St. Maria (Buxheim)
The former monastery church of St. Maria , also St. Mary's Assumption , of the repealed Reich Charterhouse Maria Saal is a baroque hall church in the Upper Swabian town of Buxheim .
Nothing has survived from the previous building, which presumably dates from the 11th century. The priest's choir from the 13th century is the oldest structure in the church, the brothers' choir dates from the 15th century. In the 18th century the brothers Dominikus and Johann Baptist Zimmermann fundamentally redesigned the church interior in the Baroque style. It was their first work together.
The former Carthusian Church came with the secularization to Count Maximilian von Ostein and after his death in 1809 to Count Waldbott von Bassenheim, who set up their burial place in the church . Today the church is owned by the Free State of Bavaria, which acquired it in 1916. The Salesians of Don Bosco had the right to use the church from 1955 to 1994. Since then it has been part of the German Carthusian Museum and is best known for the baroque Buxheim choir stalls by Ignaz Waibel .
location
The east- facing church is located in the center of the former monastery complex on a hill in the Illertal , the so-called Memminger Trockental , a part of the Donau-Iller-Lech-Platte . The western part of the cloister, which, as a cloister, separates the priest's choir from the brothers' choir, crosses the church like a tunnel.
history
The first church was built when the monastery was founded around 1100. The priest's choir probably dates from the 13th century; it is believed that he was the collegiate church . It was an exposed brick building with pointed arched tracery windows and probably had a pointed arch vault on the rising masonry. In 1435, a foundation enabled the Carthusians to purchase a large altar piece . The most extensive structural change was the addition of a brother choir with a cloister around 1450 by the lay brother Collmanus to separate the lay monks or brothers from the priest monks. A two-story sacristy was added to the north of the priest's choir and the monastery archive was housed on the upper floor. With the help of a foundation, a west gallery was built in the brothers' choir in 1512 , to which a spiral staircase made of baked clay led. On the gallery, which was reserved for the guests of the monastery, there were two altars that were given to the Ottobeuren monastery in 1955 . From the gallery you got directly into the guest house of the monastery. In 1680 planning began for the baroque transformation of the church, which was carried out from 1709 to 1711. Pictures by the Memmingen painter Johann Friedrich Sichelbein were acquired and Ignaz Waibel built the famous baroque choir stalls from 1687 to 1691 . In the priest's choir, the ribs of the late Gothic ribbed vault were removed, and in the brothers' choir they were redesigned. The Zimmermann brothers, who worked for the Charterhouse between 1709 and 1741, made the windows baroque. The Gothic tracery windows were replaced by round-arched stucco windows. Dominikus Zimmermann renewed the roof structure under the direction of the master mason Christian Wiedemann from the Elchingen monastery . In doing so, brick arches were built into the attic above the priest's choir, which are still considered a bold architectural achievement today.
The side walls of the brothers choir were raised with the material of the broken ribbed vaults. This is still visible on the walls in the roof truss. Only the sign on the west facade was not changed. For the catacomb saint Quartillus, Dominikus Zimmermann redesigned the Mary and Hugo chapel from 1737 to 1741. In 1802 the Reich Charterhouse was abolished in the course of secularization and handed over to Count Maximilian von Ostein. The priest monks who lived in the Charterhouse until 1812 continued to use the priestly choir as a church. The last primacy of a Carthusian was performed in the church in June 1804. The last imperial prior and penultimate prior of the Carthusian community of the former imperial Carthusian monastery died in January 1806 at the age of 85 and was buried in the church. The Carthusian cemetery, which was in front of the church choir, was profaned in 1815 .
After the death of Count von Ostein in 1809, the Counts of Bassenheim became the owners of the monastery. In 1830 they had a family crypt built into the priestly choir, in which the first Count Friedrich Karl von Bassenheim was buried in the same year. The family crypt with two entrances was enclosed with an artistically forged iron grating. Because of the great extravagance of the Counts of Bassenheim, the cultural goods and art treasures of the monastery and the monastery church were gradually sold. The greatest loss was the confiscation and auctioning of furnishings with the choir stalls in the priest and brother choir, the altars, the church silver and some oil paintings by the creditors. In 1916 the Bavarian state acquired the church. In 1955 he left it to the Salesians of Don Bosco, who had been active in Buxheim since 1926, for use in worship and as a home church. During the renovation of the church, the last remaining Kreuzganglettner of the Charterhouse was significantly devalued by removing the cloister walls. Joseph Lutz from nearby Leutkirch restored all the frescoes in the church in 1956. The broken walls of the cloister were replaced by columns. A large nave with a rood screen emerged from the two choirs. The redesigned church was consecrated in 1956 by the Augsburg Bishop Joseph Freundorfer . The choir stalls of the priestly choir auctioned in 1883, which had changed hands several times and last stood in a chapel built to the dimensions of the Buxheim priestly choir in England, was bought back in 1980 by the administrative district of Swabia . The purchase price was about two million DM . The stalls were reinstalled in their original location by 1994. The parts of the Kreuzganglettner that were demolished in 1955/56 were rebuilt and evidence of the buyback and dismantling, including newspaper clippings from the Memminger Zeitung , was walled in. Today the church with the sacristy belongs to the German Carthusian Museum.
Building description
The church is divided into a priest's choir, brothers' choir, Marienkapelle and sacristy and has Gothic buttresses with a water hammer . The cloister with the rood screen separates the priest choir from the brothers choir. The facade is simple and plastered in white.
Priestly choir
The priest's choir is slightly drawn in and has three yokes and a 5/8 end . It is about 18 meters long, eleven meters wide and 11.75 meters high. It is separated from the brothers' choir on the west side by an approximately five meter high cloister and can be entered from the cloister through a baroque wooden door in the choir stalls. The sacristy leads to the priestly choir and the cloister. A passage on the Kreuzganglettner is secured by a balustrade made of artificial marble and leads on both sides to a Rückpositiv of the organ and a rood altar.
The choir has high windows with curved lintels . The previously pointed choir arch is now rounded. The entrance to the sacristy is on the north side, diagonally across from the celebrant's seat.
The ridge turret on the western end of the priestly choir has an onion dome on which a lantern with a bell is placed. The top forms a cross.
Brother choir
The lettner cloister separates the single-aisled brother choir from the priest choir. The former sign on the west facade was converted into the Don Bosco Chapel as part of the church renovation in the 1950s, with a simple table as an altar and a Don Bosco statue with children on a pedestal on the west wall. The chapel is 3.65 meters long, 2.65 meters wide and 4.76 meters high. To the west of the Brothers Choir is an organ gallery, the parapet of which used to be the grating of the Bassenheim Crypt in the Priest Choir. You can enter the Brothers Choir, which is about 14.2 meters long, 10 meters wide and about 13.3 meters high, through a door on the north side or via the cloister on the east side.
Equipment priestly choir
Choir stalls
Ignaz Waibel created the choir stalls of the former Carthusian church from 1687 to 1691. Count Hugo Waldbott von Bassenheim had them auctioned in 1883. It is not known who bought it at the time. In another auction in 1886, the director of the Bank of England bought the stalls. He gave it to the nurses at St. Savior's Hospital in London , who had it painted black boat varnish . The order moved its seat in 1963 and built a chapel in the new location of Hythe in the county of Kent according to the dimensions of the Buxheim priestly choir. When the base in Kent was dissolved, the Swabian district was able to buy back the choir stalls for Buxheim at a price of 450,000 pounds sterling, which corresponds to about 1.05 million euros. From 1980 to 1994 the choir stalls were extensively renovated and restored. The black boat varnish was removed and some lost pieces were re-carved.
Celebrant seat
Ignaz Waibel made the housing of the celebrant's seat together with the choir stalls from oak. The seating furniture was auctioned and has since been lost. It stood in a bulge, to which two trapezoidal steps lead, and was replaced by a chair that does not match the rest of the furnishings. The structure of the case is unmounted, crowned by allegories of the three theological virtues of faith, hope and love and flanked on the left and right by two twisted free columns with vine tendrils. The inner pillars carry angel heads. Carved figures on the outer columns represent Spes (with anchor) and Fides (with cross), the allegories of hope and faith. Between the pairs of columns there are niches with carved statues of two deacons , St. Stephen on the left and St. Lawrence of Rome on the right . The figures are slim and finely pondered . The niche for the celebrant's seat has a rounded and arched back wall and is decorated with shells and flowers. Above it there is a hexagonal canopy , crowned by leaf volutes with angel heads and a figure of Caritas. She wears a long flowing robe and is holding a child on her right arm. Her left hand rests on the head of a second child who hugs her side. A photo that was taken after the major renovation in the 1950s to 1980s shows that Fides and Caritas were swapped in the current list. Faith used to be at the center of the crowning glory.
Sideboard
The sideboard , an oak structure with a simply paneled base, was created by Ignaz Waibel in 1695. On the altar sheet, Johann Friedrich Sichelbein depicted Christ in the midst of a landscape. The horizon is low so that Christ is largely placed in front of the sky and thus emphasized. The Savior is dressed in a red robe and a blue robe and is provided with a halo. He has shoulder-length, light brown hair and a short beard. His arms are stretched out to the sides, his hands open in an inviting gesture. Behind the monumental figure of Christ, two scenes with Christ as a preacher can be seen in a mountainous landscape, on the left the Sermon on the Mount ( Mt 5.1 ff. EU ) and on the right the sermon by the lake ( Lk 5.1-4 EU ). A plaque adorned with rocailles at the feet of Christ bears the text from Lk 4.18 EU in Latin . The painting is no longer in its original condition due to heavy overpainting. There are carved symbols of the four evangelists under the altar sheet. On the altar table is a golden goblet under protective glass. Unmounted wooden figures belonging to the motif of the Annunciation stand on side consoles next to twisted free columns, which are wrapped with grapevines . The wooden figure on the left shows Mary in a wide, wrinkled robe. She holds her left hand humbly in front of her chest, the right hand is raised in greeting. Your head is lowered slightly. The Archangel Gabriel on the right is wearing a wraparound robe. His right breast is free, the wings are laid on. He raises his right hand in greeting and extends his left back with slightly bent fingers. The top of the sideboard consists of cranked entablature with God the Father on a cloud, flanked by two putti heads . On the side volutes of acanthus , putti carry inscriptions with the opening words of the prayer Ave Maria , which point to the motif of the Annunciation, which also includes God the Father and the dove of the Holy Spirit on the cornice . Parts of the tapes were lost during the church renovation in 1956 and were carved and supplemented in the 1990s when the choir stalls were rebuilt.
High altar
The high altar is on the east side of the priest's choir. At first it was believed that it was created in 1631 by Sigmund Schalk , a Memmingen sculptor, based on an inscription on the back of the altar that no longer exists . The sculptor Schalk, however, is not mentioned in any of the Memmingen books that have been completely preserved for this period. Recent literature suggests that the inscription, accidentally removed in 1955, was misread. According to recent research, the Heschler family of artists, who came from Memmingen and later settled in Ulm, could be considered the masters of the Buxheim high altar; especially Sigmund and David Heschler would qualify, also on Schloss Zeil worked.
The altar is a dark brown colored four-story wooden structure with richly gilded decoration. The base is simple, on it stands the tabernacle between two angels with incense barrels . The altar is built in the style of an aedicula with a canopy and a gilded crown. Above it is a large altarpiece with the image of the Assumption of Mary into heaven and her coronation by the Holy Trinity, signed JG Bergmiller F. Aug. Vind, 1718 . In the lower part, a portrait of Christ as Salvator mundi is placed in a carved gilt frame. The altar panel is flanked by large columns adorned with gilded ivy tendrils supported by atlases .
Next to the pillars are larger-than-life wooden statues on consoles attached to the side . The northern figure shows John the Baptist with a halo, long brown hair and a flowing full beard. In his left hand he is holding a cross staff with the golden banner "Ecce Agnus Dei". Below the staff is a lamb, also with a halo. The right hand of John the Baptist is stretched forward, the index and middle fingers, in contrast to the other fingers, are stretched out in the so-called pointing gesture. His robe is set in gold and red. The southern figure shows the church father Jerome with a halo over his short-cropped gray fringe of hair. His flowing beard is gray. He holds a stone in his left hand and a skull in his right. His robe, which only covers his back and loins, is gold and turquoise. The lion crouches at his feet, one of his attributes .
Rounded gable legs with the seated figures of Saints Magdalena and Catherine are located above the columns . The northern figure is Maria Magdalena, dressed in a golden robe and a golden headdress. She holds a skull in her right hand and a myrrh vessel in her left . Catherine of Alexandria is dressed in a gold and turquoise robe. With her left hand she grips the hilt of a sword. Behind her is her second attribute, a broken wheel. Between the two, the Virgin Mary is shown as a crescent Madonna in the center console . She wears a gold overgarment, a white undergarment and a crown under which her long brown hair emerges. In her left hand she holds the naked baby Jesus, in her right hand a golden scepter . The baby Jesus presents the globe with a cross with his left hand. A golden halo is attached behind the figure . Mary is framed by angels and putti . The top of the altar is an aedicule with a blown gable . It contains the monogram of Jesus and is surrounded by three angels.
Frescoes
The frescoes in the priest's choir, surrounded by curved quatrefoil-like stucco frames, were created by Johann Baptist Zimmermann between 1711 and 1713.
Glorification of the Heart of Jesus
The first fresco in the east of the choir shows the glorification of the Heart of Jesus . Above the center of the picture, a halo of rays emphasized by flames surrounds the heart of Jesus . A crown of thorns embraces the heart in memory of the Passion of Jesus; the opened side wound can be seen on the left. A large flame emerges from a funnel-shaped opening, in the glow of which the Christ monogram IHS with a cross becomes visible. To the left below the heart sits on a cloud bank an angel dressed in yellow with a blue shawl in sandals. As a sign of devotion and adoration, he waves a censer towards the heart. Putti with the Arma Christi float on either side of the group . On the right an angel, supported by putti, holds a cross and nails. On the far left, several putti carry the scourge column with rods and flagella, as well as a vinegar sponge and lance. The putti in front turns her back on the viewer. Her feet made of painted stucco protrude from the picture. At the bottom of the fresco, a curved white balustrade is animated by putti and flowers.
Outpouring of the Holy Spirit
The second fresco shows the outpouring of the Holy Spirit . In the upper bulge, on the left, the Holy Spirit can be seen in pastel colors as a dove in a halo, from which tongues of flames descend on the assembled twelve disciples with Mary in their midst. A putti to the right of the pigeon is holding a green cloak with a golden cord over two white twisted pillars. On the right are two disciples, looking reverently at the sky, on the left of them three more kneel, also looking up, with praying gestures. A three-step staircase closes the fresco down. On a fourth step, slightly raised, sits Mary, dressed in a white robe with a blue wrap. Five disciples are placed to her left. Everyone looks up, one of them holds a protective hand in front of his eyes so as not to be blinded. Simon Peter sits in front, John stands behind him . The front three apostles are painted in strong green and red, the back in pastel tones. In the middle, two women join the group. To the right of Mary are the last two disciples, depicted in delicate colors, above whom a white balustrade is visible in the background.
John the Baptist preaches
The third fresco shows the sermon of John the Baptist . The event that, according to the biblical statement, took place in the desert is here in a narrow, wooded valley. In the middle of it stands John the Baptist in front of a tall tree. He is almost naked, dressed only with fur and a red wrap around the loin and left arm. The head and upper body are inclined to the right, parallel to the inclined cross bar that he is holding with his left hand. A white banner is attached to the staff, a reference to the words "Ecce Agnus Dei" (See the Lamb of God), which are usually used to describe his banner. His right arm is directed towards the sky, from which a group of putti appear in a cloud above him. In addition to the cross staff, banner and his fur, the lamb as an attribute of the Baptist can also be seen at his feet. Painted in bright light color, it stands in front of the rock on which he is leaning. On John's right, a group of men, women and children have gathered around the preacher. A man in the foreground has his back to the viewer. The dark colors of his body and clothing contrast sharply with the lamb he looks down on. To the right of him is a steep slope with two women sitting on it. One of them is holding onto a tree. On the floor to the left of Johannes is a group of three older, scantily clad men who are not facing Johannes but seem to be talking to one another. The left of the three men is leaning against a stone with the inscription A'o. 1711 Joh: Zim carries.
Saint Bruno is called to Rome
St. Bruno is called to Rome is the subject of the fourth and final ceiling fresco in the priestly choir in the vault of the westernmost yoke. Bruno is to become an advisor to his former student Pope Urban II. The picture shows Bruno of Cologne in a white Carthusian robe in the center, kneeling on a stone footstool in front of a small cross on an altar table. His head is turned in the direction of the messenger kneeling to his left, whose face points to Bruno. The messenger's clasped hands indicate his request to follow him. Next to the clothed messenger, a white horse, which is about to start moving, is held with the reins by two other men on the other side of the horse. Two dogs can be seen in the foreground, curiously lifting their heads in the direction of Bruno. A loose wooden shed on a stone hill and a tree to the right of the altar as a roof is laid over Bruno. Next to the tree is a hilly landscape with two Carthusian monks at work. The upper bulge of the fresco is taken up by the horizon and sky as well as a tree.
Kreuzganglettner
The Kreuzganglettner is a building that separates the priest and brother choir. The cloister of the monastery runs in it, at the same time the cloister separates the brothers and priests choir from each other. In the brother choir it is open and has three yokes, in the priest choir it is closed. At a height of about four meters, the cloister is open to the rood screen. There are two altars on it, facing the brothers' choir, and there are also two prospectuses of the church organ. In the opening of the brothers' choir there is an altar in the right and left yoke. In the middle yoke there is a door to the cloister. In the priest choir there is a door to the priest choir at the same height.
Equipment brothers choir
Frescoes
The frescoes in the brothers choir were painted by Johann Baptist Zimmermann between 1711 and 1713. They are inserted in rectangular stucco frames with bulges and indentations and show representations of Carthusian monks.
St. Hieronymus Marchant in ecstasy in front of the image of the Holy Trinity
The easternmost fresco shows St. Hieronymus Marchant in ecstasy in front of the image of the Holy Trinity . On the right side of the picture you can see an altar surrounded by angels and putti. The altarpiece shows the Holy Trinity with God the Father, Jesus and the Holy Spirit in the form of a dove. Jesus holds a large cross in his right hand, God the Father a scepter in his left. The Carthusian hovers in front of the altar, wearing a red priestly robe over his white Carthusian robe. His hands are folded in front of his chest in prayer. The shaved head looks in the direction of the altar sheet. The right and upper edge of the picture is made of a blue curtain with a golden border, which is held up by putti. Behind the floating saint is a monk dressed in a white Carthusian robe. His hands are crossed in front of his chest, while his right hand is holding a book. His head is turned up on the saint. A baroque church wall forms the background of the scene. The left part of the picture is defined by two turquoise, twisted columns, at the lower ends of which red flowers can be seen. The foundations of the pillars form a baroque pedestal. The lower edge of the picture is made of brown-gray stones.
The baby Jesus appears to St. Dominicus of Trier
The second fresco shows the motif The baby Jesus appears to St. Dominicus of Trier . The right side of the picture is formed by a cupboard on which a vase decorated with flowers stands. In the background of the vase, gray clouds with a red tinge can be seen. An altar table is attached to the left of the cupboard. The baroque altar adorned with gold stands on a two-tiered base. On the altar sits the baby Jesus on a blue pillow. The naked, blond, curly haired child, whose loins are covered with a white cloth, wears a red cloak around her shoulders. The Blessed Mother Mary can be seen on a cloud above the child. Maria wears a pink robe and a turquoise, flowing cloak. The outstretched hands are angled downwards, their head tilted towards the child. Maria is surrounded by several putti. The background of the picture is painted with orange clouds that reach to the center of the picture. In addition, the sky clears into a dark blue. In the upper left half of the picture three angels can be seen on a cloud in front of the clearing sky. In the center of the picture the Carthusian monk kneels in a white Carthusian robe on the top step in front of the altar. A white halo around his head is indicated. His left hand points with his fingers at his chest, the right palm is angled towards the altar. The scene, which takes place in a garden, ends in the left half of the picture with a forest through which a path leads.
Christ appears to St. Hugo of Grenoble
The third fresco shows the scene Christ appears to St. Hugo of Grenoble . The scene takes place in front of a small band in a forest. The figure of Jesus is shown in the center. Barefoot, with blond curly hair and a small halo, Jesus wears a pink robe with a turquoise cloak that is wrapped around his waist. His right elbow is angled so his hand is pointing with fingers on the hip. The left hand points with the hand angled forwards at the Carthusian monk pictured next to it. He is about to kneel down. His hands, with which he is holding a rosary, are folded on his chest. In front of him on the entrance step to the chapel lies an open book, the pages of which begin to turn as if in the wind. The right side of the picture is designed by the entrance to the chapel. The entrance is built in the manner of a sign and has a rectangular glass window. In front of the sign is a rock with a water source and blooming flowers. Above the monk is a picture of Our Lady with the baby Jesus in her arms, painted faintly with pastel colors. The roof of the sign is a simple gable roof with two wooden struts which overhang the actual sign. There is a small cross on the gable. The actual round chapel adjoins in the background and has a roof lantern with a bell. The entire left half of the picture is designed by a forest with a leading path. The background of the top of the picture is designed with a cloudy sky.
Martyrdom of three Carthusians in London, 1535
The fourth and last ceiling fresco, which is located in the western yoke, shows the martyrdom of three Carthusian monks in London in 1535 . The right side of the picture is designed by a pedestal surrounded by plants. A brown dog can be seen in front of the pedestal. A mounted soldier dressed in gold armor appears above the pedestal. He looks down at a soldier who is holding a heart in his outstretched left hand, which he wants to burn in the fire blazing on the dais. Below the standing soldier, whose gaze is pointing to the mounted soldier, lies a Carthusian monk. His robe is pulled down to his loins. The center of his chest is covered with a bloody wound. His head is surrounded by a slightly suggested halo. To the left of the dead Carthusian is another, naked Carthusian under a crank mechanism. A hook on a rope, which hangs down from this crank device, similar to that of a well, is inserted into his belly by an armored soldier clad in cloths. A bloody wound can be seen at this point. The Carthusian hands are stretched over his head, the left angled over his head. A small, white-bearded man moves the crank, which is located on the right above the Carthusian lying down. Behind him stands a soldier with a bundle of lictors . The left half of the picture is determined by a landscape. A man rides in this landscape, pulling a Carthusian lying on the ground behind his horse with his arms pointing towards the sky. A cliff forms the background of the scene. Behind the soldier in golden armor a balcony is drawn from which some people watch the martyrdom. There are clouds above the scene with an angel looking out of them. He holds palm branches in his hands and a laurel wreath in his left hand for those tortured to death. Two putti can be seen to the left of the angel.
Gallery
The two former altars in the west gallery are today at the Benedict Chapel in Ottobeuren Monastery .
Gallery vault
The three yokes under the gallery are each equipped with a vault fresco. The three pictures with Marian motifs have the same shape as the frescoes in the rood screen vault. The image in the middle yoke is surrounded by four frescoed Marian emblems.
Temple walk of Mary
In the southern fresco the passage to the temple of Mary can be seen. In the center of the picture it shows the young Maria on a staircase that occupies the lower edge of the picture. She wears a traditional robe with a white blouse, a pink robe, an ecru apron and a blue robe. Her blonde hair is braided into a bun and a few curly strands fall down her shoulder. She holds her left hand on her apron belt, the right hand is falling on her robe. She looks up at a high priest with a sincere face. This stands on the top step within a baroque vestibule with columns. He wears a white miter open to the front, which is covered with red fabric on the inside. The patriarch has a white, long, flowing full beard. He wears a natural white robe with a golden robe on which the high priest's breastplate can be seen. His right hand points with the palm of the hand at Maria, the left hand is stretched out to the left with the palm facing forward. A boyish man can be seen faintly behind him. Behind Maria stands her mother Anna, with a white headscarf, green robe and red robe that is wrapped around her waist. Several figures can be seen behind Anna. The one in front has her back turned towards the viewer, the man standing to her left is talking to her. Several people are faintly depicted behind it.
The emblem with the lemma UNI SPONSO (married to the one), which points to the connection between God and Mary, belongs to Mary's temple passage . In the picture there is a four-poster bed between two pairs of columns. Like the following three emblems, this one is also designed in monochrome green.
QUIA RESPEXIT
MUTUA SE PACE SALUTANT
PLENA SIBI ET ALIIS
UNI SPONSO
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Annunciation
The Annunciation can be seen in the middle fresco . The left side is designed with the Archangel Gabriel. It is depicted on a pink to dusky pink cloud. Its white wings are stretched wide, its clothing is yellow ocher, the robe in shades of pink. His left hand points upwards to the dove of the Holy Spirit, in the right he holds a lily, which he seems to be carrying towards Mary. Maria fills the right half of the picture. She kneels on a knee bench, which is on two large steps. She is dressed in a pink dress with a blue overcoat. She supports herself on the bench with her left hand, while the right holds her robe together on her chest. She wears a bronze-colored headscarf as head covering. Her head is slightly raised, her gaze goes in the direction of the dove, which is sending a beam of light on her. To the right of Maria, a naked putto holds up an ecru curtain.
Two emblems are associated with the Annunciation scene. One carries the lemma QUIA RESPEXIT (because she looked back) and shows the reflection of the sun in a large cloud. Just as the cloud shines back through the shine of the sun, Mary also humbly accepts the message of the Archangel Gabriel. The lemma of the second emblem is PLENA SIBI ET ALIIS (fully for yourself and the others). The full moon is shown over a fountain, which is located in the center of a Hortus conclusus . Just as the full moon sends its light to earth and the well overflows, Mary becomes a source of grace for all people.
Visitation of the Virgin Mary
The northern fresco shows the Visitation . Mary is depicted in the center. She stands in the middle of the picture on an entrance step with a tunnel. Maria wears a sun hat, a white undergarment with a pink overgarment. A blue overcoat is wrapped around her left shoulder and waist. Her pink overgarment is pushed up on the right sleeve and shows the white undergarment. Mary's right hand is holding onto the banister, while the left goes towards Elizabeth's shoulder . This stands in front of her. She is shown as an old woman with a green robe and a pink robe that is thrown over her shoulders. She wears her long gray hair down. Her right arm is angled forward, the right hand feels Maria's already rounded belly with the forefinger spread apart. Elisabeth looks up at Mary. Between the two women, a dog whines in Maria's direction. Elizabeth's husband Zacharias stands behind Mary and is absorbed in a conversation with Mary's husband Joseph of Nazareth . Zacharias is shown as an old man with white hair. He wears a white undergarment with a burgundy cape. With the exception of his head and right arm, which he lays on Joseph's shoulder, he is covered by Mary. Josef is just entering the last step of the stairs. He is bent forward and holds his hat in his right hand, the left grasps Zacharias right arm. Josef is dressed in a purple robe with a golden cloak. He is barefoot. The upper half of the picture is represented by the baroque entrance hall with columns and grapevines.
With this fresco the emblem with the lemma MUTUA SE PACE SALUTANT (greet each other in peace) is connected. Two palm trees that lean towards each other symbolize the encounter between Maria and Elisabeth.
Gallery wall
On the eastern gallery wall there are three frescoes in an oval stucco frame. They show Carthusian monks.
The crucified one appears to Wilhelm von Fenoglio
The southern fresco shows The Crucified appears to Wilhelm von Fenoglio . Wilhelm von Fenoglio kneels before a cross in a white Carthusian cowl. His arms are crossed at his chest and hold a flaming heart. Its flames lick towards the crucifix standing in front of Wilhelm von Fenoglio, which appears in a pink cloud. The crucified one has numerous wounds from which blood drips. His right hand makes a blessing gesture in the direction of the monk, yellow rays shine in the direction of William of Fenoglios. The head of the crucified one looks in the same direction with small slits in the eyes. The left background is marked by a bright, broad line, similar to a door frame, on the far left the window of the cell.
Mary and the baby Jesus appear to Petrus Petronius
The middle of the three frescoes shows Mary and the baby Jesus appear to Petrus Petronius . The Virgin Mary stands in the center. She wears a red dress, a blue overcoat and a gold headscarf. A halo can be seen around her head. She stands in front of a baroque altar. Her right hand points with three open fingers at the baby Jesus sitting on the altar table. Her left hand is hugging on the shoulder of Petrus Petronius. The baby Jesus on the altar, which is decorated with a white altar cloth, stretches his left hand towards Mary and Peter. She wears a white dress and a chain with a gold cross, in her right hand she holds a blue orb. The head of the baby Jesus is provided with a halo and it looks up to Mary. The left side of the picture is occupied by the baroque altar, which has two columns. There are several people on the altar sheet, a small part of which can be seen. The right half of the picture is designed by Petrus Petronius. He kneels in a white Carthusian robe on the first step of the altar. A rosary is faintly visible on his left hip. His left hand points with the palm of the hand to the baby Jesus, his right hand grabs his chest. Behind the monk you can see the red-washed church interior with a baroque window.
Maria Magdalena appears to a Donat brother
The northern fresco shows Maria Magdalena appearing to a Donat brother . Maria Magdalena can be seen in the center of the picture. She is dressed in a blue and purple robe and a gold cloak. She wears sandals, her brown hair is hidden under an old pink headscarf, only a small part of the long hair can be seen. A halo can be seen around her head. In her left hand she holds a golden goblet, the right one is angled with the palm forward. A Carthusian monk can be seen in a rock chapel in front of her. He kneels in front of an altar on which a crucifix and an open book lie. A rosary hangs from the altar. The bald Carthusian monk looks around at Maria Magdalena, his hands crossed on his chest. The left side of the picture behind Maria Magdalena is dominated by a church standing in a wooded landscape, which is supposed to represent the Carthusian Church. She has a brother and priest choir, as well as the roof rider.
Lady Chapel
The Lady Chapel was added to the north wall of the Brothers Choir in 1709. A flat vault with stitch caps covers the almost square room with a floor area of around 4.6 × 4.1 meters. The corners are rounded. The baroque design comes from the Zimmermann brothers, their brother-in-law Dominikus Gebhard and an unknown Benedikt Zöpf .
sacristy
The sacristy , consecrated in 1516 , adjoins the priestly choir in the northeast. The two-story rectangular building with three axes in depth and one axis in width with a gable roof is about 9.6 meters long and 6.1 meters wide. The sacristy on the ground floor is 5.36 meters high and was originally provided with a cross vault, which was later converted into a barrel vault with stitch caps . On the north and east sides there is an ogival window, the other windows have curved lintels.
The former monastery archive on the upper floor was converted into a celebration chapel in the 16th century , the ceiling of which consists of a groin vault in the north and a barrel vault in the south. The archive of the Kartausenmuseum is located there.
Piece
The stucco for the priest and brother choir was created by Dominikus Zimmermann during the Baroque renovation of the monastery church between 1709 and 1711. It is partly in pastel colors, partly white. In some pictures it is shaped as a prominent part of the picture. Dominikus framed all the frescoes in the church with elaborate stucco frames with garlands made of leaves and fruit wreaths. In addition, diagonal, flat angels can be seen in the priestly choir. The vaults are adorned with elaborate fruit and flower hangings. The belts of the vault are stuccoed with vases from which leaves and tendrils grow. The archways and window niches are mostly decorated with flowers. Dominikus Zimmermann also formed the stucco in the Marienkapelle, including a view of the monastery above the exit of the Marienkapelle. During the church renovation in 1956, the inscription + Renov. Was added to this relief on the west facade of the church . 1956 Jos. Lutz attached. It still shows the Gothic parish church of St. Peter and Paul , which was demolished a short time later and was replaced by a new baroque building, which was also realized by Dominikus Zimmermann. This relief is one of the best stucco work in the church. A masterful Pietà is attached to the west side of the choir arch.
Canvas prints
In the church there are canvas paintings by Johann Friedrich Sichelbein and Johann Georg Bergmüller . They were painted between 1694 and 1718 and hung in the church. The oldest is the picture of the sideboard by Sichelbein, the youngest from 1718 is the picture of the high altar by Bergmüller. They are based on biblical texts or show Carthusian monks in characteristic situations.
Coat of arms stones
On the gallery wall there are two coats of arms made of sandstone between the frescoes. The southern coat of arms stone bears the inscription Chorum istu (m) et altare nobil (e) et valid (um) Georgi (us) Gossenprait de Hohenfreiperg et Radgunda Eggen (n) bergeri (n) uxor ei (us) fundaverunt An (n) od (omi) ni 15 (12) . The northern coat of arms stone shows the coat of arms of Count Waldbott von Bassenheim and the words Sub comitibus de Waldbott-Bassenheim MDCCCVI-MCMXXVI . The coat of arms stones were moved from the altars on the west gallery to the gallery wall in 1956. The stucco frames were added.
organ
The organ was built in 1956 as Opus 279 by the Biberach organ building company Reiser Orgelbau . It is divided into four. Two parts are on the west gallery, two on the cloister. The instrument has 22 registers , divided into three manuals and pedal , and has the following disposition :
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P.
- Playing aids : 1 free combination , crescendo roller, roller off, tutti.
Bell jar
A bell hangs in the roof turret. The first detectable bell dates from 1711. In 1723 Matthias Langenegger and Anton Benedikt Ernst from Munich already cast a new bell. Why this happened is not known. The current bell was cast in 1772 by Johann Georg Ernst from Memmingen. It is 65 centimeters high and 81 centimeters in diameter. The shoulder is designed as a frieze stick with leaves above. The inscription begins with a Maltese cross , next to it is SEMPER OSANNA CLAMET HAEC CAMPANA . Below is a frieze band made of a lion's head, which is held by two mermaids . Her body turns into a volute with a flower. It is bordered on the side by scrollwork cartouches with rosettes , the flank is divided into two webs that are displaced by the reliefs .
The first relief shows Saint Bruno in Carthusian habit, holding a cross in his left hand. What he is holding in his right hand cannot be clearly assigned. It could be a mountain stick as a symbol for the foundation of the order or a tool as a symbol for manual labor. He kneels in front of a skull with a stylized arm bone underneath. Behind him is an inverted miter and a cross, which is supposed to indicate that he has rejected archbishopric. The second relief shows the coat of arms of the Reichskartause Buxheim in an oval cartouche made of acanthus branches . It is carried by two angels. The writing above is PRDD HIERONYMUS PRIOR. The PRDD is said to stand for Plurimum Reverendus Dominus Dominus . Below is Saint Hugo, Bishop of Lincoln. He is depicted as a Carthusian with a crosier , pectoral cross, swan and chalice and the baby Jesus with a cross in ecstasy before the miracle of the chalice. A rocaille cartouche with the foundry's signature is attached underneath . This is: JOHAN / GEORG ERNST / GOS / MICH IN / MEMMINGEN. Below are the numbers 17 and 72, the year the bell was cast. The crown bow has a rococo cartridge on the front.
use
The church is not in a parish incorporated as the Bavarian State is its owner. The Free State signed a contract with Heimatdienst Buxheim eV, with which it let this association use the church. Today the church is used as the exhibition hall of the German Carthusian Museum for art treasures and sacred objects from the former Carthusian monastery. The church can be rented from Heimatdienst Buxheim eV for church celebrations such as baptisms and weddings. He himself conducts services, exhibitions and concerts in the church several times a year.
literature
- Sybe Wartena: The South German choir stalls from the Renaissance to Classicism . Dissertation at the Ludwig Maximilians University, Munich 2008.
- Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography . tape 1–8 , no. (1968-1976) . Herder Verlag, Freiburg im Breisgau et al., ISBN 3-451-22568-9 .
- The Buxheimer choir stalls . Contributions to the building and art history of the former Reich Charterhouse in Buxheim and the restoration of the choir stalls. In: Michael Petzet (Ed.): Workbooks of the Bavarian State Office for Monument Preservation, 66 . Munich 1994, ISBN 3-87490-569-1 .
- Tilmann Breuer: City and District of Memmingen . Bavarian art monuments. Deutscher Kunstverlag, Munich 1959, p. 81-87 .
- Georg Dehio: Handbook of the German art monuments . Bavaria III: Swabia. Deutscher Kunstverlag, Munich 1989, ISBN 3-422-03008-5 , p. 223-226 .
- Fritz Fischer: The master of the Buxheim high altar: a contribution to the southern German sculpture of the 1st half of the 17th century (Zugl .: Tübingen, Univ., Diss., 1988) (Also as: Analecta Cartusiana; 126) . Deutscher Verlag für Kunstwissenschaft, Berlin 1988, ISBN 3-87157-123-7 .
- Michael Müller SDB (Ed.): The odyssey of the Buxheim choir stalls has ended happily. The magnificent choir stalls have returned . Self-published, Buxheim 1980.
- Michael Müller SDB: Kartausenführer: Buxheim. Carthusian church with choir stalls, parish church, Anna chapel, monks cell, cloister and museum . Self-published, Buxheim 1982.
- Hugo Schnell, Uta Schedler: Lexicon of Wessobrunn artists and craftsmen . Schnell & Steiner, Munich 1988, ISBN 3-7954-0222-0 .
- Christina Thon: Johann Baptist Zimmermann as stucco . Schnell & Steiner, Munich 1977, ISBN 3-7954-0406-1 .
- Gisela Richter: Johann Baptist Zimmermann as a fresco artist. The early work . Tuduv-Verl.-Ges., Munich 1984, ISBN 3-88073-145-4 .
- Günther Bayer: The Sichelbein family of painters 1580–1758. Life pictures and works . Fink, Lindenberg 2003, ISBN 3-89870-142-5 .
- Isaac Oxoviensis: Elogia Mariana Ex Lytaniis Lauretanis Deprompta . Steudner, Augustae Vindelicorum 1700.
Web links
Individual evidence
- ↑ City and District of Memmingen, p. 85.
- ↑ Buxheim, Charterhouse and Parish Church, pp. 1 and 15.
- ^ Dehio, p. 223.
- ^ Dehio, p. 224.
- ↑ a b The Buxheim Choir Stalls, p. 68.
- ↑ a b The Buxheim Choir Stalls, p. 53.
- ↑ a b c The Buxheim Choir Stalls, p. 55.
- ↑ Gisela Richter, p. 187.
- ↑ Buxheim, Charterhouse and Parish Church, p. 18.
- ↑ a b c d City and District of Memmingen, p. 86.
- ↑ Michael Müller SDB: Kartausenführer: Buxheim, p. 25.
- ↑ a b c The Buxheim Choir Stalls, pp. 78–79.
- ↑ Buxheim Charterhouse and Parish Church, p. 34.
- ↑ The Buxheim Choir Stalls, p. 38.
- ↑ Buxheim Charterhouse and Parish Church, p. 30.
- ↑ City and District of Memmingen, p. 86.
- ↑ Church leaders from 1936 and 1958.
- ^ Franz Dambeck and Günther Grundmann: German Bell Atlas . Deutscher Kunstverlag Munich Berlin, 1967, p. 350–351 (Roman year MCMLXVII).
[* X] The Buxheimer choir stalls . Contributions to the building and art history of the former Reich Charterhouse in Buxheim and the restoration of the choir stalls. In: Michael Petzet (Ed.): Workbooks of the Bavarian State Office for Monument Preservation, 66 . Munich 1994, ISBN 3-87490-569-1 .
Coordinates: 47 ° 59 ′ 58.4 ″ N , 10 ° 8 ′ 2 ″ E
