St. Hilarius (Bollschweil)
St. Hilarius is the Roman Catholic parish church of Bollschweil , a place in the Hexental south of Freiburg im Breisgau . The parish is part of the pastoral care unit Batzenberg - Obere Möhlin of the Archdiocese of Freiburg . The church was built from 1839 to 1842 by Hans Voss , a student of Friedrich Weinbrenner's , in the style of Weinbrenner's classicism . It was Voss' last church building. The interior decoration in the style of historicism , strongly influenced by the Nazarene artThe early 19th century dates from the years 1888 to 1902. It has, in rare cases, survived the “modernization”, especially the purification campaigns of the 20th century, which hit St. Blasius in Buchenbach drastically . The history and art of the church was particularly researched by the Merdingen teacher and art historian Hermann Brommer .
history
Bollschweil is probably the Puabilinisvilare , mentioned in 838 , where a clergyman donated his property to the St. Gallen monastery. 1147 meets the name form Buolswilare . The biography of Saint Ulrich von Zell , founder of the Sankt Ulrich priory in the Black Forest , reports that he set up a convent in Bollschweil at the end of the 11th century, shortly before his death. It was moved to Sölden in 1115 . The clergy for Bollschweil continued to come from St. Ulrich in the Black Forest, from there from the 16th century after St. Ulrich was incorporated into St. Peter's Monastery in the Black Forest . From 1771, only secular clergy exercised pastoral care. Reeves for the monasteries in the 13th century members of the originating from Freiburg patrician family Schnewlin that since the 15th century by the Habsburgs , in 1806 by the grand dukes of Baden were invested with the local government, to the north in Bollschweiler "lock" the Hexentalstrasse resided, called themselves Barons von Bollschweil since the 17th century and died out in 1837 with a Franz Anton Schnewli Bernlapp von Bollschweil. Their successors would be the Freiherrn von Holzing-Berstett via the Freiherrn von Berstett , who own the "castle" until today (2015).
In 1147 there is talk of a church of St. Hilarius that belonged to the St. Ulrich monastery. At the beginning of the 19th century it is reported that an altar was consecrated to St. Sebastian in 1264 ; furthermore, the church still existed in 1630; as well as: "Many tombstones of the noble von Bollschweil reminded of foundations inside the church".
In 1940 Anton Maria Fränznick became pastor at St. Hilary . In 1942 he was transported to the Nazi concentration camp in Dachau , where he died in 1944.
The story in the words of Marie Luise Kaschnitz
Marie Luise Kaschnitz , born von Holzing-Berstett, who lived temporarily on her family estate in Bollschweil after the Second World War and is buried here, has in her most famous story, description of a village , by which Bollschweil is meant, “the shock of the downfall of the old village world "designed and written to St. Hilarius :
“I will turn to the church in the village, this barely a hundred-year-old church whose predecessor, puzzlingly, no one knows even from hearsay. The steep stairs that lead to the portal, the old tombstones and the linden trees, in whose shade on Sunday the men stand while the women pray inside, also pray for the hunchbacked man, only birth, marriage and death are the old holy stations, the men also come in
- perhaps also about the Irish and Scottish monks who brought Christianity to the Breisgau, St. Trudpert , who was slain by two servants while clearing the forest and preaching
- and the holy Ulrich, who with the emperor Heinrich III. moved to Rome and the Holy Land, entered the Cluny Monastery and then came to Breisgau and founded the St. Ulrich monastery near the cell of the hermit Vittmar
- also about the women's monastery in Bolisvilere, founded in 1076, which was moved to Sölden in 1105 and about which there are some scandalous stories in the valley
- about the disciples on the Mount of Olives , large, hulking figures, placed in an artificial grotto in the former churchyard of the village, where they bow their heads on their chests and sleep their clumsy wooden sleep
- Opposite a single, new grave site, that of the previously mentioned pastor, who came to Dachau because he had donated the sacrament of marriage to the wife of an SS man, and there, allegedly because his lungs were blocked with the dust of prisoners collected medicinal herbs, died
- and we pretended to be asleep like wooden disciples with our heads on our chests. "
Contrary to what Kaschnitz said, there is news about the previous church (see above).
Building history
At the beginning of the 19th century, the diocese of Constance pushed for a new building because of the “dangerous and miserable condition of the parish church”. Since the church patronage with its rights and duties still lay with the monastery of St. Peter, the Grand Duchy, as its legal successor, was obliged to build. It fulfilled its duty and in 1836 commissioned Voss with planning and cost estimates. Only Voss' second design from 1838 was convincing. An emergency church was set up in a barn and the foundation stone for the new building was laid on August 17, 1839. From 1841 to 1842, the Freiburg carpenter Franz Sales Glänz created three altars and a pulpit and the Freiburg Franz Joseph Merklin (1788–1857) an organ; Except for the pulpit, these pieces of equipment have now been replaced by new ones. The church was solemnly consecrated on October 28, 1844 .
Pastor Arsenius Melos (1825–1910) suggested the historicist transformation. The church suffers from the “lack of a fairly appropriate high altar and other suitable decoration <...>; so that it gives the impression of an empty, bare, superfluously high room, very little that of a Catholic church. Melos thought the altar table and tabernacle were "painted wooden boxes". It began in 1880 with a new high altar by Franz Joseph Simmler (1846–1926), who was then head of the Marmon art workshop in Sigmaringen and later an independent altar maker in Offenburg . A new floor followed by 1902, new decorative paintings, new windows and paintings, in 1901/02 side altars by Franz Joseph Simmler.
The Mount of Olives mentioned by Marie Luise Kaschnitz was erected under Pastor Fränznick. Between 1956 and 1957 the interior was restored, and in 1970 a retaining wall and a new staircase were built. A total renovation took place from 1982 to 1983. Here was St. Hilary originally from the Heilbronner organ builder Johann Heinrich Schäfer (1810-1887) for the Church of Our Lady in Freiburg- Günterstal built organ, which for this purpose by the company & Fischer Krämer organ building has been restored. It was consecrated in 1984.
building
The hall church is located in the middle of the former cemetery on a small hill above Hexentalstrasse south of the rectory, shielded by old lime trees in the west. It has a hipped roof and a retracted choir closed on three sides. The western facade is structured according to the style of Johann Voss by the slightly protruding tower in its center. An arched niche in the tower covers the portal and above it two arched windows with small muntin division. Another arched window opens above the niche. A narrow cornice follows up, then the bell storey with pairs of arched windows on all four sides, and finally the pyramid roof with a gold button and cross.
Marie Luise Kaschnitz describes the ensemble on an imagined hike from west to east, up the valley:
“On my eleventh day of work I will (late enough) draw a map of the village as it lies between the slopes of the Black Forest and the foothills of the Schönberg, which fell from the Black Forest massif when the Rhine valley fell. <...>
- I will make it clear that in this way, on my map and in reality, one approaches the actual village center, the old schoolhouse and current town hall, the new, friendly schoolhouse and the church that rises on a rather steep hill to the right
- After which I indicate on my map the large loop that draws the street around the parish garden before it becomes the actual village street, with farmhouses on the right and left. "
The nave has five arched windows on each side, the choir has three arched windows, a coffered ceiling , a semicircular triumphal arch and a western organ gallery.
In front of the portal there is a mission cross from 1852 and a tombstone for Pastor Fränznick; Fränznick's Ölberggruppe stands on the south wall of the former cemetery.
Furnishing
For the artists inspired by the Nazarene style, it was important to “'only produce devotional pictures', because every artist understood his task in the view: 'I paint for pious minds.' For this, the holy figures had to be reproduced in a calm state. Actions should not distract from the essentials. The Nazarene saw himself as a herald of the divine message. "
Wall and ceiling painting
The main artist was the Freiburg painter Anselm Endres (1865–1937). He covered the walls with a carpet pattern that complemented the "carpet windows". In the fields of the coffered ceiling of the ship, Jesus blessing and Mary praying are depicted in the center, surrounded by symbols from the Lauretan litany . A frieze of medallions with symbols surrounds the walls of the nave, while fourteen panels with stations of the cross hang below .
- Painting of the choir
Overall picture
ceiling
South wall
The intensity of the representations culminates in the choir, beyond the triumphal arch painted with symbols. In the square center of the ceiling the lamb , symbol of Jesus, is enthroned on the apocalyptic book with the seven seals ( Rev 5,1 EU ). When the Eucharist is distributed, it is invoked: “Agnus dei, qui tollis peccata mundi” - “Lamb of God, who bear the sins of the world”. It is surrounded by the four mysterious apocalyptic creatures lion, bull, man and eagle ( Rev 4, 6-8 EU ) and four angels, plus the Jesus monogram IHS in the corners of the square and - a symbol of faith, hope and love - the cross, Anchor and heart.
Above the main altar, Jesus hangs on the cross, surrounded by angels, including his mother Mary, John and two other mourning women ( John 19 : 25-27 EU ). Joseph Schultis from Bleibach painted the Christmas scene on the left and the Adoration of the Magi on the right ( Mt 2,1-12 EU ). On the side walls he painted prophets and four “secrets” of the painful rosary , namely
- left David , signed "Rex et Pr <opheta>" - King and Prophet; as well as Jesus on the Mount of Olives, signed “Jesus, qui pro nobis sanguinem sudavit” - Jesus who sweated blood for us ( Lk 22.44 EU ) and the flagellation, signed “Jesus, qui pro nobis flagellatus est” - Jesus, who for we have been scourged ( John 19.1 EU );
- right Isaiah , signed “Isaias proph.”; as well as the crowning of thorns, signed "Jesus, qui pro nobis spinis coronatus est" - Jesus, who was crowned with thorns for us ( Joh 19,2 EU ) and the carrying of the cross, signed "Jesus, qui pro nobis crucem baiulavit" - Jesus, who carried the cross for us ( Joh 19,17 EU ).
The fifth, final “secret” of the painful rosary is that of the painting above the altar: “Jesus, qui pro nobis crucifixus est” - Jesus who was crucified for us ( Jn 19:18 EU ).
Altars
Left side altar
Main altar
Right side altar
In the high altar, like the side altars by Franz Joseph Simmler and his son Karl (* 1876), there are figures of St. Elisabeth of Thuringia with a bread and the flower basket of her rose miracle , of Simon Petrus , Paulus and Barbara von Nicomedien with chalice and host . On the predella , three Old Testament prefigurations, τύποι of Christ's sacrifice on the cross, are shown: the sacrifice of Isaac ( Gen 22.1-13 EU ), Melchizedek's gift of bread and wine to Abraham ( Gen 14.18-20 EU ) and Abel's sacrifice ( Gen 4 , 3-5 EU ). These are the three scenes that hinted at what happened in the New Testament as early as 547 in the mosaics near the altar of San Vitale in Ravenna .
In the middle of the left side altar, Mary stands as Queen of Heaven with a crown and scepter on a crescent moon and a snake. Left and right are her parents Joachim and Anna , named in the Proto-Gospel of James , Joachim with a sheep, which might indicate his promise of sacrifice should his wife become pregnant, and Anna with a book. Anselm Andres painted Anna again over the altar with a pile of books.
In the right side altar, St. Hilarius is flanked by Blessed Bernhard von Baden as a crusader and St. Isidore from Madrid with a sheaf of corn, flail, shepherd's bag, plow and rosary as the patron of the Bollschweiler farmers.
organ
The two-manual organ of St. Hilarius with 911 pipes in 15 registers was not built for this church, but was originally in the Liebfrauenkirche in Freiburg-Günterstal , where it was installed in 1868 by the organ builder Johann-Heinrich Schäfer. After interim storage, it was brought to Bollschweil in 1984, where it was installed by Fischer & Krämer Orgelbau and thus replaced an organ made by M. Welte & Söhne from 1942, which could no longer be restored due to poor quality due to the war.
Bells
The bell in the tower of the parish church consists of three bells:
| No. | Surname | Casting year | Foundry, casting location | Dimensions | Chime |
|---|---|---|---|---|---|
| 1 | St. Hilary | 1923 | Benjamin Grüninger , Villingen | ∼400 kg | G' |
| 2 | Maria | 1948 | Rincker , Sinn | 286 kg | H' |
| 3 | Bernhard of Baden | 1923 | Benjamin Grüninger, Villingen | ∼170 kg | d '' |
Others
The pulpit still bears witness to "the simple furnishings of the church, which <...> Glänz zur Benedict <...> had delivered." Joseph Dettlinger carved the Jesus carrying the cross ("Kreuzschlepper") in a chapel on the side of the tower . He also made the figures of the Mount of Olives group next to the church and probably the Sacred Heart and Heart of Mary statues in the choir.
During the total renovation from 1982 onwards, St. Hilarius received a new celebration altar by the sculptor Frido Lehr and his wife. The decoration - with the exception of grapes and grape leaves of barbed wire - is reminiscent of the martyr of National Socialism Anton Maria Fränznick. In the floor slab under the altar it says: “Nobody loves more than he who sacrifices his life to Joh. 15, 13. Pastor AM Fränznick in memory. He died on January 27, 1944 in the Dachau concentration camp. "
Appreciation
According to Brommer, the interior of the church, built in the simple design language of Weinbrenner's Karlsruhe School, has a pleasantly uniform, remarkable interior in a late Nazarene style. The organ built in later also fits in well with this style. It is thanks to all the local clergy since Melos that it has been preserved and continues to shape the church.
literature
- Hermann Brommer: Catholic parish church St. Hilarius Bollschweil. Schnell und Steiner publishing house, Regensburg 1994.
- 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. Bollschweil. Freiburg im Breisgau 1974, p. 28.
- Discover regional studies online Baden-Württemberg: Bollschweil. Digitized. Retrieved June 11, 2015.
- Joseph Sauer : In: The church art of the first half of the 19th century in Baden. Extended special print from the Freiburg Diocesan Archive Volumes 30, 31 and 32. Herder Verlag, Freiburg im Breisgau 1933, S: 65–66 ( digitized version ).
- State archive administration Baden-Württemberg: Freiburg im Breisgau, urban and rural district, official district description. Volume II, 1: Bollschweil. Rombach, Freiburg im Breisgau 1974, pp. 88-100.
- Dagmar Zimdars (arrangement): Georg Dehio, Handbuch der Deutschen Kunstdenkmäler (Dehio-Handbuch) Baden-Württemberg II . Deutscher Kunstverlag, Berlin / Munich 1997, ISBN 3-422-03030-1 , p. 112.
Web links
Individual evidence
- ↑ Brommer 1994, p. 2.
- ↑ State Archives Administration Baden-Württemberg 1974, p. 93.
- ↑ Discover Baden-Württemberg online.
- ↑ Brommer 1994, p. 3.
- ^ Tanja Bury: Pastor Anton Maria Fränznick died in the Dachau concentration camp . Badische Zeitung of January 25, 2014. Retrieved June 18, 2015.
- ↑ Eckhard Fuhr: Kaschnitz and the "heart chamber of home". In: Die Welt from September 20, 2009. Retrieved June 18, 2015.
- ^ Marie Luise Kaschnitz: Description of a village. Suhrkamp Verlag, Frankfurt am Main 1966. Here paperback 665 by Insel Verlag, Frankfurt am Main 1983, pp. 59–61.
- ↑ Brommer 1994, p. 3.
- ↑ Brommer 1994, p. 5.
- ↑ Dagmar Zimdars u. a .: Baden-Württemberg II. The administrative districts of Freiburg and Tübingen ( Georg Dehio: Handbuch der Deutschen Kunstdenkmäler ). Deutscher Kunstverlag, Munich 1997, ISBN 3-422-03030-1 , p. 112.
- ↑ Dagmar Zimdars u. a .: Baden-Württemberg II. The administrative districts of Freiburg and Tübingen (Georg Dehio: Handbuch der Deutschen Kunstdenkmäler ). Deutscher Kunstverlag, Munich 1997, ISBN 3-422-03030-1 , p. 112.
- ↑ Sophia Hesser: Your strength is the soft tones. Badische Zeitung from March 16, 2015. Accessed June 19, 2015.
- ↑ Kaschnitz 1983, pp. 43-45.
- ↑ Brommer 1994, p. 14.
- ^ Badische Zeitung of March 15, 2015
- ↑ Bell inspection of the Archdiocese of Freiburg: Catholic parish church St. Hilarius in Bollschweil
- ↑ Brommer 1994, p. 21.
Coordinates: 47 ° 55 '11.9 " N , 7 ° 47' 15.5" E