Pilgrimage Church of Our Lady (Bobingen)
The pilgrimage church to Our Lady is located on the southern outskirts of Bobingen in the Augsburg district in Swabia . The church is one of the most important spatial creations of the 18th century in the Augsburg area.
history
The new building from 1749/1751 replaced an older chapel, which was first mentioned in 1472. Franz Kleinhans has been handed down as the executive architect .
Some votive tablets from the early 19th century show the simple previous building with its gable roof , a tower and semicircular extension. This chapel was described as dilapidated in 1726. In 1748 Franz Kleinhans from Unterpinswang in Tyrol drafted the plans for a modern pilgrimage church . However, the old tower was to be taken over. The planned building is strongly reminiscent of the parish church in Kleinhans' hometown Unterpinswang. This church was built from 1725 to 1727 according to plans by Johann Georg Fischer from Füssen , where Kleinhans learned his trade.
The draft was initially rejected by the Episcopal Nursing Office for reasons of cost. The old chapel should only be repaired and expanded. In 1749, however, a completely new building was approved, which, however, was carried out according to modified, non-preserved plans. This church building was erected between 1750 and 1751. The cost was about 10,000 guilders. The old tower disappeared completely and was through the roof manner of a rider replaced on the eastern facade rising tower. The modified plan also shows the Tyrolean's dependence on his teacher and the Füssen construction school.
The painting was entrusted to the Dillingen master Vitus Felix Rigl . Originally, however, Johann Georg Lederer from Augsburg was selected for the contract. The altars were made by the Gögginger Kistler Philipp Jakob Einsle.
The first renovation of the Frauenkirche took place in 1860. In 1934 some pieces of equipment and remodeling of the 19th century were removed and the room was renovated. In the following year, the exterior was also renovated. In 1939 the small prefix (porch) in the west ( German Bestelmeyer ) was created, which has been used to get into church construction ever since. An older sign was broken off in the 19th century.
A comprehensive restoration of the Frauenkirche's original condition began in 1974 under Pastor Konrad Lachenmayr. This year, the miraculous image from Steingaden was restored and newly clothed. In the course of these measures, a second entrance with a sign was installed in the north for security reasons. This intervention was made necessary by the federal road that passed by. The proximity of the street to the old entrance led to dangerous situations , especially before and after the services .
Outside of the times of worship, you can still enter the church using the western sign. Under the gallery, however, a grille prevents further entry.
description
The formerly free-standing pilgrimage church is now surrounded by modern buildings. The rectangular hall of the nave connects to the single-axis, recessed choir square with the sacristy . The corners of the nave are bevelled, and the narrow modern sign is added to the west.
The interior is illuminated by three-part, curved window groups. In addition, small, heart-shaped window openings break through the masonry under the central windows of the nave. The east facade is richest in structure. Three high oval windows sit in high panels between smaller window openings. The central niche in the tower is widened to a flat niche with a curved cornice . The slender tower with its high, curved hood jumps only about 20 centimeters from the three-axis line of the wall.
The wide cornice band with its transverse panels is reminiscent of the church buildings by Johann Georg Fisches. The lowered saddle roof over the choir also points to the Füssen building school . The nave is protected by a high hipped roof .
inner space
The two-axis nave is spanned by an oval flat dome and structured by pilasters that were placed across corners at the niches of the rounded corners. In the west a two-story gallery swings into the room on Corinthian columns.
The choir is two steps higher than the nave and shortened by the sacristy attached to the east. A circular lantern dome covers the presbytery .
The stucco work from 1750/1751 consists mainly of white-gray (painted) rocailles and rocailles cartouches. The surfaces are painted white and light pink.
The large main fresco in the nave symbolizes the Immaculate Conception . In the center you can see Our Lady above the globe with Adam and Eve . Below the prophets, elders and apostles sit on clouds. God the Father hovers over the scenery with the dove of the Holy Spirit and the Christ child. The transition to the stucco frame is mediated by a painted railing over which a curved architectural painting rises. On the eastern edge there is the signature of the executing master: V. Felix Rigl pinxit .
In the corners below the main picture, four picture fields with rich rocailles frames show the church fathers , each holding a book with an inscription. The fields above the wall niches illustrate allegorical figures of the four continents known at the time.
The choir fresco deals with the miraculous power of Mariae. A painted shell cover apparently allows four larger and four smaller views. Wonderful rescues are portrayed in the larger openings. A worker falls from scaffolding, a drowning man is rescued, a conflagration is extinguished and a man is pulled out of a well . Putti hold banners with explanatory Latin inscriptions.
The lantern opening is covered by a monogram of Mary in clouds, painted on wood. The rocaille cartouches of the gusset contain symbolic representations painted brown on brown.
Furnishing
The high altar by Johann Einsle (around 1750) is made of red and blue marbled wood. At the side passages allow access to the sacristy. Two staggered pairs of Corinthian free columns flank the central niche with a clad figure of the Virgin Mary , which is represented by St. Anna and St. Joachim is flanked. In the excerpt (upper part) God the Father is enthroned on the globe in a halo.
The two side altars were created in 1781 by Philipp Jakob Einsle in early classical forms. The wooden superstructures are marbled in red and gray. Four Corinthian columns each support a richly tiered entablature with vases . Radiant wreaths are carried over this by stilted arches. Between the pillars are high platforms with wooden figures of St. John of Nepomuk (right) and St. Joseph (left).
The pulpit was built in 1751 by an unknown master. The curved basket is enlivened by rocailles and foliage.
A rich inventory of votive pictures from the 17th to 19th centuries has been preserved on the south wall. The short inventory from 1976 shows 72 historical specimens.
In the choir and in the nave there are 12 wrought-iron chandeliers .
The church has two bells.
The church has an organ from 1934.
In front of the church
In the churchyard there is a bronze statue of the Virgin Mary and a stone fountain, which was made by a stonemason from Bobingen. On the east wall of the church are two linden trees which are as old as the current church.
literature
- Bobingen and its history - Bobingen, Straßberg, Reinhartshausen, Burgwalden, Waldberg, Kreuzanger. Bobingen 1994, ISBN 3-930749-00-9 .
- Frank Otten, Wilhelm Neu: Schwabmünchen district. (= Bavarian art monuments, brief inventory, XXVI). Munich 1967.
Web links
Coordinates: 48 ° 15 ′ 49.3 " N , 10 ° 49 ′ 32.3" E