St. Jakobus (Stegen-Eschbach)

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St. Jakobus is the Roman Catholic parish church in thevillage of Eschbach, which belongsto Stegen . The parish belongs to the pastoral care unit Dreisamtal of the Neustadt deanery . The history of the parish was written by Wilhelm Gustenhofen (1832–1908), pastor in Eschbach from 1880 to 1908, and on the basis of his unpublished chronicle Josef Läufer, pastor in Eschbach from 1982 to 1994.

St. James with the east wing of the rectory
Faller's Pietà

History until 1775

The village of Eschbach celebrates its 900th anniversary in 2012. It is mentioned for the first time in the Rotulus Sanpetrinus , a list of properties of the Monastery of St. Peter in the Black Forest that was created in the 12th and 13th centuries . It is uncertain whether “Acelinisbach” in a “VI kalendas Ianuarii, id est in natiuitate sancti Iohannis Euangeliste, Anno dominice incarnationis MCXII” - that is on December 27, 1111 - means the village of Eschbach is uncertain. This is certain with "molendinum unum in Asschebach, quod X solidos annuatim soluit", "a mill in Eschbach that brings in 10 shillings a year" and which Eppo, abbot of the monastery from 1108 to 1132, owned. The founding year 1112 assumed for the jubilee probably comes from the Anno Domini MCXII in which "Acelinisbach" is mentioned, a year that can be converted to 1111. In any case, people settled here at the beginning of the 12th century.

The village had a St. James chapel, which Abbot Philipp Jakob Steyrer called "sacellum antiquissimum" in his Corpus Iuris Sanct-Petrini 1754, ancient. Their origin is unknown. Abbot Gallus (1585–1597) had it thoroughly restored in 1585 and had an image of St. James carved in stone above the door with his coat of arms and the inscription: “Sacellum hoc renovari curavit RD Gallus Abbas Mon. S. Petri. Nemo transeat quin munus offerat ”-“ This chapel was rebuilt by the revered Abbot Gallus of St. Peter's Monastery. Nobody goes by without making a sacrifice. ”Today the relief is on the outside above the south side door of the parish church. Under the text quoted by Steyrer is written: "ORA PRO NOBIS S. JACOBE."

At the time of Steyrers the chapel was dilapidated again. The energetic abbot had it demolished in 1758, when he had finished the new building of the monastery convent, and rebuilt by the monastery architect Hans Willam, who was part of the Auer guild . The shell was completed after eleven weeks, but the consecration did not take place until August 30, 1775. The next day, the Constance Auxiliary Bishop Baron von Hornstein consecrated the pilgrimage chapel on the Lindenberg in St. Peter (Upper Black Forest) and another ten days later the parish church of St. Nicholas in Waldau , both also works by Hans Willam. After Eschbach had its own parish church, the chapel became a school. Today there is a house there, Mitteltal 33. An archway, labeled “1727 renofert”, remains from the past.

  • history

  • St. James relief from the missing St. James chapel

  • Archway of the missing St. James chapel

  • St. James from the southwest

  • Stone markings on the west facade

The Lindenberg chapel becomes the parish church in Eschbach

The church reform of Emperor Joseph II drastically affected the religious life of the northern Dreisamtal. The monasteries, suspected of "darkening the spirit", should be circumcised, "useless" pilgrimage chapels should be abolished and new parishes built for them. Until now, Eschbach belonged to the large parish of St. Gallus (Kirchzarten) , although the residents were also looked after by the fathers of the St. Peter monastery. However, the community wanted its own parish and therefore repeatedly turned to the Austrian government . A location in Stegen, where there was a Sebastian Chapel, was considered, but Eschbach was ultimately chosen. In order to compensate for the new parish church, the Lindenberg chapel on its property was to be given up, according to an offer from Count Heinrich Hermann von Kageneck (1738–1790). A government decree of December 30, 1786 determined its demolition and the use of the demolition material for the new construction of the parish church and rectory in Eschbach. Abbot Steyrer, now 72 years old, had to agree. On March 15, 1787, the miraculous image was transferred from the Lindenberg Chapel to the St. Ursula Chapel in St. Peter and then the demolition began. “It took a lot of effort to get the suitable material down the mountain to Eschbach. Before that, the craftsmen, stone masons and masons drew the usable stones, plates with numbers that are still visible today, so that they can be put back together more easily after the numbers; So in particular the altar stairs, the floor covering with slabs and the house stones, which could be used at the portal to the facete. "

There was a dispute between the monastery and the community about the building site, the size of the rectory and the labor service . In spite of this, the foundation stone was laid on April 17, 1788 on the place requested by Abbot Steyrer. The site manager was Josef Bilgeri (* 1740), also from the Au guild. His name and the names of the St. Petri religious, namely the abbot, 24 fathers and two lay brothers, were engraved on a lead plate inlaid in the foundation stone - it was the highest conventual inventory St. Peter ever had. On October 15, 1789, an imperial court decree decided that the convent had to reimburse the community for the additional costs incurred by the choice of location and the size of the rectory.

Like part of the raw materials, the Lindenberg Chapel also supplied the altars and Matthias Faller's pulpit , the pews and the confessionals. Georg Saums ceiling paintings in the Lindenberg chapel were lost. Steyrer commissioned Simon Göser , who had worked in the monastery to his satisfaction. In Gustenhofer's words: “The Abbot Phil. Jak. Steyrer had the parish church painted on the walls and ceilings with pictures on the walls and ceilings, as if in atonement for the disgrace of the Mother of God, all of which refer to the honor and glorification of the mother of the divine Son. ”Göser, whom his son helped, needed 36.5 weeks . On September 8, 1790, the feast of the birth of the Virgin Mary , the miraculous image was ceremoniously carried from St. Peter's Ursula's Chapel to the Eschbach church.

According to the proclamation, independent parish life in Eschbach began on August 1, 1790. The first pastor (until 1799) was Franz Steyrer (1749–1831), nephew of Abbot Steyrer and monk of St. Peter. In 1990 the parish was able to celebrate its 200th anniversary - more clearly than the parish had its 900th anniversary in 2012.

Renovations took place in 1887–1888, 1921, 1960–1968 and 1988–1990. The frescoes and altar paintings owe their current appearance to the restoration in 1967. “In the nave, the limited but very colorful palette of Göser has been preserved unchanged thanks to the technically excellent frescoes and brought back to life. ... The pictures of the main altar and the side altars were given their previous colors after removing the darkened varnish. "

  • Layout

  • Left side altar

  • View towards east

  • Right side altar

building

The church, located directly on the Eschbach, is a hall with a retracted choir, closed on three sides, 35 × 11 meters, and a flat ceiling over a hollow. Instead of four like the Lindenberg Chapel, it has five window axes in the nave. Philipp Jakob Steyrer thought it would have two towers on either side of the choir, but it remained with a roof turret . To the north is the sacristy and the two-wing, two-story rectory, “with about ten rooms that can be used as rooms, with a good, spacious vaulted cellar and several outbuildings. Probably the abbot was thinking of an alternative quarter for times of disaster. ”The west facade with its arched portal consists of unplastered sandstone ashlar masonry. Many stones bear the symbols carved in when they were demolished for easier reuse; the same applies to the floor slabs in the sacristy and the connecting passage to the rectory. Around the forecourt of the church are the former schoolhouse, the municipal administration building and the former sister house.

Furnishing

Maria and her parents
The holy family

The impression on the inside is determined by the works of Matthias Faller and Simon Göser.

Altars, pulpit and pietà

Faller was responsible for the carvings of the high altar, a column altar, the two side altars with inwardly curved sides and the pulpit, all richly decorated with rocailles and putti. The cross altar is a replica of Faller's original removed in 1887.

On the high altar ternacle, a wreath of thorns winds around the Sacred Heart of Jesus , from which a cross grows, as in Faller's predella of the right side altar in the St. Märgen Monastery . Above it stands the pilgrimage Madonna, restored in 2009. It is attributed to Bartholomaeus Winterhalder . St. Gallus with the bear, who brings him wood, stands on the consoles on the left , St. Ulrich von Zell on the right , healing a paralyzed boy. These two Faller figures come from the former St. James' Chapel.

The left side altar shows Göser's image of Maria as a child with her parents Joachim and Anna via reliquaries, and Saint Barbara of Nicomedia in the upper image . The right side altar shows in close correspondence with reliquaries the Holy Family in the representation of the holy change , in the upper picture Saint Sebastian - all "Göser sheets in very skilful and fine elaboration ... in the old Göser color melt".

Faller also carved the Pietà on the north wall of the nave, a clear triangular composition. “Through the outstretched arms, an echo of the crucifixion resonates in the dead Savior. Jesus is not shown in childlike miniaturization, but as a tall figure. He is turned forward and the group is completely open to the viewer. Restrained, wistful, restrained pain determines the posture and face of the mother; here she is not the one overpowered by grief, but the worthy mourner who presents the savior to the believer. "

Göser's frescoes

Göser painted 14 window frames, as well as a false perspective window in the choir. The frames of the frescoes simulate stucco profiles. With a few exceptions - the “PH [ilippus] .I [acobus] .A [bbas] .S [ancti] .P [etri]. MDCCXC ”signed Steyrer's coat of arms on the choir arch (floor plan 25) and the baptism of Jesus above the baptismal font in the choir (south wall, floor plan 14) - the frescoes refer to Mary. Hermann Ginter , who wrote the basic biography of Göser and the basic catalog raisonné, misses the colouristic splendor of earlier works and sees a weakening of Göser's strength; but he only knew the pictures before the 1967 restoration.

Eleven frescoes show the life of Mary :

  • Mary's Birth (ceiling near the south wall, floor plan 1). Mother Anna's bed is on high steps, while the bathroom below is set up for the newborn and a sheet is warmed by the fire.
  • Aisle of the Virgin Mary or sacrifice (south wall of the nave, floor plan 3). According to the Proto-Gospel of James , which also mentions Joachim and Anna as parents for the first time, the three-year-old Mary was consecrated by her parents to serve in the temple in Jerusalem. Maria climbs the stairs to the high priest , while Joachim and Anna bring two pigeons as sacrifices in a cage below.
  • Marriage of Mary with Joseph (north wall of the ship, floor plan 4). Joseph puts a ring on Mary's little finger in front of the high priest, while the dove of the Holy Spirit hovers above.
  • Annunciation of the Lord (south wall of the ship, floor plan 5). Mary kneels at a lectern with an open book, while the angel approaches her on a cloud with a lily in his hand and the dove hovers above again. Maria wears the features of Marie Antoinette , "who stopped in Freiburg on her bridal voyage to Paris (from May 4th to 6th, 1770) and for whom the long neck was typical."
  • Life of Mary 1

  • Virgin Mary's birth

  • Passage to the Temple of Mary

  • Marriage of Mary with Joseph

  • Annunciation of the Lord

  • Marienleben 2

  • Visitation of the Virgin Mary and false windows

  • Birth of jesus

  • Presentation of Jesus in the temple

  • Escape to Egypt

  • Visitation of the Virgin Mary (north wall of the choir, floor plan 6). In a clever perspective like the false window next to it, the picture shows Mary climbing the steps to Elizabeth , who receives her at the open door of her house.
  • The Christmas picture (ceiling near the north wall, floor plan 10). Five people are gathered around Mary, the child and Joseph, two more join them from the left. A man brings a sheep, a woman a rooster. In front is a shepherd's shovel, behind it are four eggs in a hat - with an ox and a donkey, a typical local ambience. People from a neighboring farm acted as models.
  • Representation of the Lord (north wall of the ship, floor plan 11). The scene is based on the story in the Gospel of Luke ( Lk 2,22–24  EU ). Mary and Joseph, who is carrying a cage with two doves in hand, come to the cleaning sacrifice in the Jerusalem temple and give their child to God. The aged Simeon carries the child on a cloth. He will now sing his song of praise and death, Nunc dimittis . Behind him stands the prophetess Hanna ( Lk 2,36  EU ).
  • Escape to Egypt (south wall of the ship, floor plan 13). For Ginter it is “a very graceful picture. The good donkey trots leisurely along, led by St. Joseph, while the Madonna sits on him and has covered her head with a large, shady straw hat. "
  • Life of Mary 3 and symbols of Mary

  • Death and Ascension of Mary and symbols of Mary

  • Coronation of Mary and symbols of Mary

  • Turris Davidica

  • Salus infirmorum

  • The death of Mary (large western ceiling painting, floor plan 7). The deathbed stands on a pedestal over steps, and around it the mourning apostles. Above appear Jesus, whose cross is held by an angel, and Joseph with a lily in his hand, around which an angel's head appears.
  • Assumption of the Virgin Mary (middle large ceiling painting, floor plan 8). The apostles stand or kneel around the sarcophagus, one fell down in front of it, one holds the shroud. Maria, already in a ring of clouds, floats upwards surrounded by angels. Göser is the only one to have signed and dated this picture in 1790. According to Ginter, it "no longer shows the skillfully and tightly disposing hand as it expresses itself in the Prince's Hall at St. Peter."
  • The Coronation of Mary (large ceiling painting in the choir, floor plan 9). God the Father and Jesus crown Mary, enthroned on clouds, while the dove of the Holy Spirit hovers over the group. This picture is also “a bit flat” for Ginter.

Eight grisaille frescos, the corner pictures on the ceiling, show symbols of Mary from the Lauretan litany :

  • Vas insigne devotionis , excellent vessel for devotion (north-western corner of the choir, floor plan 21), a censer.
  • Vas honorabile , venerable vessel (northeast corner of the choir, floor plan 23), a chalice with a host .
  • Stella matutina , Morgenstern (southeast corner of the choir, floor plan 24), a star over a forest clearing with a jumping dog.
  • Rosa mystica , mysterious rose (southwest corner of the choir, floor plan 22), a rose bush in a pot.
  • Foederis arca , Ark of the Covenant (northeast corner of the ship, floor plan 19), the Ark with carrying bars inside the cathedral of the St. Blasien Monastery in the Black Forest .
  • Ianua coeli , Gate of Heaven (southeast corner of the ship, floor plan 20), an arched open gate, behind which the eye of God shines.
  • Turris Davidica , Tower of David (south-west corner of the ship above the organ loft, floor plan 18), "Pieces of a fortress with harp, sword, shield, armor, tower, a lance with the impaled head of Goliath dominates".
  • Salus infirmorum , Health of the Sick (northwest corner of the ship above the organ loft, floor plan 17), a look into a Baroque pharmacy with stand vessels, mortar and pestle, like him Göser - if the attribution is correct - in connection with the Freiburger Totentanz over painted the window to the right of the entrance to St. Michael's Chapel in the Old Cemetery in Freiburg.

Four more frescoes show:

  • More frescoes

  • Founding legend of the Lindenberg pilgrimage

  • Baptism of Jesus

  • Maria with Dominikus and Simon Stock

  • Steyrer's coat of arms

  • The founding legend of the Lindenberg pilgrimage (south wall of the choir, floor plan 15). Maria appears to a farmer, gives him a small cross and instructs him to build a larger chapel.
  • Baptism of Jesus (south wall of the choir, floor plan 14). A lively scene with the Jordan in which Jesus stands while John the Baptist pours water over his head from a bowl and the spirit dove flies down in a halo.
  • Mary hands over a rosary to St. Dominic and a scapular to St. Simon Stock (on the parapet of the organ gallery, floor plan 16). Göser also painted musical instruments.
  • Philipp Jakob Steyrer's coat of arms (on the choir arch, floor plan 25). It shows the coat of arms of the abbey on the left ( heraldic right) shield, in it the crossed Petruskeys for the monastery itself, a vulture for the hamlet Geiersnest, today part of Bollschweil , two silver bars for the priory of St. Ulrich in the Black Forest , a cross one star for the Sölden priory . The right (heraldic left) shield is Steyrer's personal coat of arms with deer antlers and red-silver-black ribbons.

Other equipment

The Madonna and Child on the left and Saint James on the right on consoles on the choir arch are not by Faller . The cross on the choir arch, a work from around 1500, which Pastor Gustenhofer acquired in the art trade in 1901, and the confessional carved by brother Egidius Butsch (1725–1785) from the Ettenheimmünster monastery around 1770 are not by him either. The Way of the Cross dates from 1819, the organ from 1873.

literature

  • Hermann Ginter : Southwest German church painting of the Baroque. Dr. Benno Filser Verlag, Augsburg 1929.
  • 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 (online) (PDF; 17.3 MB)
  • Josef runner: St. Jakobus Eschbach. Published by the parish of St. Jakobus, Eschbach 1990.
  • Dagmar Zimdars: Handbook of German Art Monuments, Baden-Württemberg II, the administrative districts of Freiburg and Tübingen. Deutscher Kunstverlag, Berlin 1997, ISBN 3-422-03030-1 , p. 183.

Web links

Commons : St. Jakobus (Stegen-Eschbach)  - Collection of images, videos and audio files
  • Website of the parish of St. Jakobus digitized. Retrieved February 6, 2016.

Individual evidence

  1. ↑ Jutta Krimm-Beumann: The oldest goods registers of the St. Peter monastery in the Black Forest. Kohlhammer-Verlag, Stuttgart 2011, ISBN 978-3-17-021794-2 , here the documents R 12 and R 37 .
  2. ↑ Läufer 1990, pp. 11 and 80.
  3. ↑ Kern 1959, p. 84.
  4. ↑ Läufer 1990, pp. 12-14.
  5. ↑ 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.
  6. ↑ Läufer 1990, p. 16 after Wilhelm Gustenhofer.
  7. ^ Norbert Lieb: The Vorarlberg Baroque Master Builders. 3. Edition. Schnell & Steiner, Munich / Zurich 1976, ISBN 3-7954-0410-X , p. 85.
  8. ↑ Kern 1957, p. 86.
  9. ↑ Läufer 1990, pp. 23 and 83.
  10. ↑ Läufer 1990, p. 26.
  11. ↑ Ginter 1929, p. 131.
  12. ↑ Läufer 1990, p. 39.
  13. ↑ Läufer 1990, pp. 33-37.
  14. ↑ Kern 1959, p. 87.
  15. ^ Manfred Hermann: Catholic parish and pilgrimage church of the Assumption of Mary, St. Märgen in the Black Forest. Kunstverlag Josef Fink, Lindenberg 2003, ISBN 3-89870-135-2 .
  16. ↑ Madonna vom Lindenberg shines in new splendor. In: Badische Zeitung . September 8, 2009.
  17. ↑ Manfred Hermann: To the Black Forest sculptors Winterhalder in Neukirch and Vöhrenbach. In: Bernd Mathias Kremer (ed.): Art and spiritual culture on the Upper Rhine. Festschrift for Hermann Brommer on his 70th birthday. Kunstverlag Josef Fink, Lindenberg 1996, ISBN 3-931820-01-7 , pp. 61–83.
  18. ↑ not, as Ginter writes on p. 132, with Zacharias and Elizabeth .
  19. ↑ Ginter 1929, p. 132.
  20. ^ Parish of St. Märgen (ed.): Matthias Faller - the baroque sculptor from the Black Forest. Kunstverlag Josef Fink, Lindenberg 2007, ISBN 978-3-89870-382-6 .
  21. ↑ Ginter 1929, pp. 131-132 and Läufer 1990, pp. 27-28.
  22. ↑ Bernhard Peter: Heraldry - the world of coats of arms. Inside: The Peterhof in Freiburg. http://www.welt-der-wappen.de/index.htm . Retrieved March 8, 2012.
  23. ↑ Zimdars 1997.
  24. ^ Hermann Brommer : Butsch, Egidius . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 15, Saur, Munich a. a. 1996, ISBN 3-598-22755-8 , p. 380.
  25. ↑ Läufer 1990, pp. 28-30.

Coordinates: 48 ° 0 ′ 6.1 ″  N , 7 ° 58 ′ 41.4 ″  E