St. Gallus and Otmar (Ehaben)

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St. Gallus and Otmar from the west
St. Gallus and Otmar from the south with stairs

St. Gallus and Otmar is the Roman Catholic parish church of Ehaben , a Breisgau town southwest of Freiburg im Breisgau on the western slope of Schönberg .

The parish belongs to the pastoral care unit Batzenberg-Schönberg of the Archdiocese of Freiburg . The two church patrons are St. Gallus , who built a hermitage on the bank of the Steinach river around 612 , and St. Otmar , who about a hundred years later expanded the hermitage into a Benedictine monastery , which he named after Gallus. The Ebringer pastor and art historian Manfred Hermann in particular researched the history and shape of the church.

history

When it was first mentioned as "Eberingen", between 716 and 720, at the time of the reign of the Merovingian king Chilperich II , a donation to the St. Gallen monastery is mentioned. Over time, the St. Gallen property in Ebringen became so extensive that the monastery made the place the administrative seat of its Breisgau estates. However, the St. Gallen provosts only stayed here temporarily. The influence of their governors was more direct . 1349 St. Gallen gave Ebringen the Lords of Hornberg to feud that on the snow castle sitting above the village. Several noble families with varied claims to power, including those of their own liege lord St. Gallen, replaced each other over the centuries. Some of their tombstones are preserved on and in the parish church. At the beginning of the 16th century the snow castle was in ruins and the local rulers resided in a mansion in the village.

In the Middle Ages, not all of today's Bringing belonged to St. Gallus and Otmar. The district of Berghausen, located east and uphill, towards Wittnau , formed its own parish, subordinate to the St. Trudpert Monastery , which was incorporated into St. Gallus and Otmar in 1536 by the Bishop of Constance . Only the " Berghauser Chapel " remains of Berghausen. The downhill farms belonged to the neighboring parish of Wolfenweiler to the west . It was not until the Reformation was introduced there in 1556 that this part came to the parish of Ehaben.

In 1621, St. Gallen bought back “the rule of Ebringen with all pertinances” from Hans Dietrich von Hohenlandenberg for 68,000 guilders . The provost and two other St. Gallen Fathers now resided in the manor house ; a fourth lived in the rectory. The place, including its parish church and the Berghauser church, suffered terribly in the Thirty Years' War , the Dutch War and the wars of the 18th century. Around 1713, the St. Gallen governor Lukas Graß built a new mansion on the site of the old one, the Ebringer "Schloss", today the town hall. The most important St. Gallen Benedictine monks of the 18th century was Ildefons von Arx , who wrote a history of the Ebringer parish (see literature). In the course of secularization , spiritual rule finally ended. In 1805, the canton of St. Gallen abolished the monastery, and in 1809 Ezüge came to the Grand Duchy of Baden .

Building history

St. Gallus and Otmar 1874
The "Berghauser Chapel" 1873

Nothing is known about the church at the beginning of the St. Gallen period. The oldest parts, the nave without its extensions, the west portal, the basement of the tower and - more recently, around 1510 - the choir are late Gothic . Ildefons von Arx thinks that they were "built under the nobles of Hornberg [...] as much as one can deduce from the construction", that would have been between 1349 and 1458. In 1556, when the church "through the double increase in the Berghausisch and Wolfenweil ​​parishioners had become too small ”, the nave was extended to the west by relocating the west portal. In 1670 a sacristy was added. A thorough renovation took place in 1721 under Lukas Graß, the builder of the “castle”. The Gothic window frames in the nave were broken off and the plasterer Franz Joseph Vogel put in a plaster ceiling. In 1787 the nave was additionally widened by adding side aisles to the three western bays. This work was carried out by the master builder and plasterer Johann Joseph Meisburger . At the end of the 19th century, Pastor Wilhelm Seilnacht (1830–1887) “in the exhilaration of the German Empire gave the Bringers the idea [...] to raise the tower with its five floors by one more. Despite the lack of money, the parish did not give up. ”In 1892 the Gothic gables and the old gable roof were removed, and a new one with a high pointed helmet was placed on top of the old bell chamber. Exterior renovations were carried out in 1934 and 1976, while the interior was renovated from 1980 to 1982. In the process, galleries were built into the aisles of 1787.

building

To the south, a staircase leads up from the street to the walled church square, where the cemetery was located until the 19th century. The church is a hall with five bays, of which the three western ones are widened by Meisburger's side aisles. In the west, the nave stands in front of the aisles. Its facade contains the ogival Gothic portal under a protective porch, above it two ox-eye windows . In the north another portal leads into the church. To the south, the 48 m high tower is attached to the two eastern nave bays. Its fourth, still Gothic storey contains two pointed arch windows filled with tracery on each side . The triangular gables from 1892 rise above its final cornice, crowned by finials , with gargoyles at the corners and each with three narrow sound openings. The nave and choir are illuminated by arched windows. Inside, at the site of the aisle extension, two powerful arched arched arches support the high nave wall. The aisle galleries from 1980 to 1982 and the organ gallery are connected by a balustrade to create a uniform effect. A triumphal arch , which Meisburger replaced with a pointed arch , leads into the retracted, polygonally closed choir, spanned by a reticulated vault .

Furnishing

Next to the stairs to the church square, above baroque curved plinths on globes, there is a Maria immaculata with a wreath of stars on the left, Saint Joseph with a lily in his hand on the right , Rococo statues from 1768, which are attributed to the Wentzinger pupil Fidelis Sporer . “Compared to the quieter, more classical teacher, Sporer has a greater pathos, which is evident in the devoted face of St. Virgin expresses and in the nervous play of folds in the robe of St. Josef. ”Two crosses have been preserved on the former cemetery, on the north side from 1682, on the south side from 1784, the latter by Franz Anton Xaver Hauser (1739–1819).

Look at the choir
View to the west entrance

The door in the west portal, made in 1761, is decorated with symbols of Mary and Christ in rococo tendrils. During the extension of 1556, a Madonna and Child surrounded by rays was painted over it, which is now weathered and heavily reworked. In the door of the side portal in the north, dated 1787 in the lintel , a picture of the church at that time is carved, before the extension by the side aisles, probably also by Franz Anton Xaver Hauser.

The interior of the nave is kept in warm ocher. The paintings on the stucco ceiling are by Johann Caspar Brenzinger . In a quatrefoil in the middle of the ceiling, Mary is depicted into heaven . Four more scenes from the life of Mary are arranged around this. An oval towards the choir shows the Lord's Supper with his disciples , whereby the painter “succeeded in splendid characters”. An oval in the west was left unfinished except for the text “S. OTHMARIUS PATRIMONIUM SUUM EBRINGAM OFFERT S. GALLO - 1721 "" St. Otmar hands over his wealth to St. Gallus - 1721. "In circular images between the quatrefoil and the large ovals, Gallus and Benedict of Nursia appear , the four in small ovals in the corners Evangelists .

The net vault in the choir is decorated with plant ornaments. Mary with her child, John the Evangelist and two Benedictine saints are carved into the keystones .

Altars

At the time of the construction of today's choir there was presumably a carved altar by Sixt von Staufen , based on a figure of his saint that he had preserved in the Augustinian Museum in Freiburg . After it was destroyed in the Thirty Years' War, “a very primitive wooden high altar followed. The same was removed in 1784 and the current one made in imitation marble, at a cost of over 1,600 florins , a very high price when you consider that the actual stick and stone of the altar was already there. ”This high altar is named after Manfred Hermann together with the high altar of St. Trudpert the last significant altar building of the 18th century in Breisgau. The stucco work, the fiery flesh red of the columns, pilasters and entablature, the gold of the capitals, the light blue of the picture frame, was done by Meisburger. The Christmas relief image also shines golden. With him, Joseph Hörr , the real representative of classicism among the Breisgau sculptors, reached the final climax of his work. In St. Joseph, on the left, he let himself be stepped to the manger. From the other side near “the 'Ebringer Shepherd Boy', humbly kneeling down to present the newborn redeemer with an apple as a personal gift.” Above the passageways on the side of the altar are Saint Gallus with the bear, on the right Saint Otmar with the wine barrel his legend. On the entablature above the main pillars sit on the left Peter with his heavenly key, on the right the Evangelist John with his poison cup. At the top under the net vault, two putti are balancing. Four other putti, above the Christmas relief and on the outside on the entablature, come from a different context and are perhaps from Fidelis Sporer . “Compared to the lively Rococo altars on the side, the one in the choir is a typical child of the strict and cool classicism, which came from France with its ideal of 'simple simplicity and quiet grandeur'. Avoiding all frills, it is constructed in the strict lines of horizontal and vertical. "

Today's side altars had predecessors from 1790, “very poor”, consisting “only of an altar table on which there was a picture of the Virgin Mary adorned with clothes and on the other hand a wooden tabernacle.” When the Capuchin monastery in Freiburg was demolished in 1822 and its inventory was auctioned Ebringer citizens for 35 fl. Two altars and replaced their old side altars. The central statues of the Capuchin altars, a Saint Michael and a Saint John Nepomuk , were lost because statues of Mary and Joseph were put in their place - now three generations, 1822, 1890 and 1980 to 1982. The Capuchin altars were donated in 1740 Baron Ferdinand Hartmann von Sickingen-Hohenburg (1673–1743), who resided in Freiburg-Ebnet , and his wife Maria Elisabeth Margareta Sidonia zu Pappenheim (1680–1734). The artist of the draft, the putti and the coats of arms of the donors is Johann Christian Wentzinger , the artist of the architectural parts the plasterer Franz Anton Vogel . Wentzinger perhaps also created the large sculptures that were lost. The putti, according to Manfred Hermann, are of exquisite quality, the stucco architecture is a "firework of seven different colors that could not be achieved with natural marble," Wentzinger's equal. The current generation of Maria and Joseph figures in the middle are casts of Fidelis Sporer's statues on the staircase.

Bells

In the tower with its pointed helmet from 1892 hangs a five-part bronze bell in two bellhouses one above the other . The two older bells hang in the lower one, the three smaller newer ones in the upper one. Bells 1, 3, 4 and 5 are also used to strike the clock.

No. Foundry, casting location Casting year Ø (mm) kg Chime
1. HH Weitnauer (IV), Basel 1738 1290 1235 d 1 +6
2. Bayer brothers, Freiburg 1827 1097 780 f 1 +6
3. FW Schilling , Heidelberg 1957 1010 684 g 1 +6
4th FW Schilling, Heidelberg 1957 892 471 a 1 +6
5. FW Schilling, Heidelberg 1957 790 324 c 2 +6

Others

On the north wall of the choir hangs a crucifix, which was probably created soon after the Thirty Years War. A mercy seat by Johann Pfunner, painted around 1785, hangs on the south wall . Pfunner also painted a Holy Family on the north wall and a Maria immaculata on the south wall of the nave, "old works in the bright colors of classicism". The confessionals at the front of the side aisles date from 1787. The pulpit with its simple Rocailles decor dates from the second half of the 18th century. The Way of the Cross originally hung in the "Berghauser Chapel". Benedikt Gambs painted at least the third and fifth stations ; the majority probably painted his journeymen; Matthias Faller carved the frames . The two angels in the organ gallery, around 1735, were probably created for the “Berghauser Chapel”. The stuccoed musical instruments in between, in the manner of Johann Joseph Meisburgers, come from the renovation from 1980 to 1982. The organ was built by the Martin brothers in Waldkirch from 1836 to 1837 .

Numerous epitaphs testify to the history of Ebringens, including

  • on the south wall of the choir the Renaissance double tomb for Sigmund von Falkenstein († 1533) and his son Christoph († 1559), in each niche a knight with folded hands in full armor, with helmet and sword, only with Christoph labeled “CHRISTOPHOROS BARO , SVPERAS QVI CARPSERAT AVRAS FALCKENSTEINNENSES VLTIMVS INTER AVOS, CONDIDIT HOC TVMVLO, CVM CORPORE NOMEN AVITUM, ATQUE ANIMAM SVMMOS IVSSIT ADIRE POLOS “-“ Baron Christoph, who wandered the realms of this world as the last from the family of the Falkensteiner to wander through this grave the ancient name of the body, but he bade his soul enter the heights of heaven ”;
  • to the left of the main entrance the tomb of Hug Gerwig von Hohenlandenberg († 1588), the father of Hans Dietrich who sold Ehaben to the St. Gallen Monastery, inscribed “ANNO DOMINI 1588 UF VINCENTIS DIED THE EDEL VND VLISSIG GERWIG VN HOCHENLANDENBERG ZV EBRINGEN DEM GOTTEN GRACE ”as well as“ I am made man by the earth / I didn’t care much / Now the earth has gnon me again / Veroff with Christ uffzuerstohn ”;
  • on the right of the main entrance the tomb of Agnes von Hohenlandenberg geb. von Bernhausen († 1619), the wife of Hans Dietrich, inscribed "ANO DOMINI 1619 VF ON THE 18th DAY IULII DIE EDEL VND TVGENTREICHE FRAVW AGNESA VON HOHENLANDENBERG BORN FROM BERNHAUSEN THE SELEN WOLE GOD RECOMMENDED TO BE"; On this tombstone, the building measure from 1787 is recorded with “Domus haec sacra ex lateribus extensa fuit 1787” - “This church was laterally extended in 1787”;
  • on the south wall the tomb of Ursula Hüser († 1572), wife of a bailiff Jakob Kytt, inscribed "Anno domini 1572, on February 26th, Tügentreich Fräw Ursüla hüser, the respected Jacoben kytthen Obervogts bring back sacred haüsfräw their god" "The tree perishes, the fruit <falls> off, / God has the soul, the body the grave".
  • also on the south wall the tomb for Joh. Erhard Meyer von Hirzbach († 1666) and his wife Anastasia geb. by Muson († 1661).

meaning

St. Gallus and Otmar is an important sacral building in Breisgau that is memorable thanks to the numerous grave monuments. Belonging to the monastery of St. Gallen and the aristocratic local rule made it possible to have a church that goes far beyond the framework of a village church. The former function as a "Residenzkirche" reflects the Gothic choir. Almost all Freiburg artists of the 18th century are represented. The church “is one of the precious buildings in the vicinity of the city of Freiburg i. Breisgau. "

literature

  • Ildefons von Arx , Joseph Booz (Hrsg.): History of the rule Ebringen in 1792 . Published by Franz Xaver Wangler, Freiburg 1860 ( digitized version ).
  • Hermann Oechsler: History about the parish Ehaben. In: Freiburger Diözesan-Archiv 30, 1902, pp. 219–267 ( digitized version ).
  • Franz Xaver Kraus : The art monuments of the Grand Duchy of Baden . Volume 6: District of Freiburg First section: The art monuments of the districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (District of Freiburg Land) , edited and published by Max Wingenroth . Verlag JCB Mohr, Tübingen and Leipzig 1904, pp. 293-296 ( 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. Freiburg im Breisgau 1974.
  • State archive administration Baden-Württemberg: Ehaben . In: Freiburg im Breisgau, Stadtkreis and Landkreis, Official District Description Volume II, 1. Rombach-Verlag, Freiburg im Breisgau 1974, pp. 219–237.
  • Manfred Hermann : Catholic parish church St. Gallus and Otmar Ehaben, Breisgau. Schnell und Steiner publishing house, Munich and Zurich 1987.
  • Dagmar Zimdars u. a. (Ed.): Georg Dehio, Handbuch der Deutschen Kunstdenkmäler ( Dehio-Handbuch ) Baden-Württemberg II . Deutscher Kunstverlag, Berlin / Munich 1997, ISBN 3-422-03030-1 , pp. 524-525.
  • Clausdieter Schott , Edmund Weeger: Ehaben - rulership and community. Volume I. Rombach Verlag, Freiburg im Breisgau without year, ISBN 3-9802758-0-9 .

Web links

Commons : St. Gallus and Otmar (Ehaben)  - Collection of images, videos and audio files

Individual evidence

  1. Otmar von St. Gallen in the Ecumenical Lexicon of Saints . Retrieved January 28, 2015.
  2. Schott and Weeger, p. 105.
  3. The statement that the castle was destroyed by the peasants in the German Peasant Wars is improbable in the absence of any reference in the relatively dense St. Gallen-Ebringer tradition. Personal communication from the Ebringer archivist Edmund Weeger, co-author of the local history (see literature), to user: Coranton .
  4. Berghausen at leo-bw.de. Retrieved January 25, 2015.
  5. Documents: Hans Dietrich von Hohenlandenberg sells the Ehaben rulership with all pertinances to the St. Gallen monastery for 68,000 guilders.  in the German Digital Library . Retrieved January 25, 2015.
  6. a b Ildefons von Arx p. 85.
  7. Theodor Kurrus: priest from Endingen am Kaiserstuhl. In: Bernhard Oeschger (Ed.): Endingen am Kaiserstuhl. The history of the city. Endingen 1988, pp. 377-393, here p. 392.
  8. a b Hermann 1987, p. 10.
  9. ^ Copies, the originals in the Augustinermuseum Freiburg ; for the copies on the side altars see below.
  10. Hermann 1987, p. 19.
  11. Hermann 1987, p. 15.
  12. Hermann 1987, p. 14.
  13. Oechsler 1902, p. 222.
  14. a b Hermann 1987, p. 16.
  15. Oechsler 1902, p. 223.
  16. In contemporary documents and literature, for example Oechsler and Zimdars, there is talk of "Franciscan monastery" because the Capuchin monastery in 1821 temporarily housed the Freiburg Franciscans. See Ingeborg Krummer-Schroth : Johann Christian Wentzinger. Schillinger-Verlag, Freiburg 1987, ISBN 3-89155-058-8 , pp. 12, 30 and 294.
  17. so in Landesdenkmalamt 1974, p. 71.
  18. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Schillinger-Verlag, Freiburg 1987, ISBN 3-89155-058-8 , pp. 12, 30 and 294.
  19. Hermann 1987, p. 20.
  20. Bell inspection of the Archdiocese of Freiburg: Catholic parish church St. Gallus in Ehaben
  21. Hermann 1987, p. 21.
  22. Landesdenkmalamt 1974, p. 71.
  23. Waldkirch organ builder on the website of the Waldkircher Orgelstiftung . Retrieved January 29, 2015.
  24. Schott and Weeger, p. 94.
  25. Schott and Weeger, pp. 191-102.
  26. Schott and Weeger p. 103.
  27. Oechsler 1902, p. 229.
  28. Schott and Weeger, p. 98.
  29. Oechsler 1902, p. 218.
  30. Website of the pastoral care unit.
  31. Hermann 1987, p. 23.

Coordinates: 47 ° 57 ′ 28.8 "  N , 7 ° 46 ′ 49.1"  E