Mary in the tender

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The church from the north
View from the northwest

Maria in der Zarten is the Catholic parish church of the parish of the Assumption of Mary in Hinterzarten , which belongs to the pastoral care unit at the Titisee of the Neustadt dean's office . The Baden teacher and art historian Hermann Brommer particularly described its history and shape .

History of the parish

Until 1799 Hinterzarten, Breitnau and the Höllental in between formed a single parish. The parish seat was Breitnau for most of this time - whether from the beginning, however, is not certain. At the time of settlement around the year 1000, the region belonged to the Lords of Falkenstein with their castle in Höllental as a rulership on the forest . In 1148 the Bishop of Constance consecrated their own church, St. Oswald in Höllental . The first thorough investigation - by the geographer Ekkehard Liehl (1911–2003) - assumed that St. Oswald had also been “the oldest parish church of the Falkenstein rule in the forest” and that the parish seat only “went up to the width” about a hundred years later Owe '“moved. A more recent study - the doctoral thesis by the historian Bernhard Mangei - advocates the priority of a parish church in Breitnau, which, however, was only mentioned explicitly in 1275. In any case, from the 13th century on, St. Oswald was a subsidiary church of Breitnau.

The beginning of the church in Hinterzarten is traced back to a “sulfur fountain” in Zarta , at the Zartenbach, which flows through the Höllental downstream as the Rotbach . The spring and a wayside shrine with a statuette of the Mother of God next to it, “Maria in der Zarten”, perceived as miraculously healing, attracted pilgrims. In 1416 a pilgrimage church was built, which was looked after by a chaplain who was subordinate to the Breitnau pastor . In addition to the building site for the church and chaplain’s house, a farmer donated a large piece of land, the parish wittum , for the chaplain's livelihood. Since then there have been three churches in the Höllental and the mountains north and south. St. Oswald belonged to the area of ​​responsibility of the Hinterzarten chaplain. Old contracts obliged the pastor in Breitnau to attend a service in the Hinterzarten church on all Marian holidays and to attend a service in St. Oswald every third Sunday. On the other hand, on set days, the people from Hinterzarten had to attend mass in Breitnau, at which their chaplain had to assist. These and other regulations - the baptismal register was kept for the Hinterzarten people in Hinterzarten, but the marriage and death register in Breitnau - were more and more perceived as anachronistic in the 18th century, and reciprocal church visits as "completely useless excursions".

The Hinterzarten chaplains tried to separate from Breitnau from 1750 onwards. In the meantime, the secular authorities had passed from the Falkensteiners first, in 1408, to the Snewlin von Landeck, and then, in 1568, to the Barons von Sickingen-Hohenburg , who emphatically supported all three churches. In 1651 they finally sold the Höllental as Vogtei Steig to the Lords of Pfirt , but kept Breitnau and Hinterzarten in their possession. The chaplains had to negotiate with the Sickingers, the pastors and Karl-Ludwig Magon (1720–1794), Breitnau pastor for almost half a century (1745–1794). Magon resisted tough, flexible, and sometimes rough. The loss of Hinterzarten would have "meant a reduction in his income and reduced his pastoral field of activity to Breitnau". Although Josephinism favored the formation of new parishes, Hinterzarten's detachment was only approved by the Emperor in Vienna in 1799: “What the highest resolution hereby opened to the current pastor of Hinterzarten, Mr. Joseph Strobel, on his research and instruction. Freyburg am 4tn Merz 1799. Reichsgräflich v: Sickingsches Guardianship Office. “St. Oswald remained a branch of Hinterzarten. Efforts to give up the "old tavern" contradicted the Pfirt rule and rejected the Grand Ducal government in Karlsruhe , which had been in charge since 1806 . Joseph Strobel's successor as pastor was Vincenz Zahn (1778–1844) from 1803 to 1810, then pastor in Sankt Georgen and then Ministerialrat in Karlsruhe. He wrote a parish chronicle, the most important source for the local history of Hinterzarten.

Building history

Older than the church from 1416 is the basement of the tower with its hump square edges and loopholes. It probably served as a chapel. In 1416 a nave was built without connection to the tower, which was raised by 1600 and extended to the west. In 1722 a choir was built that connected the tower and nave. A group of Mounts of Olives was placed in the triangular niche between the choir and the south wall of the tower . In 1732 the tower was raised with an octagonal tower and crowned with an onion dome. The church kept this shape for 230 years, until 1962.

In 1901 an enlargement was requested for the first time, but this did not happen. The church was damaged in World War II and renovated from 1952 to 1954. In the 1960s, the decision was made to carry out a thorough renovation. The architect Hugo Becker (1897–1967) was supposed to preserve the tower, the choir and the three baroque altars, but to redesign the nave and design it so that the low tower remained dominant. Incidentally, the ship should be "structurally modern, an expression of our time, correspond to our deepened liturgical insights and at the same time fit seamlessly <to the existing>." On Ash Wednesday 1962 the last service took place in the old church, on April 13th 1963 the new consecrated.

  • The Pfarrwittum 1810. "D 3 " southwest of the parish church "A" is the "Schwefelmättle", "D 4 " the "Schwefelbrun".

  • The church in 1722 and 1732, the tower in front of the 1732 elevation and coronation with onion dome.

  • The Church 1810

  • Floor plan of today's church

building

A large meadow, the "Kirchenfeld", part of the parish that still belongs to the parish today, provides a clear view of the church with its onion dome, the village's landmark, from the north. Although the surrounding cemetery has been abandoned, part of the cemetery wall and some gravestones are still standing. In the east outside the wall, clapboard shops with handicrafts and jewelry are reminiscent of the earlier devotional shops typical of pilgrimage sites . In place of the rectangular nave, an octagonal room has been added to the west of the baroque choir, which is closed on three sides. Four of the eight walls are completely occupied by thick glass windows with abstract color patterns, designed by Wilfrid Perraudin . The two eastern ones rise to the choir, the two western ones towards the entrance wall. The south-eastern window wall leads to a baptistery and further to the sacristy, which is listed as a separate building. The slated tent roof is pulled down over the lower, massive north and south walls, a quote from the Black Forest house . The interior is accessed through a copper-plated vestibule. On the other side of the cantilevered organ gallery, the octagon opens wide, bright and uniform, covered by the wooden cladding of the tent roof. The rows of banks form four blocks. The floor slopes down slightly towards the chancel in front of the choir. Wires are stretched through the octagonal space which, according to Brommer, should "neutralize harmful earth rays".

  • Choir

  • entrance

  • Baptistery and sacristy

Furnishing

Founder's coat of arms

The clay figures of the Mount of Olives outside in the corner between the choir and the tower date from 1790. Next to it a plaque commemorates Pastor Vincenz Zahn. The former cemetery cross has found a sheltered place on the outer wall of the sacristy. It is ascribed to Franz Xaver Anton Hauser (1712–1772), but is apparently a copy.

According to Brommer, the three altars were made by a Black Forest altar carpenter Franz Xaver Stoehr - also based on Matthias Faller's colleague from Brommer - in a uniform late baroque style with swinging cornices. They bear the coats of arms of the founder: five silver balls on a black shield for Ferdinand Sebastian Freiherrn von Sickingen-Hohenburg (1715–1772), two red deer antlers and pairs of lions on a white shield for his second wife Maria Anna Sophia Schenk Countess zu Castell (1734–1778) .

  • Left side altar

  • Main altar

  • Right side altar

The center of the high altar is a statue of the Madonna assigned to Franz Hauser (1651–1717) in a wreath of clouds. Simon Petrus on the left and Paulus von Tarsus on the right are said to have been carved by Matthias Faller. On the cornice stand Ambrose of Milan on the left and King David on the right . Winged angel putti sit on the blown gable . In the central axis, from top to bottom, a dove of the Holy Spirit is followed by the eye of God , the Madonna, the pelican nourishing his young with his heart and soul , symbol of the Eucharist , and on the tabernacle a proclamation of the Lord .

The center of the left side altar, the Anne's altar, is a statue of St. Anne , according to tradition the mother of St. Mary. To the left of her stands St. Barbara of Nicomedia with chalice and sword, on the right St. Catherine of Alexandria with her broken wheel, on the cornice on the left Ursula of Cologne with three arrows in her left hand, on the right Agnes of Rome with her lamb. Winged putti are sitting on the blasted gable again. In the central axis, from top to bottom, the heart of Mary, surrounded by a golden halo and pierced by a sword, is followed by a painting of the fall of the angel , the two coats of arms, the statue of Anne and, at the very bottom, a small statue of the Madonna, the so-called Little Madonna , the old miraculous image Brommer a work of the Renaissance.

The right side altar, Joseph's altar, is the same as the left. The focus is a statue of St. Joseph of Nazareth , 1963 based on the baroque model. To the left of him is Urban I , patron saint of winegrowers, with grapes on a book, to the right Antonius the Great with a dew stick, bell and pig, on the cornice to the left Francis of Assisi with a cross in his hand, to the right Antonius of Padua with the baby Jesus On the arm. The two putti sit a little higher. At the top of the central axis, the Heart of Jesus, surrounded by a golden halo, corresponds to the Heart of Mary on the left altar. Below is a painting of Tobias , how he, guided by an angel, brings his father a fish to cure his blindness, then the donor's coat of arms and the figure of Joseph.

Supporting altars and statuettes on the south wall of the choir
Shrine figures of the Oswald Altar

Other religious works of art from Hinterzarten are not part of the liturgy, but are happily kept in a museum in the church. To the left and right of the organ hang two square paintings with the four evangelists. They belong to a total of fourteen panels that adorned the ceiling of the nave until the redesign in 1962/63. The remaining ten boards hang, accessible to the public, in the community center built north of the church on the site of the former rectory. On the west wall of the church there are also two former images of the altars.

On the southern wall of the choir is a dainty rococo supporting altar, attributed to Matthias Faller and with rocailles and angel heads very similar to his tabernacles in the church of the monastery of St. Peter in the Black Forest and in St. Ursula . As there, a skull at the foot of the cross reminds of Golgotha . Small pictures of the Lord's Supper and the apostles Peter and Paul are inserted into the carving . Above the altar are statuettes of Saint Oswald , with a crown and double cup, Sebastian , pierced by arrows, and Laurentius of Rome with his grate and a saint who is not marked by attributes.

Her oldest work of art has found refuge in the church, the group of figures Matthias-Oswald-Michael from the shrine of the Oswald altar of the St. Oswald branch church in Höllental. After the group was stolen in 1963 and then again in 1980, it was restored and housed more securely on the north face of Maria in der Zarten. In Höllental it has been replaced by copies, but the altar shrine, the crack and the painted wings there are original. The exploded figure of St. Sebastian has been lost since it was stolen. Previously little noticed, the altar was ascribed to the carver Hans Wydyz and employees from the workshop of the painter Hans Baldung in 1998 by the Nuremberg art historian Andreas Curtius .

On the left stands the apostle Matthias with a book and ax, barefoot and in a long robe. In the middle, Saint Oswald wears a crown, scepter, a double cup and armor under the king's cloak. Archangel Michael , winged and also with armor under his cloak, holds a staff in his right hand (instead of the original sword), in his left the balance of the soul . He steps on a devil. Hans Wydyz's stay in nearby Freiburg im Breisgau from 1512 to 1518 and a style comparison with the three -king altar in Freiburg Minster lead to the conclusion: "The great similarities with Wydyz's personal handwriting make it advisable to use the four figures of the Oswald altar, definitely the three shrine figures, personally attributed to Wydyz. "

Appreciation

According to Ekkehard Liehl and Hermann Brommer, the synthesis of medieval tower basement, baroque tower top, baroque choir, baroque furnishings and modern central building is aesthetically convincing. The highlights of the furnishings are the three harmonious altars, Matthias Faller's little supporting altar and the probably Wydyzian sculptures, through which Wydyz's catalog of Œvre has been remarkably expanded.

literature

  • Hermann Brommer : Parish and pilgrimage church Maria in the tender Hinterzarten. 2nd Edition. Schnell & Steiner, Munich and Zurich 1988

Web links

Commons : Maria in der Zarten (Hinterzarten)  - Collection of images, videos and audio files

Individual evidence

  1. ^ A b c d Hermann Brommer: Parish and pilgrimage church Maria in the tender Hinterzarten. 2nd Edition. Schnell & Steiner, Munich and Zurich 1988.
  2. ^ Joachim Wollasch: Questions about the establishment of St. Oswald in Höllental. In: Helmuth Schubert (Ed.): St. Oswald im Höllental. Festschrift for the 850th anniversary of the chapel. Konstanz, Verlag Stadler 1998, ISBN 3-7977-0397-X , pp. 11-25.
  3. ^ Ekkehard Liehl: St. Oswald in Höllental and the establishment of the Hinterzarten parish in the 18th century. In: Alemannisches Jahrbuch 1957, pp. 273–296.
  4. ↑ a b c Ekkehard Liehl: Hinterzarten. 3rd edition, Konstanz, Rosgarten-Verlag 1986, ISBN 3-87685-054-1 .
  5. ↑ Bernhard Mangei: domination formation of monarchy, church and nobility between the Upper Rhine and the Black Forest. Dissertation Freiburg 2003, p. 191.
  6. ^ A b c Heinrich Graf: Aspects of the history of the St. Oswald chapel in modern times. In: Helmuth Schubert (Ed.): St. Oswald im Höllental. Festschrift for the 850th anniversary of the chapel. Konstanz, Verlag Stadler 1998, ISBN 3-7977-0397-X , pp. 149-194.
  7. ↑ Establishment deed of the parish Hinterzarten. In: Helmuth Schubert (Ed.): St. Oswald im Höllental. Festschrift for the 850th anniversary of the chapel. Verlag Stadler, Konstanz 1998, ISBN 3-7977-0397-X , p. 274.
  8. ↑ a b c d e Hermann Brommer (Ed.): Hinterzarten and the Black Forest two centuries ago. The chronicle of pastor Vincenz Zahn ( Hinterzartener Schriften Volume 1). Hinterzarten municipality 1993, ISBN 3-9803628-1-7 .
  9. ↑ Manfred Hermann: The sculptors Hauser in Kirchzarten, Schlettstadt and Freiburg / Br. 1611-1842. The work (part 1). In: Badische Heimat 52, 1972, p. 76.
  10. ↑ a b Andreas Curtius: The Oswald Altar in Höllental - an unrecognized work by the Baldung workshop. In: Helmuth Schubert (Ed.): St. Oswald im Höllental. Festschrift for the 850th anniversary of the chapel. Konstanz, Verlag Stadler 1998, ISBN 3-7977-0397-X , pp. 27-80.

Coordinates: 47 ° 54 ′ 8.8 ″  N , 8 ° 6 ′ 23.1 ″  E