Kreuzganglettner in St. Maria (Buxheim)
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The Kreuzganglettner in the former Carthusian Church of St. Maria in the Upper Swabian town of Buxheim near Memmingen is a building that separates the priest and brother choir. The cloister of the monastery runs through it . In the brother choir it is open and has three yokes, in the priest choir it is closed. At a height of about four meters, the cloister is open to the rood screen. There are two altars on it, facing the brothers' choir, and there are also two organ brochures. In the opening of the brothers' choir there is an altar in the right and left yoke. In the middle yoke there is a door to the cloister and in the priest choir at the same height there is a door to the priest choir.
Rood altars
The rood screen altars were made by Dominikus Zimmermann in 1712/13. They have stucco marble structures over brick canteens . The altar plinths are covered with wooden pendants . Johann Friedrich Sichelbein had already painted the pictures of the altars in 1708, the statues were carved by Johann Georg Reusch .
North rood screen altar
The altarpiece shows Saint Bruno in a side view kneeling in prayer in front of an altar. To his left, in the background, there is another altar depicting the beheading of John the Baptist. An executioner dressed entirely in red hands the head of John to Salome, who is clad in blue and holds out a silver tray to him. Bruno wears an oversized Carthusian cowl with rich folds. His bald head, surrounded by a halo, is turned towards the sky. There stands a golden monstrance with a host on a dark bank of clouds, framed by seven stars . The stars are among the attributes of St. Bruno. The host casts a ray of light on Bruno. To the right of the monstrance, a putti with a golden sash looks praying at the monstrance. An open book leans against an altar on the floor in front of St. Bruno.
In the separation image of the sacred is Ulrich to see. He wears a white robe and a gold cloak. Two putti are sitting at his feet, the right one holds the bishop's miter , the left one looks at the ground. Ulrich holds a closed book with two fish on it in his left hand. To the left behind Ulrich another putti holds the crosier.
The altar panel is flanked by two statues. The statue on the left represents Hugo von Lincoln, the right one Hugo von Grenoble. At the foot area, Hugo von Lincoln has a swan's head. In his left hand he holds a golden chalice from which a small child with a cross comes out. The right hand is pointed slightly forward, the fingers spread as if to grasp. Hugo von Grenoble's gaze, like his right hand with the index finger, is directed towards the sky, the left hand is directed slightly forward, the fingers hanging limply to the ground.
The motif on the wooden antependium is the twelve-year-old Jesus in the temple. Dressed in red with a blue cloak he stands in the center of the picture. His head is surrounded by a halo. In front of him is a lectern with a book. The scribes are gathered to the right and left of him, staggered in two rows on the right. In the second row on the left, Mary is depicted with a halo of halos , next to her St. Joseph. Two scribes are sitting in front of them, the one on the right, one listening attentively, the one on the left, resting his elbow on the lectern, making a thoughtful impression. The picture is framed by painted acanthus ornaments. In the lower half of the acanthus wreath there are painted flower arrangements on the left and right, and further acanthus motifs at the top and bottom.
South rood altar
The theme of the altarpiece is the mystical marriage of Saint Catherine of Alexandria with the baby Jesus. The excerpt shows St. Catherine in glory . She has a halo, long brown hair with pearls in it, and wears a white robe with a wide cloak in red tones. She stretches her right ring finger towards the curly-haired baby Jesus wearing a loincloth in a halo on Mary's lap. Mary is sitting on a stone, dressed in white and wearing a wide blue cloak and a gold headscarf. Her hands hold the baby Jesus under his loincloth. Two putti are shown below Mary on the right side of the picture. Behind Mary a clothed angel can be seen with a large red rose on her chest. The left excerpt of the picture is formed by the sky, the right by a large red column with a dark curtain, which is held up by a putti.
The altarpiece is flanked by two statues, St. Barbara on the left and St. Ursula on the right. There is a halo over the head of Saint Barbara. Your gaze is raised slightly in the direction of the altar leaf. She wears a dark robe decorated with many folds and gold braids and a gold bodice. A golden cloth is wrapped around her left shoulder. In her right hand she holds a palm leaf, the left is designed as if she wanted to hold something. Damage can be seen in the palm of the hand, which suggests that there used to be another attribute, possibly a chalice. There is also a halo over St. Ursula's head. The dark garment, decorated with rich gold braids, is replaced by a richly decorated bodice. The golden cloak that she has wrapped around her left shoulder falls to the floor. Your left hand holds it together on the right thigh. In her right she holds two arrows, the index finger points to the altar sheet.
On the wooden pendulum of the southern rood screen altar, Sichelbein painted the representation of Jesus in the temple . Simeon, dressed in white and gold, stands behind a white table with a wicker basket and two pigeons, carrying the baby Jesus wrapped in a white linen cloth in his arms. On the right stand Joseph and Mary dressed in green and red. Two boys in white kneel on either side of the table, holding candlesticks with burning candles in their hands. A woman dressed in blue kneels in front of the table with her back to the viewer. To the left of the table are two men and a woman with a green headscarf. The painting is framed by a curtain hanging from an acanthus frame with flower arrangements.
In the direction of the brothers' choir there are two altars to the left and right of the entrance to the cloister under the rood screen vault. These were built in the second decade of the 18th century, after the rood screen was remodeled in the 1950s, they were stored in the former celebration chapel on the first floor of the sacristy and returned to their old location after it was dismantled. The walnut superstructures have simple canteens and wooden canteens. The altar leaves were painted by Johann Friedrich Sichelbein, the flanking statues by Johann Georg Reusch.
Northern brother choir altar
The altar panel of the northern brethren choir altar shows the transfiguration of Christ . In the picture, Peter, James and John are lying on the stony ground of a path. Peter and John each hold one hand in front of their face and support themselves on the ground with the other hand. Peter is the only one to be seen with his upper body raised, while John and James are just about to stand up. Above them, on a path flanked by clouds, comes the Savior depicted in white to them. He raises his right hand in greeting, the left is stretched out to the left. On the left cloud sits Moses with the Tables of the Law of the Ten Commandments , on the right Elijah with a book. The clouds reach up to Jesus' hips, above which a yellow sunrise can be seen.
The extension of the altar consists of baroque curved carvings on which two putti sit. AD MAJOREM DEI GLORIAM (For the greater glory of God) is written on a tablet . The altar panel is flanked by two columns, next to it are carved figures. The figure on the left shows St. James. The bearded man with long hair wears a green robe with a gold cloak. He is holding an open book in his right hand, the left can be seen over the book with his index and middle fingers extended. To the right of the altar sheet is St. Andrew. He wears a gold cloak with a green background. The bald saint wears a full beard. He holds his left hand on a St. Andrew's cross, which is located behind him, the right hand grabs his chest.
The wooden antependium shows the fall of Saul . Saul, sitting on the floor at the lower edge of the picture, wears a green robe and a white cloak. A knight in armor behind him supports him by the shoulders. There are several soldiers around him, two horses to his right. Saul looks up to heaven, where Jesus appears to him with a large cross in a bright yellow light that breaks out of dark clouds. Colorful flower paintings frame the oval main painting of the wooden antependium.
South brother choir altar
The altar panel of the southern brothers' choir altar shows Mary and the fourteen helpers in need . Mary is caught up in heaven, sits on a cloud, surrounded by putti with palm leaves and a laurel wreath and holds the baby Jesus in her arms, dressed in a loincloth. She wears a white robe with a red cloak and a silver bodice. She is holding a staff in her right hand. The heads of the two are surrounded by a halo. In the midst of the fourteen helpers in need with their attributes, Christophorus carries the baby Jesus on his shoulders and leans heavily on his walking stick. The saints are deep in conversation, only St. Agatha of Catania looks to heaven.
The extension consists of cranked entablature on which two putti sit. AD-JUTORIUM NOSTRUM IN NOMINE DOMINI (Our help is in the name of the Lord) is written on a plaque between the putti . The altar panel is flanked by two columns, next to which are carved figures. The figure on the left is the deacon and protomartyr Stephen in a silver robe with a gold border, his dalmatic is blue with a gold border. In his right hand he holds a martyr's palm and in his left an open book with stones on it. His black hair is curly. his head is surrounded by a golden halo. The deacon Laurentius of Rome on the right wears a silver robe with a gold border and a dalmatic decorated with ornaments. His right hand is stretched out on his chest, the left is stretched palm down. His head is tilted slightly to the right.
The stoning of St. Stephen can be seen on the wooden pendulum. The representation is borrowed from a painting by Rembrandt van Rijn from 1625. Stephen wears a white robe with golden dalmatic and a halo around his head. Behind Stephen are two men, the one on the right is holding Stephen on the dalmatic with his left hand while he is throwing a stone at him with his left. The man on the left, dressed in yellow, drops a larger stone with both hands on the saint's head. To the right of Stephen a man in a white robe with blue and white striped sleeves picks up a stone from the floor. Two other men are in the background, to the left of the scene is a large, gawking crowd. Behind it stands a Roman palace or a city gate. The main round picture is framed by colorful floral paintings.
Frescoes
The rood screen vault is decorated with three frescoes by Johann Baptist Zimmermann, which were created between 1711 and 1713. They all have a quatrefoil shape with semicircular arcs.
Martyrdom of St. Bartholomew
The northern fresco shows the martyrdom of St. Bartholomew . The left bulge is articulated by a tree trunk. Several cypress trees can be seen in the right background. On the trunk of the tree, St. Bartholomew is tied to a branch above him and hangs from it. The naked, muscular saint has an expressionless face that is tilted slightly to the left. He is already skinned below his chest, which is why his upper body is painted red. The flaps of skin hang down on the side. His legs hang forward in the air. A man kneels in front of Bartholomew wearing a shirt and shoes only on his upper body. His bare buttocks are turned towards the viewer and he is holding a knife in his right hand. A very muscular man to the right of the hung saint tore out his heart through a wound on his chest. The tormentor's hand is completely in the saint's chest. A man can be seen in front of it, who is about to start skinning his left foot and is sharpening his knife. The lower edge of the picture is shaped by the stony ground. To the right of the tormentor scene, armored soldiers with sword and shield approach. Some of these are also mounted. The upper bulge is shaped by the sky, which is depicted overcast. Two putti come out of the clouds. The left wears a laurel wreath, the right a palm branch, they look down at the tormentor scene.
Handing over the keys to Petrus
The middle of the three frescoes shows the handing over of the keys to Peter . Peter is shown in the center of the picture. The kneeling apostle wears a blue robe and a gold cloak. He is shown as an old man with white, sparse hair and a full white beard. He is holding a shepherd's staff in his left elbow. His gaze is directed upwards towards Jesus standing in front of him. Jesus wears a pink robe with a red cloak, has long, full, light brown hair and a full beard of the same hair color. His left hand points to heaven with the palm of his hand, in his right he holds a bunch of keys with two keys in gold and silver color for spiritual and secular rule. Peter has already taken the golden key - a cross is milled into the key bit - in his right hand. In front of Peter lie two sheep that occupy the lower side of the picture. Another sheep comes running behind Peter. Behind Jesus are two men talking who form the left side of the picture. In the background of Peter you can see a steep rock on which a round church stands. The right half of the picture is a rocky landscape painting.
Martyrdom of Saint Sebastian
The southern fresco shows the martyrdom of St. Sebastian . The Saint Sebastian takes back tied to a tree, the left side is a picture. His right hand is stretched upwards and tied to a stump of a branch. From the raised right to his left foot, his body is curved into a sickle shape, he holds his angled right leg behind the tree, his left stretched out forward. He is only dressed in a white loincloth. A red cloth is placed on another stump at the level of the saint's lumbar region. There are five feathered arrows in Sebastian, one in the left shoulder, one in the chest, one in the left forearm and one in the thigh. Several archers have taken a stand opposite him, pointing their weapons at the saint. In the forefront is a warrior who stands out from the others in that he is equipped with a shield and helmet. He must have just given the order to shoot Sebastian, because his left hand is pointed at Sebastian with three fingers spread in a demonstrative gesture. A cloud with a blond curly putto can be seen above the attackers, who brings a laurel wreath with his right hand and a small palm branch with his left hand , the attribute of the martyr. The background of the picture is designed by a green, almost impressionistic landscape painting.
literature
- Sybe Wartena: The South German choir stalls from the Renaissance to Classicism . Dissertation at the Ludwig Maximilians University, Munich 2008.
- Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography . tape 1-8 (1968-1976) . Herder Verlag, Freiburg im Breisgau a. a., ISBN 3-451-22568-9 .
- The Buxheimer choir stalls . Contributions to the building and art history of the former Reich Charterhouse in Buxheim and the restoration of the choir stalls. In: Michael Petzet (Ed.): Workbooks of the Bavarian State Office for Monument Preservation . No. 66 . Munich 1994, ISBN 3-87490-569-1 .
- Tilmann Breuer: City and District of Memmingen . Bavarian art monuments. Deutscher Kunstverlag, Munich 1959, p. 81-87 .
- Georg Dehio : Handbook of the German art monuments . Bavaria III: Swabia. Deutscher Kunstverlag, Munich 1989, ISBN 3-422-03008-5 , p. 223-226 .
- Michael Müller SDB (Ed.): The odyssey of the Buxheim choir stalls has ended happily. The magnificent choir stalls have returned . Self-published, Buxheim 1980.
- Michael Müller SDB: Kartausenführer: Buxheim. Carthusian church with choir stalls, parish church, Anna chapel, monks cell, cloister and museum . Self-published, Buxheim 1982.
- Hugo Schnell, Uta Schedler: Lexicon of Wessobrunn artists and craftsmen . Schnell & Steiner, Munich 1988, ISBN 3-7954-0222-0 .
- Christina Thon: Johann Baptist Zimmermann as stucco . Schnell & Steiner, Munich 1977, ISBN 3-7954-0406-1 .
- Gisela Richter: Johann Baptist Zimmermann as a fresco artist. The early work . Tuduv-Verl.-Ges., Munich 1984, ISBN 3-88073-145-4 .
- Günther Bayer: The Sichelbein family of painters 1580–1758. Life pictures and works . Fink, Lindenberg 2003, ISBN 3-89870-142-5 .
- Isaac Oxoviensis: Elogia Mariana Ex Lytaniis Lauretanis Deprompta . Steudner, Augustae Vindelicorum 1700.
Web links
Individual evidence
- ↑ a b The Sichelbein family of painters, pp. 90 and 176.
- ↑ a b The Sichelbein family of painters, pp. 91 and 175.
[* X] The Buxheimer choir stalls . Contributions to the building and art history of the former Reich Charterhouse in Buxheim and the restoration of the choir stalls. In: Michael Petzet (Ed.): Workbooks of the Bavarian State Office for Monument Preservation, 66 . Munich 1994, ISBN 3-87490-569-1 .
Coordinates: 47 ° 59 ′ 58.4 ″ N , 10 ° 8 ′ 2 ″ E