St. Sebastian (Landshut)
The Roman Catholic Church of St. Sebastian in the Lower Bavarian capital Landshut is essentially a late Gothic church that was built in 1489/90 and redesigned and expanded in the Baroque style in 1661/62 . It is the only church in Landshut that is consecrated to the city patron Sebastian (Memorial Day: January 20th). The church has been a side church of the parish of St. Jodok since 1962 ; before that, since 1490, it was an exposition from St. Jodok.
history
The time when the first Sebastianikirchlein was built in Landshut is unknown, but the patronage suggests a connection with a plague epidemic. There was one in the city, for example, in 1444. This seems to fit in well with the timing, as the Sebastianikirche was first mentioned in 1455 in documents from the Landshut city archive. Initially, the church was probably a pure votive church, only later did the Sebastianikirche become a pastoral church for the rapidly growing population of the district between the two Isar arms . Since the old church had become too small, a larger late Gothic building was built in 1489 and 1490. When the building was completed in 1490, St. Sebastian was elevated to the position of Expositur, so the church received its own priest - a situation that lasted until 1962. At the end of the 15th century, the district between the bridges was not in the inner ring of the city fortifications , but was only protected by the Outer Isar Gate on the Kleine Isar . That is why the Expositus was particularly important to the population, as no priest from the city was available for pastoral care at night. The Sebastiani Brotherhood was founded in 1491, and the house of God served as a brotherhood church. Two years later, St. Sebastian, as the patron saint against the plague, was raised to the city patronage of Landshut. The activities of the brotherhood came to a standstill with the dissolution of the pastoral care office in 1962, but the Landshut city council celebrates the Sebastiani high mass every year around January 20th in the parish church of St. Jodok.
What the late Gothic building may have looked like is only known today from the city model by Straubing master turner Jakob Sandtner from 1570. A three-bay nave can be seen on it, to which a 5/8 choir closure with lancet windows is attached. In 1648, at the end of the Thirty Years' War , the church was badly affected by the withdrawing Swedes. In 1661 the church was in such a bad structural condition that the mayor and city council asked the Freising Bishop for a demolition permit and at the same time submitted a plan (from a carpenter Dendl) and a cost estimate for a new baroque building. This progressed rapidly, as the foundation walls of the old church were probably included. As early as October 28, 1661, the city asked for permission to celebrate masses in the church. The actual consecration of the new building, again a three-bay building with a 5/8 choir closure, did not take place until October 16, 1666. It was not until 1694, around thirty years later, that the interior was plastered out by Desiderius Maderna from Lugano .
As early as 1721, structural damage occurred to the choir, so that it had to be torn down. As a result, the nave was extended by two bays to the east and a 5/8 choir was added to it. Nikolaus Liechtenfurtner , a plasterer from Freising , designed the two attached yokes and the end of the choir based on Maderna. In the years 1899 and 1900, renovations were carried out again. According to the plans of the Munich architect Johann Marggraff , the choir was rebuilt once more and today's sacristy was added to it on the east side . This stands in place of the former sacristan's house , which was demolished in 1898. When the choir was rebuilt, the stylistic specifications of the baroque building were closely related, while the baroque was replaced by historicizing furnishings in neo-Gothic and neo-baroque forms. The war damage that occurred in 1945 was repaired soon after the end of the war using the options available at the time. Further renovation measures took place in 1960/61, 1972/73 and 1983. During the renovation in 1972/73, the historicizing furnishings from the turn of the century were largely removed and a pedestrian passage was set up below the gallery, as the Sebastianikirche protrudes far from the front of the houses on Zweibrückenstrasse. Probably the most extensive renovation since the baroque period was carried out from 1993 to 2008. This included, among other things, the creation of a new foundation and the dismantling of the pedestrian passage.
description
architecture
The Sebastianikirche is a small, single-nave hall church , which is oriented to the east. The five- bay nave, divided by pilasters on the outside and inside , is connected to the same width as the choir, which is formed by five sides of an octagon. It is clearly drawn in through a choir arch . The sacristy is attached to the choir in the east . The west tower protrudes slightly from the facade and contains the main portal of the church , which is no longer used today . It is crowned by an onion dome . Further portals are located in the westernmost nave yoke on the north and south sides. Both are crowned by a baroque figure niche, each with a shell as a background. Both the nave and the choir are vaulted by a barrel cap barrel that appears to arise from flat pilasters. The rear nave yoke is spanned by the organ gallery.
Furnishing
The stucco is surprisingly uniform, although it was created in three epochs (1694, 1721 and 1899/1900). It consists of foliage , acanthus sticks and leaves and festoons . The heart of Jesus and the Heart of Mary are shown in medallions in the crown of the vault , arrows symbolizing the martyrdom of the church patron Sebastian and the Bavarian diamond coat of arms.
The center of the choir is the neo-Romanesque high altar from 1899. The altar structure surrounds the altar sheet as a kind of gilded frame, which shows the martyrdom of St. Sebastian. The saint, depicted in the center of the painting as a Roman soldier, is tied to a tree and is shot at with arrows by torturers. According to a signature that was visible until 1835, the picture was probably painted by the Nuremberg painter Hieronymus Mänderlein in 1663 . There is also a gilded relief on the altar stipes , which was made by Christian Jorhan the Elder in 1796. Ä. was created. It shows how Saint Sebastian returns to his employer and is slain with clubs. You have to know that - according to legend - he was nursed back to health by women after the arrows martyrdom. On both sides of the high altar, wood paneling from the 19th century is attached, each of which extends behind the choir stalls . Figures of the apostles Peter and Paul , painted by Christian Jorhan the Elder in 1792, are placed on consoles above these panels . Ä. were designed. However, these did not come to the Sebastianikirche until 1900 and may have come from the Franciscan church at the foot of the Hofberg, which was demolished during the secularization . The ornate baroque choir stalls from 1661 and the forged decorative boom of the sacristy bell from Johann Marggraff's studio in Munich, created around 1900, complete the furnishings of the altar house.
At the front of the nave, to the left and right of the choir arch, are the side altars, which in their current form go back to the purifying measures of 1972/73. Previously there were side altars by Christian Jorhan the Elder in the same place. Ä. arranged, which were replaced by neo-baroque pieces in 1902. In the 1970s, the altar tables were then rebuilt using red marble slabs from the previous altar and, instead of the neo-baroque retable, figures of saints by Jorhan the Elder were also added. Ä. set up. Saint Florian and Saint Barbara , each standing on consoles above the altar barn, are likely to come from the original side altars, which were removed around 1900. On the first wall pillar opposite are oil paintings with portraits of the princes of the apostles Peter and Paul. The classicist works from 1814 were created by Ignaz Bergmann and were part of the earlier classicist high altar. A crucifix from the 18th century can also be seen on the third north wall pillar. Exactly opposite on the south side there is a group of figures on a neo-Romanesque pedestal, the center of which is a crescent Madonna with baby Jesus . This probably comes from Jorhan the Elder. Ä. and should therefore have been the central figure of one of the two Jorhan side altars. The Mother of God is framed by figures of her parents, St. Anne and St. Joachim . These come at least from Jorhan's circle.
The Stations of the Cross cycle , consisting of 14 relief panels , dates from 1905 and was re-framed in 1961 on the nave walls. A votive painting by Zacharias Lehrhuber from 1771 is attached to the rearmost yoke of the northern nave wall. It commemorates the rescue of the city from a flood at the intercession of the city patron Sebastian. However, it is a copy that the church painter Josef Weilhammer made in 1982. The valuable original is kept in the vicarage of St. Jodok. The area below the organ gallery is separated from the rest of the interior by an ornate baroque grille. This is likely to have been created around 1690 and initially served as a choir grille. It was not moved to its current location until the church was restored around 1900. The lattice, made of bars, is crowned by three tendril attachments, which in turn are populated by numerous putti heads. In the middle part there is an original depiction of the bombardment of Saint Sebastian with arrows.
On the west gallery of the the Passauer is organ builder Adam Ehrlich in 1860 built the organ . The instrument was fundamentally changed in 1891 by GF Steinmeyer & Co. and was last overhauled or repaired in 1974. The organ front is classical . There are two bells in the octagonal superstructure of the onion dome. The large Marienglocke was made in 1889 by the Spannagl bell foundry in Regensburg . It had to be delivered during the Second World War, but could be brought back to Landshut from the Hamburg bell cemetery in 1949 without damage. The smaller Sebastian bell , made in 1919 by the Landshut bell foundry Johann Hahn , was melted down during the war. In 1955, thanks to donations from the residents of the district, it was replaced by a bell again made by Johann Hahn. This was also consecrated to the church patron.
literature
- Volker Liedke: Monuments in Bavaria - City of Landshut . Schnell & Steiner, Munich / Zurich 1988. ISBN 3-7954-1002-9 , p. 216ff.
- Stephan Kaupe: St. Sebastian Landshut (= Small Art Guide No. 1333). Schnell & Steiner, Regensburg 2012. 2nd, completely revised edition. ISBN 978-3-7954-5040-3 .
Web links
Individual evidence
- ↑ a b c Church of St. Sebastian . Online at jodok-landshut.de. Retrieved September 20, 2016.
- ↑ a b c Liedke, p. 176ff.
- ↑ a b c Kaupe, pp. 21-26.
- ↑ a b c d e Kaupe, pp. 26-30.
Coordinates: 48 ° 32 '26.2 " N , 12 ° 9' 2.3" E