St. Salvator (Binabiburg)
The Roman Catholic pilgrimage church of St. Salvator (also called St. Salvator on the mountain or Salvatorkirche ) near Binabiburg , a district of the municipality of Bodenkirchen in the Lower Bavarian district of Landshut , is a baroque pilaster church on a hill above the valley of the Bina , which is the patronage of the Holy Trinity owns. The church is registered as a monument with the number D-2-74-120-19 at the Bavarian State Office for Monument Preservation .
history
The pilgrimage to St. Salvator at Binabiburg was the legend arose after "time immemorial" before it is written on a large painting, which donated the Binabiburger landlady Catherine Kräbinger in 1632 nor for the previous church. On the old Herzogenweg, which the castle Trausnitz in Landshut with the Burghausen Castle unions, should from the horse of a Fuhrmanns one in the bushes host have been tracked. Then the animal stopped moving. The carter wanted to take the host, but it kept slipping away from him. The summoned pastor of Binabiburg then took the host in procession , and a chapel in honor of the Savior was built at the site. The location of the host is still marked today by a box set into the ground in front of the altar.
The Salvatorkirche was first mentioned in 1559 in the registers of the diocese of Regensburg. Only one year later, St. Salvator appears in the description of the country and on the map of Philipp Apian , and in 1575 in the map of Peter Weiner. For 1590, three altars in honor of the Most Holy Trinity ( high altar ), St. Florian and St. Leonhard are mentioned in the previous building of today's pilgrimage church .
Today's late Baroque pilgrimage church was built between 1710 and 1716; the construction costs were financed from the estate of the late Binabiburg pastor Lorenz Zenelli. During restoration work , a lower church, fortified with field stones , was uncovered in the choir , which is likely to belong to a previous building. During excavations in an adjacent field , around 120 votive finds , mostly arms, legs and heads made of baked clay , were recorded. This suggests a rich pilgrimage tradition.
In his will of October 21, 1709, the then 70-year-old Pastor Zenelli decreed: "In order to give the crowd of daily pilgrims, penitents and pilgrims the opportunity to have a service in the church [...]" On the Salvatorberg in 1709 a priest's house (meaning the beneficiary's house , which was demolished in 2012 ) was built, a larger church was built from 1710 to 1716 in place of the small inadequate ones, and this was equipped with five weekly masses . Zenelli did not live to see the building of the church; he died on February 4, 1710 and was buried in the parish church of Binabiburg; his tomb can be found there in the choir room. Approval for the construction of the Salvator Church came on July 3, 1710. In August of the same year, a bricklayer foreman tore down the old, too small church except for the choir. However, this was left during the construction period in order to be able to read the masses sponsored by Zenelli there five times a week . Dominikus Gläsl was chosen as the builder . At about the same time, he was in charge of the reconstruction of the Sankt Veit monastery and was appointed court mason of the Freising Monastery in 1715 .
The foundation stone was laid on September 10, 1710. On October 22, 1710, the choir and part of the nave were completely bricked up and should be covered in the same year. Only now was the choir room of the old church torn down; the masses donated by Zenelli were moved to the Binabiburg parish church . On July 14, 1711, according to a report by the Gerzen pastor, the choir and the front part of the nave were finished and plastered so that masses could be celebrated on the Salvatorberg again. The tower cross, a stately " Scheyrer Kreuz ", was put on in 1715, as an inscription on it says. The final completion probably dates to the year 1716. According to the description of the visitation of 1723/24 the Salvatorkirche was not yet consecrated at this time due to lack of money and debts , but only assigned. At that time it had two altars: the high altar was dedicated to the Holy Trinity; there was also another altar in the middle of the choir as a celebration altar.
In 1747 a Trinity Brotherhood was founded, which in 1755 already comprised 2,300 brothers and sisters. This was revived in the 20th century, but has since been extinguished again. In 1789 a religious association for men was introduced with the "Liebesbund". In order to increase the flow of people to the Salvatorberg again after the secularization , an “Alliance for the Daily Adoration of the Sacrament of the Blessed Sacrament” was founded in 1810, with a total of over 4000 members.
After the ornamental painting of the interior of the church had already taken place in 1757 , in 1769, on the advice of the monks of the Seemannshausen monastery, the order for the painting of the vaulted ceiling was awarded by Anton Scheitler from Eggenfelden . It addresses the founding legend of the Church and places it in relation to and under the protection of the Trinitarian Order .
As has been handed down from time immemorial, two days on the “Herrenberg” are celebrated with special festivity: the patronage on Trinity Sunday and the fourth Sunday in September around Michaelmas . Up until 1864, secular festivals with a market were also held on these two days . However, these were discontinued on the advice of the Binabiburg pastor due to the large crowd and noise. Most recently, from spring 2014 to May 2015, renovation measures were carried out both indoors and outdoors.
architecture
Appreciation
The historian Benno Hubensteiner explains the art-historical significance of the Salvator Church: "Heaven and earth meet in the light-filled baroque wall pillar church, it is the most important baroque building in the Altland district of Vilsbiburg." He is probably referring to the wide, bright space Barrel vaults with numerous stucco ornaments and ceiling paintings as well as the rest of the baroque furnishings. This creates a kind of theatrum sacrum - in keeping with the baroque zeitgeist - which was able to convey beliefs to the common people.
The building has numerous features typical of the master builder Dominikus Gläsl. For example, apart from the rectangular window openings and the wide pilaster strips in between, the exterior is largely undivided and appears accordingly bulky. The interior, however, radiates a rhythmic tension thanks to the skilful lighting in connection with the column arrangement. Another characteristic feature is the elegantly cut, richly profiled entablature above the pilasters , which are hidden in front of the pillars.
Exterior construction
The exterior of the east-facing, yellow-washed pilaster church is structured by simple, white pilaster strips that correspond to the pillars on the inside. These share the nave in four yokes , the chorus in a yoke and a semicircular chorus circuit, shared by the Lisenenbänder into three segments. The window openings are rectangular. The nave and the slightly retracted choir are united under a common gable roof .
The tower is built in the middle on the west side. It has the same structure as the other structures. The substructure with a square floor plan has three floors. Above this, the tower tapers to an octagonal tower that contains the bell cage and the sound openings . At the top there is an onion dome with a lantern , which is crowned by a tower ball and double cross.
Two extensions of the same size have been added to the choir yoke on the north side. The southern one contains the sacristy , above it a spacious oratory (church building) . The choir organ is located on the upper floor of the northern extension . There is also another extension on the north side of the nave, the cross-vaulted vestibule. In the meantime this had been converted into a chapel in honor of St. Theresa of the Child Jesus , today it only serves as an anteroom to the main portal . Another, now unused portal is located opposite on the south side, also in the rear nave yoke.
inner space
The four-bay nave is dominated by the sturdy wall pillars that separate the side chapels , which are illuminated by small round windows . These are divided about halfway up by galleries which, in connection with the organ gallery in the rear nave yoke, run around the entire nave . The galleries are illuminated by large, rectangular windows, which are the main source of light for the nave and ensure that the light is well directed. The choir also contains tall, rectangular windows. The nave and choir are spanned by a barrel vault with stitch caps . The yoke is separated by belt arches . The side chapel and the gallery rooms are each vaulted by short transverse barrels.
The organ gallery with its bent parapet rests on two columns of Tuscan order . In the one-bay choir with a semicircular apse there are oratorios above the sacristy and above the northern chapel annex . The pillars are encased on three sides by cranked templates. The end of the pillars, like the choir arch, are characterized by fluted pilasters with Corinthian capitals .
Furnishing
Stucco and ceiling paintings
On the ceiling of the nave there is a large, figure-rich fresco with an idiosyncratic composition . It shows the founding legend of the pilgrimage church under the protection of the Trinitarian order and the Holy Trinity. Between the scene of the discovery of the host and the divine apparition, members of the order mediate and give scapulars . This is announced by a hovering fanfare angel. The order for the ceiling painting was - not as previously assumed, together with the stucco work - awarded to the Eggenfelden painter Anton Scheitler in 1769 .
The vault in the choir and nave is also richly decorated with ornamental stucco . While filigree foliage dominates elsewhere , the stitch caps contain various cartouches with a rococo frame . A trinitarian cross in red and blue can be seen on the choir arch. On the west wall there is a painting with drapery and latticework. In addition, two organ works are shown to the left and right of the organ . The ornamental painting was done by the painter Georg Andre Zehler from Furth im Wald around 1757.
High altar
The baroque high altar was created in 1723 by the Vilsbiburg sculptor Johann Paul Wagner. In 1756 it received its marbled version from Georg Andre Zehler from Furth im Wald . The neo-Romanesque tabernacle and the altarpiece created by the Munich history painter Friedrich Hohfelder with a representation of the Holy Trinity as a so-called mercy seat date from 1860. These are flanked by two round columns and four inclined pilasters. In the extension area, framed by volute pilasters , is - surrounded by a halo with twelve angel heads - the Jesus monogram JHS. Particularly impressive is the in blue, silver and gold combined brocade curtain to fashion the Asam brothers . Above the side passages there are rare figurative representations of the founding saints of the Trinitarian order, Felix von Valois (left) and Johannes von Matha (right).
Side altars
The two side altars in the front side chapels of the nave, designed as counterparts, date from around 1735 and are stylistically at the transition between Baroque and Rococo . They have four-column structures. Instead of the altar leaves there are wooden pictures: on the north side altar you can see an original, popular representation of St. Florian and in the extract the division of the coat of St. Martin ; St. Leonhard and St. Rochus are depicted on the southern side altar .
pulpit
The pulpit was created around 1730 and probably comes from another church, probably from the Abensberg area . It is an overpainted inlay work . The polygonal body is decorated with corner volutes and ornaments in the form of foliage and ribbon work . On the sides there are pictures of the four Latin Church Fathers and Christ Salvator. On the underside of the volute cover is a representation of the Holy Spirit dove.
Organs
The Salvatorkirche has two organs . The older one was built in 1747 by the organ builder Anton Bayr from Munich . The Schleiflandeninstrument with bellows is housed in an elaborate prospectus with shellwork in the style of the early Rococo . It is located on the organ loft in the rear area of the nave and comprises a total of nine stops on a manual and pedal . The disposition is as follows:
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There is also a movable organ in the oratory , which is built on to the north of the presbytery. This was built in 1995/1996 by Manfred Wittensöldner from Aholming . It comprises a total of five registers on a manual with attached pedal. The disposition of the choir organ is as follows:
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Bells
Up until the 20th century there were always three bells on the tower of the Salvator Church. The two older ones were cast by Johann Peter Graß in Landshut in 1747 and bore relief depictions of St. John and the Mother of God with child. Another bell was cast by Johann Georg Stecher from Burghausen in 1812 . This was confiscated on July 31, 1918 by the military government for war purposes in the First World War . A year earlier, at the behest of the military government, four of the five bells in the parish church had to be handed in. After the war, the Binabiburg pastor had the two remaining bells of the mountain church hung up in the bell cage of the parish church, as no new bells could be afforded. In contrast to the other bells, due to their old age, these two were spared confiscation during World War II, so that they do not ring in the tower of the parish church.
Instead, a single bell from the court chapel in Litzelkirchen served in the mountain church until 1991 on the few days when there was still service on the Salvatorberg. At the same time, the Leonhardi bell (chime c 2 ), which was cast in 1952 as bell no. 1236 by Johann Hahn from Landshut for the Binabiburg parish church, did not fit in well with the bells. Therefore it was brought to the Bergkirche in 1991 and supplemented with two new bells made on July 25, 1991 by Rudolf Perner to a three-part chime with the tone sequence b 1 –c 2 –es 2 . This was financed by several generous donations from parishioners. Today's bell is:
| No. | Surname | Casting year | Caster | Weight [kg] | Chime | inscription |
|---|---|---|---|---|---|---|
| 1. | St. Anna | 1991 | Rudolf Perner, Passau | 420 | b 1 | St. Anna, lead us to Christ |
| 2. | St. Leonhard | 1952 | Johann Hahn, Landshut | 167 | c 2 | In honorem sancti Leonhard |
| 3. | St. Clare | 1991 | Rudolf Perner, Passau | 170 | it 2 | St. Clare, protect our home |
Since the church renovation in 1992, a holy mass has been held in the mountain church every two weeks in the summer , to which the new bells solemnly invite.
Web links
- Internet presence of the parish community Binabiburg / Frauensattling, Aich and Treidlkofen
- Brief information on the pilgrimage church of St. Salvator near Binabiburg
Individual evidence
- ↑ a b c d e f The baroque pilgrimage church of St. Salvator near Binabiburg . Online at www.museum-vilsbiburg.de ; accessed on July 15, 2018.
- ↑ a b c d e f g h i j k l m n o p q r Peter Käser: Sankt Salvator - side church of the parish Binabiburg . Online at www.ulrich-johannes.de ; accessed on July 15, 2018.
- ↑ a b Binabiburg - mountain church . Online at www.kirchenmusik-vilsbiburg.de ; accessed on July 15, 2018.
Coordinates: 48 ° 26 '12.5 " N , 12 ° 26' 8.2" E