St. Agidius (St. Ilgen (Sulzburg))

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The church seen from the choir side as it appears to the residents of the village
The portal side when looking from the fields towards the village

St. Egidius is the Protestant parish church of the small wine-growing village of St. Ilgen , which is part of the "Evangelical parish of Laufen with St. Ilgen", which is administered together with that of "Sulzburg mit Ballrechte-Dottingen".

St. Ilgen was probably once an independent parish, as can be deduced from the grave slab of a pastor (more on this under "Equipment") and a parsonage originally attached to the north side of the church . After the provost Betberg incorporated had been lived in the house two chaplains who had to provide the stores Betbergs. At the time of the Reformation it was assigned to the pastor of Buggingen because the parsonage there was not habitable. This chaplaincy was demolished in the early 19th century . 1834 St. Ilgen was a small church reform in the course of running , the residents were politically anyway belong.

Surname

In 1089 the "Ecclesia ad Tiliam" was first mentioned as "ad Sanctum Aegidium vulgo St. Ilg" in the annals of the St. Peter monastery . In 1323 it is called “sant Gylien”, 1360 “sant Gylgen”, 1370 “capella s. Egidii ”, around 1500“ S. Gilgen Chapel to S. Gilgen ”.

In 1732, the pastor at the time, Joh. Phil. Lindemann von Betberg, had asked the Basel scholar Dr. Jacobus Helius received the hint that the name goes back to St. Aegidius , one of the fourteen helpers in need . This is supported by the fact that another Baden town of St. Ilgen, today a district of Leimen , owes its name to the local St. Aegidius Church . The legend has it that a Frankish , the church have donated Prince, which this saint had appeared in the hunt. Saint Aegidius is depicted with a doe who once fled from hunters to his hermitage , fed him and even saved him from death. In St. Ilgen there was “a carved picture that presented a deer looking up at a man. It only got lost a few decades ago, "that is, in the first half of the 19th century. A legend connected with St. Aegidius could also refer to St. Ilgen. When a friar expressed doubts about Mary's virginity , he is said to have written three questions in the sand: Was Mary a virgin before conception? Was Mary a virgin at conception? Was Mary a virgin after conception? In all three places white lilies had bloomed from the arid ground. This legend could be the lilies on the church building and in the coat of arms of Laufen-St. Explain Ilgen, especially since "Ilge" or "Gilge" is Alemannic for lily. Kraus thinks that St. Aegidius should be seen here as identical with St. Eligius - whose attribute, however, is not the doe (deer), but the horse.

Pastor Lindemann himself, however, drew a derivation from “St. Ottilien ”. “The church of St. Ilgen, which has always belonged to St. Peter, is a 'templum' or 'fanum <sanctuary> Sanctae Ottiliiae'; the first syllable of Ottilien was dropped and St. Iljen or St. Ilgen were made out of it. ”A legend is also cited for the derivation of St. Ottilien. The blind Ottilia , daughter of an Alsatian knight, did not want to marry a man who was meant for her but she was unloved and therefore fled across the Rhine. She had come to a small village where the water of a spring restored the sight of the blind. Out of gratitude, she had a chapel built over the spring and named the place St. Ilgen. This (as well as the Franconian foundation) would fit the fact that until the 18th century St. Ilgen was a place of pilgrimage , which was mainly visited by Alsatians , and a well was said to have medicinal properties. In fact, the church, which can still be seen from afar, is not at an elevated point, but in the depression almost at the lowest point of the place. There is a well near her, but it is not at a source, but at the Hohlenbach. Ottilia is also used by other places, with a slightly different legend, such as St. Ottilien in Freiburg .

The pilgrimage from Alsace (and the Breisgau ) is justified quite differently. For this, “a rather obscene statue attached to the west side of the church gave cause. A vicar from Betburg is said to have had them smashed. ”According to the records of a pastor from Betberg from 1747, it is said to have been a“ homo cacaturiens ”to whom the pilgrims made sacrifices and from whom they took grains of sand to be pulverized in wine to take against digestive problems.

history

Church floor plan

It is not known where the church was located, which is said to have existed long ago in 1089; Archaeological explorations in 1987 also yielded no results. Today's church has two peculiarities: it is much too big for the small village and it is located on the very edge of the place, to which it presents itself with the view of its choir from the rear - its entrance facing west points to the open field, so you have to turn from the floor plan shown to put yourself in the position of the residents. Both remain mysterious, but can possibly be explained with an old pilgrimage.

The construction dates from the end of the 13th and beginning of the 14th century. The basement of the tower can still be classified in the late Romanesque , the remaining components in the early Gothic . The church was robbed during the Thirty Years War. It was renovated in 1902/04. The last fundamental renovation took place in 1985/89, which was urgently required, especially in the outdoor area, due to the neglected condition of the building. In this context, the building was also provided with an electrical installation and specially designed lights.

description

The nave is a single-aisled, flat-roofed building, to which the choir adjoins after a pointed choir arch , which - separated by a yoke - is closed with five sides of an octagon. The four-storey tower, which has retained the Romanesque shape with a gable roof , but has a pair of coupled two-part Gothic tracery windows with three-pass windows on the upper storey is placed in the nave ; in the basement there are empty, ogival wall slots. The tower originally had a sundial on the east side facing the site, which has been replaced by a mechanical clock.

The entrance on the west side is provided with a simple pointed arch, above a large three-part tracery window with quatrefoil and another, two-part pointed arch window. The entrance facade has an original half- stepped gable rising towards the tower , which is decorated with small gable roofs and cross lilies. During the renovation in 1902, a canopy was placed across the entire facade on the existing corbels . The same approach was used for the entrance on the north side, which has just as simple a portal as the one on the south side. The nave also has four high and one lower Gothic window with a three-pass, all narrow and in two parts. The five windows of the slightly indented choir are designed accordingly, supported by buttresses , the easternmost of which are crowned with pointed roofs and pinnacles . The choir is hardly higher than the nave. According to old findings, the entire roof was covered with glazed tiles during the renovations in 1902 and 1985 , just as the cross lilies on the ridge of the choir and on the stepped gable are based on building photographs from 1889 and 1891.

The view from the gallery into the choir
Entrance portal, gallery and organ

Inside, the tower hall, the chapel, is provided with hollow-profile ribs . The outer enclosures of the openings to the entrance and the nave can be recognized as the oldest components. The choir vault has corresponding ribs that sit on consoles; the keystones are decorated with flowers. During the renovation in 1902, the flat plastered ceiling in the nave was chipped off and replaced by a color-coded, articulated wooden ceiling, which is divided into lengthwise barrels above the gallery. The historicizing wooden gallery supported by a central support also dates from this time.

The church had not seen any visible changes over the centuries. Before the renovation in 1902, it was examined for suspected wall paintings. In the tower hall, which has been restored to its original state, there was a consecration cross and in the vault spandrels under “yellow whitewash flowers in yellow-red and black color”; the vault, probably frescoed , was covered with black and red flowers and stars on an ivory background. In the choir, "apostles with credo rolls" were not exposed, probably 12 apostles "with the articles of faith on the German banners", which had been mentioned in old reports. Ultimately, a neo-Gothic wall mount was applied to the choir and nave. This was based on templates based on the version of the 14th century. A technique was used that used bone glue to bind in the old fashioned way . In the nave, for example, a high-lying plinth zone with square painting is closed off by a geometric frieze, which also extends around the choir arch in a more splendid design. In the choir, the base zone is finished off in carpet style by a frieze with leaf motifs, above which there are colored wall surfaces with painted joints. During the renovation in 1985, emphasis was placed on preserving this wall design.

Furnishing

At the entrance there is a late Gothic holy water stone , on the right in the choir a Gothic piscina with quatrefoil. The pews, which have only been up to the height of the side doors since 1985, the altar, the pulpit and the baptismal table date from 1902; the historicizing objects fit harmoniously into the neo-Gothic design of the interior. A large crucifix that previously hung on the north wall was provided with a base and now forms the center of the choir as a standing cross.

A special feature is the parsonage right in front of the entrance to the pulpit, which could be mistaken for a confessional. In fact, it is one of the last examples of this Protestant peculiarity still existing in the Markgräflerland. The pastor's chair was available to the parish priest before the sermon. There, hidden from the eyes of the congregation, he could remember the sermon while the congregation was singing and put on his robe .

Two grave slabs are exhibited in the tower hall, which originally lay on the floor of the nave. One shows a monk, the other, dated 1503, a coat of arms with five spheres and a hand with a manipula blessing a Gothic chalice - obviously the grave of a clergyman, as the partially destroyed, circumferential writing confirms: “ANNO DOMINI MCCCCCIII OBIIT FRATER JOHANN DE friBURGO LAPIDO (?) REQUIESCAT IN PACE AMEN ”, so approximately:“ In 1503 Pastor Johann from Freiburg died, let him rest in peace, Amen ”.

  • Entrance portal

  • The piscina

  • Parish chair with pulpit

  • View into the tower hall

  • Grave slab with monk

  • Grave slab with coat of arms

Bells

The larger of the two bronze bells in the church was melted down during World War II. In 1951 it was replaced. In 1958 the bells were supplemented.

Chime Casting year foundry
d ′ 1958 Karlsruhe bell and art foundry
c ′ ′ 1951 Grüninger bell foundry
it'' 1923 Grüninger bell foundry

organ

The organ case by Sebastian Fichslin

The special treasure of the church is the listed organ . Its case is unique, most of its work has been preserved in its condition from 1800.

Up until 1750, almost exclusively foreign, immigrant organ builders were active in the Markgräflerland. Sebastian Fichslin (Füchslin) from Sulzburg was identified as an early exception . He only had a small sphere of activity and provided small instruments. Un-preserved organs for Staufen im Breisgau (1715, with 6 registers) and Müllheim (1717/19) have been transmitted . He delivered his last known work around 1719 for the Church of St. Cyriak in Sulzburg . According to "uncertain sources" he is said to have died around 1727 very old. This organ was rebuilt as early as 1759 (possibly by Johann Hug). The middle part of the case was lowered and decorated with a cartridge bearing the inscription: “Everything / that has breath / praise the Lord / Alleluia. / Ren. Men. Jul. 1759 ". In this condition, the case is one of the oldest in Baden and the only visible memory of the organ builder Sebastian Fichslin that has survived to this day.

In 1800 Xaver Bernauer from Staufen im Breisgau rebuilt the organ; he made them practically new using the existing housing. So it has essentially remained to this day and thus represents the most completely preserved work of this master, along with the organ in Fischingen , of which, apart from some registers in Kirchzarten and some cases, nothing has come down to us. Xavier Bernauer coming "two bellows , both wind chests , the keyboards and Wella doors , the organ stops , the Trompetbaß and probably - archival without allocation - all metal pipes".

The organ was repaired several times: in 1809 and 1811 by Xaver Bernauer, in 1820 by an unknown organ builder, in 1828 by Joh. Jacob Hurst and in 1892 by August Merklin . In 1965 GF Steinmeyer & Co. reworked the old inventory, in which the principal pipes in the prospectus were renewed. At that time, the organ still belonged to St. Cyriak's church, but has now been moved from the choir to the west gallery, the former master's box. There it was repaired again in 1970 by the organ builder Peter Vier . However, it turned out that it was not suitable for this location for reasons of the indoor climate , so that the same organ builder finally moved it to St. Ilgen in 1984. On this occasion, the old hand-operated or foot-operated bellows were also reinstalled.

The instrument has 10 registers .

Manual CD – c 3
Bourdon 8th'
Principal 4 ′
flute 4 ′
Octav 2 ′
Fifth 1 1 ⁄ 3  ′
Super octave 1'
Mixture II (formerly III) 1'
Pedal C – c 0
Sub bass 8th'
Octave bass 4 ′
Trombet bass 8th'

According to the cantor, who was active in 2011, the sound of the organ is "typically baroque, with a sharp mixture."

Appreciation

The church of St. Ilgen “is by far the most beautiful in the whole area”, wrote Martini in 1877 after he had recorded the history of the entire Diocese of Müllheim . Inside, the neo-Gothic appearance of the renovation from 1902 makes "a typical and closed impression".

literature

  • Hans Peter Eisenmann: The organ. In: Karl List: St. Cyriak in Sulzburg. 993-1964. State Office for the Preservation of Monuments, Freiburg [1964], pp. 104–106.
  • Johannes Helm: The existing, disappeared and abandoned churches and chapels in the Markgräflerland. 2nd Edition. Schmidt, Müllheim 1989, ISBN 3-921709-16-4 , pp. 380-382.
  • Peter Hillenbrand: The Protestant Church Laufen-St. Ilgen. Deutscher Kunstverlag, Munich 1990.
  • Franz Xaver Kraus (Ed.): The art monuments of the Grand Duchy of Baden. Vol. 5. The art monuments of the Lörrach district. Mohr, Tübingen u. a. 1901 ( online ).
  • Eduard Christian Martini: The most beautiful ancient church in the district of Müllheim. In: magazine of the Breisgau history association Schau-ins-Land. 4th annual issue 1877, pp. 65–67 ( online ).
  • Ernst Scheffelt: St. Ilgen in the Markgräflerland. In: The Margraviate. Contributions from the history, culture and economy of the Markgräflerland. Monthly magazine of the Hebelbund. Issue 1, 1965, p. 13 f.
  • Wilhelm Spelge: Running - St. Ilgen. In: 400 Years of the Evangelical Church District Badenweiler-Müllheim: 1556-1956 , Müllheim 1956, pp. 91-104
  • Bernd Sulzmann: Sources and documents about the life and work of the organ maker family Bernauer-Schuble in the Markgräflerland. In: Acta Organologica Volume 13, 1979, pp. 124-192.

Individual evidence

  1. ↑ Martini, p. 66.
  2. ↑ a b c Martini, p. 65.
  3. ^ Hillenbrand, p. 2; Scheffelt, p. 13 f.
  4. ↑ Spelge, p. 91 f .; Karl Bender: Betberg. In: 400 Years of the Evangelical Church District Badenweiler-Müllheim: 1556 - 1956 , Müllheim 1956, p. 45 f .; Hillenbrand, p. 2
  5. ↑ Hillenbrand, p. 2.
  6. ↑ Kraus, p. 113.
  7. ^ Spelge, p. 91
  8. ↑ Helm, p. 381, with reference to Paula Hollenweger : Legends from the Markgräflerland are Alemannic people , in: Das Markgräflerland , Heft 3/4 1978, p. 243.
  9. ↑ Scheffelt, p. 14
  10. ↑ Martini, p. 67
  11. ↑ So summarized in Eduard Hoffmann-Krayer (Ed.): Volkskundliche Bibliographie 1923/1924 , Berlin 1929, p. 185, from an essay by Karl Obser: Bildwerk und Superstlaube in St. Ilgen , in: Die Pyramide , Sunday supplement of the Karlsruher Tagblatt , Issue 13, 1924, p. 6 f.
  12. ^ Helm, p. 381.
  13. ↑ Kraus, p. 111; Hillenbrand, p. 2; Scheffelt, p. 14.
  14. ↑ a b Hillenbrand, p. 6 ff.
  15. ↑ Kraus, p. 111.
  16. ↑ Kraus, p. 112.
  17. ↑ Hillenbrand, p. 4 f.
  18. ↑ Kraus (he reads another “INTOR” and cannot read “REQUIESCAT IN PACE”), p. 112; Martini, p. 66 (he reads: “1502” and “JOHANNES ZIMBER”); Redrawing of the gravestones from 1844 in Indian ink on: Discover Baden-Württemberg regional studies, online .
  19. ^ Helm, p. 382
  20. ↑ Information from the organ and bell examination office in Lörrach dated June 6, 2017
  21. ↑ The quality of his work does not seem to have been very high, assumes Hermann Brommer due to the early and extensive repairs to the organ in Staufen: Catholic parish church St. Martin Staufen i. Br. , Lindenberg 2001, p. 41.
  22. ↑ Sulzmann, p. 124, note 1.
  23. ^ Eisenmann, in: List, p. 105.
  24. ^ A b Bernd Sulzmann: Historical organs in Baden. Schnell & Steiner, Munich 1980, ISBN 3-7954-0421-5 , p. 28.
  25. ^ Helm, p. 382.
  26. ↑ Sulzmann inadvertently does not perform the flute in historical organs in Baden , so that based on this, Helm only gives 9 registers.
  27. ↑ The attraction of a sound comparison , Badische Zeitung, June 22, 2011, online .
  28. ↑ Martini, p. 65; compare Eduard Christian Martini: History of the Diocese of Müllheim , Volume I, 1869 (the 2nd volume is only available as a manuscript).
  29. ↑ Hillenbrand, p. 8.

Web links

Commons : St. Agidius (St. Ilgen (Sulzburg))  - Collection of images, videos and audio files

Coordinates: 47 ° 50 ′ 31.7 "  N , 7 ° 40 ′ 13.8"  E