St. Martin (Tettenweis)
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The Roman Catholic parish church of St. Martin is a late Gothic hall church in Tettenweis in the Passau district in Lower Bavaria . It belongs to the parish of St. Martin Tettenweis in the parish of Ruhstorf an der Rott in the diocese of Passau .
History and architecture
The plastered brick church on the west side of the chancel arch is dated to 1472. The year 1531 can be found above the choir window, which probably refers to a renovation. On the site of today's sacristy, Franz Xaver Peter von Joner had a chapel built in 1790, which was consecrated to St. John Nepomuk and was called the Jonersche Chapel. It was a three-bay rectangular system, which is terminated with a flat barrel with stab caps and belt arches. As the numerous grave monuments prove, the chapel served as the burial place of the Jonians for a long time. In the years 1885/1886 the church was extended to the west by three bays, with the late Gothic forms being copied exactly.
Exterior architecture
The exterior, especially the window tracery of the church, was renewed during the restorations. The stately tower, built on to the north of the choir, shows diamond and stilted gable friezes made of bricks in the lower parts between corner pilasters. In the upper part, the tower was renewed in the Baroque period and completed by a bell storey with accentuated sloping corners and a segmental arched entablature and a pressed dome .
inner space
Inside, the two-bay, three-sided closed choir shows a ribbed vault in accordance with the local building tradition. The older part of the interior is unusually designed as a three-pillar room with originally three pillars arranged on an equilateral triangle, which is derived from the nave of the Bürgerspitalkirche Braunau completed in 1439 and is related to the similar rooms in the church in Burgkirchen am Wald and the church in Eggelsberg . A similarly designed room, but later changed to Baroque style, can be found in Anger's church . The spatial impression that once existed is revealed when looking to the east with a viewpoint up to the fourth axis. The free pillars are offset from the arched arcades, which results in a complicated penetration of the yokes in the main and transverse directions. The star figures of the rib vault are intertwined into a perfectly regular network, creating the impression of an undirected space.
Support
The pillars are arranged in groups of three (originally one, now two) so that the eastern pillar is in the central axis of the church. The supports also include the half-octagonal templates in the east wall and a template in the middle of the west wall. This results in a threefold change in the longitudinal direction of free support and template, each offset from one another at a rate of one and a half axes. In the east, the system-related inclusion of half an axis is necessary in order to maintain the same distance between the pillars and the wall. Originally, this differentiated structure was fitted into an almost square room. The expansion of 1885/1886 gave the room a longitudinal extension, which resulted in a change in the spatial effect.
The structural framework is set off in color in both parts of the room, with the services in the ship being marbled in color. A tendril painting can be found in the vaults, with the exception of the extension of the nave. The colors have been greatly renewed.
Furnishing
The neo-Gothic altars by Emanuel Basler from Simbach am Inn (based on a design by Johann Baptist Schott ) and Alois Riesenhuber from Munich were removed between 1966 and 1970. In the years 2002–2006, the preserved sculptural parts in the choir and nave were put up again. The pulpit is a pleasing Rococo work with carved figures of the evangelists and church fathers.
Several important paintings should also be mentioned. In the choir, a Renaissance panel painting from around 1540/50 shows the beheading of John the Baptist . Salome hands over the head to the enthroned Herodias ; Herod can be seen in a bay window in the palace . Angels stretch a cloth over the scene for the soul, which is represented by a boy.
In the nave there is a late Baroque painting in a heart-shaped frame from around 1730. It depicts Mary as intercessor of the people before God. The painting is flanked by finely carved, larger-than-life angels with the coat of arms of the donor couple Wämpl-Adelzreiter. Also in the ship is a painting from 1798, marked Johann Nepomuk della Croce, which depicts St. John.
literature
- Georg Dehio : Handbook of the German art monuments. Bavaria II - Lower Bavaria. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03122-7 . Pp. 689-690.
Web links
Individual evidence
- ↑ Information about the history of the church on the website of the congregation. Retrieved November 4, 2018 .
Coordinates: 48 ° 26 '36.9 " N , 13 ° 16'11.7" E