Name of Monument:

Benedictine Abbey Church of St. Dionysius and Juliana, former Premonstratensian abbey church

Also known as:

Abbey Church of Schäftlarn

Location:

Schäftlarn, Upper Bavaria, Germany

Date:

1710–12: tower;
1733–40: choir;
1751–60: nave and interior

Artists:

Architecture of the monastery building including the steeple: Giovanni Antonio Viscardi (1645–1713);
Architecture of the church: François de Cuvilliés the Elder (1695–1768);
Johann Baptist Gunetzrhainer (1692–1763);
Building construction: Johann Michael Fischer (1692–1766);
Stucco and frescoes: Johann Baptist Zimmermann (1680–1758);
Altars and sculptural work: Johann Baptist Straub (1704–84)

Denomination / Type of monument:

Ecclesiastical architecture (abbey church)

Patron(s):

Abbots Melchior Schußmann (gov. 1680–1719); Hermann Joseph Frey (gov. 1719–51); Felix Gege (1752–76)

History:

Founded in 762 by Benedictine monks, the monastery was taken over by the Premonstratensian Order between 1140 and 1806. Today, the abbey is once again administered by the Benedictine Order. In 1702, Giovanni Antonio Viscardi received the order to build a new monastery complex that should include the old Gothic church. In this process, the old steeple that had collapsed in 1710 was rebuilt. Because of the dilapidation of the old abbey church, construction of a new one began in 1733 under the supervision of the Munich Court Architect, François de Cuvilliés the Elder. After the construction was halted for a time, Johann Baptist Gunetzrhainer and Johann Michael Fischer continued the building in 1751. Stucco and frescoes were designed by court stuccoer, Johann Baptist Zimmermann, between 1754–56; whereas the altars, chancel, and sculptural work — including the bench end carvings — were crafted by court sculptor Johann Baptist Straub between 1755–64.

Description:

The abbey church is integrated co-axially into the symmetrically designed monastery complex. Its simple appearance gives no indication of the magnificent Rococo interior furnishings and decorations . The single nave of the wall-pillar church is rhythmised by a large centralised bay and two connecting bays facing east and west respectively. The staggered arrangement of the bays creates a different weight of the spatial sections according to their liturgical function; as well as a stage-like scenography that funnels the eye towards the choir. These features are not a given in accordance with a wall-pillar church. Johann Baptist Zimmermann’s soulfully accentuated stucco of rocaille ornaments and strapwork displays a subtle colouring and is limited to the vaults, just like the frescoes. The ceiling frescoes depict the glorification of the founder of the order, Norbert von Xanten, and also the founding of Schäftlarn. The collaboration of prominent Munich court artists created a consistently elegant, courtly influenced overall impression that distinguishes the Abbey Church of Schäftlarn from other Baroque ecclesiastical buildings from the 18th century in Bavaria.

The church of the former Premonstratensian Abbey in Schäftlarn is situated beautifully in the Isar Valley and is one of the most outstanding abbey churches of the Late Baroque in Bavaria. A vast number of famous artists in the vicinity of the Munich Court contributed to the planning, building, and interior design of the scenographically configured ecclesiastical building. The elegant courtly embellishments of the church interior, with the stucco work of court stuccoer, Johann Baptist Zimmermann, and the work of court sculptor, Johann Baptist Straub, are some of the most remarkable achievements of their time.

How Monument was dated:

Chronicle sources.

Special features

The Vision of St. Norbert

Chancel

1754–56

Johann Baptist Zimmermann

Designed with elements from palace architecture, an architectural capriccio with a scenic background depicts St. Augustine presenting the monastic rules to St. Norbert as the founder of the order. Landscape, architecture, and affected-acting figures create an atmosphere that follows the model of French Rococo Style. This is a characteristic example of the concentration of courtly painting motifs.

High altar

Choir

1755–64

Architecture and sculptures: Johann Baptist Straub (1704–84); Altarpiece: Balthasar Augustin Albrecht (1687–1765)

The high altar acquires its dignity and elegance by lateral columns. They frame plastically the altarpiece that depicts the Assumption of Mary. Via crossing media she is approached above the cornice by Christ who is part of the sculpted group of the Holy Trinity. The patrons of the church are only represented by lateral statues.

Side Altars of St. Norbert – St. Augustine – St. Joseph – St. John of Nepomuk

Front and rear side chapels of the nave

1755–64

Johann Baptist Straub

The columned design of the main altars in the choir and in the crossarms contrast the four smaller side altars, only consisting of simple pillar framings, and thus illustrating the hierarchy of the main and side altars in the church. They each are equipped with sculptural arrangements in shallow niches, creating a relief-like effect, and decorated with angels and rocaille cartouches.

Selected bibliography:

Bauer, H. und A., Johann Baptist und Dominikus Zimmermann: Entstehung und Vollendung des bayerischen Rokoko, Regensburg: F. Pustet, 1985: 78, 81, 270–275, 325–326.
Bauer, H. and Rupprecht, B. (eds), Corpus der barocken Deckenmalerei in Deutschland, Bd.3: Freistaat Bayern, Regierungsbezirk Oberbayern. Stadt und Landkreis München, Teil 1: Sakralbauten, München: Süddeutscher, 1987: 149–159.
Hitchcock, Henry-Russell, Rococo Architecture in Southern Germany, London/New York: Phaidon, 1968: 201–204.
Volk, P., Johann Baptist Straub 1704–1784, München: Hirmer, 1984: 20–23, 202, passim.
Winhard, W. OSB, Benediktinerabtei mit Klosterkirche Schäftlarn an der Isar (Kleine Kunstführer 537), 8. Auflage, München/Zürich: Schnell & Steiner, 1984.

Citation of this web page:

Miriam Kuhnke "Benedictine Abbey Church of St. Dionysius and Juliana, former Premonstratensian abbey church" in "Discover Baroque Art", Museum With No Frontiers, 2025.
https://baroqueart.museumwnf.org/database_item.php?id=monument;BAR;de;Mon12;18;en

Prepared by: Miriam Kuhnke
Translation by: Thea Norris
Translation copyedited by: Peter Heinrich Jahn, Janice MedinaJanice Medina

Janice Medina is an artist and educator based in Upstate New York. She studied interior design at Syracuse University and obtained her M.S. in Building Conservation in 2008 (Rensselaer Polytechnic Institute) and Master of Fine Arts in 2019 (University at Albany).

Janice is a former participant in the US/ICOMOS International Exchange Program and she has taught courses in the history of design and historic preservation. Her artwork is influenced by her experiences in historic preservation, as well as by building materials and the natural environment.

Janice has participated as a copy-editor with Museum With No Frontiers since 2019. In this role she has had the opportunity to work on a variety of projects including Discover Islamic Art, Discover Baroque Art and Discover Glass Art.

MWNF Working Number: DE3 18