St. Petrus (Hofkirchen)
The Roman Catholic parish church of St. Petrus in Hofkirchen bei Laberweinting is a neo-Romanesque hall church that was built in 1864. The church is a monument of the Bavarian State Office for Monument Preservation with the number D-2-78-144-18.
history
The history of the village of Hofkirchen has been closely linked to the history of the parish since ancient times, which is also expressed by the place name. On December 30, 1145, Pope Eugene III confirmed . the Regensburg cathedral chapter Ecclesiam Hovenchirchen , the church near the courtyards. The geographical location as well as the development of the village suggest that one of the first parishes in the area of the Laber- and Bayerbachtal was established here. It is one of the ten largest of the Geiselhöring dean's office . The first two pastors in the parish are mentioned in the second half of the 13th century. According to old records, there was also an additional assistant priest here in 1438.
The parish church of St. Peter Hofkirchen was built in 1863 and signed on January 31, 1864. In the area of the southern nave there was a previous church from the 13th century, which had been redesigned in Baroque style. It was dilapidated and, above all, much too small for the rapidly growing parish. It was canceled in 1863. Only the tower, which at that time was about 2/3 as high and was closed with a baroque onion dome, remained standing. The entrance to the tower in the sign , called the cave , still retains the typical of the Gothic pointed arch .
description
architecture
Exterior construction
The church, which is surrounded by a cemetery, is a hall church with a retracted choir . The church was built in 1863/1864 in accordance with the zeitgeist of the time in the neo-Romanesque style according to drafts and under the direction of district architect Leonhard Schmidtner from Landshut. The layout of the nave, choir, sacristy and parament chamber gave the church the shape of a cross. In addition to the windows, the exterior is structured by rectangular pilasters, ledges , buttresses , four-pass windows and blind arcades. Three large, double-winged portals with gable roofs from the north, west and south lead into the nave . The western entrance is via a sign that optimally connects the nave and tower. Here there is a Lourdes grotto and the staircase to the tower with a pointed arched entrance.
The square tower is 41 meters high, 31 meters of which are masonry. The four lower floors are not structured, the 5th floor has 8 round-arched, paired windows. On the 6th floor, above the water hammer, there are four bells behind 8 sound arcades. On the 7th floor there are four dials that show the time in the four cardinal directions. The pointed helmet , which is crowned with a golden dome and a 3 meter high cross, rises above four gables with round-arched blind arcades . In 1892 the baroque onion dome including the octagonal upper floor was removed down to the 5th floor and the tower was raised in its current form.
inner space
You enter the church via the main entrance through the western sign. In the left corner there is a Lourdes grotto , which was built in towards the end of the 19th century. The half figure of St. Brother Konrad von Parzham , a lay brother from Altötting , who stands in a round-arched wall niche, joined them in the middle of the 20th century.
The retracted choir with two window axes and ⅝-end merges with a segment arch with a semicircular belt arch underneath to the flat-roofed nave . The church windows were renewed in 2006. The symbols represent attributes of the church patron St. Peter .
The cross-ribbed vault in the choir has pear ribs , which are stepped wall brackets that taper towards the bottom and protrude from the wall on six sides of an octagon. The top of the vault is rounded off by two ring-shaped keystones with a pear-shaped profile. In the area of the apse , the vault ribs form five pointed caps from the eastern keystone above the arched windows.
The belt arch in the middle of the vault spans between the buttresses of the outer walls. The shear forces caused by the arch shape ( vault thrust ) are transferred to the buttresses in addition to the vertical forces , which statically stabilize the entire construction.
The nave with its five window axes is structured with semicircular pilasters between the arched windows and covered flat. The flat ceiling consists of grained wooden coffers with gold-leaf strips. The trusses are supported by cantilever arms that are decorated with quatrefoil ornaments . Two times 18 pews, each with 8 generously sized seats, offer almost 300 seats in the ship. The pews were renewed in 1982. The cheeks were made of oak with the carved lilies.
The 10 m high nave is equipped with a two-story gallery on the west side . The lower gallery offers around 100 more places for boys and men, while the upper gallery with the 15-register Jann organ from October 1987 is reserved for the church choir.
Furnishing
Like its predecessor, the church is consecrated to St. Peter. We find a saint figure on the south side of the presbytery above the choir stalls. Its attributes are the book and the key. Until 1958 this figure stood together with St. Paul with book and sword in shrines at the neo-Romanesque high altar. In 1959 the church was extensively renovated. The neo-Romanesque altars were removed and replaced with today's furnishings. The figures, paintings, the cheeks and the choir stalls were preserved, but some were given a different version.
High altar
The high altar, a so-called cross altar, depicts the dying scene of Jesus on Golgotha . Side figures left Johannes Evangelist, right Maria, the mother of the Lord. Jesus opened his eyes and consequently no wound on his side. The cross beam was made by the Roider carpentry in Weichs . The body comes from the Church of the Assumption of Mary (Neufahrn), which was demolished in 1935 . In the new building constructed in 1938, the large cross did not fit there either spatially or stylistically. The figure of St. Johannes is a replica of an unknown date of a Rococo figure by the famous sculptor Christian Jorhan the Elder. Ä. that stands in the church in the west. On the right, the figure of Maria complements the ensemble. Nothing could be learned about the origin and age of the two certainly older but newly created assistant figures. The four candlestick angels, which surround Christ in a halo, were attached to carrying poles in the Baroque period and were carried as guild poles next to the Holy of Holies during processions . As part of a renovation in 2003, the masonry altars were clad with wood. The antependium of the high altar was provided with the earlier symbol of the Pope, the tiara . The choir stalls , in the middle of which is the entrance to the sacristy , also dates from the time the church was built and was donated by a donor together with the organ. Above the entrance to the sacristy there is an arched window that leads to the upper floor of the sacristy and is decorated with carved tracery .
Church window
The three colored church windows that can be seen in the background were designed in 2006 by the painter Ruthild Langhammer . The theme of the triptych is the church patron St. Peter is. A fishing net runs through all three windows. Jesus said to the fisherman Peter that he would fish people in the future. The left window shows a rooster, the mark of betrayal. Jesus told Peter that he would deny him three times before the cock crows. In the right window you can see a rock with a church. Jesus said you are Peter the rock. I want to build my church on this rock. The middle window is largely covered by the cross and therefore has no symbols. The color changes from the blue of the water to the yellow of the light.
Side altars
The north side altar is dedicated to Mary of the Immaculate Conception . The figure, like the side figures of St. Joseph and St. Anna, is designed in the Nazarene style, which is characterized by a classicistic, static posture of the figures.
The southern side altar is dedicated to St. Sebastian . The main character of Sebastian comes from the early 18th century and can be assigned to the early Rococo . The side figures are St. Florian and St. Aloisius .
Baptismal font
The sandstone baptismal font with a round base is designed like an oversized chalice. The base and dome are decorated with foliage . The golden cover of the bowl is more recent.
pulpit
The octagonal, neo-Romanesque pulpit dates from the time the church was built. In 1959 the fields were covered with pictures of the evangelists and equipped with the current figures, depicting the evangelists John, Luke, Mark and Matthew with their characters.
painting
The large, signed painting by the Munich painter Thomas Guggenberger from 1853 hangs on the south wall of the nave. It shows Saint Wendelin , for whom two angels serve as shepherds during his prayer. At his feet are the crown and scepter, which refer to him as the Scottish prince. The churches of the parish at that time, Weichs, Hofkirchen, Asbach, Greilsberg and Bayerbach are shown in the landscape background. This picture is from the previous church. Two more pictures on canvas are in the choir room. The 15 secrets of the rosary are depicted on painted metal panels in fields on the gallery parapet.
characters
Two crosses hang on the two lower pillars of the gallery. On the left a specialty, a Jansenist cross, which goes back to the doctrine of grace of Cornelius Jansen. Christ has stretched his arms straight up. On the right there is a baroque cross. The life-size figures of St. Francis of Assisi with cross and St. Anthony of Padua with a book with the baby Jesus on it. On the side walls of the choir, the figures of St. Simon Petrus and St. Paulus von Tarsus were attached, which stood in the side shrines in the neo-Romanesque altar until 1959.
organ
In 1987 the old pneumatic organ on the upper gallery was replaced by a slide organ with a purely mechanical tone and register action . The organ comes from the organ building company Georg Jann in Allkofen and has 15 stops on two manuals and pedal .
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- Coupling : I / II, I / P, II / P
Remarks
- ↑ C: 2 2 ⁄ 3 ′, from f 0 : 2 2 ⁄ 3 ′ + 1 3 ⁄ 5 ′
Bells
The bells are tuned in the Parsifal motif, a combination of the Gloria motif with the Te Deum motif in the tones a - c sharp '- e' - f sharp '. Since the original bells were picked up in 1943 and melted down as a metal donation to make war material, they date from 1949 and were cast by the Hamm company in Regensburg. The big Christ-Rex bell weighs 1800 kg. The second bell weighs 1000 kg and is named Saint Maria. The 3rd bell weighs 600 kg and is dedicated to St. Consecrated Peter. The 4th bell weighs 400 kg and bears the name of its founder Michael. There is a 5th bell in the tower. It weighs 75 kg and has the inscription: "I poured: Johann Florido from Straubing 1779". This bell was removed in 1943 and transported to the bell cemetery in Hamburg . After the war she returned to Hofkirchen unharmed.
See also
Web links
Individual evidence
- ^ Hofkirchen - Sankt Petrus, description of the church by Richard Stadler . Online at kirchturm.net ; accessed on May 23, 2019.
- ^ The art monuments of Lower Bavaria, XXV District Office Mallersdorf. 1936, p. 221.
- ↑ Hofkirchen - Sankt Petrus, painting . Online at kirchturm.net ; accessed on May 23, 2019.
- ↑ Hofkirchen - Sankt Petrus, organ . Online at kirchturm.net ; accessed on May 23, 2019.
- ↑ Hofkirchen - Sankt Petrus, Festschrift for the consecration of the organ in 1987 . Online at kirchturm.net ; accessed on May 23, 2019.
Coordinates: 48 ° 45 ′ 46.1 ″ N , 12 ° 18 ′ 8.7 ″ E