St. Vitus Church (Gärtringen)
The Protestant St. Veit Church in Gärtringen is one of the best preserved late Gothic village churches in Württemberg . The oldest remaining part is the tower, which was built between 1455 and 1460. With its height of 38.5 meters, which can be traced back to its earlier use as a defense and watchtower , it is still the dominant landmark of the place today. The year 1496, in which the choir was completed, is considered to be the year of construction of the wall pillar church .
The continuously vaulted village church has unusually rich late Gothic vault paintings and is classified as a monument of particular importance. The interior of the church, which was in need of renovation, was extensively restored from May 2009 to September 2010.
history
Building history
The Liber decimationis from 1275 first mentions the previous building of today's church. Little is known about the dimensions of the previous building, because no remains have been preserved above ground and there have been no excavations in the area of the church. There is a reference to the previous nave on the tower wall in the roof of the nave . The old gable line can be seen there, from which we can conclude that the former nave was flatter and 4.5 meters lower than the present one.
In 1485, 30 years after the tower was completed, construction of a more spacious church began with the choir . It was completed and put into use in 1496. The nave vault was completed shortly afterwards, probably between 1498 and 1500. This is proven by dendrochronological studies of the trees used for the roof structure of the nave.
When the architect Christian Friedrich von Leins drafted his plans for a comprehensive renovation of the church in 1869 , the church had already been repaired and renovated several times in the previous centuries. Von Lein's plans, which would have largely transformed the church into a neo-Gothic building, were not implemented, so that the original architectural style and the old building fabric were preserved. A thorough restoration planned by Heinrich Dolmetsch in 1896 was also omitted. Finally, the architects Felix Schuster and Theodor Dolmetsch tackled the overdue renovation of the church in 1913. In accordance with the changed historical awareness, they were interested in preserving what was handed down unadulterated.
A comprehensive restoration of the interior of the church took place in 1965 under the direction of the architect Paul Heim . Oil circulating air heating was installed, wall and vault paintings were exposed and some changes to the renovation from 1913 were reversed. An extensive renovation of the roof structure in 2007 cost 480,000 euros.
In 2008, cracks appeared in the vault, chunks of sandstone and pieces of mortar occasionally fell from the ceiling. A net stretched under the ceiling protected the visitors from the falling rubble until the renovation work began in mid-May 2009. During this renovation, the vault ribs, which began to detach from the vault due to temperature changes and static defects, were attached to the vault shell with stainless steel cores. The interior walls were also cleaned and the heating system replaced. In the course of this church renovation, the organ was cleaned, modernized and two stops added. On September 12, 2010, the church was reopened with a festive service.
Church history
The Count Palatine of Tübingen were the patron saints of the church until the late 14th century . This function was taken over by the House of Württemberg in 1382 , which in 1456 transferred the associated rights to the Herrenberg Monastery, into which the church was incorporated in 1457 . After the expelled Duke Ulrich returned to Württemberg in 1534, he soon introduced the Reformation and Protestant worship. The House of Württemberg had the monasteries and monasteries in its domain dissolved and immediately exercised church rights again. The Protestant regional church took over the last Catholic pastor, Eustachius Kain, in its service.
It is not known exactly when Saint Vitus was made church saint . Until 1436 he was clearly only an altar and chaplain saint. The veneration of Saint Vitus must have been considerable by the middle of the 15th century, so that the previous church may have been consecrated to Saint Vitus from around 1455. However, the patronage probably changed with the construction of today's church .
Building description
The church stands at the top of a slope sloping to the south and east. The height of the mostly still existing surrounding wall, renewed on three sides, indicates its former defensive function. On the west side the square tower rises above mighty walls. Its height of 38.5 meters for a village church is due to its former function as a defense and watchtower . The tower is shifted a little to the left towards the church. It does not stand in the middle on the west side, but jumps out a little over the nave on the north side .
The main entrance to the church is in a small vestibule on the tower and west wall of the nave with an almost square floor plan, which is oriented like the tower. The nave is almost 20 meters long and a little over 12 meters wide, including the insert chapels. It is divided into four bays by three buttresses on each long side . The west wall of the nave is the only wall of the nave, aligned like the tower and the vestibule; the inner buttresses do not meet the wall of the nave at right angles, but rather mediate between the two different orientations. In the spaces between the buttresses there are insert chapels with their own vaults.
In the east, the nave is adjoined by the choir , the width of which corresponds to that of the nave without the chapels. The choir and nave are separated by a choir arch. The choir is almost twelve meters long and has three transverse axes and a three-eighths closure. The corners of the choir polygon and the axis flanks on the south side are provided with outer buttresses. The rectangular sacristy , the length of which corresponds to two axes of the choir, adjoins the north side of the choir . In width it protrudes a little beyond the line of the north wall of the nave.
All rooms are provided with rib vaults, the vestibule, the nave with its eight chapels, the choir and the sacristy have ribbed vaults , the tower hall, the oldest part of the church, has a ribbed vault .
tower
The tower facade is subdivided into four false storeys of different heights, which are characterized by surrounding cornices. Like the entire building, the walls consist of plastered rubble stones . Only corner edges, cornices and door and window frames are made of visible house stones. The upper end is formed by the half- hipped roof with half-timbered gables from the time it was built .
The three lower floors have rectangular window slots that widen inward. A large pointed arched window with tracery infills serves as a sound opening for the bell cage on the fourth floor . In the gables of the hipped roof, which point to the west and east, the dials of the tower clock that were added later are embedded. On the north and south sides they are attached one floor below.
The structure of the floors inside does not correspond to the facade design. The built-in tower fixtures made of oak form seven floors, including the tower roof truss floor. The entablature rests on steps of the masonry, which tapers inside from floor to floor.
lobby
The rectangular vestibule, unadorned on the outside, was almost certainly not included in the original planning of the church. It is true that the nave plinth continues in the vestibule, and the monopitch roof of the vestibule connects exactly to the eaves of the nave, but the tower door and the window slot above it border the vestibule so closely that it is assumed that a subsequent extension will be made. Inside, foliage consoles support the reticulated vault, which ends with a keystone adorned with a representation of St. Vitus in an oil kettle.
Longhouse
The single-nave church is constructed as a pilaster church . This means that the buttresses, which are statically required as abutments for the vault, are designed as wall pillars, which have been drawn into the interior of the Gärtringer church. The nave is flanked on both long sides by a series of insert chapels , which are separated by the pillars and open in high arcades towards the center. With the monastery church in Blaubeuren and the town church in Schwaigern, there are only two other churches of this type in Württemberg .
The smooth outer wall of the nave of the St. Vitus Church is subdivided by three surrounding cornices : the base, the sill and the roof cornice. There are four large, three-lane, regularly arranged pointed arched windows on the south front, which is designed as a show side . The keel-arched south portal is placed a little east of the axis of symmetry of the nave, as otherwise it would hit one of the buttresses. On the north side there were originally only two windows in the first and second insert chapel from the east, the last being the only tracery window of the nave with only two lanes. The door and window openings in the fourth mission chapel on the north side are from a later period. The north side is largely covered by the high churchyard wall.
The nave is spanned by a uniform net vault, the simple grooved ribs of which rise from the wall without a console . The height of the vault is a little more than 9 meters, all of the rib crossings on the central axis are provided with decorated keystones . The almost one meter lower net vaults of the eight insert chapels have the same structure, each with a central keystone.
Choir
The choir is highlighted in relation to the nave by its height and rich decoration. At almost eleven meters, the height of the choir vault exceeds that of the nave by around two meters. The significantly higher eaves and the raised windows make this difference visible from the outside. Light enters the spacious choir through five tracery windows , three in the east end of the choir and two in the south wall. The middle of the east window, the axis window, has four lanes, all others three lanes. For no apparent reason, the section of the south wall closest to the nave was not given a window. In contrast, the north wall has no windows because of the adjoining sacristy and the originally existing sacraments . The window walls of the choir are richly profiled inside and outside. The closer-meshed vault, in which the keystones move closer together, also forms an increase compared to the nave. In addition, the fork ribs have double fillets and rest on head consoles and a foliage console.
sacristy
The sacristy has changed significantly compared to the time it was built, only the profiled keel arched door to the choir and the net vault with the three keystones are original . A door in the west wall of the sacristy leads to the outside, and the year 1766 is carved into the keystone of the pointed arch. Another door, which was broken into the wall of the adjoining chapel of the nave as access to the pulpit in 1774, was bricked up again in 1965. Light falls into the sacristy through two high, small round windows in the north wall and a rectangular window in the east wall. The choir roof is pulled down over the sacristy to the height of the eaves of the adjoining nave roof. Separated by a wooden cornice level with the eaves of the nave, the roof continues to cover the rest of the sacristy.
Ornaments and equipment
Keystones
Although three and four passes were the predominant outline shape of the keystones around 1500, only round shapes occur in the Gärtringen church. There are nine keystones in the choir vault, twelve in the vault of the nave, and one each in the vault of the eight insert chapels, plus the keystone of the vestibule and the three keystones of the sacristy. Most pieces can be divided into three groups:
- with vegetal decoration (foliage or flower rosettes)
- with coats of arms or full coats of arms (empty shields, aristocratic coats of arms or master shields )
- with figures ( saints , evangelist symbols )
A stone is provided with the Arma Christi . The stones designed with plant ornaments are usually not framed, the others have a narrow bead-shaped or ribbon-shaped edge, which is mostly overlapped by the representations - particularly evident in the Madonna keystone of the nave, in which the head of the Mother of God is clearly visible over the round bottom protrudes.
Some of the keystones with floral ornamentation show strong similarities to those of the Herrenberg collegiate church . In particular, the keystones of both churches, decorated with lattice-shaped bulbous foliage, can only have been made by the same stonemason. There are very similar stones in the cloister of the Bebenhausen monastery .
Wall and vault paintings
The paintings in the Gärtringer church date mainly from the 16th and 17th centuries. All of the late medieval murals were only exposed again in the 20th century. During the restorations in 1913 and 1965, the poorly recognizable parts were repainted, which partially distorted the character of the pictures.
One of the oldest wall paintings is the painted red tapestry on the north wall of the choir, which was uncovered in 1965 and can be stylistically assigned to the period around 1515. It is a narrow, high brocade pattern that reaches up to the vault and is framed by six floating angels arranged in pairs, holding the carpet. Presumably it formed the background of a tower-shaped sacrament house standing in front of the wall . Another painted tapestry from around the same time is located on the north wall of the choir arch of the nave at the entrance to the pulpit. It was also uncovered in 1965. Presumably it served as the background of a side altar.
The plant paintings on the vaults date from different times. The strong decorative paintings around the keystones of the nave and the insert chapels were created immediately after the vaulting around 1500. In 1965, very finely executed flower paintings with roots that appear very natural were exposed in the spandrels of the nave. The number 1573 in one of the spandrels probably documents the year these paintings were created. The somewhat coarse paintings exposed in the choir vault, on the other hand, are of more recent date. The Tübingen plasterer Friedrich Tödlein only made them in 1748.
In contrast to the late medieval paintings, the murals from the 17th century were not painted over. However, these have been refreshed several times because they were not painted as frescoes , but using a mixed technique on lime sludge and are therefore less permanent.
In the choir there is an Apostle-Credo cycle from around 1660 , which begins on the south wall with three apostles and continues on the north wall with six others. The last three apostles on the north wall were washed off in favor of the late medieval sacrament house carpet over which they were painted. The order of the apostles and thus the assignment of the twelve articles of the Apostles' Creed corresponds to the usual practice of combining apostles and articles of the Creed with one another largely arbitrarily. Between the two windows of the south wall of the choir is the Apostle Paul , somewhat isolated from this cycle. The text attached to him instead of an article from the Creed begins with a quote from the letters of Paul ( 2 Cor 11.5 EU ), which underlines his ambivalent affiliation with the other apostles. The pictures of the apostles on the walls of the choir are complemented by a picture of Christ and John the Baptist , who are in the northwest corner of the choir in the immediate vicinity of his namesake, the apostle John , who belongs to the cycle . In the corners of the choir polygon there were probably originally three representations of archangels , of which only Rafael has survived.
Four pictures in the nave, also created around 1660, are the remnants of an extensive series of biblical figures. In the second northern insert chapel you can see Moses and Joshua , in the southern insert chapel you can see Simeon and Daniel . Other wall paintings, including the four evangelists with their attributes , are documented by old photographs . In the second southern emergency chapel of the nave there is a painting from the 17th century that was donated by Ulrich Oberanns in 1665. It depicts Christ treading the press and is based on the title page of the Elector's Bible, which was first printed in 1641 .
Stained glass
The glass paintings from 1913 and 1965 come from the Valentin Saile glass painting workshop in Stuttgart. The eight Art Nouveau panes from 1913 were originally distributed over the three final windows of the choir. Today they are summarized in the lower two lines of the axis window and covered by the organ. Two discs in the lower line deal with the birth of Christ, one shows Christ as the Good Shepherd , one the risen one. The line above contains four ornamentally designed discs. In 1965, the three polygonal choir windows were given new glazing, with the glass paintings filling the entire window.
Altar with altar cross
The stone altar block was renewed in 1913 and fundamentally changed in 1965. The baroque wooden altar grille from 1702 was replaced by a new one in 1913, which was removed again in 1965. The altar crucifix has a height of 1.16 meters and dates from 1665. The crucified is shown with an over-long, slim, but still muscular body. The crucifix was restored in 1923 and 1965. On the trunk of the cross there is a plaque in honor of the founder Ulrich Oberanns, who worked as a “rider” - a position between stable master and stable staff - probably also as riding instructor for the noble students of the Collegium illustrious .
pulpit
Originally, the pulpit was on the central north pillar of the nave. Since churches in the Middle Ages were rarely equipped with lay chairs , the worshipers could see and understand the preacher in this central place. After the installation of permanent stalls, the pulpit was moved one pillar further in the direction of the choir, since otherwise the preacher would have had his place in the back of the front rows of audience. A door in the east wall of the first north chapel made the pulpit accessible from the sacristy. In 1913, the previous pulpit was replaced by a wooden pulpit with a sound cover , which was moved to its current location on the north side of the choir arch during the renovation in 1965. She got a simpler cornice; Support and sound cover have been removed. The new straight staircase has an unadorned iron railing.
Other equipment
On the south side of the choir, a sedile niche is built into the wall. The niche has a rounded, profiled finish. The stone bench was later broken through to put a tombstone in the niche, which is no longer there.
The cup-shaped, octagonal baptismal font of the 15th century only remained cuppa received. The original base, like the cup, was strongly profiled and the shaft was surrounded by round rods on cylindrical bases.
The church originally had a west gallery and from 1699 also a choir gallery . Both galleries were renovated several times before the choir gallery was removed in 1913 and the west gallery had to give way to a new construction in 1965. The present parish seats are from 1913, the only decorations are the cheek pieces, which consist alternately of a rosette and a lying cylinder with an incised diamond ornament.
Tombs
A number of grave monuments and tombstones from the 15th and 16th centuries have been placed in the choir in particular . They remember the clergy and members of the local nobility who were buried in the church at that time. The excellent craftsmanship and, apart from a few minor imperfections, well-preserved grave monument of Johann Renhard von Gärtringen, known as Harder, who died in 1519, deserves special mention. It shows a knight in full armor standing on a reclining lion. Two putti hover above the knight , holding a visor helmet over his head. In comparison with contemporary grave monuments, this one has some peculiarities, for example the motif of floating putti with helmet is iconographically unusual. The identity of the sculptor is unknown.
Another eye-catching grave slab is that of Hans von Gärtringen, known as Harder, who died in 1559. He was the last member of the Harder family, which is why his coat of arms was overturned as a sign of the extinction of the sex, that is, placed upside down. The grave slab was erected in 1913 and placed on the north wall of the choir, but probably reversed because of the overturned coat of arms, so that the writing is upside down.
Epitaphs
In addition to other grave slabs and death shields on and in the church, there are also two wooden epitaphs in the nave. One is dedicated to Ulrich Oberanns, who among other things donated the altar cross, the other to the long-time Gärtringen pastor Wilhelm Gmelin, who died in 1612. This is now located next to the southern choir arch. It has a three-part structure and is surrounded by Renaissance ornaments. The central field contains a crucifixion group as the main painting, below is a landscape format picture of the pastor's family. The epitaph was made by Wilhelm's son Johann Georg. By the time the epitaph he had made was painted, he had already died, because he himself was assigned a skull in the family portrait. The epitaph was painted by Wilhelm's grandson, Magister Wilhelm Schickard , who, with many talents, is also considered to be the designer of the first functioning mechanical calculating machine.
organ
In 1699 the St. Vitus Church received its first organ . It was made by the Herrenberg organ maker Eberhard Vischer and had six registers . In 1760 Johann Sigmund Haußdörffer was commissioned to expand the instrument by five registers. It is not known whether and to what extent he has changed or replaced the previous register. Like its predecessor, the new organ stood in the choir loft at the time. The one manual instrument did not yet have a pedal ; it corresponded to the late baroque sound ideal and had a solid sound foundation with one 16 'and four 8' registers .
As part of the renovation of the church in 1913, the organ was revised by the organ builder Friedrich Weigle ( Echterdingen ) and now placed centrally in front of the axis window of the choir polygon. The instrument was given a late romantic disposition and had 14 stops on two manuals and pedal; The variety of sounds was expanded cost-effectively by means of transmissions . The organ had pneumatic membrane drawers and a self-playing device organization , which was soon popularly called "Organola"; Weigle described it as "legally protected" and "built directly into the gaming table, including speed regulation, forward and reverse, wind inlet and wind outlet, working absolutely precisely".
In the 1980s, the organ was certified by experts to be of good quality; however, it was classified as too small for the church or as insufficient for the liturgical requirements and musically not worthy of preservation. In addition, the pneumatic action had become uneven and prone to failure. In 1986 the construction of a new organ was put out to tender, the sound of which should be based on the time the building was built. The organ building company Rensch from Lauffen am Neckar was awarded the contract ; she had offered a two-manual instrument with mechanical action, tonally based on the southern German organ type, supplemented by powerful reeds . In 1987 the decision was made to expand the pedals and make them playable via an additional third manual. The old case of the Haußdörffer organ from 1762 was retained and restored, the new case parts were made in a matching style. The costs amounted to 330,000 DM . The instrument was inaugurated on April 2, 1989, Quasimodogeniti Sunday.
In the course of the church renovation in 2009, two registers were added to the main work. In addition, the organ received a new large pedal work, so that the bass work - previously also the pedal - was now exclusively manual. Since 2009, this has sliderchest -instrument 32 registers on three manual stations and pedal. The actions are mechanical, the stop action is also electrical and connected to a typesetting system. The pitch is at a 1 = Hz, the tempering is unevenly floating according to Kirnberger II . The organ has the following disposition (for the individual register names, see the list of organ registers ):
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- Coupling : II / I, III / I, I / P, II / P, III / P
Bells
It can be assumed that the church received a new belfry in 1527 , in any case this year is cut on one of the struts and the structure of the chair corresponds to the late Gothic style. Another bell probably made it necessary to build a new chair, but what is certain is that the chair had three bells at that time. The large, still existing Dominica bell from 1456 can be attributed to the Reutlingen foundry by Hans Eger , mainly because the midday bell in the Herrenberg collegiate church is a slightly younger bell that was cast by Eger and is almost a copy of Dominica . In 1527 there was still a small c 2 bell on the tower , which had no inscription or decoration, which suggests a great age; it was probably cast in the 13th or 14th century. In January 1901 this bell shattered and since welding was not possible at that time, it was melted down together with another small bell and cast again. Little is known about the third bell. According to the dimensions of the southern compartment , this was only slightly smaller than the largest, the diameter is estimated at 100 to 110 centimeters, the weight at 600 to 900 kilograms. This bell must have been removed sometime between 1761 and 1828, the reason for this is not known.
In the two world wars the church lost almost all bells. After the Second World War , only the largest bell remained because it had not been brought out of the tower window. It is historically the most valuable. The Heinrich Kurtz bell foundry in Stuttgart cast three new bells in 1949 and 1954 to replace the bells that were delivered. In 1996, in the year of the 500th anniversary of the church, the church received the new baptismal bell as the fifth bell, which, as the smallest, bright-sounding bell, expands the sound pattern, resulting in the Salve Regina motif .
| No. | Surname | Casting year | Caster | Weight (kg) |
Diameter (cm) |
Nominal |
|---|---|---|---|---|---|---|
| 1 | Dominica | 1456 | Hans Eger , Reutlingen | 1250 | 125.0 | f 1 |
| 2 | Prayer bell | 1949 | Heinrich Kurtz, Stuttgart | 847 | 108.4 | g 1 |
| 3 | Cross bell | 1954 | Heinrich Kurtz, Stuttgart | 607 | 96.7 | a 1 |
| 4th | Drawing bell | 1954 | Heinrich Kurtz, Stuttgart | 366 | 81.9 | c 2 |
| 5 | Baptismal bell | 1996 | A. Bachert , Heilbronn | 260 | 73.0 | d 2 |
use
The church is used by the Protestant parish of Gärtringen, which has around 4000 members and is assigned to the Herrenberg church district . The community is divided into the parishes east and west, the community of the Rohrau district has its own church with the Christ Church. The services in the St. Vitus Church take place mainly on Sunday mornings. Occasionally the church is also the venue for organ and gospel concerts . It is accessible before and after church services, during events and every last Sunday of the month from 2 p.m. to 5 p.m.
literature
- Evangelical Church Community Gärtringen (Ed.): Evangelical St. Veit Church Gärtringen: 1496–1996 . Gärtringen 1996
- Eduard Paulus : The art and ancient monuments in the Kingdom of Württemberg. Inventory of the Black Forest District. Paul Neff Verlag, Stuttgart 1897
Web links
- Evangelical Parish Gärtringen: The Gärtringer Sankt Veit Church
Individual evidence
- ↑ a b c d Roman Janssen: The Church of St. Veit until the Reformation . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 7-39, see literature
- ^ A b c d e Karl Halbauer: Building and Art History, Building History . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 77-84, see literature
- ^ Julius Fekete: Art and cultural monuments in the district of Böblingen. Theiss Verlag, 2006, ISBN 3-8062-1969-9 , p. 119 f.
- ↑ a b Interior renovation of St. Veit Church in Gärtringen 2010. Festschrift for the inauguration on September 12, 2010 (PDF; 6.35 MB)
- ^ Fritz Heimberger: Overview of the recent church history . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 41-59, see literature
- ↑ a b c d e f g h i j k l m Karl Halbauer: Building and Art History, Building Description . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 84-93, see literature
- ^ A b c Karl Halbauer: Building and Art History, Building Sculpture . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 94-98, see literature
- ↑ a b c d e f g Karl Halbauer: History of architecture and art, wall and vault paintings . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 99-115, see literature
- ↑ Wolfgang Braunfels (ed.): Lexicon of Christian Iconography. 8 volumes. Herder Verlag, Freiburg im Breisgau 1968–1976, ISBN 3-451-22568-9 , Volume 1, Col. 461
- ^ Lippische Landesbibliothek Detmold: The "Elector's Bible" by Wolfgang Endter from Nuremberg (1649) ( Memento from October 29, 2007 in the Internet Archive )
- ^ Karl Halbauer: History of architecture and art, glass paintings . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . P. 116 f., See literature
- ^ A b c Karl Halbauer: Building and Art History, Equipment . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 117-122, see literature
- ↑ a b c Karl Halbauer: Building and Art History, Tombs . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 122-142, see literature
- ↑ a b c d Martin Fries: “Praise the gentlemen!” - The organs . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 153-163, see literature
- ↑ Gärtringen St. Veit Church (Rensch 1988 op. 150). Richard Rensch Orgelbau GmbH
- ↑ Marcus Stollsteimer: The organ of the St. Veit Church in Gärtringen. In: Organs in Herrenberg. Retrieved May 1, 2018
- ↑ a b c Claus Huber: The bells . In: Evangelical St. Veit Church Gärtringen: 1496–1996 . Pp. 165-169, see literature
- ↑ local brochure of the community Gärtringen, 3rd edition, 2005 (PDF, 3.28 MB)
Coordinates: 48 ° 38 '30.2 " N , 8 ° 53' 53.4" E
