Johann Christoph Feinlein

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JC Feinlein attributable carpentry work in the cartilage system , painted over from 1892

Johann Christoph Feinlein (* before 1620 in Waldshut ; † after 1685) was a southwest German governor , cabinet maker , engraver and architectural theorist .

life and work

family

Johann Christoph Feinlein came from Waldshut. He was matriculated on November 15, 1636 with the entry: "Ioannes Christopherus Feinlin Waldshuettensis Hercinius" at the University of Vienna . According to Schilling's "Todten-Gerist", Feinlein belonged to the nobility of Upper Austria and still studied law in Vienna in 1639. He also portrayed himself as a notable person . Therefore, in all likelihood, he was the son of the Klagenfurt governor of Hauenstein Johann Feinlin, even if there is no corresponding evidence in the baptismal register of the Waldshut parish. In addition, his carpenter's mark contains the three flowers of the coat of arms of the governor family on the last page of the column book. The coat of arms of the governor family Feinlein with the initials ICF can also be found on the epitaph of his wife Verena Buck from 1671. Johann Christoph Feinlein probably initially continued the official business of his father, who died on November 21, 1649, as a letter from the Archduke from March 1650 from Innsbruck to the Waldvogteiamtsverwalter Johann Feinlein has been received. Johann Christoph Feinlein was married to Verena Buck, who died on June 7, 1671, on February 9, 1658. Children from the marriage cannot be proven. In his second marriage, Johann Christoph Feinlein married Maria Cleophe Diebold on October 25, 1671, who died in 1687. From this marriage two daughters were born. The younger brother Marx Jakob Feinlein initially continued his father's civil servant career as governor of Hauenstein. After changing use, he can finally be proven as administrator of the Salem monastery. A family relationship can be assumed to the prior of the Molsheim Charterhouse, who died in 1679, since Johann Christoph Feinlein received repeated commissions in his sphere of activity from 1672 onwards.

The job change

Johann Christoph Feinlein learned not only to be a lawyer but also to be a carpenter. His hometown Waldshut was an important center of cabinet making and wooden instrument making from the 14th to the 18th century. Presumably Johann Christoph Feinlein was trained in the vicinity of the renowned Glöckler workshop. He signed the final sheet of the column book with "Johann Christoph Feinlein von Waltzhuedt an dem Rhein Strom, Dischlergesell". On the other hand, he was named Johann Christoph Feinlein, governor, in the 1670 purchase contract for the house "Holofernes" in Waldshut. The high altar of the Church of St. Pankratius in Eschbach is documented in the archives as Feinlein’s first independent commission. The client and founder was the brother Marx Jakob Feinlein. From 1658 to 1662 the choir stalls, a confessional and the side altars of St. Pankratius followed. The today so-called “Herrenstube” from 1659 in the Haus zum Wilden Mann in Waldshut, a representative reception room of the governor Johann Balthasar Staubhaars in the style of the late mannerism, is due to the Feinlein network and stylistic peculiarities at least in large part to Feinlein. Again documented, however, is the first external commission from the Benedictine Abbey of St. Blasien for the castle chapel of Gurtweil. Further orders from the monastery for its churches in Kirchdorf in Aargau and Dillendorf near Bonndorf followed in 1678 and 1680. Between 1672 and 1685, Johann Christoph Feinlein carried out large equipment projects in his Waldshut workshop in Lower Alsace and in Ortenau.

End of life

The circumstances of the end of life are not yet known. In Feinlein's hometown Waldshut there is neither a death entry nor an epitaph.

The logistics

In his Waldshut workshop, Johann Christoph Feinlein made a modular construction from local woods. The Koblenz boatmen's guild shipped the modules from the Waldshut Rhine port via intermediate ports to the order locations. The Molsheim high altar was transported via Strasbourg in 1672, from where the modules were transported to their destination on carts. The choir altar and the stalls for the Benedictine abbey church Ettenheimmünster were shipped from Waldshut to Kappel am Rhein in 1682, where they were transferred to carts. Feinlein and his journeymen, who were specially hired for the project, cooperated with other companies on site. The interior fittings of the parish church of Kirchdorf in Aargau were dispatched up the aare in 1678 .

The contracts

Johann Christoph Feinlein recently received high fees. He received a total fee of 2500 florins for the Molsheim order . In the accounting books of the Martinsfonds Gengenbach there are documents of the order from 1685. Matheis Köpfer von Bernau, Friedrich Bürglin von St. Trudpert and Josef Mayer von Rottweil were hired as journeymen. The decorative painter Johann Ulrich Müller from Freiburg, the sculptor Franz Kurtzberger from Baden-Baden and the wood turner Franz Emelin cooperated.

The ornamental stitch works

The master's mark Johann Christoph Feinleins on sheet 17 of the report on the five columns

Before 1677, Johann Christoph Feinlein wrote a template book of 12 pages and after 1677 five panels with variations on architectural theory, for which he made the copper panels that he designed and engraved himself. The book of columns itself, The five orders of architecture , or according to the former title, From a report of the five columns , only the frontispiece with the author's self-portrait has survived.

Art-historical classification

According to Auguste Racinet, Johann Christoph Feinlein's works in the carpenter's book, which still seem awkward from a technical point of view, show striking similarities with the master book of the Ulm cabinetmaker Hans Friedrichs Raidel from 1613. In 1959, Rudolf Zöllner pointed to the adoption of motifs from Lucas Kilian's New Shield Book . Feinlein is sure to succeed Hans Vredeman de Vries . Feinlein varies designs by Gabriel Krammer and Abraham Leuthner on the five pages of the column book.

In the art historical view of the 20th century, the Mannerism debate initiated by Gustav René Hocke did not begin to appreciate the mannerist cartilage, which was dismissed and ignored as an "ornamental epidemic" until the 1970s. Today the cartilage is recognized as an independent style of the high baroque, which replaced the scrollwork of the Renaissance and anticipates the later Rococo .

In fact, Feinlein was a sought-after and highly endowed altar builder and ebony artist in his day, who was entrusted with the major projects of the Benedictine abbey churches of Molsheim, Ettenheimmünster and Gengenbach between 1672 and 1685. Feinlein also understood technical and stylistic innovations, such as the Roman-style canopy altar with an early rotating tabernacle in Molsheim. Feinlein's altars were prized until the beginning of the 19th century and were carefully renewed or redesigned. Feinlein’s entire oeuvre suffered great and irreplaceable losses between 1874 and 1962. Lukas Engesser, a diocese cultivator from Freiburg who hates baroque forms and has a neo-Gothic approach, is responsible for several measures to remove the baroque style with a complete loss of substance. Engesser accused Feinleins high altar from Ettenheimmünster, which had meanwhile been set up in Mahlberg, of "belonging to the most tasteless direction of the Roccoco style" and ordered the removal against the vote of the community. In 1962, the Feinleins choir stalls from Ettenheimmünster in Münchweier and the complete choir stalls in Kirchdorf (Aargau) were removed and completely or, in Switzerland, largely destroyed. The furnishings of St. Pankratius in Eschbach and the Gottesackerkapelle in Waldshut, which were largely in their original state, were changed in 1942 and 1953 through new versions and modifications.

An assessment of the still extensive complete works, which can be proven in the national territories of Switzerland, Germany and France from Baden im Aaargau to Strasbourg, has so far not been carried out. The proven connoisseur of South German Baroque architecture, Hermann Brommer , who dealt with Feinlein’s Molsheim high altar in 1990, first pointed out the great importance Feinlein’s had for the joinery in south-west Germany.

Works

JC Feinleins Altar of the Gurtweil Castle Chapel, 1664
JC Feinleins Benedict Altar from 1682 from Ettenheimmünster, in the new version by Hans Michel Winterhalder 1736

Carpentry work

  • High altar of St. Pankratius , Waldshut district of Eschbach , 1657.
  • Choir stalls and confessional from St. Pankratius , Waldshut district of Eschbach, 1658, not preserved.
  • Festival hall of the governor Johann Balthasar Straubhaar , Haus zum Wilden Mann, Waldshut, 1659.
  • High altar and cabinet door of the castle chapel , Gurtweil , 1662.
  • Side altars of St. Pankratius in Eschbach , removed, today's installation in the Catholic Church in Indlekofen , 1664.
  • Sebastian Altar in the Laufenburg City Church, 1671.
  • Katharinen Altar in the Laufenburg City Church, 1672.
  • High altar of the Carthusian monastery in Molsheim , largely destroyed, 1672. The altar was brought to Obernai in 1793 and, after being dismantled in 1865, is now in the town hall and in the "Musée historique de la ville Obernai" which has been repealed.
  • Altars, head stalls and pulpit of the Catholic Church of Kirchdorf (Obersiggenthal) , 1678, (two fragments of the stalls were brought to Lenzburg Castle after the renovation in 1962 , only the pulpit is preserved at the place of installation, the high altar was completely reworked with stucco marble in 1835) .
  • Doors, stalls, pulpit and altars of the "Sankt-Bläsmischen-Pfarrey Our Dear Women in Dillendorf" in Dillendorf , 1680, replaced in the 18th century
  • Choir altar, side altars and choir stalls of the Benedictine abbey church of Ettenheimmünster, 1682, today's installation of the 1736 revised side altars in the parish churches of Gütenbach and Grimmelshofen .
  • Two side altars in the Kastellberg Chapel (Bergle Chapel / Jakobskapelle) in Gengenbach , 1682, carpentry work
  • Pulpit and high altar of the town church St. Mertin in Gengenbach 1685, already lost in 1689.

Graphic work

  • Ornaments in cartilage for carpenters / by Iohann Christoph Feinlein von Waltzhuedt at the Rhein Strom Dischlergesell. inventoried and engraved in copper. 12 sheets, before 1677, copies verifiable. Werner Oechslin Library, Einsiedeln, call number: K21d; t.E0 / 18; 2746.
  • Book of columns after 1677, ornament engraving collection of the State Art Library, Berlin, call number catalog no. OS 1174 (supposed replacement for the war loss of the carpenter's book), pp. 14-17.
  • Frontispiece with a self-portrait after 1677, Wolfenbüttel, Herzog August Bibliothek, inventory no. A 6382.

Working in stone

  • Epitaph of Anna Catharina Schmid von Relliken from the parish church of Hohentengen, 1661
  • Epitaph of Verena Buck, wife of the honorable master Johann Christioph Feinlein , formerly Gottesackerkapelle Waldshut, today attached to the cemetery wall
  • Holy grave in the Gottesackerkapelle Waldshut

Attributions

  • Altar of the St. Martin's Chapel Brunnadern, around 1660 waldkirch-1150.grafschaft-hauenstein.de , based on an attribution by the Waldshut local researcher Konrad Sutter from 1990. The altar of the Virgin Mary in the St. Martin's Chapel , dated 1779, is earlier used in the Waldshut hospital band, which was closed in 1830.
  • Secunda altar in the town church of Laufenburg, 1666.
  • Marien-Altar of the town church Klingnau, 1660s, 1970 transferred to the Loreto chapel on the Achenberg.
  • Interior of the Loreto Chapel in Bernau / Leibstadt, 1673.
  • Pulpit of the Gottesackerkapelle , old Waldshut cemetery , 1683. Very likely, Feinlein also made the altars.
  • Altar of Mary in the Chapel of Our Lady in the former Jesuit church in Molsheim, donated by the titular bishop of Tripoli, Gabriel Haug, 1686.
  • Pulpit and balcony boxes of the Propsteikirche in Wislikofen, before 1692

literature

  • Hermann Brommer : The baroque altars of the Charterhouse of Molsheim. First part: The high altar of the master Feinlein. In: Annuaire de la Société d'histoire et d'archéologie de Molsheim et environs. 1990, pp. 75-80.
  • Jochen Früh: Johann Christoph Feinlein from Waltzhuet to RheinStrom, Dischlergesell. Catalog for the exhibition from July 4 to November 29, 2015. Self-published by the Stoll VITA Foundation , Waldshut 2015, OCLC 927830085 .
  • Heinz Halbgewachs: The southwest German cupboard of the 16th and 17th centuries. Palatinate Society for the Advancement of Science, 1936, p. 57.
  • Georg Kaspar Nagler : New general artist lexicon. Volume 4, Munich, Fleischmann 1837, p. 466.
  • Dieter Weis: monastery church Ettenheimmünster. Schwarzwaldverlag, Reiff, Offenburg 1999, ISBN 3-922663-59-1 , p. 70ff. (a documentation of the whereabouts of the church furnishings of the Benedictine abbey church, but without reference to the authorship of Feinlein archived by Hermann Brommer)
  • Hans Jakob Wörner : The Gottesackerkapelle in Waldshut. In: Heimat on the Upper Rhine. (= Series of publications of the district of Waldshut. Volume 1). 1963/64, p. 77ff. (with an illustration, but without reference to Feinlein)
  • Rudolf Zöllner: German columns, ornaments and shield books 1610 to 1680 - a contribution to the history of the development of the cartilage style. Inaugural dissertation . Kiel 1959.

Web links

Commons : Johann Christoph Feinlein  - Collection of images, videos and audio files
Commons : Johann Christoph Feinlein Schreinerbuch  - Album with pictures, videos and audio files

Individual evidence

  1. ↑ Franz Gall, Hermione Paul Hart: The matriculation at the University of Vienna. IV. Volume, Hermann Böhlaus successor, Vienna / Cologne / Graz 1974, p. 152.
  2. ^ Journal for the history of the Upper Rhine. Volume 107, Grand Ducal General State Archive in Karlsruhe, Baden Historical Commission, Upper Rhine Historical Commission, Baden General State Archive, Commission for Historical Regional Studies in Baden-Württemberg, G. Braun, 1959, p. 176.
  3. ^ Georg Kaspar Nagler: New general artist lexicon. Volume 4, Munich, Fleischmann, 1837, p. 466.
  4. ↑ Lucien Monod: Aide-mémoire de l'amateur et du professionnel. Volume 1, Edition Albert Morancé, Paris 1920, p. 167.
  5. ↑ Peter Jessen: The ornament stitch. Verlag für Kunstwissenschaft, 1920, p. 137.
  6. ^ Dieter Weis: Monastery church Ettenheimmünster. Schwarzwaldverlag Reiff, Offenburg 1999, pp. 96–99.
  7. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire et d'Archéologie de Molsheim et Environs, 1990, p. 78.
  8. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire et d'Archéologie de Molsheim et Environs, 1990, p. 78.
  9. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire et d'Archéologie de Molsheim et Environs, 1990, p. 78.
  10. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire et d'Archéologie de Molsheim et Environs, 1990, p. 78.
  11. ^ Journal for the history of the Upper Rhine. Volume 4, p. 149.
  12. ↑ Stephanie Zumbrink: Matthias Faller: the baroque sculptor from the Black Forest. Kloster Museum St. Märgen, Kunstverlag Fink, 2007, p. 171.
  13. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire etd'Archéologie de Molsheim et Environs, 1990, p. 80.
  14. ↑ Peter Hoegger: The art monuments of the canton Aargau: The rural communities of the Limmattal, the Surbtal, the Aaretal and the lower Reuss valley as well as the monastery Fahr. The Baden District II. Wiese Verlag, 1995, p. 96.
  15. ↑ General State Archives Karlsruhe, files 229/19086 Dillendorf
  16. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire etd'Archéologie de Molsheim et Environs, 1990, p. 79.
  17. ^ Dieter Weis: Monastery church Ettenheimmünster. Schwarzwaldverlag Reiff, Offenburg 1999, pp. 96–99.
  18. ^ Journal for the history of the Upper Rhine. 1893, p. 665. - Cf. Chronicle of Gengenbach Monastery. Manuscript in the Generallandesarchiv Karlsruhe, No. 65/229, p. 310.
  19. ↑ Peter Hoegger: The art monuments of the canton Aargau: The rural communities of the Limmattal, the Surbtal, the Aaretal and the lower Reuss valley as well as the monastery Fahr . The Baden District II. Wiese Verlag, 1995, p. 109, note 42.
  20. ^ Hermann Brommer: The baroque altars of the Charterhouse of Molsheim. In: Annuaire 1990. Société d'Histoire etd'Archéologie de Molsheim et Environs, 1990, p. 78.
  21. ↑ Peter Hoegger: The art monuments of the canton Aargau: The rural communities of the Limmattal, the Surbtal, the Aaretal and the lower Reuss valley as well as the monastery Fahr. The Baden District II. Wiese Verlag, 1995, p. 109, note 42.
personal data
SURNAME Feinlein, Johann Christoph
ALTERNATIVE NAMES Feinlin, Johann Christoph
BRIEF DESCRIPTION German governor, cabinet maker, engraver and architectural theorist
DATE OF BIRTH 17th century
PLACE OF BIRTH Waldshut
DATE OF DEATH after 1670