How about this: Mariä Himmelfahrt’s bells call us to a place of faith and history. This church stands as a testament to Chieming’s rich past. It is a blend of Roman heritage and Bavarian tradition. Let’s step inside and uncover the secrets held within these walls.
The Pfarrkirche Chieming, or Mariä Himmelfahrt, was inaugurated in 1885. It was designed in the neo-Romanesque style by architect Johann Marggraff. But its story begins long before its construction.
Imagine the year 1882. Workers are demolishing the old Pfarrkirche St. Peter. Suddenly they unearth three Roman dedication stones. These stones become a part of the new Mariä Himmelfahrt church. They find their place embedded in the church’s bell tower. Two of the stones honor the water god Bedaius. The third is dedicated to the sublime Alaunen.
These stones tell a story of Roman presence in Chieming. The inscription reads “Bedaio Aug(usto) / sacr(um) Alo(u)n(arum) / L(ucius) Cassius Lucullus / et C(aius) Vind(ius) Constans / [I]Ivir(i) Fusco / [II et Dextro co(n)s(ulibus)]”. It translates to “To the honour of the sublime Bedaius, Lucius Cassius Lucullus and Caius Vindius Constans, the two mayors of Iuvavum, dedicate a sanctuary to the Alaunen.”
Consider the journey of these stones. They were originally part of a Roman sanctuary. Later they were incorporated into St. Peter’s church. Finally, they found their home in Mariä Himmelfahrt. These stones connect us to the ancient world.
The construction of Mariä Himmelfahrt was driven by Pfarrer Conrad Korntheur. The church is a cruciform vaulted hall with a semicircular apse. The interior design and paintings were created by Joseph Elsner. Max Fürst from Reichenhall painted the altarpiece around 1885. A painting of Saints Sebastian and George adorns the south wall of the nave. This painting, signed by Ruprecht Schweindl from Altenmarkt in 1663, once belonged to a side altar.
Mariä Himmelfahrt stands not only as a place of worship but also as a repository of history. The Roman dedication stones remind us of the past. The church’s architecture and art reflect the 19th century. This is a place where different eras meet.
Take a moment to appreciate the blend of styles. The neo-Romanesque design contrasts with the ancient Roman stones. The 17th-century painting adds another layer to the church’s history. Mariä Himmelfahrt is a mosaic of Chieming’s cultural heritage.
As we conclude our visit to Mariä Himmelfahrt remember the stories these walls hold. The Roman stones speak of ancient gods. The church’s construction reflects 19th-century Bavaria. This church is a reminder of Chieming’s enduring connection to the past.