registers, which has a free-standing console and is housed in a neo-Romanesque prospectus . This was created in 1887 by the Munich organ builder Franz Borgias Maerz and was sold in 1973 to Breitbrunn in the Haßberge district , where it is still in service today. The previous organ of this instrument, a single-manual slide organ with four registers and an attached pedal, is no longer preserved today. This was created in 1765 by Johann Schweinacher from Landshut.
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- Coupling : II / I, II / P, I / P
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- Coupling : II / I, II / P, I / P
- Playing aids : Tutti
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Bells
Four bells still hang in the old belfry , all of which survived both world wars unscathed. In detail these are:
| No. | Caster | Casting year | Weight [kg] | Diameter [cm] | Chime | inscription |
|---|---|---|---|---|---|---|
| 1. | Johann Matthias Langenegger and Anton Benedikt Ernst , Munich | 1725 | 930 | 112 | f 1 | |
| 2. | Karl Gottlieb Hancke, Landshut | 1769 | 550 | 99 | as 1 | |
| 3. | Johann Matthias Langenegger and Anton Benedikt Ernst, Munich | 1719 | 210 | 81 | b 1 | |
| 4th | Anton Benedikt Ernst, Munich | 1742 | 58 | 48 | ? | Sub regim: D: D: Jo: Lud: Caroli Weichs LB de Lemmingen S: R: J: Pr: et EP: Frising: Co: ec: et parochus ibidem MDCCXLII |
Surroundings
The large local cemetery extends around the parish church of St. Martin. To the east of this is the rectory, a free-standing two-storey hipped roof building . This was built in 1812 by the Munich architect Gustav Vorherr in the classical style.
literature
- Georg Brenninger, Helmut Lahr: Langenpreising - Churches of the parish. Peda Art Guide No. 756/2009, Peda Art Publishing House , Passau 2009. ISBN 978-3-89643-756-3 .
Web links
Individual evidence
- ↑ a b c d e Brenninger, Lahr; Pp. 3-5.
- ↑ a b Helmut Stahleder: Episcopal and noble churches of the Diocese of Freising in the early Middle Ages and the church organization in 1315. In: Oberbayerisches Archiv , Vol. 104, Munich 1979, pp. 117–188. and Vol. 105, Munich 1980, pp. 7-69.
- ↑ Dr. JB Prechtl: The most interesting facts about Langenpreising (1886), page 18
- ↑ a b c Brenninger, Lahr; P. 6f.
- ↑ a b c d Brenninger, Lahr; P. 19.
- ↑ Brenninger, Lahr; Pp. 7-9.
- ↑ a b c Brenninger, Lahr; P. 9f.
- ↑ Brenninger, Lahr; Pp. 10f., 14.
- ↑ a b c Brenninger, Lahr; Pp. 14-18.
- ↑ a b c d e organ database Bavaria online
Coordinates: 48 ° 25 ′ 28.2 ″ N , 11 ° 58 ′ 17.1 ″ E