St. Blasius (Glottertal)

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St. Blaise from the southwest

St. Blasius is the Roman Catholic parish church of Glottertal , a municipality located along the Glotter in the Breisgau-Hochschwarzwald district of Baden-Württemberg . The parish, together with the parishes of St. Remigius in Heuweiler , St. Jakobus in Denzlingen and St. Felix and Regula in Reute , to which the St. Maximilian Kolbe Church in Vörstetten also belongs, forms the pastoral care unit An der Glotter of the Archdiocese of Freiburg . Except for medieval remains, the church is built and equipped in a neo-Gothic style. The pastor and art historian Manfred Hermann researched its history and shape .

history

Today's political municipality emerged in 1970 from the previously independent municipalities Unterglottertal, Oberglottertal, Ohrensbach and, in a valley of its own, Föhrenbach, from south to north perpendicular to the Glotter. The monasteries of Einsiedeln , St. Margarethen in Waldkirch , St. Peter in the Black Forest and the diocese of Constance in Glottertal were wealthy early on . In the Rotulus Sanpetrinus , a property register of St. Peter, "glotertal" is mentioned in writing for the first time in 1112. Secular rule gradually passed to the Habsburgs - for example via the Zähringer , the lords of Falkenstein and the Schwarzenbergs , most recently in 1774 Föhrenbach. With the Reichsdeputationshauptschluss 1803 and the Peace of Pressburg 1805 Glottertal fell to the Grand Duchy of Baden . In church terms, the newly founded Archdiocese of Freiburg came into being in 1821.

Ruin of the Severinskapelle on the Mauracher Berg , around 1900

Ecclesiastically, the four Glottertäler places of origin always formed a unit. For centuries, its residents had to go to a church on the Mauracher Berg northeast of Denzlingen for worship. It was the own church of a Franconian nobleman and mother church for the Glottertal. Remains of a late Gothic chapel with the date 1497 have been preserved. It was consecrated to a holy Severin - Severin von Köln or Severin von Noricum . Whether this also applied to the previous parish church remains unknown. In 962, Emperor Otto the Great withdrew a number of possessions from the Maurach gentleman Guntram and gave Maurach with the church and associated courts to Bishop Konrad of Constance . Probably around 970 the bishop built a church near his manor in Glottertal. In the following centuries the Maurach church went downhill, and Glottertal took over the parish rights. In the Liber decimationis of the Diocese of Constance, the later dean's office Waldkirch is called "decanatus Gloter" in 1275, and a church there is mentioned in 1326. The Blasius dedication is related to the growing veneration of the saint as the patron saint of the St. Blasien monastery . In 1517 St. Blasius is expressly called the parish church: Michael Zell was "at that time inuestirter vicarius of the parish church of Glotteren vndt the same mother of Muren Costantzer diocese," - "currently invested vicar of the parish church in Glottertal and its mother church in Maurach, diocese of Constance."

Building history

The year “1458” at the top of the door leading from the former choir - today's sacristy - into the tower suggests that the patron saint Hans Werner von Schwarzenberg had the older choir equipped with a net vault and the tower added to the north. The nave adjoined the choir to the west. After destruction in the Thirty Years War , the altars were restored around 1660. A Blasius figure, probably by Bartholomaeus Winterhalder , is now in Glottertäler's private property.

  • St. Blaise before 1893.

  • Floor plan of the medieval parts: choir and tower; North is on the left

Around 1720, under Pastor Josef Meid (pastor to St. Blasius from 1714 to 1755), the nave was extended by 9 meters to the west, the tower was raised by an octagonal storey and a dome, and the entire church was restored. In 1801 the dome was replaced by a pointed helmet.

New building plans at the beginning of the 19th century, in which the Karlsruhe building inspector Christoph Arnold was involved, had no consequences. In 1852 the cemetery around the church was closed. In 1858 Franz August Glänz (1830–1863) created a new high altar, the Maria Immaculate figure of which is preserved in the sacristy.

Finally, Pastor August Brettle (Pastor to St. Blasius from 1890 to 1900) resolutely tackled the construction of the new church and rectory. The plans are essentially the work of Max Meckel . The choir and tower of the old church were to remain, a new nave was to be added to the north of the tower, but the old nave was to be used for worship until the new one was completed and only then be demolished. On June 25, 1893, Pastor Brettle laid the foundation stone for the new nave. On September 11, 1999, the church was consecrated by the Archbishop of Freiburg, Thomas Nörber . Under Brettle's successor, Jakob Arnold (pastor to St. Blasius from 1901 to 1921), “the expansion of the church tower was considered necessary […]. The towering church covers the sound openings and deprives a large part of the community of the bells. At the same time, the disharmony of the proportions between tower and church emerges in a harsh manner. ”In 1906, according to a design by Raimund Jeblinger, an additional square floor, the octagonal bell floor and a new pointed helmet were added to the two lowest old floors. The painting of the church, which - according to the Board of Trustees in 1919 - “only has bare chalk walls with the exception of the ceiling”, had to wait until after the First World War.

From 1980 to 1982 the church was restored inside, from 1997 to 1998 outside.

St. Blaise of North

building

The towering, transept-free basilica stands free on the border between Unter- and Oberglottertal on the church square, north of the thoroughfare. After Manfred Hermann, it is one of the most beautiful achievements of Max Meckel. "The building looks extremely lively due to the alternation of its whitewashed walls with the red sandstone on buttresses, tower edges, horizontal cornices, window reveals and portals." From the southwest you can see the tower to the right of the nave from 1893–1895 and the medieval one again to the right , just closing net-vaulted choir (today's sacristy), whose arch to the old nave is walled up except for a round-arched entrance. In addition, two low buttresses lean against the old choir wall. Tracery windows open in the south and east walls of the old choir.

The west facade is supported by inclined buttresses at the corners. The slightly recessed portal can be reached via five steps. To the side of this, two rectangular windows enliven the facade , above the main cornice, which continues on the west side of the side aisles, a large five-lane pointed arch window and, further up, a rose window with fish bubble tracery.

The side aisles each have six windows with varied tracery, plus one window each in the west end. The upper aisles of the central nave have six narrow, simple pairs of windows. Side entrances are in the second window axis. The new choir closes polygonally and receives light through high tracery windows.

The tower, in the old church a northern, in the building from 1893–1895 a southern choir flank tower, is still medieval in the two basement floors - the lowest rib vaulted with worked ribs. Jeblinger's three storeys stand on it, the highlight is the octagon made entirely of stone and accompanied by pinnacles with dials in all directions.

Inside to the east
Choir

The interior of the nave is clearly divided into a central nave and lower aisles. The central nave and the side aisles are flat covered with wood. Belt arches divide the aisles into their yokes. On each side of the central nave, five round and two half-columns with simple capitals and arcades above support the nave wall. A narrow cornice runs under the twin windows of the upper aisle. The transverse beams of the central nave ceiling rest on stone consoles. A wooden gallery in the west carries the organ.

Furnishing

The western gable wall of the former choir is adorned with a glass mosaic of St. Christopher , like him, leaning on a tree trunk and with a waving coat, the baby Jesus carries through a river. The design comes from Franz Schilling (see below); the execution was carried out by the Offenburg glass mosaic works founded in 1902 by the glass painter Eugen Börner (1855–1942) .

Painting on walls and ceilings

The painting of the church, including the wooden ceilings, was created in 1919 and 1920 by the Freiburg- based painter Carl Philipp Schilling and his nephew Franz Schilling. It is true that the planned walling up of two upper clad windows on both sides in favor of painting surfaces was prohibited by the Archbishop's Ordinariate in Freiburg. However, Carl Philipp Schilling's pictures of the nave on the wall strips under the clapboard windows are monumental enough:

  • In the south Mary is enthroned in the middle, quietly absorbed in prayer. Angels, saints, and founders revere them. On the side, again in separate squares, you can see St. Hermann Joseph von Steinfeld in front of Mary with her child, to whom the saint gives an apple, as well as Dominikus , Mary the rosary , and Simon Stock , whom Mary presents the scapular .

Franz Schilling painted the six large and four small angels on the choir arch wall with the tools of Jesus' passion , the angels under the choir windows and on the choir ceiling were painted by Carl Philipp Schilling.

Stained glass

Only the three windows in the apex of the choir are decorated with figural stained glass . It was created in 1897 by the Helmle & Merzweiler workshop in Sankt Georgen based on designs by Fritz Geiges .

  • Choir apex window

  • Left window

  • Middle window

  • Right window

From left to right, among rich Gothic ornaments, St. Agatha of Catania is depicted , in her hand a pair of pliers with the breast that was cut off during her martyrdom; then Barbara of Nicomedia with a tower with three windows pointing to the Trinity of God; Mary and Jesus enthroned and crowned in the middle window; in the right window Blasius with the two crossed candles with which the Blasius blessing is given in the Catholic Church , and Severin, after Manfred Hermann Severin von Noricum.

Neo-Gothic altars

The three neo-Gothic altars from 1895 are "probably true copies of medieval works in every single scene".

  • Main altar

  • Inside of the left wing

  • Left side of the shrine

  • Right side of the shrine

  • Inside of the right wing

The high altar was made in the workshop of J. Rotermund, a son or grandson of the Nuremberg sculptor Johann Lorenz Rotermund (1789 – after 1845), as a winged altar . Hermann describes the quality of both carving and painting as "unusually high and today of inestimable value". Above the tabernacle in the middle of the predella, which is decorated with gilded evangelist symbols, the niche in the shrine rises to display the holy of holies . On the left of her is the Last Supper of Jesus ( 1 Cor 11 : 23-26  EU ), on the right the wedding at Cana ( Jn 2.1-12  EU ) as a carving. The fourteen helpers in need appear on the inside of the wings, designed as half-reliefs and labeled with their names, namely

  • on the left wing from left to right:
George killing the dragon;
Cyriacus with a martyr's palm, but without a personal attribute;
Erasmus of Antioch with his intestine wound on a winch during torture;
Blasius with the two crossed candles;
an "Achatius" of unknown identity; Achatius of Byzantium , usually counted among the fourteen helpers in need, was a soldier, while the Glottertal carved figure is given as a bishop;
Aegidius with the doe that nourished him and saved from an arrow shot;
Vitus with the pot full of hot oil, from which he emerged unharmed, and a rooster: a silver reliquary with the bones of the saint, decorated with a rooster, helped convert the pagan Pomeranians ;
  • on the right wing from left to right:
Dionysius with his severed head on his right hand;
Pantaleon , whose hands were nailed to the head during his martyrdom;
Margaret of Antioch , who used the sign of the cross to ward off the dragon that wanted to devour her;
Barbara with chalice, host and again the three-legged tower;
Catherine of Alexandria with a sword and a wheel for her torture, which an angel smashed;
Eustachius as a hunter, in front of him the stag with the crucifix in its antlers, which appeared to him several times, whereupon he was baptized;
Christophorus with the baby Jesus.

The outside of the wings are decorated with paintings, the left wing with the Gregorius mass , the right with the crucifixion of Jesus.

A keel arch crown with a frame, canopy and pinnacles rises above the shrine .

  • Side altars

  • Left side altar

  • Left side altar: reredos

  • Right side altar

  • Right side altar: shrine with wings

The side altars were carved by Joseph Dettlinger from Freiburg. His sample, the Madonna on the left altar, was so popular that he was commissioned.

Around the Madonna on the left altar there are scenes from the childhood of Jesus, the Annunciation to Mary , the Adoration by the Shepherds in Bethlehem , the Adoration by the Magi and the circumcision ( Lk 2.21  EU ). In conversation Enge Michael stands as weigher of souls .

The right altar is designed as a winged altar. In the shrine you can see the holy clan that Dettlinger carved for the “Anne Altar” of the Freiburg Minster. The center is formed by an Anna-self-third group on a pedestal: The baby Jesus hops from his mother's lap into the arms of his grandmother Anna, according to apocryphal tradition, Mary's mother. On the left stands Joseph , on the right Joachim , the apocryphal father of Mary. The left wing shows the marriage of Mary and Joseph, the right wing shows Joseph's death. Mary kneels in front of the dying man, behind both of them is Jesus. One angel holds the death candle , another shows the way up to heaven. In the middle, Jesus stands in the middle, like his red heart, surrounded by rays, on his chest in a painting on the upper facade. In addition, there is St. Aloisius von Gonzaga on the left and a nun on the right, probably St. Birgitta of Sweden , namesake of the donors of the altar.

organ

Looking west to the organ

The organ was built in 1986 by the organ building workshop Claudius Winterhalter ( Oberharmersbach ), reusing the stops of the previous organ , which was built in 1897 by Franz Anton Kiene (Waldkirch) with 20 stops on two manuals and a pedal. The prospectus closely follows the Kiene organ from 1898. The slider chest instrument has 30 stops on two manual works and a pedal. The action mechanism is mechanical, the stop action is electrical.

I Hauptwerk C – g 3
01. Bourdon 16 ′ 0 (K)
02. Principal 08th'
03. Wooden flute 08th'
04th Gemshorn 08th' 0 (K)
05. Octave 04 ′
06th Transverse flute 04 ′ 0 (K)
07th Octave 02 ′
08th. Cornett III-V 02 2 ⁄ 3  ′0 (K)
09. Mixture IV 01 1 ⁄ 3  ′
10. Trumpets 08th'
11. Clairon 04 ′
II Swell C – g 3
12. Wooden dacked 08th' 0 (K)
13. Salicional 08th' 0 (K)
14th Voix céleste (from c 0 ) 08th'
15th Principal 04 ′
16. Reed flute 04 ′
17th Nazard 02 2 ⁄ 3  ′
18th recorder 02 ′
19th Tierce 01 3 ⁄ 5  ′
20th Larigot 01 1 ⁄ 3  ′
21st Cymbel IV 01 1 ⁄ 3  ′
22nd Hautbois 08th'
Tremblant doux
Pedals C – f 1
23. Violon bass 16 ′
24. Sub bass 16 ′ 0 (K)
25th Praestant 08th'
26th Octavbass 08th' 0 (K)
27. Tenor octave 04 ′ 0 (K)
28. Rauschwerk IV 02 2 ⁄ 3  ′
29 Bombard 16 ′
30th trombone 08th' 0 (K)
  • Coupling : II / I, I / P, II / P.
  • Playing aids: typesetting system with 8000 combinations (2007, drawer control)
  • Annotation:
(K) = historical pipe material from the Kein organ from 1898

Others

The font with a lid made of stylized leaves dates from 1800.

Pietá
Blasius

During the renovation from 1980 to 1982 under Pastor Adolf Schlegel (Pastor at St. Blasius from 1937 to 1989), Helmut Lutz redesigned the sanctuary. The new celebration altar made of red sandstone indicates the crown of thorns of Jesus below, and above the grapes of the Lord's Supper. The ears of the Lord's Supper are attached to the remains of the stone communion bench .

Lutz also chiseled the red sandstone stele on the left in the chancel , which bears the only picture from the time before the Thirty Years War, a Pietà with largely original versions from around 1500. On the right of the choir arch, there is Blasius as a processional figure by Matthias Faller . A corresponding figure of Severin is kept in the sacristy. Augustin Kolb painted the large-format Stations of the Cross between 1919 and 1920 .

meaning

St. Blaise is a uniform work of historicism , namely the neo-Gothic. In addition to the somewhat younger Raimund Jeblinger and Johannes Schroth, Max Meckel shaped church building in Baden in the late 19th century. Meckel had previously built around fifty churches in Hesse and the Rhineland. Compared to earlier churches in Baden, his appear "colder, more academic". With Carl Philipp and Franz Schilling warmth came to St. Blasius . "It can be described as a particular stroke of luck that the Glottertäler Church was not fully restored until 1980/82 and thus escaped the fate of modern disenchantment."

literature

  • Manfred Hermann : Catholic parish church St. Blasius Glottertal. Kunstverlag Josef Fink, Lindenberg 1999.
  • Franz Xaver Kraus : Oberglotterthal (Ober- and Unterglotterthal). In: The art monuments of the Grand Duchy of Baden . Volume 6, 1: The art monuments of the districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (Freiburg Land district). Verlag JCB Mohr, Tübingen and Leipzig 1904, pp. 508-510 ( digitized version ).
  • State Monuments Office Baden-Württemberg and District Office Breisgau-Hochschwarzwald: District of Breisgau-Hochschwarzwald. List of cultural monuments. I. The architectural and art monuments of the former Freiburg district. Glottertal. Freiburg im Breisgau 1974, p. 111.
  • Oberglottertal . In: Landesarchivdirektion Baden-Württemberg (ed.): The state of Baden-Württemberg. Official description by district and municipality. Volume VI. Freiburg administrative district. Kohlhammer Verlag, Stuttgart 1982, ISBN 3-17-007174-2 , p. 156 ( digitized at discover regional studies online ).
  • State archive administration Baden-Württemberg: Freiburg im Breisgau, urban and rural district, official district description. Volume II, 1: Glottertal. Rombach, Freiburg im Breisgau 1974, pp. 308-341.
  • Dagmar Zimdars (edit.): Handbook of German Art Monuments Baden-Württemberg II . Munich, Berlin, Deutscher Kunstverlag 1997, ISBN 3-422-03030-1 , p. 486.

Web links

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

Individual evidence

  1. ↑ "in loco qui Glotertal vocatur". Kraus 1904, p. 508. Also: Website of the community Glottertal: The history of the Glottertal. ( Digitized version ) Retrieved October 9, 2015.
  2. ↑ Hermann 1999, p. 1.
  3. ^ Franz Xaver Kraus: Denzlingen - Mauracher Berg. In: The art monuments of the Grand Duchy of Baden. Vol. 6, 1, Verlag JCB Mohr, Tübingen and Leipzig 1904, pp. 127-128 ( digitized version ).
  4. ↑ Hermann 1999, pp. 4 and 24.
  5. ↑ Sebastian Brather: Church, cemetery and castle (?) On the Mauracher Berg near Denzlingen. In: Archäologische Nachrichten aus Baden, issue 86/87, 2013, pp. 59–66, here p. 65. ( digitized version ) Retrieved on October 9, 2015.
  6. ↑ State Archives Administration 1974, p. 329.
  7. ↑ Hermann 1999, p. 4.
  8. ↑ Hermann 1999, p. 3.
  9. ↑ Hermann 1999, p. 8.
  10. ↑ Hermann 1999, p. 38.
  11. ↑ Hermann 1999, p. 14.
  12. ↑ Hermann 1999, p. 15.
  13. ↑ Hermann 1999, p. 16.
  14. ↑ Hermann 1999, p. 25.
  15. ↑ a b c State Monument Office 1974.
  16. ↑ Heimatverein Sandweier: The old stained glass windows of the Marienkapelle at the cemetery in Sandweier. ( Digitized version ) Retrieved October 14, 2015.
  17. ↑ Hermann 1999, p. 27.
  18. ↑ Hermann 1999, p. 30.
  19. ^ So Hermann 1999, p. 39. On the other hand, “1798 – after 1862” according to the website of the Bavarian National Museum. ( Digitized version ) Retrieved October 12, 2015.
  20. ↑ Hermann 1999, p. 39.
  21. ↑ Ecumenical Lexicon of Saints: Fourteen Holy Helpers . ( Digitized version ) Retrieved October 13, 2015.
  22. ↑ Ecumenical Lexicon of Saints: Veit . ( Digitized version ) Retrieved October 13, 2015.
  23. ↑ Hermann 1999, p. 32.
  24. ↑ Information on the organ
  25. ↑ Hans Jakob Wörner : On the church building of the 19th century in the Ortenau district. 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. 233–260, here p. 251.
  26. ↑ Hermann 1999, p. 37.

Coordinates: 48 ° 2 ′ 59.6 ″  N , 7 ° 56 ′ 23.2 ″  E