St. Laurentius (Kenzingen)

from Wikipedia, the free encyclopedia
St. Laurence of the Northeast

St. Laurentius is the Roman Catholic parish church of Kenzingen, the eponymous district of the city of Kenzingen im Breisgau, which was enlarged in 1971 and 1974 through incorporations . The church is with St. Sebastian in Bombach , St. Andrew in Hecklingen and St. Barbara in Nordweil , three other districts of Kenzingen that Seelsorgeeinheit Kenzingen of the Roman Catholic Archdiocese of Freiburg . The article by Franz Xaver Kraus in the art monuments of the Grand Duchy of Baden , 1904, and more recent works by the teacher Stefan Rieder (* 1965) from Kenzingen provide fundamental information on the history and shape of the church . The artistically defining parts come from Gothic and Baroque building times. In addition, St. Laurentius is significant in terms of art history because of some - attributed - early works by Johann Christian Wentzinger , created around 1734 after his return from Rome and soon after the baptismal font of the church of St. Peter monastery in the Black Forest .

history

According to the Lorsch Codex , in 772 a "Eckehard" gave everything he owned in Breisgau in the Kenzingen district to the Lorsch monastery for his salvation . This "Kenzingen" not today's city was meant only 477 years later was established, but a village east of it, in the bathes Peter and George width. There, first mentioned in 1275 in the Liber decimationis of the Diocese of Constance , there were two churches, consecrated to Saints Peter and George . St. Peter was connected to the Alsatian Abbey of Andlau , St. Georg to the monastery of Einsiedeln .

Secular lords, probably also bailiffs of the Andlau Abbey, were the lords of Kenzingen who sat on the "castrum Cancingen" attested in 1094, the Kenzingen Castle in the Kenzinger Gewann Eyerkuchen , which has now disappeared . When they died out around 1140, the Lords of Üsenberg followed suit . In the 12th century, the Üsenbergers acquired extensive property in northern Breisgau, in the Kaiserstuhl and around Kenzingen, including the bailiwick for Andlau and Einsiedeln monastery. In 1219 they owned the Kirnburg in the Herbolzheim district of Bleichheim, later a center of their rule. In 1244 two Üsenbergers granted special protection to the sisters of the Wonnental monastery on the Kenzing boundary . In 1249, Rudolf II von Üsenberg (1231–1258) finally founded the city of Kenzingen, not least as a military bastion against the Counts of Freiburg . The upgrading of the old village of Kenzingen to a town would have met with resistance from Andlaus and Einsiedeln. But this is how the new city came into being, as emphasized in the founding deed, on Usenbergian land. Here the Üsenbergers had a free hand. The village has since fallen into disrepair. He was referred to as “villa Chenzingen”, “Altenkenzingen” or “Kenzingen antiqua”. In the middle of the 15th century it was deserted, a place “da nit lut wonen”.

The last Üsenberger, Friedrich, wanted to bequeath Kenzingen to the distantly related Margrave Heinrich IV of Baden-Hachbarg . But when he died in 1356, Duke Albrecht II of Austria claimed the Üsenberg property as a fiefdom that had fallen into secret . After a lengthy dispute, Kenzingen came from the margraves to the Habsburgs in 1369 , just as Freiburg im Breisgau had been ransomed by the Counts of Freiburg and became part of the Habsburgs the year before . Since then, Kenzingen has remained part of Upper Austria , often pledged, until, apart from the interlude of the Duchy of Modena-Breisgau from 1803 to 1806, it fell to the Grand Duchy of Baden in accordance with the Peace of Pressburg .

When the city was founded in 1249, the Üsenbergers also indicated a place for a new city church. In the Liber decimationis of Constance in 1275, besides St. Peter and St. Georg, the "Frauenmünster intra muros" is named as the third parish church - the Patroness was initially the Mother of God, only in 1681 St. Laurentius became patron. St. Peter and St. Georg remained parish churches next to the Marienkirche. In 1344 the Andlau Abbey sold its property in Altenkenzingen - "curiam nostram et ipsius monasterium sitam in villam dicta Altenkenzingen" - to the city of Kenzingen, with the exception of the church patronage over St. Peter , which the abbey sold thirty years later to the Johanniter in Freiburg im Breisgau . Einsiedeln Abbey also sold its Altenkenzing property in the 14th and 15th centuries, most recently in 1483, the Georgskirche, to Ettenheimmünster Abbey . In 1806 the two old village churches were torn down.

Floor plan of St. Laurentius

Building history

What was built from 1249 was initially a makeshift, consisting of the basement of the current south tower as a chancel and a simple wooden nave . Stonemason's marks identical to the Freiburg Minster indicate the same craftsmen there as here. With its size and two towers, the definitive building reflects the ambition of Rudolf II and the citizens of Kenzing. At the time of the first mention in the Liber decimationis, apart from the tower chapel, only the foundations of the choir and north tower stood. The choir has largely been preserved in its medieval state. The ribbed vault with a late Gothic concave profile can be dated to the middle of the 14th century at the earliest. The younger nave was originally a three-aisled staggered hall with vaults over the central nave and side aisles. In 1517 the knight Wolf von Hürnheim († 1533), to whom Kenzingen was pledged, had his wife Beatrix nee on the outside of the south wall of the nave for himself. von Hohenrechberg († 1522) and her daughter Veronika († 1517) build a burial chapel.

From 1729 the baroque renovation took place under pastor Johannes Claudius Garnier (1696–1753, pastor to St. Laurentius from 1726 to 1753). His Prothocollum parochiae Kenzinganae reports: “Even the most experienced <sic!> Architects agreed, after more than a single investigation, that either war or poverty prevented the first founders from completing the construction, or they died while it was being built . The roof was certainly never repaired. Since the whole structure of the church threatened to become ruin due to the dilapidation of the roof, a fundamental renovation of the parish church was necessary. ”The vaults, the central nave wall and the arcades supporting them were broken out and the room was transformed into a hall with a flat wooden ceiling. Pastor Garnier had a chapel built for himself on the north wall of the nave, modeled on the Hürnheimer chapel.

From 1903 to 1906 the facade and choir were re-Gothicized. A sacristy was added to the north. In 1960 and 1982 to 1989 the church was restored. The cemetery around the church was closed in 1820.

building

St. Lawrence from the northwest

With its two towers, St. Laurentius dominates the city, its oldest and most important building, visible from afar. The church is east . In the side of the facade, supported by two post-medieval buttresses, the richly profiled Gothic main portal, a large pointed arched tracery window with a sculpture niche and two smaller pointed arched tracery windows with sculptural niches in rectangular frames below open up in a baroque frame. The nave, a flat-roofed hall with three round-arched windows on each side and lancet caps above, is followed by a rectangular arched vestibule yoke and the five-sided octagon arched buttress-supported choir, which is closed on five sides of the octagon. Most of the vault services are not brought down to the floor, but rest on consoles, some of which are decorated with masks. The keystone is a Maltese cross surrounded by a wreath of oak leaves , the vertical axis of which is designed as an oath hand ; it may have been donated by the Johanniter. The five choir windows of the time of construction were robbed when the tracery was baroque and partially bricked up, but during the re-gothic renovation they were reproduced using the still existing vestments , with a large mandorla in the middle window. Originally the nave and choir were separated by a pointed triumphal arch , the point of which is only visible on the church granary today, because it was clad to a basket arch during the baroque redesign and then again during the re-Gothicization .

  • Nave and choir

  • Inner direction east

  • Inner direction west

  • Triumphal arch and choir

  • Keystone in the choir

The choir flank towers with their corner blocks and window walls made of red sandstone have been changed several times over the centuries. The lower floors including the bell floor with four two-part tracery windows date from the Middle Ages. While the northern tower below only has wall slots apart from another tracery window, the southern one is equipped with several narrow tracery windows. During the re-Gothicization, the roof and a half-timbered floor from the 19th century were removed and today's pointed helmets were put on. The floor of the southern basement of the tower is about 1.60 m below the floor level of the nave. The almost square room is spanned by a ribbed vault supported by four consoles, three of which are decorated with heads. In contrast, the floor of the northern basement of the tower is above the floor level of the nave. “Perhaps the tower chapel had already experienced the annual Elz flood and therefore tried to prevent water ingress by raising the floor level.” The ribbed vault is missing the decorations. Western pointed arch openings from the basement to the nave were walled up during the Baroque era and accesses from the choir were created for this.

Madonna over the portal

The Hürnheimerkapelle extends over a net vault with ribs, the northern chapel, a rib-free cross vaults.

Furnishing

A large stone figure of Immaculata stands in the middle sculpture niche of the facade . “The tall figure is completely enveloped in a coat made of heavy material. The head protrudes small from the body on a strong neck. <...> Her bare foot steps on the serpent of sin with the apple of seduction. ” Ingeborg Krummer-Schroth confirms the attribution to Wentzinger in her monograph and recognizes Roman models, but finds the Kenzinger figure rough compared to them. In the side sculpture niches, Mary's parents stand after the proto-gospel of Jakobus Joachim and Anna .

  • Stucco curtains in the side chapels

  • Hürnheimer Chapel

  • North chapel

The ceiling stucco inside was installed by the plasterer Bartholomäus Schmid († 1744 in Freiburg im Breisgau). The large draperies with which the pointed arch openings to the two side chapels are clad is different . They should be from Wentzinger's hand again. “The heavy sweeping lengths of fabric are held on one side by a large floating angel, on the other side there are two putti on clouds. On the south side the putti hold a measuring tray with a jug and the missal, on the north side one carries the cross, the other holds his finger in front of his mouth for silence and shows a lock, suggesting the secret of confession . ”Krummer-Schroth recognizes Roman models again.

Mary protects St. Laurentius

The artist who painted the ceiling on the nave is unknown. The theme is the former Marian patronage. The eastern picture shows the Annunciation to Mary , the middle one shows the Assumption of Heaven , the western one the homage of the world to Mary . One of several small circles and ovals shows how Mary protected her church in the fire of 1638, when the Swedes set Kenzingen on fire in the Thirty Years' War .

According to Pastor Garniers Prothocollum, the medieval high altar was "decorated with ornaments and gilded figures and it was therefore built with doors in the manner of a box, with turrets and cells that were placed one on top of the other. As an inscription said, it had been poorly renovated in 1503, but now so disfigured that it in no way corresponded to the splendor of the current church. " Parts of the altar were placed in the attic of the Kenzing Franciscan Church during the Baroque era and were thrown onto the street to be burned when it was cleared out in 1891. Kenzinger citizens saved two sculptures. One is said to be John the Evangelist of the Freiburg Augustinian Museum, attributed to Hans Wydyz . According to this, Rieder believes that the altar in St. Laurentius could have had the quality of carved altars by Veit Stoss or Tilman Riemenschneider . According to a more recent view, the Johannes of the Augustinian Museum comes from Kloster Wonnental.

  • Figures from the baroque high altar

  • Urban

  • Sebastian

  • John the Baptist

  • Konrad of Constance

Garnier's baroque high altar, made by Johann Michael Winterhalder , gave way in 1904/06 to a neo-Gothic one from Franz Joseph Simmler's workshop and since then, narrowed, has served as the left side altar. The right side altar was also made by Simmler in 1904/06 based on the pattern on the left. Four wood-carved statues of Winterhalder came from the baroque high altar to the triumphal arch, from left to right Pope Urban I with a staff entwined with grapes, Sebastian pierced by arrows, John the Baptist in a fur robe with his cross staff with the slogan "ECCE AGNUS DEI" and Konrad of Constance with a church model.

The baroque pulpit comes from the Wonnental monastery. Christ as Salvator mundi stands on the sound cover , surrounded by the symbols of the four evangelists.

Hürnheimer Chapel

  • View to the altar with the death of St. Joseph

  • Beatrix

  • wolf

  • Veronica

  • The seven sorrows of Mary

The three figural tombs of the Hürnheimer Chapel are carved in fine-grained gray sandstone, probably by Christoph von Urach . They are arranged differently today than originally, but as originally related to the altar in the east (with a painting Death of St. Joseph ). Beatrix kneels behind a prayer chair decorated with Renaissance motifs. Although she lowers her eyes on the prayer book, her posture is oriented towards the altar. Wolf von Hürnheim stands with his eyes open and his hands folded. On the left is St. George fighting the dragon, on the right St. Wolfgang von Regensburg with a model of a church. The first to die, Veronika, kneels at a prayer desk, the perspective of which underlines the turning towards the altar. “All three works by the same master show excellent skills in composition, drawing and execution and are among the best and most individual of the simpler grave monuments that we can find from the early 16th century. are preserved. "

Opposite the altar hangs an oil painting on wood from the north chapel from the middle of the 16th century, The Seven Sorrows of Mary , below it kneeling on the left, the founder Caspar von Rippenheim († 1562) with six sons, on the right his wife with three daughters. Around the central image of a Pietà are grouped clockwise, starting from the bottom left

North side chapel

  • Mount of Olives Group

  • Angel with a chalice

  • apostle

  • Jesus with angel

In the northern chapel there are now the remains of a clay mountain group . The Prothocollum reports:

"Mons oliveti priori aevo ad dextrum Latus frontispicyj prostabat pictures et statuis lapideis excultus, atque saepius quidem sumptibus honorarius parochianorum pro forma tantum renovatus, neglecta reparatione aediculae unde qua putrida eti prospecti eti prospecti prospecti ... , eundem Anno 1734 pro opportunitate Situationis intra fulcimenta exterioris Chori Collocavi arte plastices exornatum sumptibus partim meis, partim Ecclesiae. "

“The Mount of Olives, which used to be on the right-hand side of the facade, was decorated with paintings and carved stone figures and although its shape was certainly often renovated at the expense of the honorable parishioners, its housing was everywhere rotten due to neglected repairs the statues almost destroyed. As the facade had to be given its appearance and the Mount of Olives its cult, I had it relocated between the outer buttresses of the choir in 1734 because of its favorable location and decorated it with sculptures partly at my own expense, partly at the expense of the church. "

Garnier does not name the artist - the Ölberggruppe is the last Kenzinger work attributed to Wentzinger. First outside of the choir, now inside - because of him, the painting The Seven Sorrows of Mary was transferred to the Hürnheimer Chapel - it is poorly preserved; As early as 1956, a restorer stated that the apostles "consisted of barely 2/3 terracotta , otherwise supplemented with plaster".

The body of the angel with the chalice ( Lk 22.39-46  EU ) is “fused with the cloud on which he sits astride. The robe and cloak are sculpted powerfully and safely, the limbs wonderfully moved, the face lively ”. The sleeping apostles, "miserably supplemented with plaster of paris," are difficult to judge. James the Elder snores with his mouth open. “In the Mount of Olives in Staufen, which was created ten years later, we find related things, but in a safe and magnificent elaboration.” The group of the collapsed Jesus with the angel who embraces him lovingly is iconographically unusual. “The fine, compassionate face of the angel, which is framed by the lightly wavy hair with the forelock, is very much related to the quiet face of Christ in St. Peter . In Kenzingen, however, the figure of Christ is broad-shouldered, not at rest in itself, but moved by pain. His head is upright, his face is disturbed, with knitted brows and a plaintive open mouth. Christ wrestles his clenched hands in prayer and hides his head in the angel's arms. "

literature

  • Ansel-Mareike Andrae-Rau: Castle and village of Kenzingen and the Kirnburg until the 13th century. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 1 From the beginning to the present. Kenzingen 1998. ISBN 3-9806437-0-0 , pp. 23-44.
  • Jens Bader: Parish Church of St. Laurentius Kenzingen. Parish of St. Laurentius, Kenzingen 2014.
  • Discover regional studies online Baden-Württemberg: Kenzingen. Digitized. Retrieved on July 7, 2015. Except for the resolutions of the abbreviations, the texts are identical to: Kenzingen. In: Landesarchivdirektion Baden-Württemberg (ed.): The state of Baden-Württemberg. Official description by district and municipality. Volume VI. Freiburg administrative district. Kohlhammer Verlag, Stuttgart 1982. ISBN 3-17-007174-2 , pp. 239-242.
  • Gebhard Heil: From the history of the parish St. Laurentius (1524–1970). In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 2 People, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 181-214.
  • Franz Xaver Kraus : Kenzingen. In: The art monuments of the districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (Freiburg Land district) (= The art monuments of the Grand Duchy of Baden Volume 6, 1). Mohr Siebeck Verlag, Tübingen 1904, pp. 157-172. Digitized. Retrieved July 7, 2015.
  • Stefan Rieder: Parish Church of St. Laurentius. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen. Volume 2. Man, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 215-234.
  • Stefan Rieder: History and reconstruction of the former parish church St. Peter von Altkenzingen. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 2 People, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 241-250.
  • Gregor Schlicksbier and Peter Schmidt-Thomé: The Hürnheim Chapel at the parish church of St. Laurentius and its tombs. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 2 People, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 235-240.
  • Jürgen Treffeisen: Kenzingen as a medieval city. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 1. From the beginning to the present. Kenzingen 1998. ISBN 3-9806437-0-0 , pp. 45-78.
  • Jürgen Treffeisen: Church conditions in the Middle Ages. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 2. Man, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 173-180.
  • Jürgen Treffeisen: The Cistercian convent Wonnental. In: Jürgen Treffeisen, Reinhold Hämmerle and Gerhard A. Auer: The history of the city of Kenzingen . Volume 2. Man, City, Environment. Kenzingen 1999. ISBN 3-9806437-1-9 , pp. 251-268.
  • Dagmar Zimdars among others: Baden-Württemberg II. The administrative districts Freiburg and Tübingen ( Georg Dehio: Handbook of German Art Monuments ). Deutscher Kunstverlag, Munich 1997, ISBN 3-422-03030-1 , p. 480.

References and comments

  1. ↑ Minst, Karl Josef [trans.]: Lorscher Codex (Volume 4), Certificate 2652, December 18, 772 - Reg. 848. In: Heidelberger historical stocks - digital. Heidelberg University Library, p. 195 , accessed on May 15, 2016 .
  2. ^ Andrae-Rau 1998, p. 30 and Treffeisen 1999 The church conditions .
  3. ↑ Older information, also in the district description of the Landesarchivdirektion, with "castrum Cancingen" is meant the Kirnburg, should be erroneous. Andrae-Rau 1998, p. 33.
  4. ^ Treffeisen 1998 Kenzingen as a medieval city , p. 45.
  5. ↑ Andrae-Rau 1998, p. 23.
  6. ↑ Bader 2014.
  7. ↑ Andrae-Rau 1998, p. 27.
  8. ^ Website of the monasteries in Baden-Württemberg: Johanniterkommende Freiburg. Digitized. Retrieved July 8, 2015.
  9. ↑ Treffeisen 1999 The Church Conditions , p. 177.
  10. ↑ Rieder 1999 St. Peter Altenkenzingen , p. 241.
  11. ^ Rieder 1999 Parish Church of St. Laurentius , p. 216.
  12. ^ Rieder 1999 Parish Church of St. Laurentius , p. 218.
  13. ↑ a b Schlicksbier and Schmidt-Thomé 1999.
  14. ↑ Heil 1999, p. 191.
  15. ^ Translation from Rieder 1999 Parish Church St. Laurentius , p. 224.
  16. ↑ Rieder 1999 Parish Church St. Laurentius , p. 226.
  17. ↑ Zimdars 1997.
  18. ↑ a b Rieder 1999 Parish Church St. Laurentius , p. 219.
  19. ↑ Kraus 1904, p. 162.
  20. ↑ Kraus 1904, p. 159.
  21. ^ Rieder 1999 Parish Church St. Laurentius , p. 217.
  22. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , p. 26.
  23. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , p. 2.
  24. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , pp. 25–26.
  25. ↑ Rieder 1999 Parish Church St. Laurentius , p. 227.
  26. ↑ Bader 2014, pp. 10–11.
  27. ^ Translation from Rieder 1999 Parish Church St. Laurentius , p. 220.
  28. ^ Rieder 1999 Parish Church of St. Laurentius , p. 220.
  29. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. Georg Olms Verlag, Hildesheim 1997, ISBN 3-487-10248-X , pp. 13-16.
  30. ↑ Church art workshop, Brothers Moroder Franz Jos. Simmler's Nachf. Altarbau - sculpture in wood and stone; founded since 1881, Offenburg in Baden , Munich, approx. 1910, Fig. 8, 15, 16.
  31. ↑ Kraus 1904, p. 165.
  32. ^ Rieder 1999 Parish Church of St. Laurentius , p. 229.
  33. ^ Original and translation after * Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , p. 96.
  34. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , p. 293.
  35. ↑ Originally in the ossuary chapel of the parish church of St. Martin in Staufen im Breisgau , now in the Liebieghaus in Frankfurt am Main .
  36. ↑ Baptismal font in the abbey church.
  37. ^ Ingeborg Krummer-Schroth: Johann Christian Wentzinger. Sculptor, painter, architect, 1710–1797 , Schillinger, Freiburg 1987, ISBN 3-89155-058-8 , p. 25.

Web links

Commons : St. Laurentius  - collection of images, videos and audio files
  • Pastoral care unit Kenzingen: municipalities. Digitized. Retrieved July 7, 2015.

Coordinates: 48 ° 11 ′ 29.6 ″  N , 7 ° 46 ′ 12.2 ″  E