St. Fridolin (Loerrach)
The Church of St. Fridolin in the Stetten district of Lörrach is a Roman Catholic church under the patronage of Fridolin von Säckingen . The classical exterior of the Fridolinskirche in the style of Friedrich Weinbrenner stands on a small hill in the core of the former village of Stetten. The Fridolinskirche, built between 1821 and 1822, is based on designs by the architect Christoph Arnold and is very similar to the pilgrimage church in Bad Rippoldsau-Schapbach, built in 1829 . Inside the church, the classical architecture is enriched with rococo elements.
history
Political conditions
The village of Stetten belonged to the Säckinger estate after 774 . A church building in Stetten was first mentioned in 1275 in a register of the tithe to be paid for a crusade . In 1360 the ecclesia Stethin cum filia Hiltolingen was mentioned in decanatu Warembach . Since Stetten and Säckingen in the Breisgau Oberamt belonged to Upper Austria , the community remained Catholic in contrast to Lörrach, which in 1556, according to its affiliation to the margraviate of Baden, professed the Reformed faith (→ Reformation in Markgräflerland ). Stetten remained an exclave in Upper Austria until 1803 , when it was awarded to Baden by Napoléon on the basis of the Reichsdeputationshauptschluss . With this special position of Stetten, the Catholic Church of St. Fridolin was also the only parish church there until 1867 whose catchment area extended into the front Wiesental .
Previous construction
The number of previous buildings of today's St. Fridolin Church is unknown. However, it is considered likely that these were always in the same place. The immediately preceding building was probably built in the second half of the 14th century and was also dedicated to St. Fridolin. Major repairs and modifications are documented for the years 1440 and 1539. Information about this previous church is provided by a map from a bird's eye view by the Basel painter Hans Bock from 1620 and a pen drawing by Emanuel Büchel with topographically precise views of Lörrach and Stetten. In addition, notes from the pastor in office at the time of the demolition and other written records have been preserved. It was a choir tower . A small, around 13-meter-long chapel room was joined to the east by a massive tower with a square floor plan, 6.5 meters in length and 21 meters in height, which contained the choir . The tower was in the place of the right entrance door of today's church. Despite its small size, this church had three entrances and a wooden gallery in the back . According to estimates, it held about 250 people, half of the then residents of the village of Stetten. In the years 1758/59 a new baroque parsonage was built in place of the old one and at the same time a new parish church was built. The Säckinger Damenstift had to be built, but initially rejected the application for a new building after the major fire in the Fridolin Minster in 1751. However, the secularization also delayed the construction project considerably. In 1803 Stetten was annexed to the Grand Duchy of Baden ; Due to the change, the previous authorities were no longer responsible and the new offices were initially not interested in a new building.
Planning history
It was not until 1808 that the planning phase for the new St. Fridolin building began. This turned out to be extremely difficult due to years of quarrels about the building obligation and its distribution as well as a number of reports. A number of master builders who were active in the Grand Duchy of Baden at the time took part in the planning.
Designs for the new parish church in Stetten came one after the other from the architects Rebstock (? –1818), Friedrich Weinbrenner , Friedrich Rief, Christoph Arnold , Johann Ludwig Weinbrenner and the Vorarlberg Jodok Friedrich Wilhelm (1797–1843). Rebstock planned a wide, short long house on a new building site outside the village. At the behest of the authorities, Rebstock made a second design while retaining the old building site. Building director Friedrich Weinbrenner stayed in Lörrach and Stetten in 1813 for other reasons and although his plan kept the church on the old square, he considered relocating the cemetery. His design provided for a squat, rectangular church interior with a gallery running around it. The basic scheme was similar to many smaller church buildings, such as B. the Evangelical Church Langensteinbach . However, Weinbrenner's design did not convince the community and authorities, as the requests for changes from the classicist to the baroque basic character would have fundamentally changed the original concept.
Rebstock was then asked to revise Weinbrenner's draft according to the requirements of the community. Since he refused, the architect Friedrich Rief drafted new plans. These envisaged a unified hall with a rear gallery and a powerful classicist double tower facade. Friedrich Weinbrenner, to whom the draft was presented, criticized the fact that it did not take the location into account and that it did not achieve a sufficiently sacred effect inside. Rief's plan was also rejected; However, parts of his design proposals were included in the final design by Christoph Arnold. Arnold, a nephew of Friedrich Weinbrenner, was the responsible district architect for the entire public building industry in the southwest of the Grand Duchy. His design is described in the files as a merger of the two earlier plans. The Arnoldsche has the massive double tower facade in common with Rief's design, which Arnold realized a few years later for the Catholic church in Bad Rippoldsau , which is very similar to the St. Fridolins Church .
Building history
On July 3, 1821, the foundation stone of the Fridolinskirche, a corner block of the tower, was laid. In addition to several pastors from the surrounding area, 2000 guests took part in the ceremony. Fidel Oberle, a master carpenter from Waldshut , took over the construction as general contractor for 16,860 guilders . The high altar was modeled on designs by Johann Ludwig Weinbrenner, also a nephew of Friedrich Weinbrenner, who designed altars for the Catholic Church in Istein . The pulpit should be based on that of the Evangelical Church (today: Evangelical City Church ). The plasterer and altar builder Jodokus Wilhelm made the pieces of equipment, the cost of which amounted to 900 guilders. The state of Baden contributed to more than half of the construction costs. On July 15, 1822, the crosses and the tower balls were placed on the two towers; the church was consecrated on August 25 of the same year.
The Catholic Church itself hardly had any means of its own. Since it was dependent on the state offices, liturgical and religious needs were hardly taken into account. For example, a confessional should be placed in the substructure of the high altar. In the years 1826 to 1843, repair work was already necessary on the church, which Jodokus Wilhelm carried out alongside other craftsmen. It was not until 1829 that the Fridolinskirche received an organ from the Oberhausen organ builder Merklin. Since the church was also visited by numerous foreign Catholics, there were no longer enough places by 1841. It was therefore officially ordered that pews be built in the gallery. In the second half of the 19th century, the original pictures were replaced by new ones. At the high altar, a large panel painting without a frame was attached directly to the wall, and in 1899 architectural patterns were painted and the windows made smaller. In 1952, most of these changes were reversed and restored to its original appearance. In 1954 a carved Pietà by Franz Spiegelhalter was placed in the war memorial chapel under the south tower and in 1964 the Trikes family donated the bronze entrance portal, which was made in their foundry based on a design by Alfred Erhard. During an extensive renovation, the high altar was reconstructed true to the original in 1974.
As a result of the strong growth in the population of Stetten, the branch church of the Holy Family , which is attached to the parish, was built between 1965 and 1967 .
description
Exterior construction
The Fridolinskirche with the massive 30 meter high double tower facade rises on a hill above the center of Stetten. You can reach it via a sweeping open staircase at the base of the church. The area around the church is densely built with residential houses. The cobblestone church square is in front of the main entrance . To the north-west is the baroque parsonage, in whose vaulted cellar rooms the community events take place. The rectory was designed by the architects Beck and Hohenauer. Major renovations to this house took place in 1871, 1884 and 1923.
The two towers flank the three- story main body of the church, the porch of which is closed at the top with a console cornice and a clock is mounted in the upper third between two larger rectangular windows. The inner circle of the dial is light blue, the outer circle black for contrast. The hands and Roman numerals are gold in color. The bell- shaped storeys of the towers recede slightly and are provided with corner pilasters and round-arched long arcades . The two towers have pyramid roofs and carry golden tower balls and crosses. A staircase in the north tower leads to the bell floor, which is not accessible to the public. In the slightly recessed middle part of the facade there is a glazed arched opening. Two rectangular windows above a console cornice on the upper floor are framed by corner pilasters. The middle part is of a gabled roof completed. The impression of compactness is achieved by the recessed structural elements and components in the middle section. This style is typical for Christoph Arnold as well as for other buildings from the Weinbrenner era.
The floor plan of the hall church is around 40 meters long and 18.5 meters wide. The choir is oriented to the northeast. The nave, like the middle section of the front facade, is closed off by a gable roof. A console fries accompanied the roof approach. The choir has a hipped roof with a low ridge .
The cast bronze church portal at the main entrance was created in 1964 by Alfred Erhard from Freiburg and manufactured in the Trikes foundry in Stetten. On six panels it contains reliefs with scenes from the life of St. Fridolin. In the lower left panel next to the patron is the inscription “St. Fridolin - ora pro nobis “(Saint Fridolin - pray for us) is appropriate. In addition, the stylized church with the surrounding houses and the local coat of arms of Stetten is shown.
The main entrance is protected by a rectangular canopy structure. The two sturdy pillars with a square floor plan and dorising capitals support a balcony with a cornice.
inner space
The vestibule, which was adapted to the style of the time in 1935, leads to the church hall, which appears unusually wide and spacious due to the lack of aisles. Flat stucco is attached to the ceiling of the nave (toothed frieze and profile bars) and the choir as well as above the arched windows . The window sills of all arched windows are conspicuously drawn down at an angle. Christoph Arnold had already chosen this design in the Catholic Church of St. Blasius in Zähringen . In addition to the better incidence of light inside the church, Arnold emphasized a representative and formal appearance with the pronounced verticalism . In the apex of the arched windows in the choir, stucco angel heads appear, flanked on the sides by garlands ; below the window you can see laurel branches with fruits. Most of the stucco work goes back to Jodokus Wilhelm. The economical stucco frames the ceiling and is drawn in at the corners on the inside. Within the border there is a large oval blend field and four smaller, round blend medallions, which are surrounded by leaf garlands and acanthus sticks .
On the entrance side you step below a single-storey organ gallery with a closed parapet decorated with garlands. The gallery is supported by two rows of columns. In the direction of the nave there are four Doric columns and two wall pilasters . Towards the entrance portal, the gallery rests on two columns and two wall pilasters. It is one of the few ancient elements in the church.
The Fridolinskirche has three altars made of stucco marble. The two side altars were designed by Christoph Arnold and handcrafted by Jodokus Wilhelm. The stipes of the altars taper downwards like a coffin; the base zones are framed by two pillars each, on which the main parts of the altars stand. The original altarpieces are no longer there. Two pictures by the Swiss painter Melchior Paul von Deschwanden take their place . They date from 1871 and depict Saints Joseph and Maria Immaculata. The pictures were donated by the Stetten resident Josephine Müller. The donor ordered another picture from the painter with the title Maria with the Child , but its whereabouts are unknown.
The original high altar was after the filing of a detachierten Stipes with tabernacle and worship angels and a fixed to the wall of the choir shrine . The base of the high altar had to be replaced in 1832 due to wood sponge infestation. The court painter of Baden Wilhelm Dürr (1815–1890) created a large panel painting in 1871 depicting the Ascension of Christ . It was hung on the back wall of the choir instead of the high altar that was removed at the time. This painting gave way during the renovation in 1952 to make room for the reconstructed high altar. Individual parts of the original high altar, such as an ensemble of seated putti , were attached to the side altars until 1975. In the reconstructed high altar there is a life-size wooden crucifix from around 1660.
The altar, ambo and tabernacle on the base of the high altar are made of white glazed clay. They show reliefs of flowers, deciduous branches, grapes and birds. These principal pieces from 1974 come from the Cologne sculptor Elmar Hillebrand .
The pulpit designed by Christoph Arnold and executed by Jodokus Wilhelm is a cylindrical body and stands at the Mother of God altar on the north wall of the church. It is adorned with gilded garlands and is accompanied by a base and cornice. A gilded pine cone closes the pulpit basket at the bottom. The sound cover has a gold-plated, diadem-like crown. A carmine red curtain, flanked by two pillars made of stucco marble, is attached between the basket and the sound cover. An almost identical pulpit is in the parish church of Zähringen. On the opposite wall of this building is as counterpart a shrine of stucco with a mural of St. Fridolin, the church patron. The picture is from an unknown painter from the time the church was built. Below the aedicule is the baptismal font .
organ
The classical organ prospectus with antique ornaments and gold-colored ornaments goes back to Jodokus Wilhelm. It is made up of five parts and is horizontally closed with triangular gables. In the middle of the front side it has an analog clock with a light gray face, black hands and a gold-colored border with black Roman numerals .
The original organ from 1829 comes from the organ builder Merklin from Oberhausen near Freiburg. The organ case is made of oak. The instrument had two manuals , a pedal and had 19 registers . In 1966 the organ was rebuilt by Johann Klais from Bonn with a French disposition . It has three manuals , a pedal and 32 registers .
The organ of St. Fridolin has the following disposition (status: July 2019):
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The winch works as follows: I. Manual: 55 mm WS , II. Manual: 62 mm WS, II Manual: 65 mm WS and the pedal with 80 mm WS.
Bells
The bell of St. Fridolin consists of five bronze bells, which are distributed over the east (O) and west (W) tower. After the two world wars, only the guardian angel bell remained. It was cast by Benjamin Grüniger Sons in Villingen in 1920 . The remaining bells come from the FW Schilling foundry in Heidelberg.
| No. | Surname | Nominal | Casting year | Uses / occasions |
| 1 | Guardian Angel Bell (O) | d ′ ′ | 1920 | Death |
| 2 | St. Nicholas Bell (O) | H' | 1951 | |
| 3 | Christ King (W) | e ′ | 1951 | Angelus and change on feast days |
| 4th | Sancta Maria (W) | G' | 1951 | Funeral and conversion |
| 5 | St. Fridolin (W) | a ′ | 1951 | Angelus |
painting
The paintings of the Stations of the Cross bring colored accents into the church interior, which is kept in white and ocher . The oil paintings on canvas with stucco frames were probably made by the painter Wendelin Moosbrugger . The post-baroque Stationsweg is remarkable because of its sequence, as it, influenced by Ignaz Heinrich von Wessenberg , deviates from the traditional sequence in an iconological way . The sequence is: Gethsemane , Judas kiss , capture, Jesus before Caiaphas , denial of Peter, mockery, crowning of thorns, ecce homo , washing hands , Jesus meets his mother and crucifixion and burial .
There are two oval baroque medallions above the two doors to the sacristy . Mary Magdalene is depicted above the left door and Peter above the right . The oil paintings on canvas and in stucco frames come from an unknown painter and are the only surviving late Baroque paintings in Lörrach churches.
literature
- Hans Jakob Wörner : Lörrach – Stetten, St. Fridolin , Verlag Schnell and Steiner 1975, ISBN 978-3-7954-4786-1 .
- Otto Wittmann et al., Stadt Lörrach (ed.): Lörrach: Landscape - History - Culture , Verlag Stadt Lörrach, Lörrach 1983, ISBN 3-9800841-0-8 , pages 623–627.
- Gerhard Moehring : Stetten and his history , Lörracher Hefte No. 8, Verlag Waldemar Lutz Lörrach 2008, ISBN 978-3-922107-78-1 , pages 76-91.
- Arno Herbener, Rolf Rubsamen, Dorothee Philipp, Jost Grosspietsch: Art. Thermal baths. Wine. Voyages of discovery through the Markgräflerland , Kunstverlag Josef Fink 2006, ISBN 978-3-89870-273-7 , page 29.
- Anton Utz: Chronicle of the St. Fridolinskirche Stetten. in: Walter Jung, Gerhard Moehring (eds.): Our Lörrach 1975. A border town in the mirror of the times , Lörrach-Tumringen: Kropf & Herz 1975, pages 58-81.
- Johannes Helm : Churches and chapels in the Markgräflerland , Müllheim / Baden 1989, ISBN 3-921709-16-4 , pp. 165–167.
Web links
Individual evidence
- ^ Otto Wittmann et al .: Lörrach: Landscape - History - Culture , page 625
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 3
- ↑ Basel State Archives
- ↑ Kupferstichkabinett Basel
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 4
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 7
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 8
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 9
- ↑ Moehring: Stetten and his story , page 78
- ↑ Moehring: Stetten and his story , page 77
- ↑ Knebel, Leonhard (ed.): The two catholic. Parishes in Lörrach - St. Bonifaz, St. Fridolin. , Erolzheim 1955, page 5
- ^ Joseph Sauer : The church art of the first half of the 19th century in Baden , Freiburg 1933, page 482
- ^ Otto Wittmann et al .: Lörrach: Landscape - History - Culture , page 626
- ^ Otto Wittmann et al .: Lörrach: Landscape - History - Culture , page 627
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 19
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 11
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 15
- ↑ an artisanal treatment to remove stains
- ^ Wörner: Lörrach – Stetten, St. Fridolin , page 16
- ↑ a b Helm: Churches and chapels in Markgräflerland , p. 166
- ↑ Answer of July 1, 2019 to an e-mail request to Johannes Klais Orgelbau, Bonn
- ↑ Change of the disposition acc. Email from church musician Andreas Mölder on July 5, 2019
- ↑ Michael Bringmann, Sigrid von Blanckenhagen, Konrad Weissenhorn: Die Mosbrugger: die Konstanzer Maler Wendelin, Friedrich, Joseph Mosbrugger , 1974, ISBN 3-87437-100-X , pages 63, 108
Evangelical Churches: Christ Church | Evangelical town church | Germanus Church | St. John's Church | Röttler Church | St. Nicholas | St. Ottilien
Evangelical Free Churches: Advent House | Baptist Church
Synagogue: Lörrach synagogue
Catholic Churches: St. Boniface | St. Fridolin | Holy Family | St. Joseph | St. Peter
Coordinates: 47 ° 36 ′ 6.7 ″ N , 7 ° 39 ′ 54 ″ E
