Liebfrauenkirche (Oberwesel)

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Liebfrauenkirche from the south
Church and environment
Interior view with rood screen
The filigree rood screen

The Liebfrauenkirche in Oberwesel is a Gothic religious building on the Middle Rhine .

The Liebfrauenkirche has been part of the UNESCO World Heritage Upper Middle Rhine Valley since 2002 .

history

Originally located outside the city walls at the foot of the Schönburg , the church, first mentioned in 1213, was probably founded in the 12th century. In 1258 it was elevated to a collegiate church . The current building was built in the first half of the 14th century. The start of construction is dated to 1308 via an inscription, which consists of 44 letters and runs on glass windows in the tracery of the choir, 30 of which have survived in the original, even if the inscription itself was created later, probably around 1331. The consecration of the choir is in 1331 Documented evidence, according to the dendrochronological dating of the west tower , the completion can be estimated after 1351. In the period that followed, there were hardly any structural changes worth mentioning. Around 1400 the church was included in the city fortifications when the city wall was expanded. The most serious turning point was the demolition of the monastery buildings and the cloister after the secularization in 1803.

From 1727 is here Martin Augsthaler († 1749) as a pin Kapitular occupied. He was also cathedral vicar in Worms and donated altars in Worms Cathedral and in St. Peter's Church in Sausenheim . On these there are dedication inscriptions that u. a. name the Liebfrauenstift Oberwesel. In Oberwesel he had a testamentary foundation to set up the Latin school at the Minorite monastery .

Construction and equipment

Outside

The three-aisled transept-free basilica with west tower and 5/8 choir in the reductive Gothic style typical of the late Gothic period, influenced by the architecture of the mendicant order , is relatively short in length, but exceptional in its slenderness and steepness. With the exception of the west tower , the exterior construction manages without any buttresses ; the load-bearing supports are placed inside as wall pillars. The relative shortness of the building in favor of its steepness becomes even more striking inside. The actual nave is just as long as it is high , minus the deeply drawn-in monastery choir, which is delimited by a rood screen, and the lower tower bays with three bays (this proportion of the interior is also reminiscent of the Romanesque parish church in neighboring Bacharach ).

Inside

The monastery choir, which is longer than the actual nave, measured from the choir head, is completed by a filigree rood screen from the time it was built, with open tracery and two (of originally six) statuettes in the spandrels . The high altar , which was probably already finished when the choir was consecrated in 1331, is a miniature reproduction of a Gothic portal sculpture (after the theft of the altar figures in 1975 most of them have returned). An oak crucifix made around 1340 was stolen from the high altar along with other figures as early as the late 19th century and ended up in the Mainz Museum of Antiquities, now the Mainz State Museum . The "architecture" of the altar shrine, with its tracery and rosettes, is reminiscent of the south facade of the Katharinenkirche in Oppenheim .

Furthermore, there are several grave monuments from the 14th to 17th centuries, the epitaphs for the Speyer cathedral dean Hartmann von Landsberg († 1340) and for Ludwig von Ottenstein (16th century), Gothic wall paintings on the pillars - the ones to be emphasized so-called ' length of Christ ' as a special example of late medieval piety and the representation of St. Rochus -, the baroque organ by Franz Joseph Eberhard (1740/45) as well as baroque cibories , goblets and monstrances from the 18th century in the sacristy.

organ

The organ of the Church of Our Lady by Franz Joseph Eberhard from 1745 has been rebuilt, expanded and renovated several times. In 1936 a restoration was carried out by Johannes Klais Orgelbau and a small Rückpositiv was added . In a further restoration between 1977 and 1980 by the same company, the original condition was largely restored. A swell was added to a third manual . Klais last installed an electronic setting system in 2001 . The instrument has a total of 55 registers on three manuals and pedal . The game actions are mechanical, the stop actions are electric. Lukas Stollhof has been the organist since 2008 .

I Hauptwerk C – g 3
Principal 16 ′
Octav 08th'
Hollow pipe 08th'
Viola da gamba 0 08th'
Octav 04 ′
Reed flute 04 ′
Gemshorn 04 ′
Quint 02 2 ⁄ 3  ′
Nasard 02 2 ⁄ 3  ′
Octave 02 ′
Cornett III
Mixture IV
Scharff III
Trumpet 08th'
Vox humana 08th'
II upper structure C – g 3
Reed flute 8th'
Pointed flute 8th'
flute 8th'
Quintadena 8th'
Fugara 8th'
Principal 4 ′
Salicional 4 ′
Octav 2 ′
Quint 1 1 ⁄ 3  ′
Sesquialter II 0 2 2 ⁄ 3  ′
Mixture III
Vox humana 8th'
Tremulant
III Swell C – g 3
Bourdon 16 ′
Violin principal 0 08th'
Wooden flute 08th'
Salicional 08th'
Vox coelestis 08th'
Octav 04 ′
Flute 04 ′
Forest flute 02 ′
third 01 3 ⁄ 5  ′
Rohrnasard 01 1 ⁄ 3  ′
Sifflet 01'
Mixture V
Basson-Hautbois 16 ′
Trumpet harmonique 08th'
oboe 08th'
Clairon 04 ′
Tremulant
Pedal C – f 1
Principal (from HW) 0 16 ′
Sub-bass 16 ′
Fifth bass 10 2 ⁄ 3  ′
Octav 08th'
Violon 08th'
Quint 05 1 ⁄ 3  ′
Octav 04 ′
Octav 02 ′
Mixture VI
trombone 16 ′
Trumpet 08th'
Trumpet 04 ′
  • Coupling : II / I, III / I, III / II, I / P, II / P, III / P

literature

  • Regine Dölling: The Liebfrauenkirche in Oberwesel = preservation of monuments in Rhineland-Palatinate. Research reports 6. Wernersche Verlagsgesellschaft , Worms 2002. ISBN 978-3-88462-182-0 .
  • Hans-Jürgen Kotzur (Ed.): High Gothic Dialogue. The sculptures of the high altars in Marienstatt and Oberwesel in comparison (exhibition catalog). Wernersche Verlagsgesellschaft, Worms 1993. ISBN 978-3-88462-106-6 .

Web links

Commons : Liebfrauenkirche Oberwesel  - Collection of images, videos and audio files

Individual evidence

  1. ↑ “The […] inscription has been lost since 1912 at the latest. However, it was found - albeit in a desolate condition - on the spot in the course of many years of renovation work, expanded, identified, then restored, textually restored and returned to its original location in summer 1996. "(DI 60, Rhein-Hunsrück -Kreis I, No. 27 (Eberhard J. Nikitsch), in: www.inschriften.net, urn: nbn: de: 0238-di060mz08k0002707 )
  2. ↑ "[T] he choir glazing with the inscription [should] have been attached at the earliest with the structural completion of the central tracery zone of the choir window - thus the inscription should have been made in connection with the consecration of the church in 1331 and not in 1308 at the earliest." DI 60, Rhein-Hunsrück-Kreis I, No. 27 (Eberhard J. Nikitsch), in: www.inschriften.net, urn: nbn: de: 0238-di060mz08k0002707 )
  3. ↑ Ferdinand Pauly : Germania Sacra New Series , Volume 14: The Dioceses of the Ecclesiastical Province of Trier: The Archdiocese of Trier (Volume 2), The St. Severus in Boppard, St. Goar in St. Goar, Liebfrauen in Oberwesel, St. Martin in Oberwesel , Verlag Walter de Gruyter, 1980, p. 396; (Detail scan)
  4. ^ Website of the Minorite Monastery in Oberwesel
  5. ↑ Oberwesel crucifix in the object collection of the Landesmuseum Mainz on museum-digital
  6. ^ Website of the grave slab in Oberwesel
  7. ↑ See DI 60, Rhein-Hunsrück-Kreis I, No. 169 (Eberhard J. Nikitsch), in: www.inschriften.net, urn: nbn: de: 0238-di060mz08k0016909 .
  8. ↑ See DI 60, Rhein-Hunsrück-Kreis I, No. 140 (Eberhard J. Nikitsch), in: www.inschriften.net, urn: nbn: de: 0238-di060mz08k0014001 .
  9. ↑ See DI 60, Rhein-Hunsrück-Kreis I, No. 182 (Eberhard J. Nikitsch), in: www.inschriften.net, urn: nbn: de: 0238-di060mz08k0018205 .
  10. ↑ More information on the historic organ of the Liebfrauenkirche , accessed on August 20, 2015.

Coordinates: 50 ° 6 ′ 14.9 ″  N , 7 ° 43 ′ 49.6 ″  E