Church of the Assumption of Mary

In the charming town of Landsberg am Lech in Bavaria, Germany, the Church of the Assumption of Mary (Stadtpfarrkirche Mariä Himmelfahrt) stands as a beacon of historical and architectural splendor. This magnificent church, located at Georg-Hellmair-Platz, is the main church of the town and a must-visit for anyone exploring the region. With its towering spire and rich history, the Church of the Assumption of Mary offers a captivating glimpse into the past and the artistic endeavors of the late Gothic period.

The Historical Tapestry

The origins of the Church of the Assumption of Mary date back to 1219, when it was first mentioned at its current location. Initially constructed during the late Romanesque period, it was expanded into a three-aisled basilica with a choir. Remarkably, the baptismal font from this early period has survived and can still be seen in the central nave.

The cornerstone of the current structure was laid in 1458 by Abbot Leonhard of Wessobrunn. The late Gothic pillar basilica was designed by Matthäus Ensinger, a master architect who also contributed significantly to the construction of Ulm Minster and the completion of Strasbourg Cathedral. The building was executed under the direction of Strasbourg master builders Valentin Kindlin and Ulrich Kiffhaber, with the consecration taking place in 1466. Notably, the carved wooden Madonna on the north side of the choir, created around 1440, is believed to be the work of Ulm's Hans Multscher.

A Journey Through Time

The 17th century brought significant changes to the Church of the Assumption of Mary as it underwent baroque renovations and was newly furnished. In 1979, a comprehensive interior renovation was carried out, including the installation of an electric night storage heating system. Additionally, the medieval stained glass windows in the choir were restored by the Munich workshop of Gustav van Treeck and fitted with protective glazing.

From 2007 to 2010, the church underwent extensive restoration led by Munich architect Christoph Maas. This included the structural stabilization of the west gable, partial underpinning of the south portal, and refurbishment of the roof with steel reinforcements. The roof trusses of the side aisles, stucco decorations, and vaults were also restored. Paintings by Joseph Bernhard (1702) and Johann Jakob Pottmayr (1702), with additions by Waldemar Kolmsperger (1903), were meticulously cleaned. The protective glazing of the medieval stained glass windows in the choir, installed in 1979, was renewed, preserving approximately 400 medieval glass paintings and 220 glass paintings created by the Mayer’sche Hofkunstanstalt.

Architectural Marvels

The Church of the Assumption of Mary is a flat-roofed pillar basilica with a six-bay nave measuring 70.2 meters in length, 33.2 meters in width, and a ridge height of 35 meters. The non-recessed choir ends with a polygonal closure supported by buttresses, also present on the walls of the high nave. All windows are pointed arches adorned with tracery. The structure is accessed through two double portals with ribbed vaults, located in the northwest and southwest of the nave, the latter featuring a late Gothic chapel room on the upper floor.

The unusually slender tower, standing at 70.6 meters, is positioned at the second nave axis from the east. The lower six stories, adorned with round arch friezes, date back to the 13th century and house Bavaria's oldest bell frame from 1417. The baroque upper part with an onion dome was added in 1699 by Michael II Beer. The sacristy, completed in 1464, is attached to the south of the choir and features a delicate star vault.

The interior of the choir was vaulted in 1488, while the nave is topped with a baroque wooden vault with stitch caps and a semicircular cross-section from 1702. The side aisles are fitted with late Gothic cross-ribbed vaults, and the side chapels feature transverse barrel vaults. Both sections are open to the central nave through pointed arch arcades, with slender Corinthian pilasters standing between them in the central nave. A west gallery, added around 1790, was removed in 1979.

Ornate Stucco and Ceiling Paintings

The Wessobrunn stucco from 1702-1707, created by Matthias Stiller from Ettringen, adorns the church's interior. The vault stuccoes consist of spiral acanthus tendrils, fruit garlands, and rosettes, with the stitch cap ridges and picture frames formed from robust oak and laurel sticks. The ceiling paintings in the choir, executed by Johann Jakob Pottmayer in 1705, were overpainted by Waldemar Kolmsperger the Elder in 1902 and retouched in 1968. The central oval painting depicting the Assumption of Mary was uncovered in 1980, with the empty tomb of Christ to the east and God the Father to the west.

The central nave also features three large picture fields attributed to Joseph Bernhard. The central oval field depicts the Holy Spirit as a dove with musical angels, while the eastern quatrefoil field portrays St. Sebastian, the city's patron saint, and the western field depicts St. Vitus, the church's namesake. The sparse vault stucco in the side aisles emphasizes the cross ribs. The Marian cycle on the nave pillars was created by Pottmayr.

Stunning Stained Glass Windows

The late Gothic stained glass windows in the choir are among the most significant examples of their kind in Bavaria, dating from the 15th century to 1513. The northern Passion window, depicting the Crowning with Thorns, Flagellation, and Carrying of the Cross, is attributed to Hans Holbein the Elder and his workshop, created shortly after 1500. The Marian window in the north wall, featuring standing figures of Mary with the Christ Child, accompanied by the martyrs Barbara and Catherine from an Augsburg workshop, was originally placed in the central window of the altar house. Below it is the Death of Mary from after 1510.

The Epiphany window shows the Adoration of the Magi from around 1510, with numerous additions from the early 20th century. A depiction of Christ's thorn-crowned head from 1490/1500 was originally set in the quatrefoil field of the central window above the late Gothic high altar. The northern choir wall also houses the St. Christopher window from around 1510, following the Master of the Speculum window from Munich, considered unique in South German stained glass for its quality and preservation.

To the right of the high altar, in the southern Passion window, the Crucifixion and Lamentation of Christ from around 1500/1510 are displayed. The southern choir wall features the Duke Albrecht window, attributed to Hans Muelich and Wolfgang Priedelmayer, depicting Duke Albrecht V and his family in prayer, recommended by Saints Peter and Andrew.

Exquisite Furnishings

The grand high altar in the high baroque style, created by Jörg Pfeiffer in 1680, is a lavish three-part structure with four twisted columns adorned with acanthus foliage and fruit garlands. The altarpiece, painted by court painter Antonio Triva, depicts the Veneration of the Mother of God by the four continents and the Bavarian duke. Flanking the painting are life-sized statues of St. Joseph and St. Joachim. The image in the upper section shows St. Vitus in glory, crowned by the archangel Michael battling Lucifer. The sculptures are the work of the renowned local sculptor Lorenz Luidl. Between the front choir stalls stands a mannerist-early baroque crucifixion group (1610/20) by Bartholomäus Steinle. The Rosary Altar on the north wall of the choir, created by Dominikus Zimmermann in 1721, features a niche with the Madonna attributed to Hans Multscher from 1440. The choir stalls, placed in the front choir area and beside the high altar, were crafted by Franz Rehm the Elder in 1710/11.

Side Altars and Chapels

At the eastern ends of the side aisles are two large high baroque side altars. The northern Eligius Altar (1681), created by Jörg Pfeiffer, is the altar of the brotherhood of all metalworking professions. The main painting by Johann Georg Knappich depicts St. Eligius attending to those in need, with the Resurrection of Christ in the upper section. On the mensa stands a 17th-century Schutzmantelmadonna, with the predella showing the House of Nazareth. The southern Sebastian Altar (1690), created by Martin Schaller, is the altar of the Sebastian Brotherhood, featuring a broader structure than the Eligius Altar. The main painting by Johann C. Loth shows the Care of St. Sebastian, with the assisting figures of Saints Wolfgang and Rochus by Lorenz Luidl standing on canopy-crowned consoles outside the double columns. The upper section features a half-figure of the altar's patron saint.

The Church of the Assumption of Mary in Landsberg am Lech is a treasure trove of history, art, and architecture. Its rich past, stunning stained glass windows, intricate stucco work, and magnificent altars make it a must-visit destination for anyone exploring the region. Whether you are a history enthusiast, an art lover, or simply seeking a moment of tranquility, this church offers a unique and enriching experience that will leave a lasting impression.