St. Blasius (Buchenbach)

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St. Blaise from the west
St. Blaise from the east

St. Blasius is the Roman Catholic parish church of Buchenbach in the southern Black Forest . Together with the parishes Herz Jesu in Stegen and St. Jakobus in Eschbach, it belongs to the pastoral care unit Dreisamtal of the Archdiocese of Freiburg .

Built in 1811, it is today (again) in the guise of historicism , especially neo-Gothic . The Catholic priest and art historian Manfred Hermann in particular researched its history, which is exemplary of the fate of 19th century churches.

History of the parish

Development of the original parish of Kirchzarten. Oberried came to the Wilhelmitenkloster there in 1252 , but only became a parish in 1786.
Buchenbach 1661. The Wagensteigbach was then called “Dreysame”.

Buchenbach with its formerly independent districts Falkensteig, Unteribental and Wagensteig belonged in the early Middle Ages to the parish of St. Gallus (Kirchzarten) , whose patron saint was the Benedictine monastery of St. Gallen and from 1297 the commander of the Order of St. John in Freiburg im Breisgau . The Kirchzartener Sprengel was huge, with a west-east extension of 20 km. Were only mounted at Versehgängen remote valleys to reach, and pastors, patronage and Mr. Reeves argued repeatedly, who had to pay for the horse. Therefore, over the centuries, more and more peripheral areas were separated off, and in 1786, in the course of Josephinism, Oberried , Eschbach and Buchenbach became separate parishes. At that time there were three larger chapels in the area of ​​today's Buchenbach: one consecrated to St. Blasius von Sebaste in Buchenbach itself, more precisely in Oberbuchenbach, which is to be distinguished from the Unterbuchenbach down the valley, west of the Pfaffendobelbach, at the place of today's parish church and first mentioned 1463; one consecrated to Saint Nicholas of Myra in Falkensteig; and one also dedicated to St. Nicholas in Wagensteig. The Blasius patronage goes back to the possession of the monastery of St. Blasien in Buchenbach, transferred to the monastery in the investiture dispute by Rudolf von Schwaben , anti-king against Heinrich V. Saint Anna and Saint Agatha were later added as secondary patrons . The Blasius Chapel held 300 people, too small for the 1220 souls counted in 1786.

The establishment of the new parish was delayed. The Falkensteiger and Unteribentäler found the way to Oberbuchenbach too far; It also leads through patches of forest in which young people will have the opportunity to "abandon themselves to every kind of debauchery". It would be better to build a new church in Unterbuchenbach. It was not until 1796 that Buchenbach received its own parish administrator , Franz Joseph Mayer, but in 1802, tired of the quarrels, he took over another parish, and only in 1809 a regular pastor, Maurus Thaddäus Farenschon, pastor until 1814 († 1860). Under him the old Blasius chapel was demolished and in its place, in Oberbuchenbach, the parish church and a parsonage were built.

The Kirchzarten pastor Joseph Anton Schleicher (pastor from 1793 to 1801) said in his farewell sermon on April 3, 1796:

“After I was informed that [...] the establishment of a parish in Buchenbach, which had already been decided in 1786, should be carried out. [...] Then I was explicitly ordered to announce this imperial and royal most gracious ordinance publicly from the pulpit on a Sunday, and the named localities Buchenbach, Wagensteig, Falkensteig, Wißneck, and Übethal, which had belonged to the local parish for some 100 years to release from my parish priest and to hand it over [...] to the honorable and highly learned Mr. Franz Joseph Mayer von Ebringen in Breißgau, who was appointed as [...] temporary assistant priest. [...] Oh, don't forget that this church was formerly your mother church, don't forget the grave of your forefathers, your children, your siblings, friends, relatives, spouses and doers who are buried in this churchyard. "

Building history

Classicist church

The foundation stone was laid on May 12, 1811, and the church was consecrated on November 15, 1811. The master builder was Johann Weber from Bräunlingen (1756–1826), the last master builder of the monastery of St. Peter in the Black Forest . Weber's plans were revised by the Freiburg professor of architecture, Friedrich Arnold , and the building deviated again from these plans.

As high altar, the Protestant church Freiburg im Breisgau gave the altar of her church ceded the secularized Freiburg Augustinian canons -Klosters Saints . The two side altars were also items of secularization. They came from the Cistercian convent Günterstal . Conrad Huber from Weingarten (Württemberg) (1752-1830) painted new upper pictures for them. The choir organ of the Freiburg Minster was adopted as the organ . The Waldshut master Johann Christoph Albrecht made it in 1708. When the organ builder Nikolaus Schuble from Pfaffenweiler received the order for a new instrument in Freiburg in 1811, he took the old organ in payment and transferred it to Buchenbach. Pastor Josef Franz (pastor in Buchenbach from 1834 to 1846) called it in 1846 "an unusable work, bought for 278 guilders for money that was really thrown away, [...] an old worm-eaten work". The bell foundry "Gebrüder Bayer" from Freiburg made the first bells.

St. Blaise in the neo-Gothic state, around 1910

Neo-Gothic church

A first attempt at a magnification undertook the parish in 1838, a second in 1866. Realized was a plan of the building director of the Archdiocese of Freiburg Max Meckel of 1897. 1898 work began, and on 20 October 1901, the converted church by Archbishop of Freiburg was Thomas Nörber consecrated . A little later, Carl Philipp Schilling painted them, and the Überlingen workshop “Gebrüder Mezger” with the sculptor Eugen (around 1870–1908) and the barrel painter Victor (1866–1936) created the altars and the sound cover of the pulpit. In 1942 three bells had to be handed in for war purposes. In 1951 the church received four new bells from the Heidelberg foundry Friedrich Wilhelm Schilling . In 1961 the choir was re-covered and the exterior renovated.

St. Blaise after Purification, around 1970

Purified Church

Under pastor Eugen Hirst (1902–1973; pastor in Buchenbach from 1949 until his death) the church was redesigned from 1963 to 1967 as part of the liturgical reform of the Second Vatican Council . One of the main objectives of the redesign, in addition to the requirements of the liturgical reform, was to improve the heating facilities. A new wooden ceiling was put in under the visible trusses of the roof structure in order to better keep the heat in the lower area. Thus the spatial image of the church was completely changed. Of the Last Judgment on the Triumphal Arch, only the lower part would have been visible. Since the neo-Gothic was not very important anyway, the Archbishop's Building Department decided to radically purify the church.

The old slab floor was removed as well as the pedestal, the chairs were vacuumed and simplified, the paintings, tendrils and carpet patterns on the walls were painted over, the neo-Gothic altars were left at the request of the Board of Trustees, but without their ornamentation and setting. "The Buchenbach parish church can serve as an example of a rigorous 'emptying' and a procedure against decor and dark colors of the neo-Gothic." St. Blasius Buchenbach is next to the parish church of St. Raphael in the Heidelberg district of Neuenheim , about which Martin Mosebach wrote: "The snow cover of abstraction fell over the richly designed Communio sanctorum ." On June 11, 1967, Freiburg Auxiliary Bishop Karl Gnädinger consecrated the new altar of celebration .

St. Blaise after the Restoration, 2007

Restored Church

The classicist church lasted for 90 years and the neo-Gothic church for 66 years, the purified church for only 33 years. “Almost 40 years after the last renovation, the inner attitude towards the church interior had changed. He was felt to be cold and impoverished, with no atmosphere. The main goal of the interior renovation in 2000 could only be the recovery of the old spatial image from the time around 1900. ”It was carried out by the Bad Krozingen restorer Johannes Berger. In the choir, a tile floor was laid with a pattern similar to that of 1900; the old ceiling was exposed again; the paintings, tendrils and carpet patterns on the walls have been restored as best as possible, the neo-Gothic altars have been redesigned and decorated. Since the casing of one of the old side altars in the parish garage was preserved, what was missing could be rebuilt, so that the two groups of figures now have a corresponding frame, albeit a greatly reduced frame compared to the original. The celebration altar from 1967 was used as a substructure for the old high altar. The new celebratory altar, as well as the ambo and the baptismal font made of red sandstone, were created by master stone sculptor Daniel Rösch (* 1963). Pastor Ansgar Kleinhans (* 1944; pastor in Buchenbach since 1985) accompanied the work. On January 21, 2001, Archbishop Oskar Saier , who came from the Wagensteig district , consecrated the new celebration altar.

building

The classicist church from 1811 was a hall with three arched windows on each side - not four as in the original plan. A roof turret rose above the western facade . The choir closed with three sides of the octagon and had four also arched windows.

During the neo-Gothic renovation in the west, Meckel added a new entrance and gallery section. He placed a three-lane pointed arched window with rich tracery over the western main portal and two rectangular windows next to the main portal. He replaced the round arches of the windows in the ship with pointed arches. On the southwest corner he built a 36 m high tower, which rises in four storeys and closes with a buckled pointed helmet. A house stone plinth made of sandstone , cornices and house blocks at the corners enliven it. In the east, a spiral staircase leads to the third floor, where it ends with a window. Small corbels under the helmet support the eaves . The sandstone-framed dials of the tower clock protrude over the eaves. Like the old one, the new choir closes in three sides of the octagon and has three two-lane and one three-lane pointed arched windows. Inside, the organ gallery opens with three arches. Two pointed arches one above the other lead into the choir. The wooden ceiling, which has been undamaged since 2000, contributes to the friendliness of the interior with its warm brown tone and green tendrils.

Furnishing

Wall painting and stained glass window

In addition to the ceiling, the reclaimed ashlar of the walls and their structure by horizontal bands above the base zone, at the approach of the window arches and under the eaves are important for the spatial appearance. Between the lower and upper choir arches, Johannes Berger restored the Last Judgment , which Fritz Geiges painted in 1903 based on Rogier van der Weyden's Last Judgment in the Hôtel-Dieu in Beaune . The judge sits in front of a blue, starry background over a ribbon of clouds with little angels blowing trumpets on a rainbow, the globe at his feet. On the right of his head hovers a lily, on the left a sword, symbols of his words: “Come here, you who are blessed by my Father” and “Away from me, you cursed, into the eternal fire” ( Mt 25 : 31-46  EU ). Mary and John the Baptist intercede. The Last Judgment is surrounded by plant ornamentation with red flowers, which also adorns the window reveals and the underside of the choir arch. In the spandrels of the parapet of the organ loft, the patrons of church music are depicted, Saint Cecilia of Rome with her organ and King David with his harp.

The glass windows in the choir were created in 1900 and 1902 by the Freiburg workshop Helmle & Merzweiler . The middle shows a mercy seat surrounded by the symbols of the four evangelists. The window on the right shows Saints Wendelin and Blasius, the window on the left Anna with her daughter Maria and Agatha. Edzard Seeger (1911–1992) created the windows under the gallery in Munich as part of the purification process.

Altars

The center of the high altar retable is the relief of a crucifixion group in front of a deep blue background, which is thematically complemented by the mercy seat in the window behind. The accompanying depictions also deal with the suffering of Jesus, namely the reliefs of a group of Mounts of Olives on the left and the carrying of the cross on the right of the crucifixion group, the reliefs of the inside of the movable wings with the flagellation on the left and the crowning of thorns on the right, as well as the paintings on the outside of the movable wings with the Descent from the Cross and of the Entombment , signed 'Gebr. Mezger 1903 ". The rich burst is lost.

The reredos of the left side altar shows the relief of a coronation of Mary , the reredos of the right side altar shows a relief of the death of St. Joseph , both against a deep red background. The figure niches next to it and the cracks are lost.

Individual works

On the south wall of the choir hangs the high altar picture, a representation of All Saints, which was taken over from the Freiburg All Saints monastery in the classical church and which became superfluous during the neo-Gothic redesign . The corresponding round picture from the altar extract , God the Father and the dove of the Holy Spirit surrounded by angels, now hangs in the hall of the parish hall of St. Agatha. Manfred Hermann attributed both to Franz Dietrich Kraus (1667–?), Who came from Switzerland.

On the right wall of the nave there is a sculpture of St. Blaise, which was composed of a bishop figure presumably carved by Matthias Faller with the addition of a putto holding two crossed candles. There is also a sculpture of unknown origin of the co-patron saint Agatha with a palm branch in her left hand and a tray with her cut-off breasts in her right hand. Under the gallery is a sculpture of St. Sebastian by Franz Xaver Anton Hauser (1712–1772), very similar to his Sebastian on the left side altar of St. Gallus in Kirchzarten . During Easter there is a sculpture of the risen Jesus on the high altar by the son of the aforementioned Hauser, Franz Anton Xaver Hauser (1739–1819).

organ

The history of the Buchenbach organs turned out to be "dramatic" after the questionable beginning (see above). After several generations, the church received its current instrument in the course of the 2001 restoration. The organ expert Hans Musch created the concept, which was tailored to the spatial and acoustic conditions ; the instrument was built by Mönch Orgelbau from Überlingen on Lake Constance. It has 25  registers with 1526  pipes on two manuals and one pedal and has a mechanical playing and stop action . The Buchenbacher organist describes the sound of the organ as "warm and soft". The registers of the first manual are tuned to the bright and dynamic sound typical of baroque music. The second manual is designed for more romantic pieces of music from the 19th century. The organ in Buchenbach is the only one in the Dreisamtal to have a swell , with the help of which "one can create very differentiated sound images". Almost all styles of the last centuries can be represented on it.

I Hauptwerk C – g 3
Drone 16 ′
Principal 8th'
Gedackt / flute 8th'
Viola da gamba 8th'
octave 4 ′
Reed flute 4 '
Super octave 2 '
Mixture IV 1 1 ⁄ 3  ′
Trumpet 8th'
II Swell C – g 3
Drone 8th'
Salicional 8th'
Vox coelestis 8th'
Principal 4 ′
Transverse flute 4 ′
Nasard 2 2 ⁄ 3  ′
Forest flute 2 ′
third 1 3 ⁄ 5  ′
Zimbel II-III 1'
Trumpet Harmonique 8th'
Hautbois 8th'
Pedal C – f 1
double bass 16 ′
Sub bass 16 ′
Octave bass 8th'
Tenor octave 4 ′
trombone 16 ′

Bells

Today's ringing of the church consists of four bronze - bells :

No. Casting year Foundry, casting location diameter Dimensions Chime
1 1951 Friedrich Wilhelm Schilling ,
Heidelberg 		1360 mm 1723 kg it '+ 4
2 1060 mm 777 kg g 1 +2
3 0860 mm 430 kg b 1 +2
4th ∼790 mm 306 kg c 2 +4

The bell was refurbished in 2010. It is connected to the tower clock, which has dials on three sides . Bell 1 strikes the hour, the other bells strike the quarter-hour.

Exemplary quality

Bernd Mathias Kremer , who was a construction and art advisor for the Archdiocese of Freiburg for several years, wrote about the renovation campaigns that were more or less radically changing between churches and profane buildings every few decades : “We are saddened to note that the wave that started in the 19th century had washed away the works of art of the baroque age from many older churches, now [from the middle of the 20th century] it in turn seized the churches of the 19th century. The interior decoration and furnishings of these places of worship were cleared without equal, which in many cases left empty church rooms behind [...]. What the Second World War did not wrest from us, we have now robbed ourselves. The ban arrows that hit the artistic legacy of the 18th century in the 19th century were now directed in the same way against this legacy, which was denied any artistic validity. "

The Second Vatican Council did not initiate the merciless evacuation of the churches furnished in historicism, but favored it by promoting the view that the liturgical reform promoted the view that it was a step forward to part with altars and other "kitschy" pieces, the worthlessness of which can be read in every art historical publication could.

After all, the deforestation of the fifties to seventies triggered a backlash, "after the result of the 'skeletonization' of the church interiors could no longer be endured in the long run". The cycle of intolerance in dealing with the art of our fathers must “be broken, according to the sentence of the art historian Cornelius Gurlitt : 'Because the old is quickly destroyed; but it takes centuries before the old arises again. And the place is wretchedly poor, which destroyed the characteristics of its own history. '"

literature

  • Claudius Heitz: History of the parish Buchenbach. In: Ursula Huggle, Ulrike Rödling: Our home in Buchenbach. From parish to parish. Buchenbach 1996, ISBN 3-922675-63-8 , pp. 328-338.
  • Manfred Hermann : Catholic parish church St. Blasius Buchenbach. Kunstverlag Josef Fink, Lindenberg im Allgäu 2002, ISBN 3-89870-049-6 .
  • State archive administration Baden-Württemberg: Buchenbach. In: Freiburg im Breisgau, city district and district. Official district description. Volume II, first half volume, 1972, pp. 143-156.
  • Ansgar Kleinhans: From the history of the parish church St. Blasius in Buchenbach. In: Ursula Hugglem Ulrike Rödling: Our home in Buchenbach. From parish to parish. Buchenbach 1996, ISBN 3-922675-63-8 , pp. 340-351.
  • Max Weber: History of the parish Kirchzarten. Supplementary volume to Günther Haselier (Ed.): Kirchzarten. Geography - past - present. Self-published by the Kirchzarten community in 1967.

Web links

Commons : St. Blasius  - collection of images, videos and audio files

Individual evidence

  1. ↑ Weber 1967.
  2. ↑ Weber 1967, pp. 102-104.
  3. ↑ Buchenbach church and chapels on the Dreisamportal website . ( Memento of the original from August 8, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved March 11, 2014. @1@ 2Template: Webachiv / IABot / www.dreisamportal.de
  4. ↑ Heitz 1996, p. 334.
  5. ↑ The statement "in Unterbuchenbach" in the official district description is incorrect.
  6. ↑ Heitz 1996, pp. 336-337.
  7. ^ Gerhard Everke: Christoph and Friedrich Arnold - Two architects of classicism in Baden. Volume 2: Catalog of works. Phil. Diss. University of Freiburg 1991, pp. 461–463.
  8. ↑ Bernd Sulzmann: Freiburg organ maker of the 17th, 18th and 19th centuries. In: Schau-ins-Land, 98, 1979, p. 109. ( digitized version ).
  9. ↑ Kleinhans 1996, p. 347 and Hermann 2002, p. 24.
  10. ^ Karl Auchter: Courageously proclaiming the word of God - clergy in Buchenbach. In: Ursula Huggle, Ulrike Rödling: Our home in Buchenbach. From parish to parish. Buchenbach 1996, ISBN 3-922675-63-8 , pp. 360–367, here p. 362.
  11. ↑ a b Kleinhans 1996, p. 347.
  12. ^ Anna Barbara Lorenzer: Between Conservation, Restoration and Construction. Restoration concept around 1900: the workshop of the Mezger brothers in Überlingen on Lake Constance. In: Preservation of monuments in Baden-Württemberg. Nachrichtenblatt der Denkmalpflege, 39, 2010, pp. 82–86 ( digitized version ( Memento of the original dated February 2, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and remove then this note. ). @1@ 2Template: Webachiv / IABot / www.denkmalpflege-bw.de
  13. ↑ Hermann 2002, p. 18.
  14. ↑ Martin Mosebach: Heresy of formlessness. 3rd, expanded edition. Karolinger Verlag, Vienna 2003, ISBN 3-85418-102-7 , p. 72.
  15. ↑ Hermann 2002, p. 21.
  16. ↑ Ulrich Kluge: A rather quiet shepherd. The sculptor Daniel Rösch designed a relief of Archbishop Oskar Saier. . In: Badische Zeitung of January 30, 2009. Retrieved May 8, 2014.
  17. ↑ Pastor Kleinhans shaped the Christian way of the community. In: Badische Zeitung of February 12, 2014. Retrieved on March 14, 2014.
  18. ^ Daniel Parello: From Helmle to Geiges. A century of historicist glass painting in Freiburg. Stadtarchiv, Freiburg im Breisgau 2000, ISBN 3-00-006521-0 , p. 273. In 1899 the company also created six carpet windows for the nave.
  19. ↑ Elisabeth Irtenkauf: The diaries of the abbot or provost Andreas Dilger of St. Märgen and Allerheiligen / Freiburg (r. 1713-1736). In: Freiburger Diözesan-Archiv , Volume 119 (1999), pp. 5–328, here p. 280 281. ( digitized version ).
  20. ↑ Hermann 2002, p. 24.
  21. ↑ The organ in the catalog raisonné of Mönch Orgelbau online
  22. ↑ Barbara Riess: The unmistakable sound. In: Badische Zeitung , December 6, 2014, online
  23. ↑ Bell inspection of the Archdiocese of Freiburg: Catholic parish church St. Blasius in Buchenbach
  24. ↑ Bernd Mathias Kremer: Art and Church in the 19th Century. From "Antiquity" through the "Second Middle Ages" to the modern age. In: Bernd Mathias Kremer (ed.): Art and spiritual culture on the Upper Rhine. Festschrift for Hermann Brommer on his 70th birthday. Kunstverlag Josef Fink, Lindenberg im Allgäu 1996, ISBN 3-931820-01-7 , pp. 211-231.

Coordinates: 47 ° 57 ′ 40.56 "  N , 8 ° 0 ′ 34.6"  E