St. Michael (Hengersberg)
The Roman Catholic parish church of St. Michael is a neo-baroque hall church in Hengersberg in the Lower Bavarian district of Deggendorf . It belongs to the parish association of Hengersberg in the Diocese of Passau and in its heterogeneous configuration contains some remarkable, genuinely Baroque works of art.
History and architecture
The church was built around 1590. It is visible from afar on the Rohrberg and dominates the townscape together with the Frauenberg Church of the Assumption of Mary. There used to be a castle on the square, which was given to the Niederaltaich monastery by the ministerial of the Counts von Bogen, Altmann von Hengersberg, as an atonement foundation . Probably shortly afterwards the first church was built, the tower of which was reused in the new building from 1590. The upper part with a pointed helmet dates from 1849. The stucco work and ceiling paintings were created in 1908.
The stately church consists of the nave and the slightly drawn-in, polygonal closed choir with a common roof. It was executed in a mixed masonry of quarry stone and brick; Only the pilaster strips of the nave between the high arched windows and the corner blocks of the end of the choir, which is windowless and divided by niches, are plastered .
The spacious interior with four axes is closed by a barrel vault with stitch caps over pilasters . The choir consists of three narrow axes and closes with five sides of a dodecagon. The wall structure and the arching correspond to those in the ship.
The church, which has been changed twice, only gives the impression of a Renaissance building to a limited extent. A special feature are the very narrow polygon fields of the choir, which are designed with niches instead of windows. The strong retraction of the choir arch causes a turning point in the room.
The neo-baroque stucco with rustically cut capitals and curved frames of the ceiling paintings was done by Max Seywald from Hengersberg, the pictures are by Leopold Kastner from Vienna. The vault decoration obscures the row of yokes in the earlier Renaissance room.
Furnishing
The high altar from around 1730/1740 was purchased in 1814 from the secular Franciscan church in Kelheim . The stately, marbled column structure is provided with a bizarre, curved entablature and multi-part volute arches that lead to the altar extension. Carved figures of Saints Wolfgang and Gotthard are set up on the side. The altarpiece from 1841 by Josef Holzmaier shows the crucifixion of Christ, a remarkable work of Nazarene painting, which is historicizing in both the figure style and the academically smooth painting style.
The side altars from around 1725 stood in Niederalteich Monastery until secularization and were made by the lay brother Pirmin Tobiaschu and decorated with bands . Instead of the original paintings, they now contain carved figures of the Madonna and St. Margaret. Assistance figures of Saints Johannes Baptist and Jakobus Maior from around 1760 are set up on the altar of Mary . The style of Christian Jorhan the Elder is undoubtedly recognizable in the precious motifs of movement and in the sensitive characterization of the faces as well as in the treatment of details such as the locks of hair .
Christian Jorhan the Younger's classical pulpit was erected in 1825. It consists of a cube-shaped body with recessed round corners and shows silver-plated reliefs of the Evangelists and St. Peter . The Sedilienwand with figures of the Evangelists dates from the period around 1765/1770.
An important crucifixion group on the south wall of the nave dates from the beginning of the 18th century. The corresponding figure of John is missing. The version has been reconstructed using the original parts that have been preserved. The larger than life carved figures are among the most important works of late baroque sculpture in Bavaria. The elongated figure of Maria is depicted pathetically moved with the raised head turned and the outstretched hands clasping the teardrop. The body is covered by the billowing cloak with intertwined vertebrae. The controversial dating also creates difficulties because the group is characterized by features that point to the latest period of Gothic sculpture in Lower Bavaria.
The grave monument for Henrika Antonia von Schoenhub († 1768) in the choir consists of a marble slab in a rich Rococo wooden frame and shows two horns of plenty from which armed knights rise.
The organ is a work by Wilhelm Stöberl from 1979 in a case from 1734 with 23 stops on two manuals and pedal .
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. 208-209.
Web links
Individual evidence
- ↑ Information about the organ on orgbase.nl. Retrieved April 3, 2019 .
Coordinates: 48 ° 46 '37 " N , 13 ° 3' 14.3" E