St. Gallus (Kirchzarten)

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St. Gallus is the Roman Catholic parish church of Kirchzarten , but for centuries it was the parish church of the entire Dreisam catchment area from the Black Forest heights to the Zartener basin with the exception of the Kappler valley in the west. It is named after Gallus , the founding saint of the Benedictine monastery of St. Gallen , and belongs to the Dreisamtal pastoral care unit in the Neustadt deanery of the Archdiocese of Freiburg . With its location in the middle of the walled cemetery, even where it has been left open, with the rectory and the chaplain's house, with its wealth of historical monuments and with the regularly inhabited stork's nest on the tower, it is the little disfigured, aesthetically attractive center of Kirchzarten.

The St. Gallus Church from the southeast

History of the parish

From tender to church tender

Until the 1980s, it was believed that Kirchzarten had always been the main town in the Zarten Basin and that its parish was the original parish. That changed with the discovery of traces of settlement from the Latène period in the Zarten district. There (and not, as previously meant, in an unfinished rampart further to the east) was the Celtic capital that the Greek geographer Claudius Ptolemy recorded in the 2nd century AD as the polis " Tarodunum ". The square remained continuously populated from the Celtic to the Roman, the Alamannic and the Merovingian times, and the Celtic “Tarodunum” became “Zarten” via the Germanic “Zarduna” or “Zartuna”. Only towards the end of the first millennium did the emphasis shift southward from Zarten to Kirchzarten.

With this new view, the first medieval documents from the St. Gallen monastery can also be understood more literally, including the following three.

In 765, Drutpertus, probably a follower of the Frankish king, "in villa, qui dicitur Zarduna - in the village that is called Zarduna", hands over serfs and land to the monastery of St. Gallen. The Rastatt historian Max Weber (1899–1982) described this in his detailed "Kirchzartener Geschichte" from 1965 as the "first document containing the name of our community". From today's point of view, however, it is the first document about delicacies.

In the year 816 Cozpert St. Gallen transferred “partem ecclesie in Zartuna et quicquid mee portionis ad eam pertinet - his part of the church in Zarten with all accessories”. This was true, for example in the official description of the district of Freiburg from 1965 and the Dehio-Handbuch from 1997, as the first mention of the Kirchzartener Galluskirche, but is probably the first mention of today's St. John's Chapel in Zarten . <

In 1215, the St. Märgen Monastery finally transferred "predium ad Kilizartun - a farm near Kirchzarten" to the St. Gallen Monastery. Here Kirchzarten is mentioned for the first time, but the church belonging to St. Gallen is still called "æcclesia Zartun" in the document. It was not until the 13th century that the name “ecclesia Kilchzarten” became established. Zarten has been part of Kirchzarten since 1974.

The patronage rights

Through these and other donations, St. Gallen became patron saint of the Zarten and Kirchzarten churches and landowner in the Zarten basin. Originally the churches were probably private churches Alamannic or Frankish nobleman been. As patron saint, the St. Gallen abbot had the right to propose pastors, who the Bishop of Constance then appointed, and the right to tithe . Belonging to St. Gallen lasted over 500 years. From Weber's Kirchzarten story: "The historian knows ... to appreciate that we owe everything we know about our homeland from the first millennium exclusively to the writing-loving monks in the Cella Sancti Galli." On April 18, 1297 - the monastery was impoverished, the convent shrank - Abbot Wilhelm von Montfort sold the Kirchzarten estate with all its accessories to the commander of the Order of St. John in Freiburg. The abbot of St. Gallen was replaced by the commander of Freiburg and later by the Heitersheimer Johanniterkommende, who outstripped the Freiburg.

The Johanniter era also lasted over 500 years. In 1806 the Heitersheimer Kommende was incorporated into the Grand Duchy of Baden in connection with the Peace of Pressburg . The fact that the Protestant Grand Duke, as patron saint , had to come to an agreement with the archbishop of the Archdiocese of Freiburg, founded in 1821 , was a final consequence of the patronage right. With the abdication of the Grand Duke and the establishment of the Republic of Baden in 1918, it became extinct.

The worldly dominions

The Benedictines and the Johanniter let their property be administered by aristocratic bailiffs , who in turn granted partial rights. The most important bailiffs in the St. Gallen period were the Lords of Falkenstein , named after their Falkenstein Castle at the entrance to the Hell Valley . They were ministerials of the dukes of Zähringen with a rulership from Kirchzarten eastwards to the Black Forest heights. In addition to their castle, they resided in their Dinghof in Kirchzarten , which belongs to the St. Gallen monastery . At the time of the transition to the Johanniter, Jakob von Falkenstein was Vogt († 1298). One of his successors was Kuno von Falkenstein , who was buried in the Kirchzarten Gallus Church in 1343. In 1389, Falkenstein Castle was destroyed by service personnel from the city of Freiburg. Later bailiffs came from other noble families, including commoners like the Snewlin von Landeck . The sovereign rights, formerly united in the hands of the St. Gallen bailiff, were more and more divided, and in the late Middle Ages the Zartener Basin with the adjacent mountains was territorially split up like few parts of Germany.

  • Bailiff

  • Gravestone Kunos von Falkenstein

  • St. Gallus, in the upper picture of the high altar pointing to the Vogtei, 1683

  • Talvogtei and church 1880

A countermovement set in when the city of Freiburg attacked to the east. The first step was in 1315 the destruction of the Wild Snow Castle near Oberried , which belonged to the Snewlin von Landeck, and the purchase of the Burgplatz. From 1461 to 1463 the city bought the large property of the St. Märgen monastery and - again from the Snewlin von Landeck - the bailiwick rights. The acquisition of Kirchzarten followed from 1492 to 1496, in 1496 the acquisition of the bailiwick of the Wilhelmitenkloster Oberried together with the manor in the Kappler Valley, in 1499 the acquisition of the Attental valley north of Zarten. Around 1500 the city had a large territory in the east, which only lacked the towns of Ebnet and Littenweiler , which belonged to the Barons of Sickingen, and Buchenbach , which belonged to the Barons of Wittenbach . The seat of the administration was the Dinghof, which was now called "Talvogtei" after the head, the Talvogt. Kirchzarten now shared the fortunes of Freiburg, in which it played a secondary role, but in which it intervened once - in 1525 - with catastrophic consequences when it joined Hans Müller von Bulgenbach 's "Black Forest Heap" in the German Peasants' War . The peasants besieged Freiburg, which surrendered on May 23, but on July 17, when the military situation of the peasants had deteriorated, terminated the surrender treaty and took terrible vengeance by its “subjects ... with robbery, fire and death brought them to the point of pitting now, to accept them ... to mercy and disgrace. ”The Kirchzarten pastor Ulrich Wesiner was a field clerk in the Black Forest heap. He fled and asked the city for safe conduct in two letters so that he could justify himself. He had moved with the peasants, "but only forced and carried out by them"; He never preached in a Lutheran way, "that in the Mass in the form of bread and wine there is neither the flesh nor the blood of Christ". His official colleague, Pastor Andreas Metzger von Niederrimsingen , after he confessed , presumably questioned embarrassingly , was condemned by the Freiburg city court on January 31, 1526, “that one should put the priest on a cart and go to the gallows to a tree there for him to tie with a rope to a branch and leave it to hang on to others for a bispil and example ”. What happened to Ulrich Wesiner is not known.

With the Peace of Preßburg, like the rule of Heitersheim, the city of Freiburg also came to the Grand Duchy of Baden, and in 1807 the municipal rule over the Talvogtei ended.

Divisions and summaries

Development of the original parish of Kirchzarten

The original parish was huge - the distance from Ebnet at the western end of the Zartener Basin to Hinterzarten at the head of the Höllental is 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. The first downsizing resulted from the founding of the Benedictine monastery of St. Peter in 1093 and the Augustinian canons of St. Märgen around 1118; from the beginning they formed parishes for pastoral care in these peripheral areas. Today's St. Oswald chapel in Höllental was consecrated in 1148 , possibly as a branch church of an - then older - parish church in Breitnau . In 1252 the Wilhelmitenkloster Oberried was built. In 1631 Ebnet received its own parish. In 1786, in the course of Josephinism, Oberried, Eschbach and Buchenbach became parishes, and in 1810 Hofsgrund . Finally, in 1958, the northern area of ​​the Zartener Basin, including the town of Zarten, was separated as a new parish of Stegen .

There followed a shortage of priests and a decrease in the number of Catholics. The Archdiocese of Freiburg responded by merging parishes into "pastoral care units" . At the moment (2015) there are 224 in the Archdiocese. What formerly belonged to the original parish of Zarten or Kirchzarten and then developed in different parishes can now be found in four pastoral care units:

Whereas previously eleven pastors generally looked after the eleven parishes, today there are generally only four pastors working in the four pastoral care units in the same area.

Building history

Today's building is predominantly Gothic in style, but the five lower floors of the tower are apparently older, and an arched window uncovered in 1934 also dates the north wall of the nave to the Romanesque period. Excavations during a renewal of the heating in 1961 brought further information.

  • Floor plan and building chronology

  • Oldest date: "1505" on the choir buttress at the angle to the neo-Gothic sacristy

  • Inner portal of the porch in 1880 with horseshoes, allegedly from the Thirty Years War

  • Church and cemetery from the north in 1880. The Romanesque window in the nave wall has not yet been exposed.

  • Church and cemetery from the north in 2011

After that there was a previous building, perhaps from the time of the donations to St. Gallen, a rectangular hall with a rectangular choir, shorter than today's church, but larger than most of the early village churches on the Upper Rhine. It was destroyed by fire, but rebuilt around 1100 on the same foundations, and the three lowest tower floors were built on this second church. The fourth and fifth tower floors followed around 1200 with their Romanesque sound arcades .

From 1505 to 1510, which can be dated through carved dates, it was rebuilt in a Gothic style. The choir was lengthened and got an octagonal ending. A sacristy was built into the bottom floor of the tower, and a staircase led up to the second floor of the tower from the inside of the choir. A sixth floor was also added. The north wall of the nave was preserved, only the Romanesque windows were replaced by three Gothic tracery windows. The south wall, on the other hand, was moved four meters to the south, also with three tracery windows and a portal with a vestibule.

From 1670 to 1671 the ship was lengthened about ten meters to the west. In 1737 the tracery of the six Gothic windows was broken out and replaced by iron rods, and the nave received its current plaster ceiling with its paintings. Younger are an eastern extension to the vestibule and a new sacristy. The church was restored in 1962/1963, 1982 and the end of the 1990s.

building

The terrain drops to the west to the Krummbach (called Osterbach near Kirchzarten). The western extension of the church in the 17th century therefore had to be placed on retaining walls. From the parsonage to the northwest, the pastor was just a few steps over the Osterbach at his tithe barn and a few steps further at the Talvogtei. To the north and east, the church borders the cemetery, which the parish maintained in the 19th century. In the south the cemetery has been abandoned. There was an ossuary on the site of today's war memorial . To the east, the former chaplain’s house adjoins the cemetery.

Nave and choir

Vault of the vestibule; the red-white-red Harbsburg binding shield painted over in wrong colors in 1994

The nave has four ogival windows on both sides, the eastern three since 1737 without tracery, the western in the 17th century extension, adapted to the eastern, with simple tracery. In the north, the small Romanesque window is reminiscent of the previous building. Three portals lead into it. The southeastern one, from the Gothic renovation, is decorated with a rich bar structure , has a vestibule with a star vault, a double coat of arms of Upper Austria and the city of Freiburg on the keystone. It was originally open to the cemetery to the south and east and probably served as a courtroom, but is now closed to the east by an extension from 1857. The south-western and the north-western portal opposite are located within the western extension, but are older: they were moved here from the Gothic building (probably from its north and western walls) during the extension and are therefore similar to the south-eastern portal that remained at the old location. The west wall of the ship, hardly visible because of the terrain, is only broken through by a few undemanding windows.

The Gothic choir is supported by buttresses and has five windows with variously designed late Gothic tracery containing fish bubbles . In 1904 a neo-Gothic sacristy was built in the corner between the choir and the vestibule. A simple triumphal arch leads from the nave hall with its basket arched ceiling from 1737 into the choir, whose net vault rests on wall services . The balustrade of the stairs to the second floor of the tower, almost five meters long and with fish bubble tracery, is made from a single block of sandstone.

tower

The tower with a square floor plan is attached to the north side of the choir and rises 32.5 m high with its six floors. The corners are emphasized by natural stones. The three lower floors with humpback cuboid corners and only a few window openings appear defensive. The fourth and fifth floors, on the other hand, are richly structured with cornices, corners made of smooth natural stone and the beautiful sound arcades pointing in all directions . Large two-part Gothic tracery windows open on the sixth floor . Storks have been nesting on the gable roof above, with clock faces on the gables, since 1996.

The tower is equipped with five bells. After the bells were confiscated in the Second World War except for a small bell from 1936, it should be completed again after the war. The confiscated historical Vesper bell was found again in 1946 in the Hamburg bell cemetery, three more bells were added to the ringing in 1950 through the donation of a lottery winner.

Bells of St. Gallus in Kirchzarten
No. Surname year Caster Ø (mm) kg Chime
1. Christ the King bell 1950 Grüninger ,
Straß b. New Ulm		 1560 2500 c ′ + 5
2. St. Gallus Bell 1220 1150 e ′ + 3
3. St. Joseph Bell 1120 680 g ′ + 3
4th Vespers bell 1699 Ign. Thouvenel, Lorraine 880 a ′ + 8
5. Marienbell 1936 Grüninger, Villingen 750 150 c ″ +8

All bells are involved in striking the clock. The bell system was thoroughly renovated in 2006.

Furnishing

The interior

Outside, only a group of Mounts of Olives by Matthias Faller in the vestibule comes from the Baroque period. Benedikt Schaufelberger (1929–2011) painted an Annunciation scene above the entrance to the vestibule .

Interior

Paintings and keystones

Quite different inside. Here the medieval masonry encloses a predominantly baroque , bright white hall. The three ceiling paintings and the twelve pictures of the apostles at the transition from the ceiling to the walls were created by the Freiburg painter Hans Michael Saur (1692–1745) in 1737. The western ceiling fresco shows Saint Sebastian between Gallus and Magnus von Füssen , the former with the bear who served him, the latter with a staff wrapped in snakes - Magnus protected from dangerous animals. The middle fresco shows the coronation of Mary . The front shows three important saints with the name John: the apostle and evangelist with a quill pen and a book in which it says “calamus scribentis - pen of the scribe”; John the Baptist, referred to as "vos clamantis - voice of someone calling (in the desert)"; and John Nepomuk with his finger on his lips and called "lingua tacentis - tongue of the silent one" - according to his legend he was killed because he refused to break the secret of confession . The three ceiling paintings are reminiscent of the St. Gallic and Johannite past.

  • Ceiling painting in the nave

  • Gallus, Sebastian and Magnus

  • Coronation of Mary

  • The three Johannes

The four keystones of the choir vault also remind of this past: on clouds from west to east John the Baptist, Gallus with bear and abbot, Mary with her child and Christ as risen with the flag of victory.

  • Keystones in the choir

  • John the Baptist

  • Gallus

  • Mary and child

  • The Risen

Altars

The high altar replaced a medieval predecessor in 1683. The paintings are signed and documented works by the young Johann Caspar Brenzinger . The main picture is a dramatically moving “Assumption of Mary into Heaven”. The upper picture again shows Gallus with the bear bringing him wood. With his right hand, the saint directs the blessing of heaven onto Kirchzarten, which is represented by the valley bailiwick. “The depiction of the vault is so clear that we can even determine the absence of the chimney, a later addition.” The authorship of the carvings is an attribution. They then come from Franz Hauser ("Hauser III" after Hermann Brommer ), who was born in Kirchzarten, from the Hauser family of sculptors . The columns and heavy architraves emphasize the vertical and horizontal - here “the Renaissance still sounds”. The four lower columns - the inner ones turned - are surrounded by vine branches with grapes. Next to the main picture, Hauser placed John the Baptist and the Apostle John and further outside Peter and Paul. “The figures - themselves columnar - are firmly bound in the architectural framework and hardly imaginable without it.” Next to the top picture are Saint George and a holy woman, perhaps Ursula . A dove of the Holy Spirit hovers over it , God the Father stretches his arms towards the viewer and the Archangel Michael holds his soul scales . The busts of St. Barbara and Odilia on the pedestals of the lower columns are attributed to Franz Hauser's son Franz Xaver Anton Hauser ("Hauser IV"). In the antependium , rich, gilded carving framed another picture of St. Gall in shades of blue.

Antependium of the high altar
  • The altars

  • Left side altar

  • St. Barbara, left at the high altar

  • High altar

  • St. Ottilie, right at the high altar

  • Right side altar

Franz Xaver Anton probably also created the side altars in 1763. "A comparison between the high altar and the side altars shows how within a generation - from father to son - a style has developed from the statuesque, calm structure of the high altar to the sweeping side altars (especially their crowning) with the very moving figures." It is the development from baroque to rococo. The comparison is particularly impressive because of the uniformity of the two side altars. Only the Madonna in the middle of the right altar is still a work of the father, and the putti there could have been carved by Franz Xaver Anton's then 24-year-old son Franz Anton Xaver ("Hauser V"). The upper pictures were probably painted by Johann Pfunner .

The minor figures of the right side altar, the rosary altar, are Saints Dominic and Catherine of Siena in Dominican costume. Next to Dominic is his attribute, the dog with the torch in its mouth; Katharina carries a cross and a rose. The upper picture shows Joachim and Anna , Maria's parents. The left side altar, Sebastian altar, bears the figures of St. Sebastian, St. Martin of Tours , dividing his cloak, and a saint with a lance, perhaps the Apostle Thomas . The upper picture shows a burial of Christ.

The four columns of each side altar are not on the same level as on the main altar, but the outer ones are set back from the inner ones. Wavy lines have taken the place of horizontal lines. The entablature has broken up. In each altar a putti arranges a curtain behind the central figure. Volute stirrups, on which putti balance, swing upwards next to the upper picture and wear a mighty crown. Such crowns can be found on Alsatian altars, for example in Ebersmünster . Franz Xaver Anton Hauser lived in Alsace until the age of 35 and probably got to know this type of altar there. Before Kirchzarten he realized it around 1740 in the parish church of St. Pankratius in Burkheim am Kaiserstuhl .

Further equipment

Finally, the pulpit is of the style of the side altars and probably also of Franz Xaver Anton Hauser's hand. Four putti - as claimed on the right side altar for the son Franz Anton Xaver ("Hauser V") - sit by the stairs and the basket. The cornices of the lid swing in waves. "Lush and lively Rococo ornaments sit on the elevations - a cartouche in the middle - which are among the most attractive of its kind in Breisgau." Above, Christ stands on a globe as the world's savior. Franz Xaver Anton Hauser's works in Kirchzarten were also taken to be works by Christian Wentzinger , and in any case they are inspired by him.

The large crucifixion group on the south wall with Mary and John, from the 15th or 16th century, is said to come from the former cross altar . On the south wall there is another group of three on pedestals, a Baroque Gallus and on his sides St. Benedict of Nursia and his sister, St. Scholastica . Benedict and Scholastica are miniaturized copies of statues by Joseph Anton Feuchtmayer on the high altar of the church of St. Peter's Monastery. The former Kirchzarten pastor Franz Kern had it made around 1990 in order to present the founder of the order in the church, which is so important for Kirchzarten.

The high-quality tomb slab Kunos von Falkenstein (from the family of the Lords of Falkenstein (Höllental) ) is erected under the crucifixion group . He lies life-size in full armor with chain mail, steel hood, sword, dagger and shield, his gloved hands folded. The head rests on a tournament helmet that is laid across, and he places his feet on a lion. The writing on the two long sides reads:

    "ANNO • DNI • MCCC • XLIII • IIII • ID
    MAII • Ø • DNS • CUNO • DE • VALKENSTEIN • MILES
    In the year of the Lord 1343, on the 4th day before the Ides
    of May, Knight Kuno von Falkenstein died."

The grave slab resembles that of a Count of Freiburg in the south aisle of the Freiburg Minster.

Organs

The fully mechanical slider chest - organ in the west gallery was founded in 1991 by the organ workshop Metzler from Dietikon (CH) in the historic case of Xaver Bernauer built from the year 1805th It replaced an instrument built in 1938 by Willy Dold from Freiburg and has 28  stops on two manuals and a pedal . Stylistically, the instrument shows a mixture of Alsatian-French (manuals) and North German baroque (pedal). The archbishop organ inspector Hans Musch acted as expert . The disposition is:

I positive C – f 3
Covered 8th'
Suavial 8th'
Principal 4 ′
Reed flute 4 ′
Nasard 2 2 ⁄ 3  ′
octave 2 ′
flute 2 ′
third 1 3 ⁄ 5  ′
Larigot 1 1 ⁄ 3  ′
cymbal 1'
Cromorne 8th'
II Hauptwerk C – f 3
Principal 8th'
Hollow flute 8th'
Salicional 8th'
octave 4 ′
flute 4 ′
Fifth 2 2 ⁄ 3  ′
Duplicate 2 ′
Cornett V (from c 1 ) 8th'
mixture 1 1 ⁄ 3  ′
Trumpet 8th'
Vox humana 8th'
Pedal C – f 1
Sub-bass 16 ′
Octave bass 8th'
octave 4 ′
mixture 2 2 ⁄ 3  ′
bassoon 16 ′
Trumpet 8th'

In the choir there is a chest organ with four registers, also built in 1998 by the Metzler organ workshop.

Appreciation

"The Romanesque tower substructure and the predominantly Gothic components, especially the choir, make the Kirchzarten parish church one of the most important medieval churches in Breisgau." The high altar is the only one preserved by Franz Hauser and "gives us ... a valid idea of ​​this in the last." Third of the 17th century, the busiest sculptor in Breisgau ”. The two side altars and his son's pulpit "are among the best that the Rococo left behind in terms of plastic work in Breisgau". The church is an example of “that different architectural styles, if they are well designed, can result in a harmonious whole.” Last but not least, the works of art in the church are an illustration of local history.

Individual evidence

  1. ↑ a b Bernhard Mangei: domination formation of monarchy, church and nobility between the Upper Rhine and the Black Forest. Dissertation Freiburg 2003 http://www.freidok.uni-freiburg.de/volltexte/1295/ Accessed October 2, 2011
  2. ↑ The history of the village and the parish according to the state of knowledge from 2010 briefly presented in Johanna Pölzl: How the church got into the village. A short local history of Kirchzartens. Dreisam Druck, Kirchzarten 2011. ISBN 978-3-9814630-0-2 .
  3. ↑ Hermann Wartmann (ed.): Document book of the Abtei Sanct Gallen Theil I year 700–840, pages 48 and 211, Zurich, Höhr 1863; and Part 3 Jar 920-1360, page 693, Zurich, Höhr 1822
  4. ↑ a b c Max Weber: The Kirchzarten story. In Günther Haselier (ed.): Kirchzarten. Geography - past - present. Self-published by the Kirchzarten community in 1966, pp. 57–528
  5. ^ Statistisches Landesamt Baden-Württemberg (ed.): Official district description - Freiburg im Breisgau Volume 2 Part 1. Freiburg im Breisgau 1965
  6. ↑ a b Dagmar Zimdars (Ed.): Georg Dehio, Handbook of German Art Monuments Baden-Württemberg II . Berlin, Deutscher Kunstverlag 1997. ISBN 3-422-03030-1
  7. ^ Parish of St. Gallus in Kirchzarten. kath-dreisamtal.de, accessed on November 16, 2016 .
  8. ↑ Dreisamportal website: http://www.dreisamportal.de/eip_kirchzarten/pages/23_zarten.php  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. Accessed October 2, 2011@1@ 2Template: Toter Link / www.dreisamportal.de  
  9. ^ Map in Dieter Mertens, Frank Rexroth and Tom Scott: From the beginning of the Habsburg rule to the "New City Law" of 1520. In: Heiko Haumann and Hans Schadek (eds.): History of the city of Freiburg im Breisgau Volume 1. Stuttgart, Konrad Theiss Verlag 1996, pp. 215-301, here pp. 250-251. ISBN 3-8062-0874-3
  10. ↑ a b c document book of the city of Freiburg im Breisgau. The German Peasants' War 1525 July to December http://digilib.ub.uni-freiburg.de/document/252462114/ Accessed October 2, 2011
  11. ↑ Horst Buszello, Dieter Mertens and Tom Scott: "Lutherey, Ketzerey, Uffrur". The city between Reformation, Peasants' War and Catholic reform. In Heiko Haumann and Hans Schadek (eds.): History of the City of Freiburg im Breisgau Volume 2. Stuttgart, Konrad Theiss Verlag 1994, pp. 13–68. ISBN 3-8062-0873-5
  12. ↑ a b c d e f g 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
  13. ^ Website of the pastoral care units of the Archdiocese of Freiburg Digitized. ( Memento of the original from February 6, 2016 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. Accessed February 6, 2016 @1@ 2Template: Webachiv / IABot / www.erzbistum-freiburg.de
  14. ↑ As of 2001: Archbishop's Ordinariate (Ed.): Realschematismus der Erzdiözese Freiburg i. Br. Freiburg 2001; In the work, the German Order Coming from Freiburg is incorrectly named as the successor to St. Gallen in 1297
  15. ↑ a b Eduard Hlawitschka: The floor plan of the high medieval church in Kirchzarten. In: Schau-ins-Land 82, 1964, pp. 47–57
  16. ↑ a b c d e s and Franz Kern: Parish Church of St. Gallus Kirchzarten. 4th edition. Regensburg, Schnell & Steiner 1999. ISBN 3-7954-4794-1
  17. ^ Peter Johannes Weber: The sign of the parish church St. Gallus in Kirchzarten. In: Research on legal archeology and legal folklore 17, 1997, pp. 141–157. http://biblioteca-canoviana.ch/images/art_showcase_1/e/4/rows/files/kirchzarten-vorzeichen.pdf Accessed October 7, 2011
  18. ↑ St. Gallus Kirchzarten (Church Guide), pp. 25/26
  19. ^ [Archdiocese of Freiburg, Bell Inspection - Catholic Parish Church St. Gallus in Kirchzarten], accessed on July 9, 2017
  20. ^ Hermann Brommer: Artists and craftsmen in the St. Petric church and monastery building of the 18th century. In: Hans-Otto Mühleisen (Ed.): St. Peter in the Black Forest. Munich and Zurich, Schnell & Steiner 1977, pp. 50–93, here pp. 55–56. ISBN 3-7954-0408-8
  21. ^ Hermann Brommer: The sculptors Hauser in Kirchzarten, Schlettstadt and Freiburg i. Br. (1611–1842) Part I, in: Schau-ins-Land 1971; 89: pp. 47-93
  22. ↑ a b c Manfred Hermann: The sculptors Hauser in Kirchzarten, Schlettstadt and Freiburg / Br. 1611-1842. The work (part 1). In: Badische Heimat 1972; 52: pp. 2-151.
  23. ^ Franz Xaver Kraus (ed.): The art monuments of the Grand Duchy of Baden . District of Freiburg, Verlag JCB Mohr, Tübingen and Leipzig 1904, pp. 302-309. The copy is incorrect here.

literature

St. Gallus Kirchzarten . Texts by Marianne Bill, Claudius Heitz, Johanna Pölzl. Lindenberg im Allgäu 2016 ISBN 978-3-95976-036-2 (church guide)

Web links

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

Coordinates: 47 ° 57 '52.2 "  N , 7 ° 57' 9.6"  E