St. Peter and Paul (Wittelbach)

The church of St. Peter and Paul in Wittelbach , a district of Seelbach in the Schuttertal ( Ortenaukreis ), is one of the last choir tower churches that were once typical for the Ortenau . The original Romanesque church was consecrated in 1132. The early Gothic tower dates from the 13th century. During the interior renovation in 1974, frescoes from around 1420 were discovered and uncovered in the choir room .

The church of Wittelbach 2007, in the year of the 875th anniversary of the consecration

Prehistory and consecration of the church

Wittelbach as part of the diocese of Strasbourg and the rule of Ettenheimmünster

The history of the Wittelbacher church goes back to the time of the Christianization of the Ortenau. The starting point and center of Christianity on the Upper Rhine was Strasbourg , the Roman Argentoratum ("Silver City"), which was built in 12 BC. It was founded as a Roman army camp and was the location of several legions , with a fortress measuring 500 × 400 m.

An early Christian community with a bishop already existed in Strasbourg in the 4th century. A Strasbourg bishop named Amandus is mentioned for the first time as a participant in the Synod of Sardica (343). The oldest church, St. Peter, stood outside the walls of the camp.

When the Romans withdrew, Strasbourg was conquered by the Alemanni in 406 , but not destroyed. After the victory of the Franks under King Clovis I over the Alemanni in the Battle of Zülpich (496), the Franks occupied Strasbourg and built a St. Martin's Church in front of the fort.

In the 7th century, Saint Arbogast, from the Franconian family, was Bishop of Strasbourg (approx. 670 to 678). He built the first Strasbourg cathedral, a Marienkirche, in the former fort, where the cathedral now stands. Arbogast tried hard to proselytize. The saint is the main patron saint of the diocese of Strasbourg (festival: July 21).

Later on, many lands to the left and right of the Upper Rhine, almost all of Lower Alsace and a large part of Central Baden belonged to the secular property of the diocese of Strasbourg. It reached in the south to the Bleich, in the north to the Oos and in the east to Büchereck , Brandenkopf and Kniebis .

The rule of Ettenheimmünster was also Strasbourg , named after the "Monasterium Ettonis" ( monastery of Etto) founded by Bishop Etto of Strasbourg, whose possessions from 1363 to 1803 also included Wittelbach. That is why the history of the church and the village of Wittelbach is closely linked to Ettenheimmünster and Strasbourg.

Before Wittelbach belonged to the territory of the Ettenheimmünster Monastery, the St. Trudpert Monastery had ownership rights here. In a papal bull from 1144, Pope Lucius II (1144–1145) confirmed the rights and possessions of the St. Trudpert monastery to Abbot Eberhard von St. Trudpert, including those in "Wittilunbach". Also this monastery, although in the diocese of Constance area, was closely linked to Strasbourg because Bishop Erkanbald of Strasbourg (965-991), the monastery after a fire around the year 975 again had to build, St. Trudpert therefore be "proprietary monastery" was and he thus had the patronage over the monastery, which his successors also claimed.

In addition to their religious mission of proselytizing, the monasteries also fulfilled political, economic and cultural tasks. They were both ecclesiastical centers as well as administrative centers and at the same time foster homes for Western culture.
And since from the 7th to the 9th century there were as many monasteries in no other region on the Upper Rhine as in Ortenau, their work in this area was particularly beneficial. The monastery was organized here by Pirmin , the founder of the famous Reichenau monastery . Because of his enormous organizational achievement, he is considered the father of Benedictine monasticism on the Upper Rhine.

The prehistory of the monasteries Ettenheimmünster and St. Trudpert is shown in the legendary life stories of the saints Landelin and Trudpert .

The Ettenheimmünster monastery orders the construction of the Wittelbach church

Bishop Etto, who gave his name to the Benedictine monastery Ettenheimmünster, was bishop of Strasbourg from 734. Before that, as abbot and successor of St. Pirmin heads the Reichenau Monastery.

The main tasks of the monks of Ettenheimmünster included the development, missionary work and church support of the Münstertal and the rear Schuttertal. The Benedictines cleared the jungle, converted the last pagans and built monastery courtyards. They built churches and chapels for the farmers at suitable points, such as the little church of St. Roman in Schweighausen at the foot of the Hünersedel , a church in honor of John the Baptist in Dörlinbach and, even further down the valley, the little church in Wittelbach.

The fact that the St. Trudpert monastery was also involved in the construction of the Wittelbach church can be assumed because of its ownership rights.

The consecration of the Wittelbach church by Bishop Ulrich von Konstanz

The following entry can be found in a copy book of the Ettenheimmünster monastery from 1584:

Copy book from 1584

TITULI CONSECRATORUM ALTARIUM Anno MCXXXII. imperante Wernhero Abbate, dedicatae sunt Ecclesiae, a venerabili Udalrico Constantiensis Ecclesiae Episcopo, in honore S [anctae] Individuae Trinitatis. Witilinbach, quidem et Derlinbach una die, hoc e [st] VII. Idus Iulii [...].	ANNOUNCEMENTS OF ALTAR CONSECRATIONS In 1132, on behalf of Abbot Werner, the venerable Ulrich, Bishop of the Diocese of Constance, consecrated the churches in Wittelbach and Dörlinbach on one day in honor of the Holy Undivided Trinity, on July 9th [.. .].

As the source goes on to say, the same bishop consecrated “the Chapel of St. Cyriak in the tower of St. Peter "in Ettenheimmünster and on July 11, 1132" the church in honor of St. Martyr Romanus in Schweighausen ”.

The aged bishop Ulrich II of Constance , who ruled from 1127 to 1138, stayed with "his brother" Werner, the abbot of the Ettenheimmünster monastery (from 1124 to 1141). Before his election as abbot , he had lived as a monk in St. Blasien , where he retired after a 17-year term in Ettenheimmünster and where he died. Bishop Ulrich also seems to have been a monk in St. Blasien. Abbot Werner was therefore probably not a biological brother, but a confrater from the same order and monastery.

But it remains a strange fact that the Wittelbach church was not consecrated by the responsible Strasbourg diocesan bishop, but by Bishop Ulrich von Konstanz. In 1132 he consecrated a number of churches outside his diocese , in 1134 even a church in Schellbronn near Pforzheim , which at that time belonged to the diocese of Speyer .

The church patron

The first Christian churches were built over martyrs' graves. From this the custom developed to keep relics in the altar, to name the church after saints and to place them under their protection. Since some church patrons were particularly popular at certain times, one can often deduce the age of the churches from the patron. Peters , Michaels and Martin churches are mostly very old .

Many Peterskirchen owe their patron to the Cluniac or Hirsau reform movement. By Peter - Patrozinium the close relationship has been demonstrated with Rome.

The Wittelbach church was probably consecrated to St. Peter as early as 1132. The phrase "in honor of the holy undivided Trinity ", which appears similarly in the consecration certificates of the churches of Burgheim and Münchweier , says nothing about the church patron. The high altar pictures from 1655, however, show Peter together with the Holy Trinity.

In the church inspection notice of the Ettenheim district from 1619 it says: “Wittelbach is a branch of the mother church in Schweighausen. Heavenly patron is St. Prince of the apostles Peter, collator and tithe lord is the abbot of Ettenheimmünster. ” So
Paul did not join the church until after 1619.

The big bell from 1681 carried a picture of Peter and Paul. The bell from 1761 is also consecrated according to the inscription to Peter and Paul. A large and a small red Peter and Paul flag are carried during the patronage procession on June 29th .

The location of the church

The site of the church was obviously chosen very carefully at the time. It stands on the eastern side of the valley, about 100 m away from the Dorfbach and about 250 m from the Schutter on a lower terrace of the Schutter covered with Ice Age loess and alluvial loess (loess loam). H. on a natural elevation that is broken through by the Schuttertalstrasse. The upper edge of the door sill of the west portal is 226.82 m above sea level. NN and thus 2 m higher than the road and 6 m higher than the "Kirchmatt" and the Schutterniederung (valley floodplain), which used to be flood-prone and often swampy. The fine sandy loess loam forms a solid and dry subsoil. Since the lime originally contained in it was washed out, the soil is lime-free down to a depth of 1.50 m.

Many old churches are reasonably elevated, sometimes on so-called church mountains, and can be reached via stairs.

Building history of the church

The Romanesque church from 1132 to around 1250

Reconstruction of the church from 1132

The Romanesque church from 1132 consisted of an almost 10 m long and 7.50 m wide nave with an entrance in the west and a three-step higher 3.40 × 4.20 m chancel ( choir ).

The Romanesque choir or triumphal arch , which has been preserved to this day, arched between the nave and the choir and can be interpreted as a symbol of the heavenly vault , the entrance to heaven or as a city gate to the heavenly Jerusalem . The fighting stones of the non-profiled arch are very ancient and not designed symmetrically .

Lintel from 1132

reliquary

Romanesque arched portal with hemispherical decorations (west entrance)

Silver pennies

Coin jar

Only the lintel of the former west portal from 1132 has been preserved. Three old symbols are carved into the red sandstone: on the left a Latin cross with a vertical bar drawn through it, in the middle a tree with seven branches that bear flowers and fruits ("arbor vitae", the tree of life of paradise ), on the right a rosette in Shape of an eight-petalled "flower star" as a sun symbol (sun disk or sun wheel).

The one Romanesque window on the west gable may also come from the time the church was built. The large arched windows in the nave and choir were not installed until the Baroque period.

The old ship had only two or three small, bricked Romanesque arched windows on each long side , probably without sandstone walls, with funnel-shaped reveals so that they let in more light. Perhaps the north side was also windowless, as in Burgheim. The small windows were probably not even glazed originally.

The altar tables from before 1974 also seem to have been very old. In 1974 a clay reliquary pot (7 cm high, 4 cm wide) was found under the masonry main altar, which until then had been raised and was closer to the east wall of the choir , which contained some remains of bones and material as relics.

In addition, a clay vessel with a lid (coin treasure pot) was dug out directly behind the altar, in which there were still three coins, Strasbourg silver pennies from around 1300–1400. Apparently the vessel had been discovered and looted before.

In the first half of the 13th century or when the tower was built (around 1250), the arched portals were attached to the west and south walls of the choir. The bevels of the sandstone walls and arches are studded with hemispheres. This form of ornament is typical of late Romanesque church construction in the Upper Rhine region.

The old Romanesque lintel of the west portal should have been built in over the new entrance on the south side at that time, with a new tympanum and new door posts.

The church in Gothic times (approx. 1250 to 1420)

Reconstruction of the church around 1250

In the early Gothic period, soon after 1250, the church received the 18 m high, three-storey tower built directly above the chancel ("turris choro superaedificata") and thus became a choir tower church typical for the diocese of Strasbourg (models: the church of Burgheim and the former Romanesque cathedral in Strasbourg).

The tower and nave got Gothic windows. The pointed arch double windows on the upper floor of the tower are particularly beautiful (see windows of the Lahrer Tiefburg ).

The chancel is spanned by a ribbed vault with masked consoles .

The holy water font in the back of the nave, the octagonal baptismal font , which was walled in at the west entrance until 1974, and the stone crosses on the tower gable are also Gothic . A Gothic smoke barrel has also been preserved.

The frescoes from around 1420 were discovered under the whitewash during the interior renovation in 1974 and exposed by restorer Alfred Panowsky, Gernsbach. The story of Christ's passion is shown , above it angels , on the ceiling the symbols of the 4 evangelists .

The church burned down at least three times during the Peasants 'War and the Thirty Years' War .

Changes in the Baroque and Rococo Periods (1655 to 1767)

Picture wall of the high altar, today on the north wall of the ship

Reconstruction of the church after 1655

Shortly after the Thirty Years' War the church was redesigned in Baroque style by Abbot Franz Hertenstein von Ettenheimmünster .

Large baroque windows replaced the Gothic windows in the nave and choir.

Abbot Hertenstein had the high altar made in 1655 , the restored picture wall ( retable ) of which now hangs on the north wall of the nave.

Various original parts of the side altar built in the same style have been lost. In 1974 only a few remains were found in the church granary. Restorer Panowsky has reconstructed and restored the current side altar. The base of the altarpiece comes from the main altar and has been shortened in width and depth.

The main picture of the high altar from 1655 shows St. Peter sitting on the cathedra , in papal regalia with tiara and papal cross as well as gold and silver key (as a sign of the power to bind and to redeem according to Mt 16,19 EU ). Christ is depicted in the upper left above a light cloud , his hand raised in blessing. The church stands on a rock at the feet of Peter (cf. Mt 16:18 EU ). Above it you can see the coat of arms of Abbot Franz Hertenstein von Ettenheimmünster (with abbot's staff , miter , his initials F [ranciscus] A [bbas] and the monastery church he built). In the upper picture of the main altar, God the Father can be seen above the clouds in the sky, surrounded by colored light, the globe in his hand. Below is the Holy Spirit in the form of a dove .

The image of the Virgin Mary on the side altar is a copy of the famous miraculous image of Mariahilf by Lucas Cranach the Elder. Ä. , the smaller picture of the side altar shows the martyrdom of St. Sebastian , who was venerated in the Middle Ages as a "plague saint, ie as a patron against the plague .

In the Rococo period , the church received a pulpit (the year 1767 on the staircase), the main altar a tabernacle and a new antependium (Mary with child between rose tendrils, today hung above the gallery staircase ). The sacristy was added, the east window walled up behind the altar.

Church around 1930 until the major renovation in 1952

Later alterations, renovations and events

1872 and 1907/08: Cracks in the tower (a consequence of the large baroque windows) made it necessary to build the retaining walls.

1932: 800th anniversary celebration.

1950: consecration of the bell

Since then, the ringing has consisted of three bells : a c "bell (4.5 ct. ) From 1681, cast in 1950, an es" bell (2.5 ct.), Cast in 1950 and a ges "bell (1, 5 ct.) From 1761.

1952: Extension of the church

Because the church had become too small for the number of church visitors, the ship was torn down in 1952 and lengthened by 3.60 m.

A further baroque window was used on the north and south sides. The church got a new roof, a new wooden ceiling, a new gallery and new benches. Protective roofs were installed over all three entrances. The clock face of the tower clock was given its current location.

1974–76: interior renovation

Choir with frescoes from around 1420

During the restoration of the Wittelbach church between 1974 and 1976, attempts were made to restore the original shape of the interior of the church, especially the choir, with the following construction measures, innovations, changes and acquisitions:

In the choir, the frescoes from around 1420 were exposed, the Gothic windows restored and sandstone slabs laid. The picture wall of the old Baroque main altar was attached to the north wall of the nave and the altar was oriented towards the people as a table altar. A new free-standing tabernacle made of sandstone with a cube-shaped housing made of gold-colored, highly polished brass came into the chancel. The Gothic font was moved from the west entrance to the front left corner of the choir. The side altar was supplemented and rebuilt, the top step of the pulpit was removed, the pulpit was moved and the old processional cross was attached behind the pulpit. Spotlights were installed in the choir, a chandelier in the nave , and a wrought iron chandelier in front of the altar .

1982: 850th anniversary.

The newly designed eternal light has been standing on a stone console above the tabernacle on the right since 1982.

1988: exterior renovation

The tiles on all roofs were renewed, as were the gutters on the ship, the eaves , the sound shutters of the tower, the clock faces of the tower clock, the lightning protection . The gutters and downpipes on the tower were removed for aesthetic reasons. The tower was z. T. newly plastered. The whole church was painted white.

A second Gothic stone cross by the sculptor Michael Fischer, Freiburg, was placed on the east gable of the tower; the old one on the west gable was renewed. The wrought iron lily cross on the west gable of the ship from 1908 could not be restored either. The new version was designed by Leo Albert and executed by master blacksmith Claus Wagner.

Drainage and paving work was carried out around the church.

Interior view of the church during the 875th anniversary in 2007

2002: exterior renovation

Due to the persistent weather-related facade damage to the tower, the plaster of the tower was completely removed and renewed; in addition, gutters (with gargoyles ) on the tower roof were again installed to protect the facade, new sandstone cornices on the protruding walls of the tower and above the portal on the choir. On the south side a protective roof was again attached as before 1974.

The whole church was painted ocher, which is adapted to the type of building and is not as sensitive to dirt.

2006: interior renovation

The walls in the nave were repainted in light beige, triumphal arch, door and window frames, the substructure of the pulpit stairs and the side altar sandstone-colored in a square look. The wooden ceiling and pews have been renovated.

2007: 875th anniversary.

Remarks

↑ Generallandesarchiv (GLA) Karlsruhe, 67/597.

↑ The correct translation of "imperante" is not "on request", but "on behalf". The bishop of Strasbourg was actually responsible for the consecration. The abbot of Ettenheimmünster had the privilege of being able to commission the bishop of another diocese to do so (see note 3).

↑ Originally, d. H. at the time of the Merovingian imperial church (in the 6th century), no bishop outside his diocese was allowed to consecrate churches. With the establishment of the Luxeuil monastery (Haute Saône) by the Irish Columban , the diocesan requirement was lifted. The privileges and freedoms for the Luxeuil Monastery became the model and model for the later Irish monasteries. Bishop Widegern of Strasbourg, who founded the “cella monachorum” (Münchweier), confirmed the right of Murbach Monastery in Alsace in 728 to entrust another bishop with episcopal tasks (“actus pontificales”). The Arnulfsau monastery ( Schwarzach ) received the same privilege from Bishop Etto. One can therefore assume that Bishop Etto also endowed his monastery in Ettenheimmünster with such a privilege when it was founded.
All Cluniac (Hirsauer) reform monasteries in the 10th and 11th centuries claimed u. a. the exemption ( exemption ) of the monasteries from the dependency of the diocesan bishop who is initially responsible for them and his jurisdiction .

↑ This also has a symbolic meaning: As the house of God, the church is the sublime sanctuary of the Most High, the castle of God, the “city on the mountain” ( Mt 5:14 EU ), to which one ascends like the Temple Mount in Jerusalem.

↑ The signs on the lintel want to say in connection with the door symbolism that the Christian will enter through suffering and the cross to the glory of eternal life in heavenly paradise, where the sun of salvation never sets. But they probably also had an apotropaic function.

↑ Both finds, the reliquary pot and the coin jar, are kept at the preservation office of the regional council in Freiburg.

↑ According to the medieval view, the arched portals are city symbols with eschatological meaning, images of the entrance gate to the heavenly Jerusalem, to the new paradise ("porta coeli", heavenly door). The church portal is understood as the door of Christ: “I am the door; whoever enters through me will be saved ”( Jn 10.9 EU ). Christ is often depicted in the arched field.
The hemispheres symbolize the stars in the heavens ( firmament ); they are also symbols of the beauty of the new world (flowers of paradise), symbols of Christ and Mary (cf. the starry mantle of the Queen of Heaven, Mary according to Rev 12.1 EU ). Hemispheres mixed with flowers can be found on many arched portals, e.g. B. at the south portal of the Freiburg Minster . The stars of the cosmos are understood in the Middle Ages as wonderful flowers (cf. asters , "star flowers") on the sky. They symbolically point to the vocation of all people to salvation, because God said to Abraham: “Look up to heaven and count the stars, if you can count them. ... Your descendants will be so numerous ”( Gen 15.5 EU ).

↑ The three-tier tower was built in honor of the Triune God. The symbolism of the three as a divine number can also be found elsewhere in the Wittelbach church: The church consists of three building parts (nave, tower, sacristy ), has three entrances (with three characters above the lintel of the original west portal), and three windows each East, north and west sides of the tower, three on the west gable and three each on the north and south sides of the nave. Three windows illuminate the choir and the sacristy. The double lancet windows have three openings, as do the stone crosses on the tower. Three steps lead up to the chancel, three candles are burning on the altar candlestick . The tower is supported by three retaining walls, there are three crosses on the gables , and the ringing consists of three bells .

↑ According to studies by Wolfgang Müller ( → lit. , cf. Coenen, U .: Von des Chores Maß und Gerechtigkeit . In: Die Ortenau 79 (1999), p. 383) there were 84 choir tower churches in the Ortenau out of 109 churches with a brick tower . The choir tower was also very common in Alsace, as far as it belonged to the diocese of Strasbourg. This leads to the conclusion that within the diocese of Strasbourg, the same building habits prevailed on both the left and right of the Rhine. Unfortunately, most of the choir tower churches have disappeared since the 18th century, as new buildings replaced the old churches. The most beautiful examples of choir tower churches in Ortenau are, besides the church of Wittelbach, the churches in Burgheim , Altfreistett and Hausgereut near Rheinbischofsheim

↑ The tabernacle was made by Sepp Jakob , the former foreman of the Freiburg Münsterbauhütte (June 1976). The tabernacle housing was initially made of plexiglass. But because the goblet was always visible, as if the Holy of Holies were permanently exposed, the solution at the Archbishop's Ordinariate in Freiburg , especially Vicar General Dr. Bechtold, displeasure. He pointed out that a clear tabernacle was not allowed under canon law.
After years of unsuccessful efforts, with the help of the Archbishop's Ordinariate, the art fitter Peter Zimmermann from Teningen was able to be won over to make a new brass tabernacle case based on a model by Leo Albert. This tabernacle was erected on October 20, 1989. The square front can be opened as a double-leaf door.

Sources and further reading

Archives:

General State Archives Karlsruhe : Documents from the Ettenheimmünster Monastery (compiled by Dr. H. Schadek); Documents from the Benedictine monastery of St. Trudpert.
Diocesan Archives Freiburg: Kirchenbau Wittelbach (1872–1942).
Parish archive Seelbach: Wittelbach branch.

Literature:

Heizmann, L .: The Benedictine monastery Ettenheimmünster . Lahr 1932.
Mayer, Th. (Ed.): Contributions to the history of the St. Trudpert Monastery . Freiburg 1937.
Leonards, L .: Early village churches in the Alemannic Upper Rhine area to the right of the Rhine . Dissertation Karlsruhe 1958.
Müller, W .: The Ortenau as a choir tower landscape - a contribution to the history of the older village churches . Buhl 1965.
Panther, A .: Building history of the Church of St. Peter and Paul zu Wittelbach . In: Geroldsecker Land , 19 (1977), pp. 118-125.
Panther, A .: Church leader Seelbach-Wittelbach . 1982, pp. 17-31.
Kewitz, H .: Wittelbach until 1803 . In: Seelbach im Schuttertal (1979), pp. 303-306.
List, K .: On the building history of the church in Wittelbach . In: Seelbach im Schuttertal (1979), pp. 311-316.
Coenen, U .: About the choir's measure and justice . In: Die Ortenau 79 (1999), pp. 373-411, especially pp. 382-384.
Catholic parish of Seelbach-Wittelbach (ed.): 250 years of the parish church of St. Nikolaus Seelbach (1999).
Albert, M .: The Church of St. Peter and Paul in Wittelbach. Building and art history documentation. Seelbach 2014.

Reference books:

Lexicon for Theology and Church ( LThK ), 11 volumes, 2nd edition (1957–1968), 3rd edition (1993–2001).
Biographical-Bibliographical Church Lexicon ( BBKL ( Memento of June 18, 2007 in the Internet Archive )), 27 volumes (1990–2007).
Ecumenical Lexicon of Saints ( ÖHL )
New Bels style history: architecture, sculpture, painting . Volumes I-VI, Stuttgart; Zurich (1985–1990).
Manfred Lurker (Ed.): Dictionary of Symbolism (= Kröner's pocket edition . Volume 464). 3. Edition. Kröner, Stuttgart 1985, ISBN 3-520-46403-9 .

Web links

Commons : Saints Peter and Paul - collection of images, videos and audio files

48.29228 7.950583 227Coordinates: 48 ° 17 ′ 32.2 " N , 7 ° 57 ′ 2.1" E

[1] Generallandesarchiv (GLA) Karlsruhe, 67/597.

[2] The correct translation of "imperante" is not "on request", but "on behalf". The bishop of Strasbourg was actually responsible for the consecration. The abbot of Ettenheimmünster had the privilege of being able to commission the bishop of another diocese to do so (see note 3).

[3] Originally, d. H. at the time of the Merovingian imperial church (in the 6th century), no bishop outside his diocese was allowed to consecrate churches. With the establishment of the Luxeuil monastery (Haute Saône) by the Irish Columban , the diocesan requirement was lifted. The privileges and freedoms for the Luxeuil Monastery became the model and model for the later Irish monasteries. Bishop Widegern of Strasbourg, who founded the “cella monachorum” (Münchweier), confirmed the right of Murbach Monastery in Alsace in 728 to entrust another bishop with episcopal tasks (“actus pontificales”). The Arnulfsau monastery ( Schwarzach ) received the same privilege from Bishop Etto. One can therefore assume that Bishop Etto also endowed his monastery in Ettenheimmünster with such a privilege when it was founded.
All Cluniac (Hirsauer) reform monasteries in the 10th and 11th centuries claimed u. a. the exemption ( exemption ) of the monasteries from the dependency of the diocesan bishop who is initially responsible for them and his jurisdiction .

[4] This also has a symbolic meaning: As the house of God, the church is the sublime sanctuary of the Most High, the castle of God, the “city on the mountain” ( Mt 5:14 EU ), to which one ascends like the Temple Mount in Jerusalem.

[5] The signs on the lintel want to say in connection with the door symbolism that the Christian will enter through suffering and the cross to the glory of eternal life in heavenly paradise, where the sun of salvation never sets. But they probably also had an apotropaic function.

[6] Both finds, the reliquary pot and the coin jar, are kept at the preservation office of the regional council in Freiburg.

[7] According to the medieval view, the arched portals are city symbols with eschatological meaning, images of the entrance gate to the heavenly Jerusalem, to the new paradise ("porta coeli", heavenly door). The church portal is understood as the door of Christ: “I am the door; whoever enters through me will be saved ”( Jn 10.9 EU ). Christ is often depicted in the arched field.
The hemispheres symbolize the stars in the heavens ( firmament ); they are also symbols of the beauty of the new world (flowers of paradise), symbols of Christ and Mary (cf. the starry mantle of the Queen of Heaven, Mary according to Rev 12.1 EU ). Hemispheres mixed with flowers can be found on many arched portals, e.g. B. at the south portal of the Freiburg Minster . The stars of the cosmos are understood in the Middle Ages as wonderful flowers (cf. asters , "star flowers") on the sky. They symbolically point to the vocation of all people to salvation, because God said to Abraham: “Look up to heaven and count the stars, if you can count them. ... Your descendants will be so numerous ”( Gen 15.5 EU ).

[8] The three-tier tower was built in honor of the Triune God. The symbolism of the three as a divine number can also be found elsewhere in the Wittelbach church: The church consists of three building parts (nave, tower, sacristy ), has three entrances (with three characters above the lintel of the original west portal), and three windows each East, north and west sides of the tower, three on the west gable and three each on the north and south sides of the nave. Three windows illuminate the choir and the sacristy. The double lancet windows have three openings, as do the stone crosses on the tower. Three steps lead up to the chancel, three candles are burning on the altar candlestick . The tower is supported by three retaining walls, there are three crosses on the gables , and the ringing consists of three bells .