The monastery Fürstenfeld is a former Cistercian abbey in Fürstenfeldbruck in Bavaria in the Archdiocese of Munich and Freising. It lies about 25 kilometers west of the state capital Munich. The former monastery was one of the former house monasteries of the Wittelsbacher. The monastery church of St. Mary is considered a major work of the southern German late Baroque.
The monastery was founded in 1263 by Duke Ludwig II, the Strengen after two temporary founding attempts in Thal in Großhöhenrain and Olching, as atonement for the unlawful execution of his first wife Maria von Brabant. The son of Ludwig II from a third marriage, Emperor Ludwig the Bavarian, equipped the monastery with numerous privileges, after it had intercepted the messengers of Louis Habsburg throne rival Frederick the Fair before the Battle of Mühldorf on September 28, 1322, causing the monastery to Victory of Bavaria and Frederick’s arrest. In 1347, the emperor died near the monastery on the bear hunt in Puch.
The south-high Baroque architecture is covered by an unusually magnificent decoration, which already reveals the lightness of the Rococo. The stucco in the choir was created by Pietro Francesco Appiani from 1718 to 1723, the nave was designed by Jacopo Appiani from 1729 to 1731. The decoration in the presbytery consists of bandolers, acanthus and leafy tendrils, shells, putti and flower baskets. In the nave Jacopo Appiani enriched the stucco addition with latticework, vases and valances.
The paintings of the vaulted fields are late works of Cosmas Damian Asam (choir 1723, nave completed in 1731) and show a complex iconographic connection of the salvation and the life of St. Bernard. From west to east one recognizes the dream of the mother of Bernard, the Christmas vision, the conversion of the duke of Aquitaine, the dressing of the patron saint, above the cross altar are represented visions of the saint. In the choir, the history of the monastery is discussed. Following the predestination of the site by Engel and the founding of Mary as patroness of the Order and musical angels. This cycle is completed by the altarpiece of the high altar showing the Assumption of the Blessed Mother.
Full body relic of St. Hyacinthus in the left, front side altar. The high altar was built from 1759 to 1762, probably after a design Egid Quirin Asams. Unusually, the inclusion of the choir window in the architectural structure. Two pairs of columns flank the altarpiece (Assumption, by Johann Adam and Johann Nepomuk Schöpf). The statues of Saints Zacharias and Joachim, Anna and Elisabeth are assigned to Franz Xaver Schmädl.
The side altars in the nave chapels are dedicated to the saints Hyacinth, Sebastian, Benedict, Florian, Joseph, John Nepomuk, Peter and Paul (double patronaliate), Bernhard, Clemens and the Mother of God. There is also the altar between the nave and choir at the choir steps. He was reconstructed in 1978. The altarpiece of stucco marble altar Egid Quirin Asams (1746) shows the departure of the Apostles Peter and Paul from Rome. The altarpieces are also accompanied by marbled columns.
The pulpit on the first left nave pillar carries over the heavy Baroque basic structure fine Rococo decorations, such as the symbols of the four evangelists. On the soundboard stands the preaching Apostle Paul.
The choir arch is flanked by the larger-than-life statues of the founders of Roman Anton Boos (1765/66). On the left is Duke Ludwig the Strict in his armor, on the right his son Emperor Ludwig the Bavarian with crown and orb. Both figures are white and gold colored.
At the foot of the Emperor, a remainder of the high altar of the previous church has been erected. The grape Madonna with the child is considered a masterpiece of late Gothic sculpture Upper Bavaria. The child’s grasp on the grape is interpreted as a symbol of the later suffering of Christ.
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