Peterskirche (Blansingen)
The Peterskirche in Blansingen, a district of the Efringen-Kirchen community , was first mentioned in a document in 1173. The current late Gothic sacred building was built in 1457 and contains a remarkable cycle of paintings from the 15th century. The well-preserved murals, made using Secco technology, are among the most important examples of medieval art on the Upper Rhine .
The situation of the church is unusual; contrary to tradition, it is located about two kilometers outside the village center. No explanation is known for this. The church, consecrated to St. Peter , has served the Protestant parish of Blansingen / Welmlingen / Kleinkems as a place of worship since 1556.
history
Grave goods and the patronage of St. Peter suggest that a church with a cemetery existed there in the early 7th century during the Merovingian era . A note from 1094 reports that the monastery of Sankt Georgen in the Black Forest ( Fundatio Monasterii Sancti Georgii ) came into the possession of Blansingen and Kleinkems' (Meierhöfe) through Duke Berthold. The church in Blansingen was first mentioned in a document in 1173. Presumably in the 10th century it received the extensions that can be seen on the walls. In the Liber Marcarum in Diocesi Constanciensi it is recorded that Blansingen belonged to the Deanery Wiesental in 1275. In 1350 the parish church of Blansingen was incorporated into the St. Blasien monastery; the Meierhöfe were also mentioned in the same year. The construction of the late Gothic choir and the installation of the lancet windows (long, narrow windows with steep pointed arches) in the nave were most likely during this period . Between 1360 and 1370 the Liber Marcarum Blansingen mentions "cum filia Welingen" as belonging to the "Archidiaconatus Bisgoviae" and "Decanatus Warembach" (Warmbach). The two parishes of Blansingen and Welmlingen are still connected as parishes to this day. The St. Nicolai Chapel in Blansingen was first mentioned in 1432. In 1464, the St. Georgen Monastery ceded its farms in Kleinkems and Blansingen to Margrave Rudolf von Hachberg . The coat of arms of the Hachbergers can be seen on the old portal as well as in the choir of the church.
Around 1440, the face of Vera Ikon (German: true image ) was chosen for the first time in a copper engraving by the so-called Master of Playing Cards . This representation shows surprising similarities with the frescoes on the epistle page on the south wall of St. Peter's Church. The Blansinger Haupt, in particular, resembles the engraving very strongly, despite the scenic oblique turn. This fact allows the conclusion that the Blansig fresco cycles must have been created around 1440. The completion of the church in its current form is dated to the year 1457.
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It has been handed down that in 1768 and 1788 the Blansingen parish made submissive requests to the princely monastery of St. Blasien to have the new nave built. She argued that "no house dedicated to public worship can be found in much of the same country" that "needs a fundamentally more urgent renovation". The very first glance that one throws into this church is "sad and reluctant", since one sees "nothing but darkness on all sides". Apparently these requests were in vain, because neither then nor later was a new building approved. However, large pointed arch windows were broken into the nave walls to lighten the interior. The screens were whitewashed and partially destroyed.
The frescoes were rediscovered during repairs in 1924. Above all, the art historian and curator of the ecclesiastical art monuments Joseph Sauer and the Loerrach monument conservator Julius Wilhelm campaigned for the preservation of the series of pictures. However, the parish was not financially able to cope with the necessary work, so that the uncovering of the frescoes could not begin until 1953. The work was carried out by the two restorers Walter Ueberwasser and Jürgen Brodwolf (* 1932) and financed with state and church funds; they lasted until 1955. The sacristy, which was demolished in the 19th century, was rebuilt in 1956 in the same place. Extensive restoration work also took place that year. For example, the altar and pews were repaired. In 1984 and 1990, employees of the State Monuments Office discovered the remains of a small Roman stone building, probably a villa rustica .
description
The Blansinger Peterskirche is located at around 335 meters above sea level. NN east of the actual village center of Blansingen on the county road 6320, which leads to the B 3 into the Engebach valley. The old Zehnthof stands next to the church . The sacred building itself, like the Freiburg Minster , is entered through the almost 22 meter high church tower. The walls of the tower, which are dated to the years 1497 and 1498, overlap an older archway with its coat of arms decoration. The church is traditionally oriented ; the Gothic choir points almost exactly to the east. The church measures around 34 meters lengthways from the entrance to the choir. The choir measures around 11 meters in width at its widest point and has the shape of half an octagon in plan. On the south wall of the church hang epitaphs , grave slabs and a memorial plaque to the veterans of the German War of 1866 and the Franco-German War of 1870/71. Further epitaphs and tombstones are located in the tower entrance, in the choir and in front of the pulpit.
Furnishing
The St. Peter's Church in Blansing is furnished in a simple and reserved manner. It is assigned to the type of hall churches and has no pulpit . The pews originally came from the Barons von Rotberg from Rheinweiler. The family had their own gallery (also called Barone-Bühneli ) until 1955 . This was canceled during the renovation of the church. The wooden benches extend to the north and south walls and leave a narrow passage to the choir free in the middle.
The altar stands in the choir, separated by a triumphal arch . It was donated by a stonemason from Schopfheim and is made of red sandstone . The altar cross from the copper-zinc alloy tombac is twelve from Isteiner block derived Jaspissteinen decorated. The cross was created by the metal sculptor and silversmith Hayno Focken and the Waldkircher gemstone cutter Wintermantel .
organ
The organ from 1990 comes from the Freiburg Orgelbau company and is located to the right of the triumphal arch in front of the choir, if you look east from the nave. The eleven registers are on a manual with a 16 'subbass in the pedal . The bass and treble slides result in extended registration options. The instrument is housed in a self-supporting solid wood case. The veil boards are made of linden wood. Next to the organ is a granite font .
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Bells
The peal of St. Peter's Church in Blansing consists of three bells that are tuned to the tones g sharp-b-c sharp ( Te-Deum motif ).
The first, old bell was cast in 1686 by Hans Heinrich Weitenauer from Basel . The second, the memorial bell, shows the Blansingen coat of arms and was donated by the political municipality of Blansingen to commemorate the dead of both world wars. The third bell is a baptismal bell, which has dove, cross and two fish as baptismal symbols. It was like the memorial bell in 1959 in the bell foundry Bachert , Karlsruhe cast.
An old evangelist bell from 1739 was returned to the Hamburg bell warehouse because of a crack and melted down again. She carried the verse:
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I flowed through Feir. |
Picture cycles
The cycle of pictures on the four walls of the Blansing Church refer to the four world directions and their Christian meaning. The names of the walls are based on these cardinal points, which are only roughly based on the actual ones. Their exact division can be found in the floor plan.
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1 = triumphal arch 2 = altar 3 = organ 4 = baptismal font 5 = pulpit 6 = stalls |
The murals created in the second half of the 15th century were created using the so-called secco technique , in which the picture is applied to the dry plaster. Nothing is known about the masters of the picture frescoes. Due to the distinguishable styles, it is assumed that there were at least two different ones.
The church tower stands in the west and, according to earlier opinion, had to drive away rising spirits of darkness with its bells at sunset. Therefore, the west wall adjoining the tower was seen as a suitable place for the depictions of the Last Judgment and Michael's fight with the dragon.
The north wall (also the Gospel side ) is more narrative and graphically emphasized. The eventful pictures have been sketched out many times before they were partially blackened or corrected. In a sense, the colors were used for painting. The gospel master could have been a copperplate engraver .
The south wall (also epistle side ), on the other hand, was created by colorists . The master of the south wall could have been a glass painter . None of the masters is known by name; probably no important painters were available to decorate the Blansing Church. The wise virgins are incorporated into the triumphal arch on the east side . The murals in the choir are no longer preserved.
The structure of the picture cycles reveals a well thought-out theological concept with symbolic content. The triumphal arch with Peter and Moses acts as a link between the old and the new covenant . The choir arch to the choir and chancel symbolizes the parable of the gate of the heavenly Jerusalem . Such virgin cycles are typically found at church entrances, such as the Galluspforte at Basel Minster or the virgin portals at Strasbourg and Freiburg Minster . In Blansingen, the triumphal arch is offset as an inner passage .
North face
The designation of the north wall as the Gospel side is based on the custom of reading the Gospel on the left side of the altar. So the believer on the night side of the church should experience the passion of the Lord through the darkness of night and death. The pictures on the north wall lead in two rows from the entry into Jerusalem at the top left to the Resurrection and to the noli me tangere at the bottom right. The openings for the windows from 1800 caused some larger gaps. Two bars of the no longer existing gallery have also left holes in the pictures that were whitewashed at the time. The restorers saved the overall impression of the mural by closing the glaring gaps with careful and contourless additions. The differences in color suggest what is missing.
The following scenes are shown in detail in the upper row of images on the north wall:
Christ's entry into Jerusalem . Four people in yellow Jewish hats push out of the city gate (left). The foremost of them spreads his cloak in front of the king, who is riding a donkey foal. From the opposite side, three disciples hurry out from behind a hill to walk in the direction of Jerusalem. The center of this scene in particular was badly damaged as a result of the weather. By examining the color particles in the mortar base, the outlines could be reconstructed.
The Lord's Supper . Christ sits with his disciples behind a set table. The scene is incomplete through one of the windows. Since Christ is in the middle, the missing half can be added in symmetrical correspondence. The missing Judas probably had a separate place on the board. The halos are shown in yellow metallic. A third looks through between two solemnly inclined disciples.
The washing of feet . Christ bends over and washes the feet of his disciples. The movement of the images in this sermon follow a sign language developed over several centuries . The heavy bench can be found in Codex Egberti as early as 980 .
Gethsemane . Similar to the portrayals of Albrecht Dürer , a roofed gate leads into the Garden of Gethsemane. A small group of men armed with swords and poles, first and foremost Judas in a yellow robe, enter the garden. Christ is dressed in royal purple; Peter wears a green robe. The most important insights into this scene have been preserved despite the partial destruction. Judas' red face has been painted with a slightly oxidizing dye.
The Judas kiss . The depiction of Judas' kiss of traitors has been preserved in the core of the picture. Christ and Judas stand in a group of two, as does Peter, who draws his sword at the high priest .
The depiction of Christ before Caiaphas is poorly preserved. A round window in the north gallery has opened the representation of Christ in the middle. What has been preserved from the scene is the canopy on the right as a symbol of the high priestly palace, in front of which the accused had to stand at a clear distance. The restoration only indicates the connection of the fixed points.
The picture of the scourging of Christ shows the tormented naked. In contrast, the tormentors are shown with hats, clothes and gauntlets .
The lower row of pictures on the north wall shows:
The crowning of thorns . The throne scene of the mocked “King” is destroyed from the west gallery at the head section. The additions are indicated very cautiously.
Ecce homo . Next to the pale portrayed Christ stands Pontius Pilate dressed in a green state coat, next to him in a black cloak a fat Pharisee as the advocate of the screaming people. The head of Christ had to be restored.
Carrying the Cross . Because of the window opening, only half of the image is still available. The suffering Christ is represented with his head in front of the center of the cross. People pull at him; some help him, like Simon of Cyrene . The background of this scene is formed by shimmering white soldiers.
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The crucifixion of Christ is the best preserved scene of the cycle of images. The Golgota hill is indicated in a stylized semicircle. The huge cross in the foreground is also depicted with no perspective. Christ is represented as a delicate figure who is pinned to the cross by several people. The half-figures Johannes and Maria, right, and Pilatus, left, can be seen behind the hill disc. This image composition served as a model for the panel painting of the so-called Master of the Karlsruhe Passion , which was created around the same time in Strasbourg . In this representation, Christ is stretched on the wood with his feet still uninjured. Four nails are hammered in. If one traces back the depictions of the Crucifixion, one finds the composition in Cimabue , later hardly any more.
The burial shows the passionate encounter between the mother and her dead son. The representation is reminiscent of the pattern books with Sienese echoes in the style of Pietro Lorenzetti's famous Descent from the Cross in the lower church of Assisi .
The resurrection shows Christ rising from the grave. He carries staff and flag in his left hand. A red-faced guard takes notice behind the grave. A guard in front shows late Gothic subtleties. Due to the badly damaged church wall, there are only three guards; the front ones have no heads. The restoration indicates the connections beyond the fault line.
Noli me tangere. To the right of the window, the last fresco shows the apparition of Christ in the Garden of Gethsemane. Mushroom-like trees behind the fence point to the ancient origins. Christ holds a gardener's spade in his left hand and the divine flag in his right hand in front of the searching Mary Magdalene . Only the head and the lower hem of the garment have been preserved of the woman.
Petrus legend on the south wall
The depictions of the south wall begin next to the triumphal arch wall, partly covered by the organ. On the epistle side, the representation was restricted by irregular wall thicknesses. Three picture windows have been completely destroyed as a result of centuries of moisture on the south side. The pictures begin at the triumphal arch with a group of three with Peter and end towards the west with the depiction of Christophorus, which takes up the entire height of the wall.
The first mural is almost completely hidden behind the organ. It is interpreted by many as the resurrection of the elaborate tabea by Peter. Then the mountain landscape could be interpreted as the Byzantine mountains that Peter of Lydda had to traverse. Another fragment is interpreted as the four saints with the staves .
The Apostle's sermon for women . According to the Legenda aurea , Peter is said to have worked undisturbed in Rome before he was persecuted for his sermon, which converted the four concubines of Prefect Agrippa. The picture is shown remarkably colorful. The aged saint stands in his green robe behind the yellow latticework of his pulpit . The women's white headscarves contrast with the black background and large yellow halo. The depiction to Lukas Moser's Tiefenbronn Altar from 1431 shows similarities . The yellow, cross-shaped pulpit also appears in a Basel manuscript.
The enthronement of Peter . For forty years Peter ascends the Roman bishopric . His later successors Linus and Cletus stand by his side and hold the tiara over his head. The shape of the tiara, which resembles a sugar loaf and was already used by Herrad von Landsberg in the Hortus Deliciarum , speaks for the old age of the original. Another figure is Christ, who, as the founder of the key office, solemnly grabs the big key. In contrast to the faces of the rest of the pictures, these are slightly oval, drawn with a calm forehead, a silent mouth and a distant look. The epistle master leaned on the representation of the so-called Vera Ikon . The engraver and draftsman Meister ES also made representations of the Vera Ikon type in 1467 , which are considered to be a further development of the Blansinger representation.
In the picture Quo vadis, Domine ? shows a Roman city gate through which Peter wants to leave the city out of hopelessness. Christ confronts him and asks him “Where are you going, Lord?” To which Peter replies “Let me be crucified again”.
The picture Seven Heads of an Attentive Congregation has been preserved as a fragment . In the middle is a podium that probably represents the apostle and the magician Simon . The situation suggests that one is witnessing a miracle. Details cannot be seen in the fragment. The 7th, 8th and 9th picture fields of the lower row are behind the organ. The first two pictures are completely destroyed. The 9th shows a canopy with black and white ceiling diamonds.
The capture of Peter . According to legend, Peter only wore two pieces of clothing, which are shown in white and green in the mural. In contrast, the dark-skinned henchman shines in Naples yellow .
The crucifixion and beheading of Peter complete the presentation of the legend of Peter. According to tradition, Peter was crucified under Nero . Peter is depicted being tied upside down to the wood. The crucifixion is attended by a person who is represented with an ornamented green robe. This suggests an official, possibly Nero himself. The executioner who carries out the beheading is depicted with a short, white and yellow slit skirt and a white and green cap. Only the folds of a white, internally green tip of the cloak of Paul can be seen.
Triple gate parable on the triumphal arch
The Blansing Church contains three parables of the gate with the depictions of the wise and foolish virgins , the diamond blocks and the images of Moses and Peter on the east side.
From the nave there is an arched entrance to the choir of the church. This arch is called the triumphal arch in church construction . Its arch is painted on the right with the wise, on the left with the foolish virgins. The virgins look out of small arcades as if from window niches in the direction of the choir, because from there the bridegroom is expected. They hold oil lamps in their hands and their sleeves hang down long. The portraits resemble that of the so-called Stuttgarter Kartenspiel (around 1430) and belong to the same period.
The gate is given an apocalyptic character by means of large sandstone cuboids that look like diamonds thanks to their skillful, painterly shading. The twelve precious stones on the "foundation of the wall" depict the Revelation of John (21:17 ff). Diamonds are often found in medieval depictions in connection with walls and gates. For example, the Parisian Godescalc evangelist Charlemagne shows walls made of diamonds behind the enthroned Christ. In the 12th century, one of the entrances to the church of Saint-Andoche in Saulieu in Burgundy was carved as a diamond gate.
With the representations of Moses and Peter to the right and left of the gate arch, a parable is finally taken up for the third time. Moses ascended to the top of the earth and worships Yahweh lying down with his shoes off. He receives the tablets of the law from above . The mortar base of the picture is attacked, but the outlines are secured. Peter, represented with a large key, stands opposite Moses and is accompanied by two saints. With the power of the keys, Peter receives the power to bind and redeem all sins on earth and in heaven. The tablets of the law and the keys are in contrast to each other.
West Wall: The Last Judgment
The depiction of the Last Judgment is located after the entrance on the left (west side) of St. Peter's Church. The world judge sits with the apocalyptic sword on a rainbow and has a lily in his mouth. He is surrounded by blowing angels in the starry sky, and Mary and John are at his side as intercessors. The Mother of God is no longer recognizable from the so-called Deësis , as her place was on the destroyed west wall. As the “diamond wall” under the mural shows, the depiction of the Last Judgment extends as far on the evening side of the church as the walled sky depiction on the north wall. To the left of the entrance door was probably the depiction of the Michael fight . The remains of paint only allow a view of the Heavenly Castle, the procession of the Blessed and a little angel in a window. The tower built after the mural has badly damaged the picture.
The depiction of hell is very space-filling. A huge hell dragon protrudes from a sea of flames. Behind his teeth are men and women with rigid expressions. The central figure in the depiction of hell is the tied up Lucifer , who is depicted with three faces on his head, stomach and hind leg.
Representations in the window niches and of St. Christopher
The spiritual representations also include saints. They were housed in the old lancet windows and thus created a three-dimensional impression in the niches. A total of four of the figures have been preserved, two each on the north and south walls.
In the first window on the north wall, St. Barbara stands as a crowned princess with a tower and a martyr's palm. The opposite figure has been lost through the opening in the window. In the second lancet window on the north wall, the holy Pope is shown in robe. The figure is not clearly identified. An unconfirmed hypothesis assumes that the sitter Pope I. Urban was. The holy Apollonia is shown with dental attributes; Opposite her stands a young abbot. These figures are among the most beautiful of the epistle painter. The white wall of the window niches is decorated with climbing plants that symbolize the heavenly realms.
The hulking figure of St. Christopher is the presentation by fair that they devoted the entire wall surface of the giant - the image extends from the base up to the painted triforia under the ceiling. He holds a staff in his hands and carries the baby Jesus on his shoulders. Christophorus stands for the lifesaver between the shores of this world and the hereafter . Fish, seahorses and especially pike swim between his feet. This depiction has related things from the ancient animal pictures to the Buxheimer Christophoros single-sheet print from 1423.
literature
- Walter Ueberwasser: The Church of Blansingen and its pictures , In: Badische Heimat 36, 1956, pp. 81-102 online
- Walter Ueberwasser: The Peterskirche zu Blansingen , 1st edition 1956. 5th edition Regensburg, Verlag Schnell & Steiner 2005, ISBN 3-7954-4451-9 .
- Arno Herbener, Rolf Rubsamen, Dorothee Philipp, Jost Grosspietsch: Art. Thermal baths. Wine. Voyages of discovery through the Markgräflerland , Lindenberg, Kunstverlag Josef Fink 2006, ISBN 978-3898702737 , pages 55–58
- Franz Xaver Kraus : The art monuments of the Grand Duchy of Baden , Tübingen and Leipzig, 1901, fifth volume - Lörrach district; Pp. 4-5 online
- Victor Leutner: GREGORIANIC in St. Peter, Blansingen. In: Das Markgräflerland, Volume 1/2006, pp. 101–111 digitized version of the Freiburg University Library
Web links
Individual evidence
- ↑ Arno Herbener et al .: Art. Thermal baths. Wine. Voyages of discovery through the Markgräflerland , page 55
- ↑ a b Ueberwasser: The Peterskirche zu Blansingen , page 11
- ↑ www.frsw.de: Description of the village church St. Peter
- ↑ Ehrlich: On the building history of the Protestant church of Blansingen in "Badische Heimat", issue 2, 1956, 16th year.
- ^ Community Efringen-Kirchen: History of Blansingen
- ↑ Online project fallen memorials: Blansingen (St. Peterskirche, 1866, 1870/71)
- ↑ List of works
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 22
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 23
- ↑ a b Ueberwasser: The Peterskirche zu Blansingen , page 4
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 15
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 16
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 20
- ↑ The nailing of Christ on the cross by the master of the Karlsruhe Passion
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 10
- ↑ Colmar No. 306
- ↑ Ueberwasser: The Peterskirche in Blansingen , page 18
- ↑ Walter Ueberwasser: The Church of Blansingen and its pictures , p. 100
Protestant churches: Blansingen (St. Peter) | Efringen (Luther Church) | Egringen | Churches (Christ Church) | Kleinkems | Mappach | Welmlingen | Wintersweiler
Catholic churches: St. Nikolaus (Huttingen) | St. Michael (Istein)
Coordinates: 47 ° 41 ′ 32.5 " N , 7 ° 32 ′ 51.3" E