St. Arbogast (Haslach im Kinzigtal)

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St. Arbogast is the Roman Catholic parish church of Haslach in the Kinzig valley . The parish is part of the Haslach pastoral care unit in the Offenburg-Kinzigtal dean's office in the Archdiocese of Freiburg and also looks after the subsidiary churches of St. Josef in the Bollenbach district and Maria Königin in the Schnellingen district. The church building combines Gothic , Early Classicist and Neoclassical parts.

The neo-baroque tower of St. Arbogast above the old town

history

The Arbogast - patronage leaves on early influences from Strasbourg close was the 618 deceased saints but bishop of Strasbourg . A Romanesque tympanum (see below) attests to a church in the 12th century. However, St. Arbogast is only mentioned in writing in 1328. At that time, the gentlemen von Geroldseck sold their rights to the church to the princes of Fürstenberg . The introduction of the Evangelical Confession in 1542 by Count Wilhelm von Fürstenberg (1491–1549) remained an episode. The Catholic faith was reintroduced already under his brother Friedrich II von Fürstenberg (1496–1559). The building of a Capuchin monastery in Haslach became important for pastoral care from 1630.

Building history

Around 1481 the Romanesque church was replaced by a late Gothic hall church with a choir with a 3/4 end . On the preserved west tower, the year is carved on a plate framed by a frame.

  • Historical

  • Romanesque tympanum 12th century

  • Salzmann's floor plan 1780

  • Elevation of Salzmann 1780

  • Meisburger's sketch for a side altar in 1782

  • Schroth's 1908 floor plan

In January 1779 - the pastor was Franz Schaller (1715–1789) - a report describes the church as “on the roof as a stage work so ruined and rotten that it rains down on the altar, especially in the choir, and it is to be feared that the stage will stand fall down and kill the priest on the altar ”. The Fürstenberg building director Franz Joseph Salzmann advised that the church could “be repaired in a good time at great expense, but at least it remains an improper, uncomfortable and irregular building that is too deep in the ground. I would be of the insignificant opinion that one should apply for the construction of a completely new church ”. The following year, Salzmann submitted a plan and an offer for 3960 guilders . He was awarded the contract against competitors with the condition that the old altars, pulpit and benches should be carefully demolished and kept for reuse. The Gothic tower was retained and a nave with four window axes and a choir with a third-eighth note were added. In the autumn of 1781, the service, which had meanwhile been moved to the Capuchin monastery, was able to start in the new church.

The stucco work was entrusted to Johann Joseph Meisburger from Freiburg im Breisgau . The altars taken over from the old church were soon felt to be unusable. For the two side altars, Meisburger's proposal was taken up in 1782 - "who made stokkator work with full approbation in local parish churches" - to take over the altars he had created for the Freiburg Charterhouse , which had become superfluous after the Charterhouse was abolished. They were equipped with new altar leaves by Johannes Herrmann . The church only got a new high altar in 1792. Its master is unknown.

When the Freiburg conservator Max Wingenroth (1872–1922) praised the Salzmann Church and its furnishings in 1908 in the Offenburg- Band district of the series “ Die Kunstdenkmäler des Großherzogthums Baden ” started by Franz Xaver Kraus , it had already been fundamentally changed. In 1898, Pastor Franz Ignaz Albrecht (1863–1934) complained about "terrible crowds" at the service. Only 360 seats were available for 2000 Catholics. The fact that it was enlarged was primarily thanks to the Grieshaber siblings, Philippine (1838–1913), Marie (1842–1913) and Josephine (1848–1918), who donated 100,000 marks in 1905 and later other “huge sums”. Her father, Franz Michael Grieshaber (1838–1913), had taken part in the Baden Revolution and had been sentenced to a long prison sentence in 1850 for high treason. He fled to Angers in France and later had the children join them. At the funeral of their mother in Haslach in 1902, the siblings met Pastor Albrecht. Like your father, you died in Angers. The architect of the expansion was Johannes Schroth , the head of the Archbishop's Building Office in Karlsruhe. At the same time, he expanded the baroque parish church of St. Maria in Bühl-Kappelwindeck . In 1906 the foundations were laid in Haslach, in 1907 the church was consecrated . It was renovated in 1955 and 1956.

Look at the choir

building

Schroth kept the Gothic west tower and Salzmann's early classical nave and broke off Salzmann's choir. In its place came the extension building, which appears to the outside as a transept with curved gables, and a new choir, imitating Salzmann's. In the corner between the extension building and the north side of the new choir, Schroth built a massive additional tower, the city's landmark, with a square basement, a bell storey with large arched windows with plait decoration , a double “Welscher hood” and a lantern with a cross on it. Below the west tower forms an open, reticulated hall. In the western interior, the Romanesque tympanum is walled in, a representation of the Fall ( Gen 3  EU ) with the tree of knowledge , Adam and Eve and God the Father .

Upon entering, Salzmann's narrow, single-nave nave looks like the entrance to Schroth's temple-like extension, a square hall made up of three naves with tall, slender columns made of white, marbled sandstone, sturdy beams and a flat ceiling. In the extension of the north aisle, a chapel opens in the new tower.

Christ window by Fritz Geiges

Furnishing

Inside, white, gray and gold tones predominate. The windows are made of colorless clear glass, with four exceptions.

For the nave, the pastor, writer and politician Heinrich Hansjakob from Haslach donated two neo-Romanesque stained glass windows, in the north wall a Mary window, signed " Helmle & Merzweiler 1893", in the south wall a Christ window , signed " Fritz Geiges Glasmalerei Freiburg" and with the dedication “IN MEMORY OF HIS + + PARENTS PHILIPP AND CAEZILIE GEB. KALTENBACH DONATED BY PRIOR DR. HEINRICH HANSJAKOB 1893 ”. It shows the Annunciation to Mary , birth, crucifixion, ascension and - for Christ as World Judge - Alpha and Omega between trumpet-blowing angels.

The two windows next to the high altar are grisaille .

Stucco work and ceiling paintings

Ceiling painting of the extension hall

Pastor Franz Schaller is likely to have designed the program for the early classical stucco work. In the main field of the ceiling of the old nave, the cross, anchor and chalice - in front of clouds, surrounded by a wreath of flowers and emitting rays - symbolize faith, hope and love . The three angel heads in between are attributed to Joseph Hörr , with whom Meisburger also otherwise worked. Over the organ, twitching lightning over the serpentine globe, owl, flaming sword and scourge symbolize the condemnation of the wicked. Opposite to the choir, the sun over the heavenly Jerusalem , the globe with a wall crown, palm branch, olive branch and wreath of flowers symbolize the reward of the good.

The stuccoing of the extension hall and the new choir was created in 1907 based on ideas from Pastor Franz Ignaz Albrecht and carefully adapted to Meisburger's style by Wilhelm Füglister (1861–1921). At the triumphal arch , between adoring angels based on Meisburger's example, the eye of providence looks at the community. On the choir ceiling, the crown, scepter, cross and a dove, emitting rays and surrounded by a wreath of flowers, indicate the Most Holy Trinity .

Kaspar Schleibner painted scenes from the life of St. Arbogast on the ceiling of the extension hall . Down in the main field, Arbogast brings back to life the son of King Dagobert II , who was killed by a boar , whereupon Dagobert gives him rich presents. Heinrich Hansjakob and pastor Albrecht behind him are portrayed between the pillars of the bishop's palace. Above, Arbogast is taken to heaven. The Haslach city coat of arms at his feet asks for God's grace.

High altar

Altars

The artist of the high altar made of white sandstone and hard stucco is August Schädler . He placed God the Father, Christ on the Cross and the dove of the Holy Spirit between each side of two coupled columns with braided capitals leading to the above-mentioned grisaille windows . Angels carry the instruments of passion on the curved entablature . Worshiping angels frame the tabernacle . Schadler placed Arbogast on the left and St. Sebastian on the right above doors to a corridor around the altar . On consoles below the columns there are busts of Peter with the key and of Paul with the sword, "first-class Rococo work" by Franz Xaver Biheler (1726–1787).

Way of the Cross

The side altars, on the right the Marian altar with the donation of the rosary to Saints Dominic and Catherine of Siena , on the left Joseph's altar with the marriage of Mary and Joseph, were made by the Offenburg sculptor Peter Valentin (1877–1962) from white sandstone and limestone. They are "characterized by immaculate beauty, calm and a gentle flow of robes".

Others

The Way of the Cross stuccoed on the walls and the stone pulpit with stucco reliefs of the four church fathers Pope Gregory I with a dove, Ambrosius with a beehive, Jerome with his lion and Augustine with a burning heart were made by August Schädler .

Meisburger decorated the curved parapet of the organ gallery with musical instruments, palm fronds, laurel branches and Cecilia and King David medallions. Similar down to the last detail, he had already decorated the organ loft of the parish church of St. Peter in Endingen am Kaiserstuhl . The organ case by an unknown master with the figures of King David playing harp and two assisting angels playing music also comes from the Salzmann building.

  • Tomb of Anna von Fürstenberg

  • Mark

  • The tomb probably of Götz von Fürstenberg

  • Mark

Two protrude from the gravestones. One was moved here from the Dominican Church in Freiburg in 1802 . The inscription names the deceased in 1341 "Anna, wife of Count Fürstenberg and born Montfort ". A helmet with buffalo horns is carved over the coats of arms of Montfort and Fürstenberg. The other tombstone shows the deceased, life-size, praying, fully in armor, his feet on a lion, the Fürstenberg coat of arms on his left side, his head covered with an iron hood resting on a helmet, which in turn wears buffalo horns. One font is missing. One suspects that it could be Anna's husband, Götz von Fürstenberg, born in 1317, died in 1341, the same year as his wife. The buffalo horns could be a distinguishing feature of the Haslacher Fürstenberg line. A copy of the “stone man from Hasle” is in the Germanic National Museum in Nuremberg .

Appreciation

Wingenroth wrote about the early Classicist building that the stucco ceiling had few, but pleasant stucco ornaments. “The same also on the walls of the church, fine fruit and leaf hangings on the pilaster strips that structure the nave, also a number of symbols, as well as fine garlands over the arched windows. <...> The organ with richer rocailles carving . "After the work was done, Johannes Schroth said that the point of view that one had to remove something that did not belong to the style of a building because of this style had" thank God "finally been overcome," of course only through piled rubble from sacrificed lively architectures ”. All historical stylistic epochs are entitled to serve the church, "as long as they are able to offer real art". According to Brommer, Schroth tried “to include as much of the existing valuable building stock as possible in his project and thereby preserve it. What he created between the Gothic west tower, the early classicist nave and the new tower built in massive Louis XVI shapes , he successfully merged into a unified whole. ”Meisburger's Louis XVI stucco work,“ which reflects the mild splendor of the passing baroque era to the Haslach church ”, deserved special attention.

literature

Individual evidence

  1. ^ Sigmund Ritter von Riezler: Fürstenberg, Fredrich II. Graf zu (1496 to 1559). Retrieved September 22, 2015.
  2. ↑ Wingenroth 1908, p. 597.
  3. ↑ Brommer 1978, p. 3.
  4. ↑ Wohleb 1951, p. 62.
  5. ↑ a b Wingenroth 1908, pp. 598-599.
  6. ↑ Ulrich Coenen: Johannes Schroth - Architect of Late Historicism and Art Nouveau. In: Die Ortenau 94, 2014, pp. 243–278, here pp. 263–264. To the church: St. Mary on the parish website. Retrieved January 27, 2015.
  7. ↑ Ulrike Kalbaum: Contra paradisum. The Romanesque tympanum of St. Arbogast in Haslach in the Kinzig valley . In: Geroldsecker Land . tape 51 , 2009, p. 39-52 .
  8. ↑ Zimdars 1997, p. 278.
  9. ^ Daniel Parello: From Helmle to Geiges. A century of historicist glass painting in Freiburg . City archive, Freiburg im Breisgau 2000, ISBN 3-00-006521-0 , p. 266.
  10. ^ Daniel Parello: From Helmle to Geiges. A century of historicist glass painting in Freiburg . City archive, Freiburg im Breisgau 2000, ISBN 3-00-006521-0 , p. 283.
  11. ↑ Brommer 1978, p. 13.
  12. ^ Füglister's work in the reading room of the Heidelberg University Library on their website. Retrieved January 17, 2015.
  13. ↑ Arbogast in the Ecumenical Lexicon of Saints . Retrieved January 17, 2015.
  14. ↑ a b Brommer 1978, p. 20.
  15. ↑ Brommer 1978, p. 13. The form of the name “Biheler” is uncertain. A sculptor “Frantz Bieheler” was also active in the Heiligkreuzkirche in Steinach (Ortenaukreis) built by Salzmann . “Frantz Bieheler” was again asked whether he was identical to the Donaueschingen court sculptor Franz Xaver Biecheler (1726–1787), see Wohleb 1950, pp. 114 and 118. This Donaueschingen court sculptor Biecheler is finally written as “Xaver Biehler” in contemporary documents , see Manfred Hermann: Matthias Faller and the Löffinger Baroque Altars. In: Writings of the Association for History and Natural History of the Baar in Donaueschingen, issue 30, 1974, pp. 72–93, here p. 75. Accessed on January 21, 2015.
  16. ↑ Siegmund Riezler: History of the Princely House of Fürstenberg and its ancestors up to 1509. H. Laupp'sche Buchhandlung, Tübingen 1883. Reprinted around 1998. ISBN 3-89557-082-6 , pp. 255-259. Furthermore, Wingenroth 1908, p. 599. Ferner Zimdars 1997, p. 278.
  17. ↑ Schroth 1908, column 9;
  18. ↑ Brommer 1978, p. 21.

Coordinates: 48 ° 16 '33.6 "  N , 8 ° 5' 15.9"  E