Klosterkirche Mariä Himmelfahrt (Fürstenfeld, Bayern)

Klosterkirche Mariä Himmelfahrt, also known by its original name Ehemalige Zisterzienser-Klosterkirche St. Mariä Himmelfahrt, is an architectural marvel nestled in the heart of Fürstenfeldbruck, Bavaria, Germany. This former Cistercian monastery church is a testament to the grandeur of South German Baroque architecture and is often referred to as the Bavarian Escorial due to its monumental design and historical significance.

The History of Klosterkirche Mariä Himmelfahrt

The history of Klosterkirche Mariä Himmelfahrt is as rich and intricate as its architecture. The foundation stone was laid on August 5, 1700, under the patronage of Elector Max Emanuel of Bavaria. The initial plans were crafted by Giovanni Antonio Viscardi, a renowned court architect from Munich. However, construction was halted in 1701 and resumed in 1716 under the guidance of Johann Georg Ettenhofer. The choir was completed in 1723, and the nave was consecrated in 1741. By 1747, the façade was finished, and the tower was completed in 1745. The interior decorations continued until 1766, making the church a masterpiece that took over six decades to complete.

During the Bavarian secularization of 1802/03, the monastery was dissolved, but the church was saved from destruction by being repurposed as a royal court church in 1816. In 1923, the Benedictine Abbey of Ettal leased the monastery, and the monks remained until 1950. Since 1953, the church has served as a parish church for the western part of Fürstenfeldbruck. After the modern parish church of St. Bernhard was built in 1964, Klosterkirche Mariä Himmelfahrt became an auxiliary church, primarily used for weddings and special services. Extensive renovations took place from 1965 to 1978 to restore the church to its original splendor.

Architectural Brilliance

Exterior

The exterior of Klosterkirche Mariä Himmelfahrt is nothing short of breathtaking. The church spans 87 meters in length and 32 meters in width, with a roof height of 43.5 meters and a tower rising to 70 meters. The tower is strategically placed in the angle between the choir and the nave. The façade is a five-axis, three-story marvel featuring three orders of columns: Tuscan, Ionic, and Corinthian. These columns stand before double pilasters, creating a rich and elaborate entablature. The second story is capped with a balustrade, and volutes elegantly transition between the second story and the single-axis gable. The gable niche houses a copper statue of Salvator Mundi, flanked by statues of Saint Bernard and Saint Benedict. A unique feature of the church is the angled bases of the columns, adding to its distinctive charm.

Interior

The interior of the church is equally magnificent. The layout includes a five-bay nave and a four-bay choir. The rhythmically arranged bays, with the first two bays of the nave being compressed and the fifth bay expanded like a transept, create a dynamic spatial experience. Massive wall pillars adorned with four half-columns each divide the interior, with cross vaults spanning the chapels between the pillars. A triumphal arch with a curtain motif leads to the choir, which closes in a five-sided apse. The entire interior is encircled by an attic zone and entablature, with barrel vaults spanning the nave and choir. High, narrow galleries above the side chapels add to the monumental feel of the space, reminiscent of the late Renaissance yet imbued with Baroque opulence.

Opulent Decorations

The interior decoration of Klosterkirche Mariä Himmelfahrt is a feast for the eyes. The stucco work in the choir, created by Pietro Francesco Appiani between 1718 and 1723, features intricate bandwork, acanthus and leaf tendrils, shells, putti, and floral baskets. Jacopo Appiani continued the decoration in the nave from 1729 to 1731, adding latticework, vases, and drapery. The frescoes by Cosmas Damian Asam, completed in 1723 and 1731, depict complex iconographic scenes from the life of Saint Bernard and the history of the monastery. The high altar, designed between 1759 and 1762, is a delicate columnar structure incorporating the choir windows into its architectural composition. Statues of saints and intricate carvings further enhance its beauty.

Highlights and Must-Sees

Visitors to Klosterkirche Mariä Himmelfahrt should not miss the high altar, a masterpiece of Baroque art. The side altars in the nave chapels are dedicated to various saints, each adorned with stunning altarpieces and marbleized columns. The pulpit, located on the first left pillar of the nave, features fine Rococo decorations and symbols of the four Evangelists. The church tower houses a four-bell bronze chime, adding to the auditory splendor of the church.

The organ on the west gallery is a rare gem, being the only nearly intact two-manual instrument from the first half of the 18th century in southern Bavaria. Crafted by Johann Georg Fux in 1736/37, it features 27 registers with 1505 sounding pipes, some of which were repurposed from the older Gothic predecessor church.

Klosterkirche Mariä Himmelfahrt is not just a church; it is a living museum of Baroque art and architecture, a place where history, art, and spirituality converge. Whether you are an art lover, a history enthusiast, or a spiritual seeker, a visit to this magnificent church will leave you in awe of its beauty and grandeur.