Castle Church Beuggen

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Castle Church Beuggen

The Beuggen Castle Church was built at the end of the 15th century and rebuilt by the master builder Johann Caspar Bagnato in the middle of the 18th century . The former Roman Catholic parish church of St. Michael has been a member of the Evangelical Church in Baden since 1996 . The baroque building belongs to the ensemble of the palace complex of Beuggen in Rheinfelden in southern Baden . The valuable three- dimensional ceiling paintings from the mid-18th century, some of which are attributed to the Constance artist Franz Ludwig Hermann , are an artistic highlight . In addition to church services, concerts, theological training courses and the daily prayers of the Beuggen community take place in the castle church .

history

Upper church

The first written mention of the church in Beuggen, consecrated to St. Michael , dates back to 1218. To distinguish it from the castle church, it was called the Upper Church. The church was destroyed in July 1678 by French troops under the command of Marshal François de Créquy . Because of the war damage, the church could only be used in a makeshift manner, so that the Teutonic Order Commander made their Marienkirche in the castle available for church services. With this the parish rights passed to the castle church. The upper church was not repaired and finally demolished in 1836.

Castle Church

For the 1268 built castle of German knights belonged to one of the holy Maria consecrated chapel , which presumably located on the Rhine remote was Page. It received two more altars in 1298. One was dedicated to Saint Catherine and the 11,000 virgins, the other to Saint Elizabeth , Mary Magdalene and the 10,000 martyrs . The Bishop of Constance, Heinrich II , granted the consecrated altars indulgence privileges.

Around the year 1400 the old castle was converted into a late Gothic castle and the old chapel was replaced by a Gothic church. A lower aisle was added to the narrow nave in the north . In 1454 an altar was donated by Commander Burkhard von Schellenberg, which was consecrated in 1457. The building that was on the property of today's church served as a convent building until the beginning of the 16th century, connecting the residential tower from the 13th century with the church. Three altars have survived for the year 1719: in addition to the Liebfrauen high altar, the castle church had a 14 Holy Helper altar from the second half of the 15th century on the right and an Elisabeth altar on the left.

Today's church

Church and palace complex in a vedute from 1775

When the palace was made Baroque in 1752, the church was enlarged and redesigned according to plans by the master builder Johann Caspar Bagnato. The church, which initially served the oratory of the Brothers of the Teutonic Order in the Kommende Beuggen, has also been used as a parish church by the Catholic community of Karsau-Beuggen since 1678 - after the Upper Church was destroyed . In the middle of the 18th century, the three choir stalls still preserved today were brought in. What is now on the back wall of the church was probably on a partition between the choir and the church interior. It was also at this time that the rear wall with its three windows from the loggia of the castle was removed. All paintings in the church are done in such a way that this loggia was the ideal location for it. One floor in the church was dismantled between 1752 and 1757, so that the roof was placed on the present church. According to a document dated June 28, 1782, the chapel of the Teutonic Order was consecrated to Saints Elisabeth, Sebastian and Rochus.

The fact that the Catholic community used the religious order as a parish church was originally only intended as a temporary arrangement; However, it outlived the Teutonic Order and was transferred to the Grand Duke of Baden in 1806 together with the entire property. In 1908 the church became the property of the Catholic parish; it served the community as a parish church until 1995. In 1996 the church was sold together with the rectory (Firmarie) of the Evangelical Church in Baden.

The church was restored in 1910 under the direction of the state curator Joseph Sauer . In doing so, an older layer of paint was found in the nave fresco, which was uncovered. In the years 1959 to 1961 extensive interior and exterior renovations were carried out, based on the existing buildings and the appearance of the 18th century. In 1999 the church building was subjected to an extensive inventory and restoration by the Baden-Württemberg State Monuments Office .

description

Location and church building

The palace church, standing at right angles to the north palace facade at around 270 meters above sea level not far from the right bank of the Rhine , consists of a rectangular hall building with a gable roof and a polygonal, windowless choir with a hipped roof in a northeasterly direction at the same height and width as the hall building. The nave measures about 27 meters in length and 10.50 meters in width. The building is 13.50 meters high up to the edge of the roof, the adjoining roof is 8 meters high. On the long sides of the nave there are eight round-arched, long lead-glazed windows. The entrance to the church from the courtyard is on the northwest facade. To the right of it is the former Gothic door. Since the church building has an atypical basement, it can be assumed that the original purpose of the building was secular.

In the direction of the choir, there is a small roof turret with a Welscher hood , which is crowned by a tower ball and a cross. On the shaft, which is covered with shingles, there are sound arcades in all four directions . From the ridge of the roof, the ridge measures 10 meters. Striking and unusual for a baroque church is the overhang of the roof by 1.10 meters over the nave.

On the side facing the banks of the Rhine there is an elongated and low extension with a flat pent roof , which is used as a sacristy . The structure measures 17 meters in length and 3.50 meters in width. From the sacristy there is access to the pulpit in the church hall. This entrance is recognizable from the outside through a small, steeper monopitch roof that stands out from the rest of the roof. Not far from the sacristy, there is a stair tower in the corner between the castle and the church . The entrance to the stair tower bears the year 1509, the stairs the number 1504. From the staircase you get to the organ loft, which was built in 1818.

Interior and equipment

Nave towards the choir

Inside the church is drawn in with a flat ceiling, which is rounded on the sides. The church offers a total of 90 seats on 18 benches in the nave, which are separated in new rows by a central aisle. The interior of the hall measures 16.30 meters in length, 8.65 meters in width and 12.10 meters in height. The 5.40 meter wide triumphal arch leads from the nave to the 18 centimeter higher choir room with a depth of 7.85 meters. By a groove a is simulated architecture formed on the ceiling painting in the nave by the illusion of a vault. There are two five-seat choir stalls in the choir. Behind the high altar is an altarpiece that shows St. Michael in the form of a dragon fighting the devil. The nave pictures of the martyrdom of St. Erasmus and St. Sebastian were created around 1700 and were created by SM Grohmann. The paintings on the side altars are by SG Hermann and are dated around 1730.

A pulpit with a sound cover protrudes from the south wall of the nave . You can access it outside the church building via a separate staircase in the sacristy. It was probably created on behalf of the German Order.

On the back wall facing the castle, opposite the choir, there are three windows that belong to a narrow, loggia-like room on the first floor of the old castle. The room is only accessible from the castle through the Commander's former table room. The upper half of the window by the retrofitted organ empore covered. Under the windows there are nine colored heraldic cartouches, which refer to the Austrian sovereignty, and a seven-seat choir stalls. The middle one is the coat of arms of the Teutonic Knights. To the left of them are: without a name (1794), Christian Freiherr von Truchseß von Rheinfelden († February 17, 1802), Paris Rudolph Gold Freiherr von Lampodingen († July 15, 1667) and Hans Bartholome von Stadion († April 20, 1535 or 1635). To the right of the coat of arms of the Teutonic Order are: Beatus Melchior von Reinach († July 7, 1690), Franz Melchior von Reinach († July 29, 1713), Nicolaus Franz Karl Fridol. Freiherr von und zu Schoenau (undated) and Hans Dietrich von Hohenlandenberg († 1578).

  • Organ and ceiling picture

  • altar

  • pulpit

  • Longhouse with a view of the organ gallery

Ceiling painting

Ceiling picture in the nave

Longhouse fresco: The religious saint Elisabeth of Thuringia distributes alms to the sick and supplicants

The entire nave and choir ceiling of the castle church is painted with a high baroque fresco . There is no signature, date or archival message for the ceiling painting. Due to the building activity of Bagnato and the coats of arms, however, the creation of the frescoes can be narrowed down to the years from 1752 to 1757. Authorship is not guaranteed for the choir picture; the fresco in the nave is almost certainly attributable to Franz Ludwig Hermann from Constance.

The flat vaulted barrel as a ceiling and a shadowy hollow between the hall area and the ceiling creates a pseudo-architecture which, together with the corresponding perspective representations, creates the illusion, depending on the location, that it is a strongly arched ceiling. In the direction of the choir and organ, the representation opens up in an arched architecture. Oval windows with slug panes in grisaille tones are painted on the ceiling above the actual nave windows , which seem to illuminate the ceiling image. The real ceiling windows of the Hofkirche in Bad Mergentheim are the model for the painted windows . The large measure, the imitation of reality, is not only an artistic end in itself, but also serves to interpret the painted content.

The central depiction of the richly narrated nave fresco is the donation of alms from St. Elisabeth, which is raised on a platform covered with carpet. A warm light surrounds them, which is elevated to the crowd around them. To her left stand a woman with a full cash chest and a limping beggar who extends his hand towards Elisabeth. To the right of Elisabeth stands a woman with a bread basket that she hands out to the hungry. Faithful to the iconography of the 18th century, Elisabeth is depicted with a crown and princely clothes because of her act of mercy. Elisabeth looks up high up into the temple architecture, so to speak, and - although in the center of the recipient - is not directly involved in the action. The entire scene is surrounded by a golden picture frame carried by grisaille angels. The representation that develops within the framework changes the level of reality in the tradition of the quadro riportato .

Another highlight of the representation is the painted prince's box in the west, which is located above the organ. Spatially, this part looks like an extension of the church, but is still separated from the main event. This part is also interpreted as a quote from the Grand Master's Lodge of the castle church in Bad Mergentheim. The box scene shows ten important personalities of the Teutonic Order in contemporary dressing rooms, some of whom are absorbed in prayer. The portraits that have been preserved show that Landkomtur von Frohberg is shown on the far left and Komtur Graf von Königsegg on the far right. Programmatically, the relationship between the royal box and Elisabeth can be interpreted in such a way that the Teutonic Order can expect fame and honor if it follows Elisabeth's example.

Ceiling painting in the choir

Chrome fresco

In contrast to the fresco in the nave, the one in the choir is not framed, but presented in such a way that what is seen takes place directly above the viewer. The visual impression of a central room cannot be created sufficiently by just two beveled corners. For this reason, two flat trumpets and a stuccoed cornice with four beveled corners lead from the ceiling to the picture. The resulting octagon has a wider and a narrower side. A gallery floor supported by columns is simulated on the flat plastered ceiling with a cove. From a perspective, the choir fresco is designed in such a way that the optimal viewing position is more on the triumphal arch than in the middle of the choir room. In the middle of the fresco, Mary, accompanied by angels, flies up into the partly cloud-covered, partly sun-drenched sky to her coronation, where God the Father and Christ are waiting for her.

Bells and organs

Roof turret

The four-part bell is composed as follows:

Surname Chime Casting year foundry
St. Michael's Bell cis ′ ′ 1956 FW Schilling, Heidelberg
Marienbell dis ′ ′ 1956 FW Schilling, Heidelberg
Elisabeth bell fis ′ ′ 1956 FW Schilling, Heidelberg
Old bell ais ′ ′ 1676 Jakob Roth, Basel

The organ from 1961 comes from the Josef Schwarz workshop in Überlingen. The instrument works with a cone chest , an electric game and stop action and includes two manuals , a pedal and 18 stops .

literature

  • Johannes Helm : Churches and chapels in the Markgräflerland , Müllheim / Baden 1989, ISBN 3-921709-16-4 , pp. 261-263.
  • Freundeskreis Schloss Beuggen eV (Ed.): Schloss Beuggen. History, buildings, present. , 2008, pp. 26-29.
  • Dagmar Zimdars, Günter Eckstein: The former Teutonic Order Church in Beuggen , preliminary investigation, repair and restoration that is gentle on the substance, (workbook of the State Monument Authority of Baden-Württemberg ; issue 6), Stuttgart: Theiss, 1999, ISBN 3-8062-1463-8 .

Web links

Commons : Schlosskirche Beuggen  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Beuggen Palace Concerts
  2. ^ M Gmelin: Document book of the Teutonic Order Commende Beuggen . In: ZGO 28, 1876, p. 93.
  3. ↑ Jehle: Karsau , in Vocke (ed.): Die Chronik des Kreises Säckingen , 1963, p. 149.
  4. ^ Hermann Brommer : Rheinfelden / Baden. Beuggen-Karsau , Verlag Schnell and Steiner 1995, ISBN, p. 3.
  5. ^ Helm: Churches and chapels in the Markgräflerland , p. 261 (06.1)
  6. ^ A. Lehmann: The development of the patronage relationships in Archidiakonat Breisgau . In: FDA 44 (NF 17), 1916, pp. 122-123.
  7. ↑ K. Zeller: The building history of Beuggens as a cultural history of the Teutonic Knights Order . In: Das Markgräflerland , 1970, issue 2/3, p. 81.
  8. ↑ Beuggen Castle. History, buildings, present. , P. 26
  9. ^ Helm: Churches and chapels in the Markgräflerland , p. 261 (07.1)
  10. ↑ Archbishop's Archive Freiburg, Generalia Bistum Konstanz, A 1/1084
  11. ↑ a b Zimdars, Eckstein: The former Teutonic Order Church in Beuggen , p. 12.
  12. ↑ Zimdars, Eckstein: The former Teutonic Order Church in Beuggen , pp. 14-17.
  13. ↑ a b Zimdars, Eckstein: The former Teutonic Order Church in Beuggen , p. 28.
  14. ↑ Hanspeter Trenschel: To Castle Church in Bad Mergentheim , Fast and Steiner, 1998, ISBN
  15. ↑ Zimdars, Eckstein: The former Teutonic Order Church in Beuggen , p. 25.
  16. ^ Helm: Churches and chapels in the Markgräflerland , p. 263 (07.3)

Coordinates: 47 ° 34 ′ 53 "  N , 7 ° 48 ′ 49.4"  E