Collegiate Church of Laufen
The parish and collegiate church of Our Lady of Laufen (Mariae Himmelfahrt) ( Berchtesgadener Land district , Upper Bavaria ) is considered to be the oldest Gothic hall church in Bavaria. The monumental church building is surrounded by a cloister-like arcade, which was created from the 15th century as the burial place of the wealthy bourgeoisie and nobility of the old shipping and trading town.
history
The parish of Laufen has been traceable since the middle of the 12th century. The oldest church in the city was in the castle area. This Peterskirche was probably a ducal church owned by Archduke Gerfried von Melk ad Donau.
In the 8th or 9th century, a baptistery was built in the north of the peninsula with the patronage of John the Baptist , which was later expanded to become the preserved St. Michael's Chapel . The building with up to 1.5 m thick foundation walls was built from tuff stone blocks, the barrel vault is supported by nine polished porphyry columns. Around 1200, a Romanesque basilica was built in the bend of the Salzach, based on the Lombard scheme that prevailed in old Bavaria and Salzburg . For the construction of the collegiate church, the floor level was leveled or artificially raised so that the baptismal font could be built over with the Michael's chapel, which still exists today. The baptistery, now the basement, became an ossuary for the abandoned graves of the cemetery formerly located near the church, while the upper floor became a prayer room.
The high medieval parish church was closely related to the simultaneous construction of the Salzburg Cathedral . From around 1330 work began on the spacious new building of the church in the Gothic style in the choir area. The Cistercian churches of Neuberg in Styria and Heiligenkreuz near Vienna are seen as models . Only the west tower of the Romanesque basilica was taken over and raised.
The Gothic hall construction was largely completed as early as 1338. The rapid construction process was made possible by the generous support of the knight Heinrich von Lampoldingen († 1347). The coat of arms of the founder - the five-petalled rose - can therefore be found on many keystones of the vault.
This late medieval church has essentially remained almost unchanged to this day. Starting in the 15th century, the construction of the cloister-like arcade around the church as a burial place for wealthy citizens and the nobility began. This corridor goes back to Northern Italian models and was gradually expanded until the 17th century.
After it was elevated to the status of collegiate monastery (1627), the interior furnishings were redesigned in Baroque style from 1636 . Around 1775 this facility was felt to be out of date. In late rococo forms , a new high altar , a pulpit , magnificent choir stalls and sacristies for the canons and the canons were built .
After 1840, under Dean Johann Wolfgang Braun, the interior furnishings of the church were reorganized. It was revised or replaced in a neo-Gothic style . The grave monuments embedded in the church floor were erected on the side walls or in the outer archway, the pavement was renewed. At the turn of the century, the sacristies and choir stalls were also removed . The shell was painted stone gray and darkened by colored glass windows that were modern at the time.
In 1963/65 the church was completely renovated and the mediaeval appearance was restored. A new sacristy, adapted to the needs of the time, was set up in the basement of the tower. This resulted in massive interventions in the structure of the Romanesque tower, especially since a new organ was installed. Several hereditary burials had to be removed for the installation of a church heating system.
In 1993 the tower was completely renovated, from 1996 the huge pitched roof was re-covered, and the interior was renovated in 1997/98. During the interior renovation, new stalls and an altar island for the people's altar with ambo were created in the center aisle . The singing gallery has been extended and a new organ has been added. In particular, the color scheme of the modernist organ façade was inspired by the time and sparked discussions from the start. The last renovation work on the archway around the church was completed in 2011.
architecture
Exterior construction
The west facade with the visible Romanesque tower
The south side with the sign and the arched portico
The block-like monumental building of exposed Nagelfluhquadern is by a huge gable roof covered, which is hipped on the east gable. The choir closes at the same width as the nave. The older west tower is set in the facade and rises like a ridge above the gable.
The structure of the tower consists of pilaster strips and " German ribbons " over arched friezes. The Gothic tower top is crowned by a pointed helmet with corner attachments (height 57 m). The two upper floors show open sound arcades in the Salzburg style. The arcades in their “Romanesque” shape with second-hand columns and capitals document the conservative building spirit in the archbishopric of Salzburg in the 14th century. The Gothic replaced the Romanesque styles very late and hesitantly. On the floor below the sound arcades, the room of the tower keeper and night watchman, who, in addition to ringing the hour bells in the Middle Ages, was responsible for the secure locking of the city gates in the evening and the Laufen city area at night, has been preserved in the original furnishings At that time, Oberndorf also had to watch out for fires and warn citizens in good time. For security reasons, this night watchman's room is not open to the public today, but it is planned to integrate it into the monastery museum after the renovation of the entrance and make it accessible to the public, especially since it allows a fantastic view over the entire city area.
The rectangular floor plan of the church, which clearly refers to the models of the Cistercian churches of Heiligenkreuz and Neuberg, is unusual. The building is 43 m long and 24 m wide. The outer walls are only structured by slim pointed arch windows. The buttresses are drawn inwards and appear there as round wall templates.
The west wing of the archway around the church
Funerary monument in the west wing
Cloister in the north
Battlement in the east
The porch above the richly profiled main portal in the south is the urban development completion of the former main street. The sign also opens to the side of the arched portico, which was laid around the church on three sides from the 15th century. In the southwest, a short branch leads to the round Michael Chapel, the successor to the high medieval baptistery. Numerous grave slabs and epitaphs are placed on the walls . The plates often show heraldic representations and coats of arms of the nobility and urban patriciate . Other, already heavily worn stones serve as the floor covering.
inner space
Interior to the east
Looking back to the west
The south aisle to the east
ceiling
The six bays of this oldest hall church in Bavaria and Salzburg are spanned by ribbed vaults with pear rod profiles. Eight 33 m high pillars support the 14 m high, brick and plastered vault. The pillar cores are alternately round and octagonal with presented round services. The vault ribs rest on smooth chalice capitals with high cover plates. In addition to the donor's coat of arms, the keystones show foliage, symbols of Christ and figurative motifs.
The central nave is slightly wider than the side aisles. The two older east bays are separated by wide belt arches as a presbytery . The color of the shell with gray pillar cores dates from the 17th century.
The Romanesque west tower protrudes into the nave, but is largely covered by the modern organ and the gallery . Two important medieval red marble epitaphs are embedded in the ground floor wall.
Furnishing
Today's high altar was built around 1775 in early classical forms. Some late rococo elements enliven the strict, four-column structure that was changed in the 19th century. The altarpiece by Franz Xaver König depicts the "Assumption of Mary". On the side are the sculptures of the Salzburg patrons Rupert and Virgil (attributed to Lorenz Hörmbler, Salzburg).
The modern altar island of the people's altar was designed by the local sculptor Friedrich Koller in 1997/98 from Untersberg marble .
The south aisle is closed off by the former Schiffer or Rupertus altar. The altarpiece by Johann Michael Rottmayr (signed 1691) shows St. Rupert together with holy martyrs. On the side are the rococo sculptures of St. T. and Johannes Evangelist. St. Andrew can be seen in the extract (essay).
In the north aisle is the George altar with the depiction of the dragon slayer ( Jakob Zanusi , Salzburg, around 1730/35). The painting is flanked by the statues of the apostles Thomas and Bartholomäus.
As the remainder of the late Gothic high altar, four panel pictures (around 1467) have been preserved on the side walls. The pictures show the birth of Christ, the homage of the wise men (south aisle) and the passion depictions of the crowning of thorns and the carrying of the cross. The multi-figure depictions on gold grounds come from the Salzburg Art Circle.
In the north aisle hangs a cross painting from around 1420. Despite a later overpainting, the painting is considered to be the most important remnant of the church's Gothic furnishings. A little further to the east, three wooden sculptures by Jakob Gerold were placed from the baroque high altar (demolished around 1775). The colored version of the figures was created by Kaspar Zehentner, whose grandson Johann Michael Rottmayr made it up to the imperial court painter.
In addition to the two late Gothic panel paintings in the south aisle, a modern wooden shrine (2001) contains the former shrine figure of the late medieval high altar, a seated Mother of God with the child.
On the south wall there is also the lunette picture with St. John, created in 1698 by Johann Michael Rottmayr in memory of his parents . Luke and St. Cecilia. St. Cäcilia (patroness of church music) is supposed to remember Rottmayr's father Friedrich. Friedrich Rottmayr was a monastery organist at Laufen. The painting St. Lukas stands for Johann Michael Rottmayr's mother Margaretha Magdalena, a painter.
The most important grave monuments of the church are located under the organ gallery on the tower and church walls. The red marble stone is particularly noteworthy for Marx von Nussdorf (d. 1478) and his wife Spornella (d. 1479), b. from Seben. The epitaph is counted among the most important such monuments of the Salzburg art circle. The deceased are shown kneeling in front of the Madonna with the child. The armored knight takes the hand of Our Lady, a housewife holds the hand of the baby Jesus. The coats of arms of the couple are worked out on the side.
organ
The organ was built in 1998 by Glatter-Götz Orgelbau . It has 29 registers on two manuals and a pedal . The disposition is:
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
- Coupling : II / I, I / P, II / P
literature
- Walter Brugger, Hans Roth: The churches of the city of Laufen (Schnell & Steiner, Small Art Guide 35). 3rd edition, Munich 2003. ISBN 3-7954-4096-3
- Walter Brugger, Hans Roth: running and Oberndorf. Art and history . Tittmoning 1970
- Peter Gries: Collegiate Church Laufen / Salzach ( Large Architectural Monuments , Issue 221). Munich / Berlin 1968
- Heinz Dopsch and Hans Roth (eds.): Laufen and Oberndorf: 1250 years of history, economy and culture on both banks of the Salzach. Laufen / Oberndorf 1998, ISBN 3-00-003359-9
- Reinhard Weidl: The first Gothic hall churches in Bavaria . Munich 1987
Web links
- The collegiate church on the homepage of the parish association Laufen-Leobendorf [1]
- Stiftskirche Laufen as an interactive 360 ° × 180 ° panorama photo (requires Adobe Flash )
Individual evidence
Coordinates: 47 ° 56 ′ 32 " N , 12 ° 56 ′ 13.8" E