St. Martin (Vöhrenbach)

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St. Martin from the northwest
St. Martin from the southeast

St. Martin is the Roman Catholic parish church in the town of Vöhrenbach in the Black Forest-Baar district of Baden-Württemberg . The parish together with the 7 other parishes of Vöhrenbach, Furtwangen and Gütenbach form the Bregtal pastoral care unit of the Archdiocese of Freiburg . The parish of St. Martin also includes the St. Michael brother church , which dates back to the 16th century, on the road from Vöhrenbach via the village of Herzogenweiler, which is now incorporated into Villingen-Schwenningen, to Villingen. The history of St. Martin , including the Bruderkirchle , has been researched in particular by the Vöhrenbach local historian Bernhard Kleiser (* 1925) and the pastor and art historian Manfred Hermann (see literature). The main ornament of the church are the works of the Winterhalder family of sculptors from the 17th and 18th centuries.

history

Vöhrenbach is mentioned for the first time in 1244 in a document from the sons of Count Egino V von Urach , who inherited the Zähringer family in Breisgau , Ortenau and Baar . In the deed of January 28, 1244, the four sons, including Konrad , who later became Count of Freiburg , and Heinrich I von Fürstenberg, agreed to found a new town in Vöhrenbach - Vernbach or Verinbach . The suzerainty came in 1250 to the bishops of Strasbourg , but fell late 15th century to the Prince of Fürstenberg back. Vöhrenbach stayed with them until it came to the Grand Duchy of Baden in the wake of the Reichsdeputationshauptschluss 1806 .

The parish is also first attested in 1244: the Bishop of Konstanz confirmed its establishment as a branch of the St. Martins parish in Herzogenweiler, which in turn was a branch of St. Martin in Kirchdorf, which today also belongs to Villingen-Schwenningen. The parish rights gradually passed from Herzogenweiler to Vöhrenbach. St. Martin Kirchdorf was founded around 750. The consecration of the Vöhrenbacher church to St. Martin of Tours is inherited from this early church. The church patronage with the church building load and the right to present the pastor originally belonged to the Cistercian monastery of Salem , but from the end of the Middle Ages it was owned by the Fürstenberg family.

Building history

  • Previous buildings

  • First construction

  • Third construction

  • Third building, interior

The current church is the fourth in the same place. From 1244 a Romanesque church was built with an eastern choir tower covered by a gable roof . In the Thirty Years War , on April 2, 1639, it was completely destroyed with the city by Swedish troops. The parish anniversaries report:

"Anno Dni MDCXXXIX the 2nd of April here between 7 and 8 o'clock in the morning, the place of Verenbach was burned down by the Swedish soldiers from Befelch deß Colonel in Freyburg to pulver and ash, so not a single house was left with nothing . "

As early as 1657, the second building was built from the church ruins, from which a group of figures of the Lamentation of Christ attributed to Johann Conrad Winterhalder has been preserved. From 1715 to 1723, a donation made by the 43-year-old Pastor Johann Jakob Fischer, who worked in Vöhrenbach from 1668 until his death in 1711, enabled the third, baroque building to be built for Johann Conrad Winterhalder's brother Adam Winterhalder and his son Johann Michael, who was born in Vöhrenbach, for sculptures and altars created. In 1811 the cemetery was moved from the area around the church to Herzogenweiler Straße. From 1866 to 1873 the fourth building began with the demolition of the old tower crowned by a baroque dome and the erection of a new, neo-Romanesque tower designed by Ludwig Lang (* 1828) . It was only continued in 1953 - after National Socialism and World War II - under Pastor Theodor Berberich (1892–1969; Pastor in Vöhrenbach from 1929 to 1967) according to plans by the architect Gregor Schroeder (1906–1976). On June 2, 1957, the fourth church was consecrated by Archbishop Hermann Schäufele . From 1974 onwards the Winterhalderschen sculptures, which had been stored in the attic of the rectory for twenty years, were restored, in 1984 the interior of the church was renovated, and in 1991 the choir room was changed.

Inside to the east
Inside to the west

building

About 100 m north of the Breg is the geostete church in the middle of the village.

In a vote in 1871, the Vöhrenbachers voted for the new tower to be located in the west facade. With its west side in the level of the west end of the nave and protruding from there into the interior, the tower is made of red sandstone and is divided into five storeys by buttresses, cornices, round pillars and friezes. The pointed octagonal helmet with two gold-plated balls and a high cross brings it to a height of 63 m.

The nave, covered by a gable roof, is a wide hall with a wide central nave and narrow passageways as side aisles. The architect Schroeder "wanted to remind of the building tradition of the 'one-room' cultivated by Vorarlberg builders of the 18th century by creating a sequence of arcades with inserted pillars and side passages." The choir closes with five sides of the dodecagon and is opposite the Longhouse raised. At the time the fourth building was completed in 1957, a communion bench separated it from the ship; In 1991 it was reduced in size and broken up. The basic colors of the interior are the red of the floor, the white of the walls, the dark brown of the paneled wooden ceiling and the lighter brown of the chairs.

Furnishing

The demolition of the baroque church under Pastor Berberich destroyed the old altars. Manfred Hermann reconstructed its appearance with the help of the Winterhalder sculptures that have been preserved and are now distributed on the walls and pillars of the church, and with the help of photographs . The sculptures are arranged here according to his result.

Baroque high altar and baroque triumphal arch group

Peter from the former high altar
Paul from the former high altar

According to this, the high altar was "a valuable work from around or after 1740" with many rococo ornaments . In this reredos “four figures by Adam Winterhalder from around 1732/33 were taken over. Apparently the old sculptor had not succeeded in putting the altar structure into work. The sculptures became a kind of legacy from Winterhalder to his home parish church, which the people of Vöhrenbach, in their respect for him, included in the later high altar association. ”Of the four former high altar figures, a Saint Michael and a John the Baptist are now in the parish church of St. Georg in Mundelfingen . St. Simon Peter remained in Vöhrenbach above the canteen on the left and St. Paul of Tarsus above the canteen of the right side altar. 188 cm high, they are quite monumental figures that unfold a solemn pathos peculiar to the high baroque by holding their arms and legs with pronounced counter-post . “Enormous, for example, the movement of Paul's outstretched left hand, clutching the hilt of the sword. The treatment of the robes is just as dramatic. With Petrus a strong wind blew part of the coat from the left hip across the body, forming a wildly rolling hem with an ear as a typical characteristic of the carver. <...> Typical for Adam Winterhalder are the long, twisted strands on the neck. Without a doubt, the sculptor has delivered his most mature works here, although he also reveals certain anatomical weaknesses through the high waist. "

  • High altar from 1991 and crucifixion group

  • Maria

  • St. Martin (Vöhrenbach) jm0969.jpg

  • John

The crucifix, which formerly hung in the triumphal arch , and the accompanying figures of the mourning Maria and the mourning Johannes are now hanging on the front wall of the choir above the modern high altar redesigned in 1991 by Wolfgang Kleiser from Urach (* 1936). Maria and Johannes, 170 cm high, are by Adam Winterhalder and show the rich gestures he is used to, such as the outer hands stretched out to the side and the outer feet presented. The Jesus on the cross, however, was later carved by Adam's son Johann Michael.

Baroque side altars

The baroque side altars were older than the main altar. Johann Michael Winterhalder had created it right after he returned from his journeyman's journey to his father's workshop in Vöhrenbach in 1733 . Unless otherwise stated, all figures are attributable to him. The structure, which completely dispensed with paintings, was somewhat wooden with its two pairs of pillars and two pilasters on the main floor according to Manfred Hermann and still lacked an elegant roco solution. The narrower upper floor contained a figure niche in the middle.

  • Cross altar

  • Lamentation group

  • Anthony the Great

  • Anthony of Padua

  • James

  • Barbara of Nicomedia

  • Catherine of Alexandria

The left side altar was probably a cross altar. In the middle of the main floor stood the above mentioned group of lamentations , a Pietà extended by four mourners . It is the oldest Winterhalder work of art by St. Martin , attributed to Adam Winterhalder's older brother Johann Conrad around 1665, and is now in the southern tower chapel. Above it was probably a Saint Joseph of Nazareth Adam Winterhalders, today in Vöhrenbacher private property. In addition to the group of lamentations , Hermann locates the two saints Antonii, Antonius the Great with a dew stick , bells and an Antonite pig and Antonius of Padua with the baby Jesus in his arms. In the middle niche of the upper floor, Hermann locates a Saint James the Elder , next to Barbara of Nicomedia with the martyr's palm and Catherine of Alexandria with her wheel.

  • Mary Altar

  • Dominic

  • Maria (copy)

  • Catherine of Siena

  • Joachim

  • Anna

  • Sebastian

  • Rochus of Montpellier

  • Severin

The right side altar was probably a Marian altar. In the middle of the main floor stood a Madonna still carved by Adam Winterhalder. Today it is also privately owned by Vöhrenbach; a copy is in the choir of St. Martin . Dominic and Catherine of Siena kneeled towards her . Maria's parents Joachim and Anna stood further to the side . On the upper floor, in the central niche, stood St. Sebastian , pierced by arrows. Next to it stood Rochus of Montpellier as a pilgrim with a plague bump on his thigh and a saint Severin.

Others

  • Risen one

  • Crispinus

  • James the Elder

Three other works by Adam Winterhalder have been preserved in the church. The risen Jesus on the northeast pillar stands on a silver cloud. "The cloak that is placed over the left shoulder gives the figure a relatively closed outline." Two processional figures on the south wall were probably donated by the shoemakers' guild. Saint Crispinus of the brothers Crispinus and Crispinianus is said to have been a shoemaker like his brother and to have been martyred in Soissons . He wears a leather doublet, high leather boots, a walking stick in his right hand and a martyr's palm in his left hand. James the Elder also comes along in long boots. Pilgrim staff, pilgrim hat and scallops are its attributes.

  • Stations of the Cross

  • Jesus is sentenced to death

  • Jesus takes the cross on his shoulders

  • Jesus falls under the cross for the first time

  • Jesus meets his mother

  • Simon of Cyrene helps Jesus carry the cross

  • Veronica gives Jesus the handkerchief

  • Jesus falls under the cross for the second time

  • Jesus meets the weeping women

  • Jesus falls under the cross for the third time

  • Jesus is stripped of his clothes

  • Jesus is nailed to the cross

  • Jesus dies on the cross

  • Jesus is removed from the cross and placed in his mother's lap

  • The body of Jesus is placed in the grave

The way of the cross with fourteen stations was painted in 1876 by the Freiburg painter Dominik Weber (1817–1887). Like the Winterhalder works on the rectory's granary, the Way of the Cross was restored in 1992 and hung in the southern chapel of the tower.

With 16 high windows on the history of salvation from the creation of the world to the Last Judgment , the glass painter Hans Baumhauer (* 1913) set colorful accents in the basic colors of the interior in 1954.

The local music box maker Konstantin Blessing (1808–1872) made a predecessor of today's organ in 1850. Today's organ from 1961 is a work of the Mönch Orgelbau company in Überlingen .

Appreciation

Hermann judges that one should regret the loss of the baroque church, and that the new building would have expected the parish to grow faster than it actually had. But the congregation now owns a spacious church that has “the typical features of the 1950s with its moderately modern style”. Kleiser writes: "The mature works of the 20 baroque figures in the Vöhrenbacher parish church rightly fill the local population with pride of Adam and Johann Michael Winterhalder, who left their hometown and numerous places in South Baden impressive evidence of their work, their artistic sense and talent."

literature

  • 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 im Allgäu 1996, ISBN 3-931820-01-7 , pp. 61–83.
  • Manfred Hermann: Vöhrenbach in the Black Forest. Stadtkirche St. Martin, brother church St. Michael. Kunstverlag Josef Fink, Lindenberg im Allgäu o. J. ISBN 3-931820-12-2 .
  • Bernhard Kleiser: The Winterhalder family of sculptors. In: Working group city history of the home guild "Frohsinn" eV Vöhrenbach (Hrsg.): Vöhrenbach in the Black Forest: New contributions to the city history. Geiger, Horb am Neckar 1994, pp. 91-108. ISBN 3-89264-888-3 . Richly illustrated.
  • Discover regional studies online Baden-Württemberg: Vöhrenbach. Digitized. Accessed on July 26, 2015. Except for the abbreviations, the texts are identical to: Vöhrenbach. 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. 608-609.
  • Heribert Saldik: The history of the upper Bregtal. An introduction to the historical development of the cities of Furtwangen, Vöhrenbach and their districts as well as the community of Gütenbach. Freiburg im Breisgau 2011. Digitized. Retrieved July 27, 2015.
  • Pastoral care unit Vöhrenbach: website. Digitized. Retrieved July 26, 2015.

References and comments

  1. ↑ Discover regional studies online Baden-Württemberg: Herzogenweiler . Digitized. Retrieved July 26, 2015.
  2. ↑ The chapel on the Heilige-quellen website . Digitized. Retrieved July 28, 2015.
  3. ↑ Balance 2011, p. 52.
  4. ↑ Discover regional studies online Baden-Württemberg: Kirchdorf . Digitized. Retrieved July 26, 2015.
  5. ↑ Hermann 1996, p. 64.
  6. ^ Bernhard Kleiser and Karl Krieg: honorary citizens of the city of Vöhrenbach. In: Working group city history of the home guild "Frohsinn" eV Vöhrenbach (Hrsg.): Vöhrenbach in the Black Forest: New contributions to the city history. Geiger, Horb am Neckar 1994, pp. 127-130. ISBN 3-89264-888-3 .
  7. ↑ Hermann undated, p. 20.
  8. ↑ Hermann 1996, p. 66. Adam Winterhalder lived in Vöhrenbach since 1695 and died there in 1737.
  9. ↑ Pastoral care unit on the Baar: St. Georg . Digitized. Retrieved July 27, 2015.
  10. ↑ Hermann 1996, p. 66.
  11. ↑ Hermann 1996, p. 78.
  12. ^ According to Hermann. However, the figure is inscribed "Zacharias" , who was the father of John the Baptist; Bernhard Kleiser refers to her as "Zacharias" in the Urban History Working Group of the Heimatgilde "Frohsinn" eV Vöhrenbach 1994, p. 97.
  13. ↑ The identity of the saint named "Severin" is unclear. The figure is naked except for a cloth draped dramatically around the abdomen and right arm and does not fit any "Severin" in the lexicon of Christian iconography .
  14. ↑ Hermann 1996, p. 76.
  15. ^ Klaus Weber: The Freiburg painter Dominik Weber and his family. In: Schau-ins-Land. Annual booklet of the Breisgau history association Schauinsland Volume 102, 1982, pp. 263-274. Digitized. Retrieved July 28, 2015.
  16. ^ Website of the city of Vöhrenbach: Orchestrion. History of the production of mechanical musical instruments in Vöhrenbach. Digitized. Retrieved July 18, 2015.
  17. ↑ Hermann undated, p. 26.
  18. ↑ Kleiser 1994, p. 108.

Coordinates: 48 ° 2 ′ 43 "  N , 8 ° 18 ′ 14.9"  E