Pilgrimage Church of the Assumption of Mary (Oberostendorf)
The Roman Catholic parish church of the Assumption of Mary is a baroque hall church in Oberostendorf in the Swabian district of Ostallgäu . It belongs to the parish community of Obergermaringen in the dean's office Kaufbeuren of the diocese of Augsburg . It has a remarkably rich equipment of high theological standards and mostly high artistic quality.
History and architecture
A church consecration in Oberostendorf is documented around 1485. After 1500 there was a pilgrimage to the painful Mother of God with a regional catchment area. Little is known about the pilgrimage; it was evidently gradually replaced by a rosary brotherhood and is described in W. v. Gumppenberg's “Marian Atlas” from 1673 is not mentioned.
The tower and the core of the nave and choir have been preserved from the late Gothic church, built around 1497. In 1681 the tower was raised by Caspar Feichtmayr . In 1709 the sacristy was added by Joseph Schmuzer . In 1747 the interior was redesigned, the portals were rebuilt and the volute gable in the west was renewed by Franz Kleinhans . Extensive restorations were carried out in 1967 and 1979. On the outside, the building is structured by pilasters from 1681/1685. In the northern corner of the choir there is a high square tower, which in the upper tower is transformed into an octagon by half curved pyramids; it ends with a sweeping onion hood .
The stately, spacious hall building is closed in the nave on five axes with a pressed stab cap barrel, the drawn-in two-axis choir is covered with a flat pendent dome and ends in a three-sided end. In the western axis, pilaster-framed doors with rocailles carvings are installed, over which oratorio grids made of stylized tendrils from around 1709 are arranged. The interior is characterized by the rich stucco in rococo forms from around 1747, which are attributed to Franz Xaver Feichtmayr the Elder , the coat of arms of the Augsburg Prince-Bishop Joseph, Landgrave of Hesse-Darmstadt, is placed above the choir arch .
Frescoes in bright colors with the central theme of the Rosary in Sorrows were executed by Johann Georg Wolcker in 1747 , like the chronogram in the main picture of the nave ("artIs perIta ManVs IoannIs georgII VVoLCker InVenIt DeLInaVIt pInXIt" - "The skillful hand Johann Georg Wolcker invented, drew , painted “) proves. In the choir they show the presentation of Jesus in the temple, to the side Isaac with the bundle of wood and the brazen serpent , in the corners the flight to Egypt , the twelve-year-old Jesus in the temple, Christ carrying the cross and crucifixion. In the nave, the Lamentation of Christ, Mary as Mater dolorosa and Regina rosarii , venerated by the four continents, the burial are shown; in the spandrel cartouches the Salvator mundi , Maria and the apostles and on the flat domes of the portents in the north the resurrection of Christ, in the south the resurrection of Lazarus with partially renewed emblems in the spandrels. Wolcker probably also executed the paintings on the balustrades from the middle of the 18th century. Above they show the Visitation of Mary, Immaculate and the Annunciation, below the Nativity, Adoration of the Magi, Christ appears to Mary, the Assumption of Mary and the Ascension of Christ.
Furnishing
The altars and the pulpit were created by Matthias Schäffler in 1719/1720, the corresponding figures by Ignaz Hillenbrand in 1747 . The dome-like tabernacle of the high altar , structured by full columns, has curved sides. An imposing structure with twelve free columns is composed around the miraculous image , a carved Pietà from 1460/1470. Angels with a cross and a trumpet are arranged between the side columns, which rise above a cornice supported by angel atlases. The side altar leaves show the decapitation of St. Barbara on the left and the mystical engagement of St. Catherine on the right. The side figures on the left represent Francis and Anthony of Padua , on the right Rochus and Sebastian. The figurative extracts show Fides and Spes .
The particularly finely crafted pulpit shows the evangelist symbols instead of a console , as Atlant the winged man of Matthew, on the three-sided basket the evangelists, Paul and Ecclesia and on the sound cover a moving group of the Transfiguration of Christ . The choir benches, the pastor's seat, the confessionals and the cheeks of the lay chairs are decorated with Rocailles carvings around 1750. The Way of the Cross was designed in the style of Konrad Huber at the beginning of the 19th century . In the choir niches there are figures of Peter and Paul from the early 18th century, as well as Dominic , Catherine of Siena , Thomas Aquinas and Rosa of Lima , which were created around 1747 and are attributed to Peter Heel . The organ with a baroque prospectus from 1728 is a work by the Hindelang brothers from 1904 with 15 stops on two manuals and a pedal . It was expanded by four registers in 1989 by the Schmid company from Kaufbeuren.
literature
- Georg Dehio : Handbook of the German art monuments. Bavaria III: Swabia. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , pp. 834–835.
- Hans Pörnbacher: The churches of Ober- and Unterostendorf. Art Guide No. 2108, Schnell & Steiner, Regensburg 1995.
Web links
Coordinates: 47 ° 56 ′ 34.4 " N , 10 ° 44 ′ 31.5" E