St. Mary's Assumption (Kirchhofen)

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View from the west

The Catholic parish and pilgrimage church of the Assumption of Mary in Kirchhofen , a district of the Ehrenkirchen community in the Breisgau-Hochschwarzwald district ( Baden-Württemberg ), stands in the middle of the upper village on a slightly elevated place, the cemetery, which was abandoned in 1861. She belongs to the pastoral care unit Obere Möhlin .

Village and church from the south in front of the Batzenberg

Parish history

Kirchhofen and its parish are mentioned for the first time in 1087, but a predecessor of today's church, consecrated to the Apostle Peter , was probably built in the 7th or 8th century. In the Middle Ages, the inhabitants of Ehrenstetten, Offnadingen, Amringen and Norsingen - all today (2013) districts of Ehrenkirchen - as well as Staufen im Breisgau and St. Ulrich in the Black Forest were parished to Kirchhofen. In 1344 Maria appears for the first time as patroness . In addition to the pastor, several chaplains worked at the church , three of whose houses still stand around the church square. The Marian pilgrimage was first indicated in 1397 by a Brotherhood of Our Lady, “Brotherhood of our frowen ze Kirchhoven”, which later appeared as the Brotherhood of the Rosary . The tithes from the parish went through the Middle Ages mainly to the Bishop of Basel and his cathedral chapter , although the parish church law for the diocese Konstanz belonged. In 1821 she came to the new Archdiocese of Freiburg .

The Thirty Years War hit Kirchhofen hard. On July 18, 1633, the village and church were burned down by Swedish troops under Otto Ludwig von Salm-Kyrburg-Mörchingen , 300 farmers from Kirchhofen, Ehrenstetten and Pfaffenweiler were killed as rebels. But the pilgrimage flourished again.

While the branches of Kirchhofen became their own parishes in the course of time, Staufen probably as early as the 13th century, pastoral care is developing in reverse today: Due to a lack of priests , the parishes of St. Peter and Paul Bollschweil , St. Georg Ehrenstetten, Mariä Himmelfahrt Kirchhofen, St. Gallus Norsingen, Heiligkreuz Offnadingen, St. Michael Scherzingen, St. Fides and Markus Sölden and St. Peter and Paul St. Ulrich 2005 combined to form the pastoral care unit Obere Möhlin .

Building history

The oldest part of the existing church, from the 13th or 14th century or even older, is the tower in its basement. The nave and choir date from the beginning of the 16th century. This is indicated by the year "1509" above the main portal. It was also read as "1409", and the parish announced its 600th anniversary in 2009 instead of, as is probably the correct, 500th anniversary. Details of the architecture are reminiscent of the Freiburg Minster and St. Martin in Staufen.

Immaculata above the west portal marked "1509"

After the disaster of 1633, the worst damage was repaired by 1646, the roof was closed and the church was usable for services. In 1712 the tower was increased by an octagonal storey and an onion dome. In the 18th century the church was baroque in two phases. From 1740 to 1741 the plasterer from Wessobrunn, Johann Georg Gigl , closed the west window, broke the Gothic tracery out of the windows, rounded the pointed arch in the nave and stuccoed the nave. The ceiling of the nave was painted by the Swiss-German artist Jacob Carl Stauder . From 1762 to 1765, the Wessobrunn plasterer Franz Anton Vogel stuccoed the choir, a stranger painted the (disappeared) ceiling painting in the choir and Johann Adam Bretz (1724–1803) from Freiburg made five altars.

In 1811 the Michael's chapel , which was built in 1633 south of the church as an ossuary for the 300 killed, was demolished . Between 1892 and 1894 the altar of grace was relocated and two altars ( Nicholas and All Saints' altars ) were demolished. Most of their remains ended up in other altars, such as the two large figures of the All Saints' Altar on the high altar of the Church of the Holy Cross in Offnadingen. The last exterior renovation took place in 1991/92, the last interior renovation in 1997.

building

Visible from afar, the church, plastered in white and red, dominates the village. It is the largest between Freiburg and Basel . With the partially preserved wall around the church square, the fountain from 1784 with a statue of the Virgin Mary at the driveway, the old lime trees and horse chestnuts and the chaplain's houses, despite some losses, like the Michael's chapel, it forms a monument that is seldom encountered in this way. The three-aisled basilica nave with six bays is joined by the polygonal closed choir, higher and shifted from the longitudinal axis to the north. The outside of the choir windows still have their Gothic pointed arches, the nave windows have been round arches since 1741. The central nave is vaulted by a barrel with stab caps. The western yoke is taken up by a gallery. A dome opens over the fifth yoke. In the side aisles, the late Gothic reticulated vaults are exposed, the ribs of which grow out of the wall without consoles. The tower cuts into the southeast corner of the ship. In the corner between it and the choir is the sacristy.

  • Inner to the east

  • Interior to the west

Furnishing

The Dehio manual from 1964 judges: "Magnificent equipment".

Above the western, bar-framed Gothic main portal stands a lily in hand, a stone Maria immaculata , which Hermann Brommer ascribed to the Merdingen sculptor Johann Baptist Sellinger . Between the figure and the pointed arch of the portal, a grave memorial created in 1772 by the Ehrenstetter sculptor Joseph Donner (1731–1773) for his parents has been placed.

  • Ceiling painting

  • Ship: Assumption of Mary

  • Dome: Pentecost

  • Ship: Annunciation to Mary

  • Choir: Maria immaculata

Stucco and ceiling paintings

Gigl's baroque robe with pilasters over the pillars and cartouches over the apexes of the arcades lies over the Gothic octagonal pillars and pointed arcades of the nave . “Garlands of flowers, plant stems and an army of winged stucco angels enliven the walls and the vaults. Although the rocaille ... predominates, the older form of the banding appears in a few places (e.g. gallery vaults and parapets) . ”Over the rounded choir arch , putti hold a curtain with a writing:“ VENITE ADOREMUS - to compensate for the asymmetrical position of the choir . Come, let us worship ”. Vogel's stucco in the choir is more delicate than Gigl's decoration in the ship.

Stauder's four large ceiling paintings show from west to east the representation of Jesus in the temple with Mary, Joseph and the aged Simeon (above the gallery). This is followed by the Assumption of the Virgin Mary , inscribed “SANCTA MARIA ORA PRO ME - JC STAUDER PINX 1740”, then a stuccoed, crowned Marian monogram, then in the dome, darkened and poorly lit, the Whitsun miracle , on the edge under the image of Mary two Putti hold the inscription "AVE REGINA APOSTULORUM". The last picture before the choir arch is an Annunciation to Mary . In the six spandrels around the image of the Assumption, the four classical Latin doctors of the Church, Hieronymus , Ambrose of Milan , Augustine and Gregory the Great , Saint Joseph and Saint John of Damascus, can be seen, in the four spandrels around the image of the Annunciation, the Evangelists .

The main picture of the choir ceiling, a Maria immaculata, was painted in 1960 by the Freiburg artist Manfred A. Schmid (1911–2009) when the previous picture was irreparably damaged . The painter of the eight surrounding grisailles with symbols of the Virgin Mary from the Song of Songs and the Litany of Loreto is unknown.

Altars

Of the five altars, three, the high altar, the rosary altar in the central nave to the right of the chancel arch and the Sebastian altar at the end of the south aisle have hardly changed compared to when it was built. The altar of grace at the end of the north aisle and the Sacred Heart altar to the left of the choir arch, counterpart to the rosary altar , are Neo-Baroque . The Freiburg sculptor, painter and architect Johann Christian Wentzinger played a key role in the planning of the old altars . The pictures are attributed to the Freiburg painter Simon Göser , the sculptures to Fidelis Sporer , who also works with Wentzinger in other places .

  • Altars

  • Mercy Chapel and Mercy Altar

  • Sacred Heart Altar

  • Choir and main altar

  • Rosary altar

  • Sebastian Altar

The high altar reaches up to the ceiling of the choir. Four mighty Corinthian columns support a cornice that sways to the side. The main picture again shows the Assumption of Mary, "in terms of composition, color and expression a masterpiece of rank". In the picture above, which is flanked by carved angels, the Triune God awaits the floating Mary, and even higher up, a golden triangle in a golden halo represents the eye of God . To the right and left of the columns are Peter and Paul , to the right and left of the richly decorated altarpiece, busts of Joachim and Anna , according to tradition, Mary's parents. The message from the dead from 1633 is carved into the back of the altar stone, “that under 89 were from Pfaffen and Öhlenschweiler. May God give you and all of us a joyous rise ”.

The rosary altar is adapted to the main altar with two Corinthian columns and a protruding cornice. The main picture shows Mary giving a rosary to St. Dominic . An angel holds a wreath of real roses in front of her, and the baby Jesus on her right arm holds a branch of roses in turn. At Dominikus 'feet, next to a globe, a dog carries a burning torch in its mouth - illustration of the further legend that Dominikus' mother dreamed this when she was pregnant with him and pointed to the enlightenment of the whole world through her son. Next to Dominic, with a rosary in his hands, sits St. Catherine of Siena , a Dominican , “in a mystical look” . The upper picture from the 19th century shows Joseph with the baby Jesus. The sculptures on the right and left are once again Dominic and Catherine of Siena.

Anna herself the third

In the Sebastian altar, also similar to the main altar, three epidemic cartridges are combined. In the main picture, Saint Sebastian is pierced by arrows. Two women try to help him. The statue on the left depicts St. Anthony the Hermit with his attributes book, dew stick, bell and pig. The right statue depicts Saint Rochus of Montpellier with a pilgrim's shell , plague bump on his bared thigh and the dog who brought him bread. In the upper picture, St. Anthony of Padua - not a patron of the epidemic, but namesake of Anthony the hermit - worships the baby Jesus.

The altar of grace used to be in its own chapel in the middle of the church in front of the choir, similar to the chapel of grace in Einsiedeln monastery . From 1892 to 1894 it was moved to the end of the north aisle. The wrought-iron grating surrounding it from 1650 with tendrils, fantasy creatures and Old Testament kings comes from the former Freiburg Charterhouse . The miraculous image from the late 15th century is a wooden Madonna and Child on a crescent moon. In the neo-baroque altar, parts of the dismantled altars have been reused.

This also applies to the Sacred Heart Altar made in 1931 by the Freiburg sculptor Joseph Dettlinger . Because of its asymmetry, it is narrower than the rosary altar. The central statue of the Sacred Heart of Jesus, over which two angels hold a crown, also comes from Dettlinger. St. Nicholas on the left with three golden balls on a book and St. Martin of Tours on the right with the beggar come from the former St. Nicholas altar.

organ

View of the organ

The organ was reconstructed in 1977 by the organ building company Fischer & Krämer (endings) in the existing, historical, partially supplemented case from a previous instrument made by the organ builder Nikolaus Schuble from Pfaffenweiler . On the parapet of the gallery stand two angels from the Heiligkreuzkirche in Offnadingen, "masterfully graceful works from the last creative phase of Joseph Hörr".

I Rückpositiv C – g 3
15th Principal 4 ′
16. Salicional 8th'
17th Coppel 8th'
18th flute 4 ′
19th Octav 2 ′
20th Larigot
21st Mixture III 1'
22nd Cromorne 8th'
Tremulant
II Hauptwerk C – g 3
1. Principal 8th'
2. Praestant 4 ′
3. Cornet V (from c 1 ) 8th'
4th Bourdon 16 ′
5. Gamba 8th'
6th Coppel 8th'
7th Salicional 4 ′
8th. Nazard 3 ′
9. Covered flute 4 ′
10. Duplicate 2 ′
11. third 1 3 ⁄ 5  ′
12. Trumpet (D) 8th'
Bassoon (B) 8th'
13. Voxhumana 8th'
14th Mixture IV 1 1 ⁄ 3  ′
Tremulant
Pedals C – f 1
23. Mixturbass IV 3 ′
24. Clairon 4 ′
25th Trumpet bass 8th'
26th Flute bass 4 ′
27. Covered bass 8th'
28. Octavbass 8th'
29 Sub bass 16 ′
30th Principal bass 16 ′
31. Bombard 16 ′

Bells

There are seven bronze bells hanging in the tower, including the death knell from the demolished Michael's Chapel. It is adorned with two pictures, Michael killing the dragon and Immaculata surrounded by clouds and angel heads.

Other equipment

There are seven apostles on baroque consoles above the pillars of the nave and four more apostles on the walls of the choir, which Dettlinger copied in 1905 after the apostles in the chapel of Blutenburg Castle near Munich. They replace baroque statues and complement the old Peter and Paul statues on the high altar to form a complete cycle.

On the two eastern pillars of the nave, richly decorated niches contain a baroque Anna selbdritt on the left and a 19th century Pietà on the right . A baroque crucifix hangs on the north tower wall adjoining it on the right.

On the walls of the choir hang the upper images of the two broken altars opposite, on the left the handkerchief of Veronica , on the right God the Father with the Holy Spirit .

pulpit

The figures in the pulpit from 1766 are attributed to the Freiburg sculptor Joseph Hörr . On the basket, three putti carry the symbols of the divine virtues, a chalice for faith, anchors for hope and two flaming hearts for love. The right putti under the sound cover bears the Mosaic tablets of the law, the left the Bible. The symbols of the four evangelists follow on the sound cover , from left to right the eagle of John , the bull of Luke , the lion of Mark and the man of Matthew . At the top is Jesus as the good shepherd .

On the west wall hangs a stone relief of the Annunciation to Mary and the Visitation , on the wall of the north aisle there is a corresponding relief of the presentation of Jesus in the temple. They were probably made at the beginning of the 17th century and come from the altar of the original Mercy Chapel.

The nave stalls and the six confessionals were carved by Johannes Scherlin in the 1740s. In the carving on the confessionals, six small paintings tell the story of the prodigal son . Inlays on the confessional doors show depictions related to the sacrament of penance , in the left aisle from back to front King David , Saint Mary Magdalene and a seven-headed dragon, symbol of the seven main sins , in the right aisle the repentant Peter, Saint Jerome and the Mosaic tablets of prayer.

If the glass paintings from 1892 in the windows of the choir and chapel of grace of the older furnishings want to fit in, the slatted walls of the confessional room at the west end of the south aisle leave it in stark contrast.

Appreciation

“Despite the complete decline of the place during the Thirty Years' War, well-known artists were commissioned to renovate the church in two stages in the 18th century. They created a total work of art in which the late Gothic and the baroque are harmoniously synthesized. "

See also

literature

Individual evidence

  1. ↑ Official district description 1972.
  2. ↑ Becker 1971, p. 6.
  3. ↑ a b Kraus 1904, p. 425.
  4. ↑ Becker 1971, p. 6.
  5. ↑ How old is the church in Kirchhofen really? , Tanja Bury, Badische Zeitung, August 4, 2009 (accessed November 5, 2012)
  6. ↑ St. Martin Staufen on the website of the pastoral care unit Staufen Pastoral care unit Staufen - St. Trudpert . Retrieved July 2, 2013.
  7. ↑ Heiligkreuz Offnadingen on the website of the pastoral care unit Obere Möhlin . Retrieved July 2, 2013.
  8. ↑ Dehio-Handbuch 1964, pp. 248–249.
  9. ↑ Dotter Weich 1995, p. 12.
  10. ^ Dotter Weich 1995, p. 14.
  11. ↑ Hans Sigmund: A life for painting. Badische Zeitung of August 4, 2009. Accessed July 1, 2013
  12. ↑ Becker 1971, p. 24
  13. ↑ Kraus 1904, p. 426.
  14. ^ Dominic in the Ecumenical Lexicon of Saints . Retrieved July 2, 2013.
  15. ↑ Becker 1971, p. 21.
  16. ↑ Dotter Weich 1995, p. 21.
  17. ↑ Information about the organ on the municipality's website; see. pdf Festschrift of the organ
  18. ↑ Archdiocese of Freiburg: Bells / Churches: Catholic parish church of the Assumption in Ehrenkirchen-Kirchhofen .
  19. ↑ Dotter Weich 1995, p. 23.

Coordinates: 48 ° 6 ′ 30.8 ″  N , 8 ° 44 ′ 6.7 ″  E

Web links

Commons : St. Mary of the Assumption  - Collection of images, videos and audio files