Ortisei (Eresing)
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The Catholic parish church of St. Ulrich , together with the rectory and a Marian column, form a historical ensemble in the center of Eresing in the Landsberg am Lech district in Upper Bavaria . The stately church was rebuilt in the middle of the 18th century under the direction of Dominikus Zimmermann and furnished in rich rococo forms .
history
The sacred building is located in the middle of the cemetery with its high, unplastered medieval tuff stone wall . The choir walls with an arched frieze made of clover leaf shapes and the five lower floors of the tower have been preserved from a late Gothic church. On the south side a stone bears the inscription "1488".
The nave with the southern chapel was built from 1618. In 1718 Joseph Schmuzer created the tower top with the onion dome typical of the region. Around 1756/57 the church was extensively rebuilt and renovated. According to plans by Landsberger Dominikus Zimmermann, the nave walls were raised and the three-part windows that were so characteristic of the builder were added.
While the exterior construction differs little from the neighboring larger village churches despite the rich color scheme, which was restored during the last renovation, the interior surprises with its unusually high-quality and valuable furnishings. In collaboration with the Landsberg stucco maker Nicolaus Schütz and the fresco artist Franz Martin Kuen from Weißenhorn, Zimmermann created a real sacred ballroom.
The stony soils in the area offered farmers only relatively poor growing conditions. The unusually valuable furnishings of this “sacred peasant palace” were made possible by the active support of the lords of the court and the parish priest. The main burden, however, was borne by the farmers of the community, who here, as in numerous other places in the Bavarian-Swabian Oberland, established an extraordinary cultural center of the village and still maintains it today.
In 1862 the interior of the church was seriously affected by the sale of the original apostle figures in the nave. Since then, the sculptures ( Lorenz Luidl , Landsberg) have been difficult to recognize high in the dome of the pilgrimage church Maria Birnbaum near Sielenbach ( Aichach-Friedberg district ). In 1939 the artistically worthless figures from the 19th century that had been purchased as replacements were replaced by baroque statues from the Buxheim Charterhouse near Memmingen . These sculptures, however, are more like handicrafts from this era, which are also too small for the original consoles of the apostle row.
The parish church was extensively renovated in 1969 and from 1970 to 1975. It has been extensively renovated since autumn 2015; the outdoor work was completed in early 2017. The neighboring rectory with its two floor cores was restored in 1990.
description
Exterior construction
The walled church, the rectory and the Marian column together form one of the most important historical ensembles in the Landsberger Land. The elevated position of the church made it possible to build a lower chapel in the west.
The high west facade jumps out a little over the tuff stone wall of the cemetery. An open vestibule protects the portal of the lower chapel, which is flanked by two arched windows. Above that, three more arched window openings break through the wall connection. Above, six circular windows illuminate the organ gallery and the attic.
The exterior of the church was painted yellow. The structure consists of painted white pilasters , pilaster strips and frames. Three-part upper windows are arranged above the arched windows of the nave. In the southeast the baroque chapel of grace jumps out into the churchyard. The volute gable of the chapel starts at the level of the upper window of the nave and is supported by strong pilasters.
The choir has moved in, so it is narrower than the nave. The preserved cloverleaf arch frieze indicates the late Gothic origin of this component. The square tower substructure rises in the northern corner of the choir. The octagonal top with pilasters and segmental arch roofs is crowned by a slate-covered onion dome.
inner space
The spacious hall of the nave is reminiscent of a secular ballroom from the 18th century. The flat ceiling with belt arches rests on pieces of entablature. A double gallery closes off the room to the west .
The strong rocailles by Nicolaus Schütz, who worked for Zimmermann for many years, frames the large main fresco by Franz Martin Kuens and two other oval ceiling paintings. The two smaller paintings illustrate episodes from the life of the church patron St. Ulrich . In the east one recognizes the fish miracle, in the west the presentation of the scapular to St. Simon Stock , Prior General of the Carmelite Order .
The large main fresco shows the battle on the Lechfeld . Emperor Otto rides together with Bishop Ulrich into the fray on the plain in front of the city of Augsburg . An angel hands the saint a cross. The entire eastern part of the composition is reserved for the representation of the sky. Divine Providence is enthroned on a cloud, surrounded by bright light and angels. In the far east an angel is waving a blue flag with the inscription IN HOC SIGNO VINCES (In this sign you will win).
The cardinal virtues are depicted in four medallions in the longhouse cartouches. The grisaille paintings Caines show the wisdom, justice, courage and virtue of moderation.
The choir fresco was created as early as 1756. Here, Kuen shows St. Ulrich as intercessor of the community. On the ground, the pastor and builder Franz Joseph Zwinck and parishioners plead for mercy and sparing. The Blessed Mother fends off the divine judgment with the scapular. Since 1653 there was a Scapular Brotherhood in Eresing.
The stucco work on the choir arch is particularly reminiscent of the Wieskirche , Zimmermann's main work. The clock let in above the passage is to be understood as a sign of earthly transience. On the side are the coats of arms of the court lord Felix Christian Clemens Füll von Windach and his wife Maria Theresia Anna von Herwarth.
Furnishing
The four-column high altar was created by the Bernbeurer Kistler (carpenter) Jörg Pfeiffer (1687). The altarpiece by an unknown master depicts the so-called miracle of transformation of St. Ulrich. On the side are the sculptures of hll. Bishops Conrad and Narcissus (Lorenz Luidl). In the extract (upper part) of the altar there is a late Gothic Mother of God, which may still come from the medieval church.
The two side altars were made between 1763 and 1766 in the workshop of Johann Weigl from nearby Windach . The altar leaves (Franz Seraph Kirzinger) show St. Anna, in the south St. Sebastian as the plague patron. The paintings are each flanked by two white (painted) wooden sculptures by the Landsberg master Johann Chrysostomus Leuthner. In addition to St. Anna stand the hll. Dorothea and Barbara. St. Sebastian accompany Saints Rochus and Franz Xavier.
The white pulpit (around 1758) bears representations of the three divine virtues of faith, hope and love on the basket. On the cover is an older figure of St. Ulrich (Lorenz Luidl).
The Way of the Cross is a copy of the Way of the Cross by Januarius Zick in the St. Ulrich and Afra basilica in Augsburg ( Jakob Huwyler II , 1911). Some gravestones from the 16th to 18th centuries show the coats of arms of the lords of the court.
Side chapel
The chapel called the southern brotherhood chapel was built from 1618 for the Eresinger shrines. The gilded altar (1694) contains numerous mounted relics , including a Holy Blood relic, a cross particle and the bones of St. Ulrich and Pope Pontianus . The chapel is closed off from the nave by a rich lattice from the 17th century.
Lower church
The lower church (Kreuzkapelle) was a much visited place of worship especially in the 18th century. The room, rebuilt in 1738, with its two sturdy columns is also accessible from the upper church. The actual main entrance opens onto the street. A late Gothic "gracious crucifix" once attracted numerous pilgrims . The stations of Christ's suffering are shown around the former image of grace .
literature
- Georg Dehio : Handbook of the German art monuments : Bavaria. Volume 4: Ernst Götz: Munich and Upper Bavaria. 3rd updated edition. Deutscher Kunstverlag, Munich et al. 2006, ISBN 3-422-03115-4 .
- Bernhard Müller-Hahl: Eresinger Heimatbuch. Landsberg am Lech district. With Pflaumdorf and St. Ottilien. Eos-Verlag, St. Ottilien 1981 ( Between Lech and Ammersee 9, ZDB -ID 2295702-9 ).
- Hans Pörnbacher: The parish Eresing. Landsberg am Lech district, diocese of Augsburg. 3. Edition. Konrad, Weissenhorn 2001 ( Schwäbische Kunstdenkmale. Booklet 41, ZDB -ID 1130411-x ).
- Hermann Schmidt: Eresing near Landsberg. A newly discovered Dominikus Zimmermann Church. Dreifaltigkeitsverlag, Munich 1935 ( Small Art Guide No. 81).
Web links
Individual evidence
Coordinates: 48 ° 5 ′ 11.7 ″ N , 11 ° 1 ′ 29 ″ E