St. Fides and Markus (Sölden)

from Wikipedia, the free encyclopedia
Church from the southeast
Administrative center of the village helpers with a stair tower

St. Fides and Markus is the Roman Catholic parish church of Sölden , a municipality in the Breisgau-Hochschwarzwald district south of Freiburg im Breisgau . The church belongs to the pastoral care unit Batzenberg-Obere Möhlin of the Archdiocese of Freiburg . Originally it was part of a Benedictine monastery “St. Fides ”. The former Propsteigebuilding now houses the headquarters of the Dorfhelferinnenwerk Sölden eV

History of the priory

In 1087, the later canonized Benedictine monk Ulrich von Regensburg ("von Regensburg" after his place of birth), who adhered to the Cluniac monastery reform , founded a small monastery with a church in the lonely valley of the Möhlin as a priory of the Cluny Abbey , thus subordinated to Cluny he consecrated the apostles Peter and Paul . The village of St. Ulrich in the Black Forest , now part of the municipality of Bollschweil, developed from this . After the old name of the place "Zell" ( cella ) Ulrich is also called Ulrich von Zell. A little later, shortly before his death in 1093, Ulrich built a priory for women in Bollschweil. In 1115 it was moved to Sölden. Philipp Jakob Steyrer , abbot of St. Peter's Monastery in the Black Forest , who promoted Sölden, described the process in 1756: “The women's closter, which St. Ulrich zu Bollschweyl, was translated in 1115 by Gerald, Count of Schertzingen, into his Alodial- or Eigen- und freyes Gut, Selden (about half an hour from Bollschweyl, and one from the priory St. Ulrich ligt). He gave this property to the closter. ”Gerald von Scherzingen owned land from Zähringen in the north to Bürgeln in the south and had his castle in Sölden on the hilltop called“ Bürgle ”. The Sölden women's priory was directly subordinate to Cluny and looked after by a provost from Cluny. It received relics from Cluny of St. Fides of Agen , who, according to legend, was martyred around 300 in Agen in southern France by being burned on a grate and beheaded, and was then called "Fideskloster" from the beginning. Guardian bailiffs were initially the Scherzinger, then the Counts of Nimburg and, in competition with them, the Zähringer , after their extinction in 1218 the Counts of Freiburg , after the separation of Freiburg from the Counts in 1368, the Habsburgs with their front-Austrian administration in Ensisheim in Alsace .

Administrative center of the village helpers, connecting building, church and the rectory from 1957

In 1269 the priory housed 22 sisters. In 1468 the church and monastery buildings burned down. In 1493 there were still three sisters. In 1525, what had been rebuilt was destroyed again in the German Peasants' War. In 1570 the government in Ensisheim called the monastery "arduously impoverished and depraved"; if Cluny only ever sent a French-speaking provost, recovery would not be possible. As early as 1568, the branch in the Möhlintal was separated from Cluny and assigned to the monastery of St. Peter in the Black Forest. Provisionally in 1587, finally in 1598, the Fides Monastery of St. Peter was incorporated. Philipp Jakob Steyrer wrote: “The intended monastery in Selden stood next to a Cluniacenser Probstey until around 1500, at which time it fell into complete disrepair, and only the Probstey remained. But since this also decreased from day to day ..., it was incorporated into the church of St. Peter on the Schwartzwald in 1598 by Pope Clement VIII . ”At that time, the evangelist Markus became the second church patron. With the secularization in 1806 the affiliation to St. Peter and the history of the priory ended. The church remained what it had been from the beginning, the parish church. The former Propsteigebuilding was initially a rectory; In 1957, after the construction of a new rectory, the Sölden village helpers' school moved in . It was the first school of its kind in the Federal Republic . It was closed in 2001 and the administration center of the Dorfhelferinnenwerk Sölden eV , which belongs to the German Caritas Association , took its place.

Building history

Oldest date, 1382, on the passage to the cemetery
Date of restoration, 1494, on the apex of the choir

The first church was probably on the site of the present one, as was the first prophetic building for the supervising monks from Cluny or St. Peter. The Sölden-born Catholic priest and local history researcher Franz Kern suspects the building for the nuns to be on the site of the current rectory, during the construction of which in 1956 a layer of fire and brick was encountered at a depth of about 1 meter.

After the fire of 1468, the house was not rebuilt for the nuns. The few remaining sisters were presumably accommodated in the provost building. The oldest year on the building bears a sandstone workpiece found in 1970: "Anno Domini MCCCLXXXII" - 1382. Witnesses of the restoration are a year "1487" carved in the east window of the sacristy and a year "1494" carved in the east window of the choir. 1509 the restored Church by the Bishop of Constance was consecrated . The abbots of St. Peter took on their new provost, so Gallus Vögelin, abbot from 1585 to 1597. In 1592 the cemetery with a chapel entrusted to the Archangel Michael was consecrated. The Propsteig building was almost new. The abbot had his coat of arms affixed to the east entrance with the year "1595". In 1640, during the Thirty Years' War, the church roof and the houses of the village burned down . In 1649 the church roof was renewed and got a new ridge turret. In 1676 the provost building burned down during the Dutch War . It was not renovated to some extent until twenty-three years later - the year “1698” above the western entrance reminds of this.

The provost house in 1808
A: Rectory
C: Michaelskapelle
D: Scheuer with stables
E: Meierhof
F: Zehntscheuer

The phase of building history that is decisive for the current appearance began with Jakob Philipp Steyrer's election as abbot in 1749. He remained abbot for 46 years. “On February 11, 1752, the monks of St. Peter decided, at the suggestion of their young abbot, to completely renovate the church in Sölden. It is big enough, but due to its Gothic style it is dark, does not have enough light and has hardly any decoration. Yes, the sandstone Gothic that dominated the entire Middle Ages had long since played out for various reasons and no longer had defenders. After the Thirty Years War, a new art movement had prevailed in the Catholic lands of southern Germany: Baroque was now the new style. "

Steyrer commissioned the bricklayer Hans Willam , who had previously worked for St. Peter, with the renovation. The tracery was knocked out of the Gothic windows, with the exception of the eastern choir window. A plaster ceiling was drawn into the ship. The Fides Chapel attached to the northern choir wall was demolished. In 1757 the rising damp caused the floor to be filled by 1.10 meters. In the years that followed, the church was given its present-day furnishings by the best artists associated with St. Peter, such as the carver Matthias Faller and the painter Franz Ludwig Hermann . In 1764 Willam built a new connection between the church and the provost's office. In the same year, St. Ulrich in Möhlintal gave the Sölden church the onion-shaped dome, which was no longer needed in St. Ulrich, by the builder Peter Thumb . In 1786 Abbot Steyrer gave a monstrance from the Augsburg silversmith Caspar Xaver Stippeldey. "This is how the provost's office, if not as much as the St. Ulrich priory, experienced the abbot's support and love."

With the secularization, the former provost's office became a parsonage. In 1811 the Michaelskapelle in the cemetery was demolished, four years later a stone cross by Franz Anton Xaver Hauser (1739-1819) was put in its place . In 1937–1938, under Pastor Ernst Föhr and the curator of ecclesiastical monuments in Baden, Joseph Sauer , the wall paintings were restored and supplemented and the baroque colors of the altars restored. In 1957 the new rectory was built, and in 1970 the sacristy was renewed. From 1959 to 1977, extension buildings for the village helper school were built on the site of the old barn with stables, but after its closure they were demolished and replaced by an ornamental garden. In 1995 Frido Lehr created a celebration altar and an ambo . During the most recent renovation from 2005 to 2012, the Candida shrine , the holy grave , reliquary containers and vestments were restored.

Church building

Interior to the east towards the chancel
Interior to the west towards the organ

The walls still contain Gothic masonry. The nave is a hall with four window axes on each side and a western organ gallery. To the east follows the retracted, polygonal closing choir with buttresses. Willam walled up the apex window of the choir while preserving the Gothic tracery; the tracery has been exposed again today. The other windows close with flat arches. The roof rider Peter Thumbs “shows an elegantly designed, powerfully shaped onion and a double, gilded tower cross.” The flat ceiling of the ship rests on a hollow.

Furnishing

Wall painting and ceiling paintings

Thanks to the large windows, glazed with slugs, and the white walls, the interior appears bright. The rich painting of the cove, the framing of the windows with crowning shells and the framing of the old ceiling paintings were refreshed and supplemented during the restoration in 1937–1938. In doing so, “the style character of the room was changed: Laurel hangings, garlands and consoles under the cove give the room a classicistic character that it did not have before and that is an ingredient. During the last renovation in 1993-96, however, they wanted to keep this decoration of the church. "

  • Ceiling pictures

  • Nave

  • "The two pretty beauties"

  • Choir arch

  • Choir

All ceiling paintings - for the art historian Franz Xaver Kraus in 1904 still "the insignificant ceiling paintings" - come from Franz Ludwig Hermann. The huge main painting in the ship, almost filling the ceiling, hardly visible because of the raised floor, signed “Franc. Ludovic. Herrmann inv. Et pinxit 1764 “, glorifies the evangelist Mark. Painted plinths, pillars and cornices and a painted coffered ceiling simulate a stately domed church. Mark preaches on a pulpit in the east, which bears the tablets of the Law of Moses and under which a lion, attribute of the evangelist, crouches. Twenty-nine people are listening loosely, a man in a blue coat to the right of the pulpit, perhaps the artist himself. “The two pretty beauties on the left under the open window, under the little bird sitting on it, are said to have been the daughters of the Heidenhof farmer who left in the last century be who watched the master curiously and were then immortalized by him with a brush. "

Hermann Grisaille painted round pictures of the four evangelists in the four corners of the ceiling of the nave, two coats of arms above the choir arch, twice the Austrian shield on the left - originally red-white-red, incorrectly changed to red-white-blue during the last restoration - and Steyrer's Coat of arms, a deer antler; on the right the coats of arms of St. Peter Abbey (two crossed keys on a blue background), the hamlet of Geiersnest, which today belongs to Bollschweil (a vulture on a gold background), the St. Ulrich priory (the two rulebooks of St. Ulrich on a red background) and Sölden ( a star with a cross on a blue background). On gold-colored ribbons on the coats of arms, it reads “Philippus Jacobus Steyrer. Abbas ad S. Petrum Anno 1764 ".

The ceiling painting in the choir, surrounded by a golden garland, a martyrdom of St. Fides, is seventeen years younger, inscribed “Franc. Ludovic. Herrmann Invenit & Pinxit Anno 1781. "

Altars

  • Main altar

  • overall view

  • Fides

  • tabernacle

  • Markus and Fides

  • Agatha

Faller's "high altar from 1786, characterized by a pair of columns and lateral volute braces, with its elegantly curved structure is one of the most mature Rococo retables in Breisgau." Putti sit on the volutes . Outside, next to the pillars, on the left, there is Saint Fides with the palm of victory and sword, on the right, Saint Agatha of Catania with the palm of victory and a tray on which lie her two breasts, which were cut off during the martyrdom. “In the late Middle Ages the people interpreted the two round objects as loaves of bread or wakes and had such loaves consecrated on Agatha Day, February 3rd, not to be eaten as they are today, but to be used together with 'Agatha tabs' as a defense against thunderstorms Throw it into the hearth. ”Since the renovation in 1937–1938, the figures have been freed from overpainting and appear in the original alabaster white . Faller also made the tabernacle with rocailles, leaves and flowers, four putti, two reliquaries on the side and a cross inlaid in the tabernacle door, everything gilded except for - alerbaster white - the putti, the corpus on the cross and the skull at its base. The essay with the pelican and the two angels' heads at the back, however, which partly covers the high altar, dates from the 20th century.

The high altar picture was created by Johann Michael Saur († 1745) from Freiburg, who also painted in St. Peter, as early as 1742. It shows the holy Fides with rust and Mark with quill pen, book and lions under Mary with her child. The upper picture, by Franz Ludwig Hermann, shows the Archangel Michael.

Matthias Faller also carved the similar side altars, such as the high altar with putti on the side scrolls. Your painter was Georg Saum , a student of Franz Ludwig Hermann.

  • Left side altar

  • overall view

  • Immaculata

  • Benedict and Scholastica

  • Ulrich

On the Benedict's altar on the left, two reliquaries flank an introverted Immaculate , standing on the globe with a serpent, her head crowned with stars ( Rev 12,1  EU ). The main picture shows Saints Benedict of Nursia and Scholastica of Nursia , Benedict's sister. At the prayer of the near-death Scholastica, the sun darkened to allow Benedict to stay with her for several days, contrary to his religious rule. When he returned to his monastery, he saw Scholastika's soul fly to heaven as a dove. One angel carries Scholastika's abbess's staff, on whose bend the dove sits, another the book with the rules of the order. On the book is a glass from which a snake coils: Benedict's monks wanted to poison him, but the glass shattered when Benedict made the sign of the cross over it. In the upper picture, St. Ulrich calls a child back to life.

  • Right side altar

  • overall view

  • Candida shrine

  • Fides and Candida

  • Barbara

The Fides altar on the right bears the shrine of a catacomb saint , St. Candida. Abbot Steyrer had acquired the relics from the catacombs at Sant'Agnese fuori le mura or the Priscilla catacombs . He had it lavishly decorated by the sisters of St. Ursula Monastery (Freiburg im Breisgau) . In 1762 he solemnly transferred them to Matthias Faller's shrine on the side altar. Since then, the feast day of St. Candida has been celebrated at the same time as Fides feast day on October 6th. The main picture shows Fides with her rust and Candida with a sword, sitting on a cloud, the upper picture shows Saint Barbara of Nicomedia with chalice and host, who is the patroness of the miners in the area around the nearby Schauinsland with its ore mining.

Other equipment

A sacrament niche in the choir dates from the 15th century. "Three pinnacles, weightlessly reaching upwards ... flow into dainty finials ." Also from the 15th century are two damaged wooden statues of holy women on the walls of the choir, according to Franz Kern perhaps Fides and Scholastica. The baptismal font from 1544 bears the coat of arms of the abbot of St. Peter Markus Thuringian (abbot from 1544 to 1553). Originally created for the abbey church of St. Peter, it came to Sölden at the beginning of the 17th century.

On the east wall of the choir arch are two pictures of altars from the beginning of the 18th century, which stood in the nave in the place of today's confessionals, perhaps by Johann Michael Saur. One shows Jesus growing up between Mary and Joseph, the other shows St. Mark in prison, to whom Jesus appears.

Franz Joseph Hermann (1732–1811) from Freiburg painted the Way of the Cross in 1761. He added a fifteenth to the usual fourteen stations: Saint Helena , mother of the Emperor Constantine , who, according to legend, found the cross of Christ. Four station pictures still have their wide baroque frames. This Hermann probably created other Sölden paintings; on the one hand six on the walls of the choir - in the north from the left the meal of the three men with Abraham by the oaks of Mamre ( Gen 18.1-8  EU ), the lentil dish (Bible) ( Gen 25.29-34  EU ), the Jesus' meal, at which a woman washed and anointed his feet ( Lk 7.36-38  EU ), and the meal of the Emmaus disciples with the risen One ( Lk 24.28-30  EU ), in the south Joseph and Mary with the baby Jesus; on the other hand, the Holy Sepulcher , consisting of nine (according to other information six) individual images , which was put up again in the church for the first time after restoration in Holy Week 2011. Outside of Holy Week, it is kept in a climatic chamber in the attic.

The pulpit from 1776 has gilded carvings by Matthias Faller.

Around 1781, Franz Anton Xaver Hauser carved Jesus as the risen one on the parapet of the organ loft and, as mentioned above, the cross in the cemetery in 1815.

The organ was built by Johann Mayer in 1868, "a typical small village church organ, made of solid craftsmanship, quite robust in sound."

Three bells hang in the onion dome, one from 1923, two cast in 1949 by the Rincker bell and art foundry . The latter replace bells from Abbot Steyrer's time, which were melted down during World War II .

Former Propsteig building

  • Abbot Vogelin's coat of arms at the entrance to the stair tower

  • Ceiling painting in the "prelate's room"

  • Stuck in the “prelate's room”: summer

  • Stuck in the “prelate's room”: winter

The garden-side entrance to the former Propsteigebuilding, now the administrative center of the village helpers, with the year “1595” and Abbot Vögelin's coat of arms, leads into a stair tower. The “Prelate's Room” is located on the upper floor, where the St. Petrine Abbots stayed when they visited Sölden. On the ceiling around 1770 Simon Göser painted the story of Jesus and the Samaritan woman at the Jakobsbrunnen ( Joh 4,4-26  EU ), signed “S. Gös “. Göser lets the story take place in front of the Sölden priory with the church and the provost building. The picture is surrounded by delicate stucco, perhaps created by Johann Georg Gigl . Medallions with the four seasons occupy the corners, spring a child surrounded by flowers, summer a child with a sickle and cut ears, autumn a child with grapes, winter a child warming himself by a fire, which he with one Bellows inflated.

literature

  • Official district description. Freiburg im Breisgau: urban and rural district . Published by the Baden-Württemberg State Statistical Office in conjunction with the city of Freiburg im Breisgau and the Breisgau-Hochschwarzwald district. Volume 2, Half Volume 1, 1972.
  • Manfred Hermann : Catholic parish church St. Fides and Markus Sölden. Kunstverlag Josef Fink, Lindenberg im Allgäu 2002. ISBN 3-89870-014-3 .
  • Franz Kern : Philipp Jakob Steyrer, 1749–1795 abbot of the Benedictine monastery of St. Peter in the Black Forest. In: Freiburg Diocesan Archive. Volume 79, 1959, pp. 1-234 ( freidok.uni-freiburg.de PDF).
  • Franz Kern: The parish church of St. Fides and St. Markus in Sölden. Supplement to the bulletin of the Hexental Administrative Community 26, 1978.
  • Franz Kern: Sölden. The story of a small village. Sölden municipal administration 1995.
  • Franz Xaver Kraus (ed.): The art monuments of the Grand Duchy of Baden. District of Freiburg, Verlag JCB Mohr, Tübingen / Leipzig 1904, pp. 302-309 ( digi.ub.uni-heidelberg.de ).
  • Eugen Storm: Parish Church of St. Ulrich, Black Forest. 3. Edition. Schnell und Steiner publishing house, Munich / Zurich 1977.
  • Dagmar Zimdars (arrangement): Georg Dehio, Handbuch der Deutschen Kunstdenkmäler Baden-Württemberg II. Deutscher Kunstverlag, Berlin 1997, ISBN 3-422-03030-1 , pp. 677-678.

Web links

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

Individual evidence

  1. ↑ a b Official district description 1972, p. 930.
  2. ↑ The year of foundation is implausibly given as 1076, according to Official District Description 1972 p. 1032 and Hermann 2002.
  3. ↑ quoted from Kern 1995, p. 24.
  4. ↑ quoted from Kern 1995, p. 53.
  5. ↑ About us. In: dorfhelferinnenwerk.de. Retrieved May 11, 2017 .
  6. ↑ Kern 1995, p. 35.
  7. ↑ Kern 1995, p. 50.
  8. ↑ Kern 1959, p. 75.
  9. ↑ Kern 1995, p. 74.
  10. ↑ Kern 1959, p. 80.
  11. ↑ Hermann 2002, p. 11.
  12. ↑ Hermann 2002, p. 14.
  13. ↑ Kraus 1904, p. 352.
  14. ↑ Kern 1978 and Kern 1995, p. 77; the signature can no longer be seen today (2013).
  15. ↑ Kern 1995, p. 78.
  16. ↑ Hermann 2002, p. 20.
  17. ↑ Kern 1995, p. 85.
  18. ↑ a b c d Kern 1978.
  19. ^ A b Hermann Brommer : Artist and craftsman in the St. Petrischen church and monastery building of the 18th century. In: Hans-Otto Mühleisen: St. Peter in the Black Forest. Cultural-historical and historical contributions. Schnell und Steiner publishing house, Munich, Zurich 1977, ISBN 3-7954-0408-8 , pp. 50-93.
  20. ↑ Vincent Mayer: Benedict of Nursia. In: Lexicon of Christian Iconography Volume 5, Column 351.
  21. ↑ Kern 1959, p. 78.
  22. ↑ Hermann 2002, p. 15.
  23. ↑ Zimdars 1997.
  24. ↑ Hermann 2002, p. 25.
  25. ↑ Internet pages of the foundations of the Archdiocese of Freiburg: New shine for the Holy Sepulcher in Sölden. ( Memento of the original from September 27, 2013 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 September 10, 2013. @1@ 2Template: Webachiv / IABot / kathische-stiftungen-freiburg.de
  26. ↑ Nicole Rosenthal: The Holy Sepulcher is back. A climate-constant room was created in Sölden for the restored painting. Badische Zeitung of April 8, 2011. Retrieved September 10, 2013.
  27. ↑ Nicole Rosenthal: Saved from decay. Parish of Sölden celebrates the return of the restored painting 'The Holy Grave'. Badische Zeitung of April 21, 2011. Retrieved September 11, 2013.
  28. ↑ Hermann 2002, p. 26.
  29. ^ Anne Freyer: Glocken-Klang: Abbot had to 'order' Neuguss in 1756. Badische Zeitung of January 8, 2010. Retrieved September 11, 2013.
  30. ↑ Kern 1995, p. 89.

Coordinates: 47 ° 55 ′ 58.8 ″  N , 7 ° 48 ′ 39.2 ″  E