Pilgrimage Church Frauenbrünnl
The Roman Catholic pilgrimage church Frauenbrünnl (also: Our Dear Lady Frauenbründl ) is a baroque central building in the Frauenbrünnl district of Straubing in Lower Bavaria . It belongs to the parish of St. Jakob in Straubing in the diocese of Regensburg .
Legend
The pilgrimage church Frauenbrünnl goes back to a pious legend, according to which the place was one of the stops at which the pilgrimage church Sossau is said to have stood on its wonderful hike to Sossau. The angels are said to have deposited the church here, whereupon a spring ( Frauenbrünnl ) sprang up.
History and architecture
The current building was built in the years 1705–1707 in place of a half-timbered chapel according to plans by an unknown master, the frescoes are attributed to Hans Georg Asam . A restoration took place in 1985–1989.
Exterior
The structure is a strongly structured domed structure, which is located on a slope above the Frauenquelle and therefore faces south. This building belongs to a group of pilgrimage churches (including the Dreifaltigkeitskirche Kappl ), which, as unmistakably shaped, centralizing structures, have their own fantastic character trait, which, as decoration, was appropriate to the places of grace according to popular piety.
The church is built on a cloverleaf-shaped floor plan with a rectangular entrance wing. The center is closed off by a wide octagonal dome. Two tower-like wings protrude from the side cones , which carry octagonal bell-shaped storeys with domed domes and contain the sacristy and a staircase leading to the gallery. The building is structured on the outer walls with pilaster strips , the middle octagon covered with shingles. The entrance wing facing the source is highlighted by a triangular gable as the main facade.
Interior
The three-cornered room is defined by three flat cones, shaped like a segment of a circle, which connect to each other without any intervening wall strips. The organ gallery with a balustrade is housed in the rectangular entrance room. Adjoining galleries extend into the lateral cones. The wall is structured by pilasters with partly stuccoed, partly only painted capitals. The double-skinned dome is original. The vaults of the cones are smoothed into a continuous vault, which is followed by the barrel vault of the gallery. The central dome opens to the octagonal opening, which reveals the view of the flat ceiling of the octagon, which is brightly lit through the window of the drum. The arch is drawn in so far that there is a narrow handling of the balustrade at the edge of the arch.
Ceiling painting
For stylistic reasons, the ceiling paintings are very likely attributed to Georg Asam. It is possible that his sons Cosmas Damian and Egid Quirin were also involved in the painting. The pictorial program is inscribed in relation to the invocations of the Lauretanian litany . The two image levels (on the circumferential vault and on the ceiling of the octagon) are related to one another in terms of content and space.
On the circumferential vault, reference is made to Maria as “Regina Sanctorum omnium”. In addition to Saints Florian , George and others, Old Testament witnesses such as Noah , Moses and King David are shown. The miracle of the Eucharist is shown above the altar ; Saint Joseph and holy virgins are gathered around the shining chalice. An angel presents a copper engraving of the miraculous image set up on the high altar . In the lower picture level Maria is not shown, on the ceiling of the octagon she is referred to as “Regina Angelorum”. The angel choirs are gathered around the globe with God the Father. In the center the dove of the Holy Spirit is shown in the ray glory. Two putti hold the crown for Mary above the altar .
During the restoration of 1986, the remains of a painted wall structure with entablature and window frames were uncovered on the walls of the drum.
Numerous figures of the All Saints Heaven are based on corresponding representations on the dome fresco by Ciro Ferri in St. Agnese in Rome ; However, they were cleverly adapted by Asam to the completely different spatial conditions in Frauenbrünnl. The ceiling paintings stand out with their warm coloring with light reddish and gold-ocher basic tones.
The octagon fresco in particular is very well preserved. The expressive characterization of some angel heads suggests that Egid Quirin and Cosmas Damian Asam were involved. It is unclear to what extent Georg Asam influenced the architecture of this church. The lifting of the brightly lit octagonal ceiling from the lower vault is presumably aligned with the pictorial program from the start. A relationship with the ceiling design of the Weltenburg monastery church from the years after 1716 is postulated in the literature. In terms of scale and claim, however, Frauenbrünnl cannot in any way be compared with the alleged role model.
Furnishing
The altar is an extensive, marbled canopy with carved figures and dates from around 1710/1720. The rotated outer columns are exhibited wide, the entablature with convex curves takes up the shape of the room in return. The inner supports are designed as angel baths to mark the image of grace , a carved figure of Our Lady on the crescent moon from the end of the 17th century. On the side there are figures of Saints Joachim and Anna, the three of them . The Holy Trinity is shown in the altar extract . Next to the altar are finely carved chandelier angels. The organ is the work of an unknown organ builder from around 1730 with five stops on a manual and attached pedal . It was restored in 1989 by Christoph Kaps .
literature
- Georg Dehio : Handbook of the German art monuments. Bavaria II - Lower Bavaria. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03122-7 , pp. 132-135.
Web links
Individual evidence
- ↑ Information about the organ on orgbase.nl. Retrieved July 20, 2019 .
Coordinates: 48 ° 52 ′ 51.9 ″ N , 12 ° 32 ′ 57.1 ″ E