St. Bartholomew (Ortenberg)

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St. Bartholomäus is the Roman Catholic parish church of Ortenberg in the Ortenau district (Baden-Württemberg). It was built in the classicist style in the 1820s and is part of the Vorderes Kinzigtal pastoral care unit of the Archdiocese of Freiburg . After four drastic redesigns, the interior shows itself today as a coexistence of Nazarene and contemporary art.

The local history researcher Franz X. Vollmer (1922–2011), who originally came from Ortenberg, researched its history - and the history of the place

St. Bartholomew
St. Bartholomew

history

The first church in today Ortenberg was the Bühlwegkapelle on a hill between the villages Ortenberg and Käferberg, the one belonging to the municipality Ortenberg today living space is. The Bühlwegkapelle was also a parish church under canon law, but lost this status in 1182 to the newly founded parish Heilig-Kreuz in Offenburg and thus became a branch . It was only thanks to the reforms of Emperor Joseph II in 1787 that Ortenberg became an independent parish again and the Bühlweg Chapel parish church. However, it was too small and not in good condition. A report from 1805 states: “When Christian teaching is held, only either the male or the female sex can appear. There is therefore no other means of damaging the daily spoilage than building a church appropriate to the number of souls. ”In 1808, the Grand Ducal Baden government, responsible since the Peace of Pressburg in 1805, took over the construction costs for the choir and the tower. However, the war and emergency years of the second decade initially prevented its realization. They also thought of enlarging the Bühlweg chapel or of putting a new building in its place. Finally - in 1822, pastor was Anselm Fey (pastor from 1822 until his death in 1839) - the decision was made to build a new building on the plain according to plans by the district master builder Hans Voss , in which detailed changes had been made by his teacher Friedrich Weinbrenner . The foundation stone was laid on June 9, 1823, and the church was consecrated on October 24, 1824 . The Bühlweg Chapel became a branch again.

Building history

St. Bartholomew shared with many churches the fate of periodic adjustments to the tastes of the time every few decades. The original stucco was created by Jodok Friedrich Wilhelm , "the last representative of the glorious old Vorarlberg building school". In gratitude, the community had granted him local citizenship. Nothing remains of his contributions - altars, pulpit, baptismal font, communion benches.

  • Past equipment

  • Neo-Romanesque

  • Neoclassicism

  • After purification

"After about 60 years, the neo-Romanesque triumphed in 1880. " Pastor (from 1877 to 1899) was Franz Otto Klein. Walls and ceilings were painted with ribbons and friezes in dark tones, and Wilhelm's stucco altars were replaced by wooden altars with tall superstructures rich in columns and turrets.

“In 1932, they finally got tired of the gloomy impression of the 19th century furnishings and tried to find a neo-classical form.” The pastor was Maximilian Walk (1872–1939). Stucco in white and gold returned. The walls were structured by stucco pilasters, the altars were provided with columns made of stucco marble , the ceilings in the nave and choir were decorated with paintings: in the entrance hall the “ Calling of Moses ”, in the choir “Jesus and the disciples of Emmaus ”, in the nave 20 × 8.50 m tall “Life, death and glorification of the Apostle Bartholomew ”. The church should be an ecclesia triumphans against the challenges of National Socialism .

West entrance: Jesus and his disciples

After the Second Vatican Council, "after a generation lapse, the church needed to be renewed in 1967/68." The pastor was Friedrich Isenmann (pastor from 1954 until his death in 1975), who also restored the Bühlweg Chapel. The plaster ceilings in the nave and choir, including the paintings, were chipped off, and old oak beams were exposed. The pulpit disappeared and the pompous high altar was replaced by a simple sacrificial stone. "After the rich church furnishings from 1876 and 1930, the newly designed church interior appeared clear, but very sober, focused on the most essential furnishings for the celebration of the service." The last renovation from 1996 to 1998 should give the room "more shape and warmth".

building

St. Bartholomäus belongs to a series of classicist country churches of Hans Voss, beginning in 1819 with St. Nikolaus in Ichenheim . Her style, the "Weinbrenner style", classicism in the form of Friedrich Weinbrenner, is characterized by a construction consisting only of straight lines and circles, cubic structures, lack of decoration, sometimes touching on the poor, striving for "rational clarity and not the dark secret". "These churches bring a peculiarly barren sound to the landscape, a simplicity that does not contradict the nature of the country and has something of the Hebel's spirit of pious enlightenment."

Inside to the east
Inside to the west

The Ortenberg building, which survived the changes in its furnishings, represents this style to this day. It is a hall church with five window axes. A circularly rounded triumphal arch leads into the retracted polygonal closing choir. The tower is integrated into the west facade, the entrance portal inserted into a round arched niche. The cornice below the nave roof continues onto the facade and forms a triangular gable with the sloping roof. Round arched sound arcades open up over another cornice on the tower . A pyramid helmet follows on tower clocks on all four sides. "Despite the simple design, the building stands on the town's main street, set off by a forecourt, inexpensive and well integrated into the settlement and the landscape."

Furnishing

Choir and side altars

Above the west entrance, since Pastor Isenmann's restoration in 1967/68, an enamel relief by Hans Beyermann (1923–1999) has welcomed the visitor: Jesus comes to his disciples for the Last Supper . “The artist succeeded in creating an exciting, deeply religious proclamation of the images, which here fulfills its high task. Opposite Christ the traitor Judas goes out into the dark world. "

Inside, the high altar made of travertine , the tabernacle and the ambo , works by the sculptor Bruno Knittel , and Hans Beyermann's enamelled Stations of the Cross from the 1967/68 campaign have remained.

Instead of pure white of Isenmanns restoration divided 1996-1998 window surrounds to the windows and the Arc de Triomphe, the nave, painted by Reinhard Dassler and Hansjörg Edler (* 1956 in Riedlingen ). Dassler has embedded four symbolic images in the frame of the triumphal arch:

  • Top left " Creation " with an egg from which birds hatch;
  • At the top right " Vanitas " with a bouquet of faded roses;
  • Lower left “ Last Supper ” with bread and wine;
  • Lower right “ Resurrection ” with a rose growing out of a skull.

The main paintings of the three altars are again the Nazarene works of the time of construction.

  • Altars

  • Left side altar

  • High altar

  • Right side altar

  • Main painting of the altars

  • Mary with the baby Jesus

  • Bartholomew

  • Joseph with the baby Jesus

  • In the high altar painting by Marie Ellenrieder (1791–1863), Bartholomäus sits on a bank of clouds between angels, the one on the left holding a palm branch and the one on the right the knife of his martyrdom . Below, in front of the hills, you can see the newly built church, some houses in the village and the Ortenberg Castle, which was then still in ruins . “Baroque artists like Tiepolo or de Ribera portrayed the saint at the height of his torments, defenseless and tied up, with a henchman who peeled off his skin. Ellenrieder showed him after the martyrdom. Bartholomäus sits unharmed on a cloud, the knife next to him is held by an angel as amiably as if it were intended for the Christmas display of a household goods store. "
  • In the picture of the left side altar by Joseph Moser (* 1783 in Wolfach ), in front of an arc, Mary carries the baby Jesus, who is holding up a cross, in her arms.
  • The picture on the right side altar was again painted by Ellenrieder. Next to Joseph with a lily in his hand, the baby Jesus walks in a sky-blue dress, with blond curly hair and a skyward gaze, “where you <...> have to look twice to discover that the little creature is there is not about a girl, but about Jesus. <...> That Ellenrieder <...> endowed him with a tenderness that many today associate with girls was due to her respect for the sensitive. "

During the last restoration, two wings painted by Dassler were added to the high altar picture, contemporary art such as on the triumphal arch, pictures, it was commented, "that one wonders whether they will survive the next church renovation at this point". The left wing symbolizes the parable of the Good Samaritan , the right wing the Sermon on the Mount . "With Mother Teresa and Martin Luther King , two people are represented who have devoted their entire lives to the service of the Sermon on the Mount."

  • Wood sculptures

  • Coronation of Mary

  • crucifix

  • Pietà, 17th century

  • Pietà, 19th century

  • Death of St. Joseph

Older wooden sculptures adorn the nave walls, namely on the left a Coronation of Mary from the 17th century, a crucifix from the 18th century and a Pietà from the 17th century, on the right a Pietà from the 19th century by Peter Valentin and a "Death of St. Joseph" from the 19th century. Century.

literature

  • Friedrich Isenmann, Hugo Schnell : The churches of Ortenberg and Käfersberg. Schnell and Steiner publishing house, Munich and Zurich 1974.
  • Joseph Sauer : Church art in the first half of the 19th century in Baden. In: Freiburger Diözesan-Archiv 58, 1931, pp. 243-517, here pp. 388-392 ( digitized version ).
  • Franz X. Vollmer: Ortenberg. Steps back into the past of an Ortenau village. Self-published by the municipality of Ortenberg (Baden) in 1986.
  • Hans Jakob Wörner , Ursula Stampfer: Catholic parish church St. Bartholomäus - Bühlwegkirche Mariae Ruh - Ortenberg. Kunstverlag Josef Fink, Lindenberg im Allgäu 2001, ISBN 3-89870-000-3 .
  • Dagmar Zimdars u. a. (Ed.): Georg Dehio, Handbuch der Deutschen Kunstdenkmäler ( Dehio-Handbuch ) Baden-Württemberg II . Deutscher Kunstverlag, Berlin / Munich 1997, ISBN 3-422-03030-1 , p. 524.

Web links

Commons : St. Bartholomäus  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Honorary citizen died. In: Badische Zeitung from December 19, 2011. Retrieved January 23, 2015.
  2. ↑ Sauer 1931, p. 389.
  3. ↑ Vollmer 1986, p. 435.
  4. ↑ Vollmer 1986, p. 431.
  5. ↑ Julius Wilhelm: The stucco worker Jodok Friedrich Wilhelm (1797-1843). In: Freiburger Diözesan-Archiv 35, 1907, pp. 239–268, here p. 240 ( digitized version ).
  6. ↑ Sauer 1931, p. 391.
  7. ↑ a b c Isenmann and Schnell 1974, p. 10.
  8. ↑ Vollmer 1986, p. 343.
  9. ↑ Vollmer 1986, pp. 150-151.
  10. ↑ Vollmer 1986, p. 68.
  11. ↑ Isenmann and Schnell 1974, p. 11.
  12. ↑ Wörner and Stampfer 2001, p. 8.
  13. ↑ Wörner and Stampfer 2001, p. 9.
  14. ^ Hubert Kewitz: The Weinbrenner student Johann (Hans) Voss. In: Geroldsecker Land 16, 1974, pp. 89-103.
  15. ↑ Isenmann and Schnell 1974, p. 12.
  16. ↑ a b Julia Voss: The miracle of Ortenberg. In: Frankfurter Allgemeine Zeitung from December 24, 2014 online .
  17. ^ Edwin Fecker: The altar painting by Marie Ellenrieder in the parish church of Ortenberg. In: Die Ortenau 93, 2013, pp. 391–402 online .
  18. ↑ Wörner and Stampfer 2001, p. 14.

Coordinates: 48 ° 27 ′ 6.3 "  N , 7 ° 58 ′ 11.1"  E