St. Petrus (Sandsbach)
The Roman Catholic parish church of St. Peter in Sandsbach , a district of the Herrngiersdorf municipality in the Lower Bavarian district of Kelheim , is a Romanesque church building from the 13th century, which was mainly used in the late Gothic (mid-15th century) and Baroque (early / Middle of the 18th century). The history of the church and parish Sandsbach, which dates back to the 9th century, is even older than the building fabric .
history
In the year 878 the priest Job received from the Bavarian King Karlmann possessions in Samutespach (today Sandsbach), which were to be transferred to the monastery of Sankt Emmeram in Regensburg at the latest after Job's death . It was the "upper part of Samutespach ", so presumably today's parish village on the right of the Große Laber . In the lower part of Sandsbach (presumably to the left of the Große Laber), on the other hand, the influential Counts of Ebersberg gained great influence and built the Sinsburg there, for example , as is still visible today on a ring wall in the forest. In 1037 this part of the village falls to the Benedictine monastery Geisenfeld, which was then newly founded by Count Eberhard II von Ebersberg . In 1285 the monastery also received the upper part of Sandsbach; in this context the place is mentioned for the first time as a parish seat. Until the secularization in 1803, the later Hofmark Sandsbach remained in the hands of the monastery, which maintained a provost's office with lower jurisdiction there.
Already at the time of the priest Job there was probably a simple wooden church on the site of today's parish church. The walls of today's tower and nave, which are the oldest parts of the existing building, are likely to have been built in the middle of the 13th century. So it is essentially a Romanesque church. The unusually high height of the nave suggests that it was originally designed with two floors. In addition, the irregular layout of the nave with the tower protruding far on the north side suggests that a rectangular choir was added to the side in Romanesque times . Around the middle of the 15th century, i.e. in the late Gothic period, today's choir was added and the nave was extended on one side accordingly.
Around 1660, three altars in the parish church are named in an inventory: the high altar dedicated to the church patron Peter and two side altars in honor of the Mother of God and St. Sebastian . At the beginning of the 18th century, the choir was redesigned in baroque style, including by chipping off the Gothic vault ribs. After 1750, further changes were made to the church, such as the addition of the two-storey sacristy , the soul chapel , the northern gallery and the western vestibule. According to stylistic findings, the stucco work on the choir vault was dated to around 1760.
After the secularization, efforts were made several times to separate the Langquaid and Adlhausen branches from the Sandsbach parish. However, this initially failed in both cases. While Adlhausen is still part of the Sandsbach parish today, its own parish was founded in Langquaid in 1854.
The church was extensively renovated several times in the 19th and 20th centuries. The year 1863, which can be found under the oratorio , may indicate the stuccoing of the choir arch . In 1980 an exterior renovation was carried out, an interior renovation in 1982/83. In the process, the stucco on the choir vault was uncovered, restored and strengthened, as well as the restoration of the 18th century interior. On June 1, 1986, the new people's altar was consecrated by Auxiliary Bishop Vinzenz Guggenberger.
architecture
The east-facing hall church is exactly 400 m above sea level. NN on a hill to the right of the Große Laber. It comprised a three-bay nave and a retracted, two-bay choir with the five- eighth end typical of the late Gothic . The exterior of the nave is largely undivided except for the relatively small, arched window openings, which refer to the Romanesque style epoch. The choir, on the other hand, is enlivened by subtle triangular struts and a simple roof frieze . The tower built on the north side has moved far into the interior of the nave, so that its eastern yoke is significantly narrower. A low octagonal baroque tower rises above the unstructured Romanesque substructure, which is crowned by a clapboard onion dome. The latter is rather rare in the area and only occurs in the neighboring parish church of the Assumption in Semerskirchen . The whitewashed tower stands out clearly from the rest of the church building, which is kept entirely in yellow.
The church portal is located in the baroque porch on the west side. The nave has a flat roof , the choir originally contained a late Gothic net rib vault , which today presents itself as a lancing cap barrel with chipped ribs . The barrel vault rises from pilasters that are strongly profiled towards the top and almost fan out to form consoles . The vaulted ceiling is enlivened by frame stucco and rocailles . The organ gallery has moved into the western nave yoke , which unusually has no direct connection to the western outer wall. The staircase is housed in the resulting “gap”. A confessional room was set up on the first floor of the tower, which is accessible from the nave .
Furnishing
High altar and side altars
The three historical altars of the Sandsbacher Church were created as Rococo works around 1750 and are said to have been transferred here from Geisenfeld Monastery in 1876. The high altar, richly decorated with shellwork, vases and flower garlands, includes four winding columns and two pilasters on high plinths. These carry the altarpiece , which rises between two tail gable pieces on cranked entablature. The central altar panel contains the patronage depiction of the handover of the keys to Peter . The additions of the angel figures on the gables refer to this: the papal insignia . In the excerpt with a curly border, the Holy Trinity is shown, above it the Jesus monogram IHS and the equilateral triangle as a trinity symbol with the eye of God in a halo. The tabernacle with exposure niche is framed by volutes and a total of four coiled columns. A figure of the Apocalyptic Lamb is enthroned on top.
The two inclined side altars are only slightly set back in their structure compared to the high altar. However, they each have only two columns and two volute pilasters decorated with shells and vases, each standing on high pedestals. The north (left) side altar shows in the main picture a painting of St. Sebastian created by Hermann Anschütz in 1877 , in the upper picture a representation of St. John Nepomuk . The southern (right) side altar contains a baroque altarpiece depicting the Lamentation of Christ and a depiction of Saint Roch in the extract .
People's altar and ambo
The folk altar and the ambo were created by the sculptor Hans Wurmer from Hausen in 1985/86. On the people's altar there are depictions of the miraculous multiplication of bread , the Easter lamb as well as grapes and ears of wheat , all of which refer to the Holy Eucharist . A capsule with relics of the holy martyrs Aurelius and Coelestina, a stone from the Golgotha rock in the Jerusalem Church of the Holy Sepulcher and a certificate are incorporated into the altar . The church patron Peter and the rich fisherman are depicted on the ambo.
pulpit
The baroque pulpit with a coat of arms on the back wall was built around 1680. The edges of the polygonal pulpit are decorated with coiled columns. In between there are niches with shell shells with figures of the four evangelists . A relief of the Holy Spirit dove can be seen on the underside of the sound cover . On the top there are four busts of the church fathers and on top a sculpture of the Archangel Michael .
Baptismal font
The Romanesque font , which was probably built around the middle of the 13th century, was taken over from the furnishings of the previous building. The round shell basin, which rests on a round, constricted foot, has a vine frieze on the upper edge. It is set up next to the left side altar.
Other equipment
Above the baptismal font there is a Sacred Heart figure, which is probably neo-baroque . The figures of Saints Sebastian and Wolfgang and the Mother of God with Child Jesus, which are also in the nave , are late Baroque and date from around 1730. In addition, a figure of the church patron Peter from around the middle of the 16th century is of great importance. The almost life-size sculpture is attached to the south wall of the choir and may come from an earlier high altar in the church. The attributes were only added in a recent renovation.
The choir stalls and the cheeks in the nave, as well as some of the figures, date from around 1730. The Stations of the Cross , painted in oil on canvas , with richly decorated rococo frames, were created around the middle of the 18th century . The votive painting in the choir room, which is dated to the year 1770 with an inscription, also has a rococo frame . It shows the Mother of God with baby Jesus, who is enthroned in the sky above Geisenfeld Monastery , accompanied by Saints Zeno (left) and Benedict (right). In the foreground, the donor family of the Counts of Sempt-Ebersberg is shown.
organ
In 1765 the Sandsbacher Church received its first organ with a five-part prospectus , which was made by the Straubing organ builder Johann Peter Plersch . In 1925 an organ by Michael Weise from Plattling was built into the late baroque case . His son Reinhard Weise's company expanded the now defective organ on August 16, 1982 and renewed it using registers that were still usable , and then built it into a slightly modified case. On December 4, 1983, today's organ was consecrated.
Bells
There are three bells in the tower, the oldest of which was cast in 1724 by Johann Georg Sedlbauer from Straubing . The other two bells were created by Karl Hamm from Regensburg in 1948 to replace two bells confiscated during the war .
Surroundings
The cemetery around the church is surrounded by a wall from the 18th or 19th century. The soul chapel was built in the 18th century, probably as part of the baroque renovation of the church, and is wedged between the apex of the choir and the cemetery wall. The small hipped roof building is closed on three sides on the east side.
literature
- Karin Hösch: Churches in the parishes of Sandsbach and Semerskirchen. Published by the Catholic parish office of Semerskirchen, Peda-Kunstführer No. 168/2001, Art Publishing House Peda , Passau 2001. ISBN 3-89643-172-2 .
Web links
- Church history of Sandsbach
- Description of the parish church St. Petrus in Sandsbach on kirchturm.net
Individual evidence
- ↑ a b c Church history of Sandsbach . Online at sandsbach.bertram-wermuth.de; accessed on January 17, 2017.
- ↑ a b c Hösch, p. 2f.
- ^ Description of the parish church of St. Petrus in Sandsbach . Online at kirchturm.net; Retrieved June 17, 2017.
- ↑ a b c d e f g h i Hösch, pp. 6–8.
Coordinates: 48 ° 48 ′ 10.1 ″ N , 12 ° 2 ′ 52 ″ E