All Saints' Day (Vöhrenbach-Urach)

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Allerheiligen (Vöhrenbach-Urach) is the Catholic parish church in the Vöhrenbach district of Urach . Together with St. Martin in Vöhrenbach and St. Johann in Hammereisenbach-Bregenbach , it forms the pastoral care unit Vöhrenbach in the Black Forest-Baar district .

The Church of All Saints from the southwest
Cemetery wall with upper access to the stairs
Church with (V) general stores after Pastor Wilhelm Gustenhoffer (1866–1872)

history

The settlement of the Urach valley , a tributary of the Breg , was promoted by the Zähringen dukes, especially since Conrad I , duke from 1122 to 1152. In this way they secured the road connection between their cities of Freiburg im Breisgau and Villingen . They also founded the parish, which like the place itself is mentioned for the first time in 1275 in the Liber decimationis as "ura in decanatu Phoerron", "Urach in the deanery Pfohren ". Initially, the Zähringen patrons were the patron saints , after them the Counts and Princes of Fürstenberg , who inherited them in 1218 , until Urach and most of their territory fell to the Grand Duchy of Baden in 1806 .

The oldest part of the church, the tower in its lower floors, dates back to the time it was founded, 1150–1200. The Patronage of All Saints fits in with this . The Allerheiligen monastery in the Black Forest was also founded at that time. The groin vaulted choir was built around 1500. During the Thirty Years' War and the Reunions Wars of the 17th century, the building suffered damage. Under the pastors Christian Deuber (pastor 1708–1744) and Johann Martin Ketterer (pastor 1744–1790) it was thoroughly renewed. The tower was raised and given its onion dome; the ship was extended or rebuilt and received the "painted, remarkable and rare fir wood ceiling"; the cemetery wall was given its current form with a staircase and corner niches. In addition, the stucco decorations, the wall paintings, the altars and the pulpit were made; The artists include, archived, the sculptor Matthias Faller and the painter Johann Pfunner (1716–1788); Together with a carpenter, Faller created the altars, the pulpit, the cross above the choir arch and the lost Mount of Olives group (see below), Pfunner created the altar paintings. In 1871, when it "dripped from the ceiling onto the tall straw cylinder hats of the women", and then again from 1979 to 1982 the church was restored.

Exterior

The church is located up the valley from the "Kirnerhof" on a steep slope in the middle of the walled cemetery. The south wall facing the valley is particularly powerful and contributed to speaking of a " fortified church " - wrongly, because the strength of the wall has static reasons and the church has no components intended for defense. A double, narrow, covered staircase breaks through the south wall. At the two corners of the wall, pavilions contained - now lost - figures, a crucifixion, and a mount of Olives.

Cemetery wall, stairs, pavilions, the nave with its round-arched windows, the choir closing on three sides of the hexagon, the sacristy in the south, which lies above a cross-vaulted ossuary , and the outer staircase to the pulpit in the north are clapboard. The tower built in the north-east has slightly pointed double windows in the lower, square part. The octagonal bell storey is placed on top of it and is crowned by a mighty onion, the symbol of the village.

  • Inside to the east

  • Inside to the west

  • Barrel vault

  • Holy Family

  • Choir

Interior

The simple exterior, striving to be weatherproof, has a rich interior in the style of Baroque and Rococo . A wooden, coffered barrel arches over the nave , the fields of which bear white and gold ornaments on a blue background, interrupted by transverse bands with a different decor and in the middle a picture of the Holy Family in shades of brown . Stucco decorates the choir arch, and in the choir the stucco with cartouches and acanthus hides the cross vault and the pointed arches of the windows. Pointed arched wickets lead into the tower on the left and the sacristy on the right.

On the side walls of the choir, Nazarene -like images of St. Wolfgang of Regensburg and St. John the Baptist are reminiscent of neighboring parishes in Schollach and Bregenbach, which formerly belonged to All Saints' Day in Urach. The Neu-Fürstenberg ruins of Bregenbach can be seen on the left in the picture of the Baptist . In the ceiling fresco of the choir, Mary is taken into heaven; Surrounding the scene, grisailles show symbols of Mary from the Lauretanian litany . As an artist, Simon Göser has been considered.

The color of the altars and the pulpit are matched to the ceiling, and are characterized by the blue-green of the architecture and the gold of the decorations.

The main part of the high altar consists of the tabernacle , a painting and two carved figures, each flanked by two blue-green columns. Above this , the upper part swings up between volutes , narrowing towards the top. On the tabernacle is the book with the seven seals from the Revelation of John ( Rev 5,1  EU ) and on it the Lamb of God . In Pfunner's signed main picture, “all saints” worship the Trinity . On the left between the pillars is St. Ulrich of Augsburg , above whom a putti holds a plate with two fish as his attribute , on the right, between the columns, is St. Konrad of Constance , above whom a putt holds a goblet. The eye of God shines in the upper image . In a cartouche above you can read “SOLI DEO”, in a cartouche between the main picture and the top picture “IN OMNIBUS SANCTIS HONOR ET GLORIA”, together to be understood as “God alone in all saints honor and glory”. The blue-green architecture above the golden capitals of the four columns are surrounded by four putti and golden flowers, leaves and rocailles by Faller's hand.

  • High altar

  • Left side altar

  • Right side altar

  • pulpit

  • Pulpit with Anton Schätzle, Urach pastor 1974–2007

The two side altars have the same structure. The main part consists of a painting and two carved figures above a large table reliquary , each with a column. The upper part consists of a smaller painting between volutes.

The left side altar is a three kings altar. The Magi , actually the three Μάγοι, sages , traveled to the Gospel of Matthew from afar to Bethlehem ( Mt 2  EU ). The Black Forest glass and watch dealers traveled far and it was perhaps they who asked for protection with the donation of the altar. In Pfunner's signed main picture, the star of Bethlehem shines above the stable in which one of the three wise men gives the child gold. Faller carved the other two sages ; the right one is, as traditionally, given as a Moor . Painting and sculptures are precisely coordinated. In the upper picture, St. Anna teaches her daughter Maria. Between the main picture and the top picture is written in a cartouche “VENITE ADOREMUS”, “Come, let us adore”.

The right side altar, "Brotherhood Altar", was donated by the "Maria Trost Brotherhood", which existed in many places and which the pastor Johann Caspar Brugger (pastor from 1669 to 1708) had founded in Urach. In the Brotherhood's pictures of Mary, the Child Jesus often carries a leather belt in his hand, for example in the Marienkapelle of the Freiburg Church of St. Martin and also on Pfunner's signed Urach picture. Such a belt was worn by the members of the Brotherhood at their meetings. On the right the Madonna of Faller's St. Augustine is venerated with a flaming heart as an attribute, on the left by St. Monika , Augustine's mother. Besides Mary, Augustine was a second patron of the Mary Consolation Brotherhoods. As with the left side altar, painting and sculptures are coordinated. The upper picture shows Saint Barbara of Nicomedia with a chalice and host as well as a sword as attributes. The cartridge bears the inscription "ALTARE PRIVILEGIATUM PRO FERIA IV"; it designates a privileged altar , the use of which was connected to an indulgence under certain conditions .

Four putti are playing in Faller's pulpit. On the rear wall, a gilded stucco drapery conceals the door through which the pulpit is accessible from the outside.

The Way of the Cross on the left side of the ship was made by the Urach-born sculptor Wolfgang Kleiser (* 1936).

literature

  • Herbert Brunner, Alexander von Reitzenstein: Reclam's art guide Baden-Württemberg. Philipp Reclam jun., Stuttgart 1985, ISBN 3-15-008073-8 .
  • Walter Fauler: Urach in the Black Forest. The story of a valley community. Geiger-Verlag, Horb am Neckar 1996, ISBN 3-89570-247-1 .
  • Erna Huber: The fortified church in Urach. In: Black Forest - Baar - District Almanach. 7, 1983, pp. 143-146.
  • Urach. In: Franz Xaver Kraus: The art monuments of the Grand Duchy of Baden. Volume 6.1, 1904, p. 402.
  • Klemens Laule: shaped by agriculture. Parish Church of All Saints the widely visible landmark of Urach. In: Black Forest - Baar - District Almanach. 21, 1997, pp. 39-42.
  • Dagmar Zimdars (arrangement): Georg Dehio - Handbook of German Art Monuments - Baden-Württemberg II. Deutscher Kunstverlag, Berlin 1997, ISBN 3-422-03030-1 , p. 797.

Web links

Commons : Parish Church of All Saints (Urach)  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Freiburg Diocesan Archives Volume 1, pp. 1–303, here p. 32.
  2. ↑ Vöhrenbach-Urach website
  3. ↑ Fauler 1996, pp. 83-84.
  4. ↑ St. Märgen parish (ed.): Matthias Faller - The Baroque sculptor from the Black Forest . For the exhibition "Matthias Faller - the Baroque sculptor from the Black Forest" May 17 - September 2, 2007 in the St. Märgen Monastery Museum, here p. 189. Kunstverlag Josef Fink, Lindenberg im Allgäu 2007, ISBN 978-3-89870-382 -6 .
  5. ↑ Fauler 1996, p. 89.
  6. ^ Brunner and von Reitzenstein 1985.
  7. ↑ Exterior of the church on the website "Wanderings Baden".
  8. ↑ a b Huber 1983.
  9. ↑ St. Wolfgang Schollach on the website of the pastoral care unit Friedenweiler-Eisenbach
  10. ↑ Fauler 1996, pp. 79-81.
  11. ^ Image of grace "Maria vom Trost" in St. Martin, Freiburg im Breisgau, on the website of the Archdiocese of Freiburg.
  12. ^ Hermann Brommer: St. Martin, the "second main church of the city" - a contribution to the history of building. Pp. 138-262, here pp. 165-167. In: Catholic Parish Office St. Martin Freiburg i. Br. (Ed.): St. Martin in Freiburg i. Br. Verlag Schnell and Steiner, Munich / Zurich 1985; Hermann Brommer: Freiburg i. Br. - St. Martin. 2nd Edition. Schnell and Steiner, Regensburg 1994.
  13. ↑ Fauler 1996, pp. 78-79.

Coordinates: 48 ° 0 ′ 20.1 ″  N , 8 ° 15 ′ 1.8 ″  E