St. Martinus (upper stadium)

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St. Martinus (upper stadium)

The Roman Catholic parish church of St. Martinus is a late Gothic hall church in the Oberstadion in the Alb-Donau district in Baden-Württemberg . She belongs to the pastoral care unit Donau-Winkel in the diocese of Rottenburg-Stuttgart and is known for her late Gothic sculptures and paintings from the Ulm School .

History and architecture

Interior view with a view of the choir
Southern cross arm with an ascent

The late Gothic hall church, built by Wilhelm and Burkhart von Stadion from 1470, was completed as a shell in 1473. The Bishop of Constance Otto IV von Sonnenberg inaugurated it at Easter 1482. In the late Gothic style, the church received a high altar and several side altars in the form of winged altars . After side chapels had been added to the nave, the two eastern chapels on the north side were expanded like a transept in 1585 and the count's crypt chapel was built underneath. At the same time, the raised sacristy with the St. Anna chapel below (also called the crypt chapel), which is accessible from the adjoining cemetery, was added to the north wall of the choir. A staircase leads down from the sacristy to the choir room. A century later a transverse arm was built on the south side of the nave. In the 18th century the church was partially baroque , with the volute gable on the tower and the southern transverse arm. It got a high altar and side altars in the Baroque style. In 1808 there was a fire in the tower roof, the consequences of which were only eliminated in 1846 with the construction of a new tower tower. Between 1865 and 1880 the furnishings were redesigned in a neo-Gothic style, the baroque high altar was sold and replaced by a neo-Gothic retable . This had to give way to a modern structure in 1963, but was restored in 1999 and used again as a high altar. At the same time, a people's altar and an ambo , created by Herbert Goeser from Oberndorf am Neckar, came into the choir. Until 1908, the gentlemen from Stadion held the right of patronage.

The church has a slightly retracted choir with a reticulated vault and a three- eighth end, as well as a cross-vaulted west tower in the basement, which is closed with gables and a slender, octagonal roof turret. A total of six side chapels are arranged between the buttresses of the nave, which are drawn inwards, giving the church the appearance of three aisles. The buttresses break through the monopitch roof of the side chapels and rise diagonally to the eaves. The large, almost 10 m wide nave is equipped with ribbed vaults and lateral pointed arcades that provide access to the side chapels. Oval skylights sit across the arcades. A closed staircase - in the form of a bridge over a cemetery path - is attached to the south wall of the right transverse arm, which until 1963 led to a gallery that was set up for the higher employees of the Stadion.

Furnishing

The original winged altars are only partially preserved. The artistically most valuable pieces of equipment are several sculptures and paintings from the Ulm School from the second half of the 15th and the beginning of the 16th centuries, distributed on various neo-Gothic altars. They are located in the choir and in the area of ​​the transept. The current equipment is based on the structures and arrangements of the altars and sculptures at the end of the neo-Gothic redesign (1880).

Choir

High altar painting by Jörg Stocker

The high altar consists of a neo-Gothic case into which late-Gothic panels by Jörg Stocker and sculptures from the Ulm school were inserted. In the upper part of the reredos, two double-sided painted panels of the wings of the original Gothic altar were placed next to each other so that each panel can be rotated around its central axis and thus two viewing sides are possible. The first side shows three saints: Konrad with a chalice on which a spider sits, Catherine of Alexandria with a broken wheel and Peter with a key on the left panel and Paul with a sword, Dorothea with a basket of flowers and Ulrich with a fish on the right. If the panels are turned over, the carrying of the cross can be seen on the left and the entombment of Christ on the right ; both paintings (around 1490) are based on engravings by Martin Schongauer . The style of carrying the cross corresponds to that of the Ennetach altar by Jörg Stocker from 1496. Half-figures of the evangelists with their attributes from around 1480 are set in four niches under the painting panels . The statue of St. Martin is from the same period in the extract from the altar.

The Last Judgment , a three-part panel painting by Stocker on the back of the former high altar from around 1480/1490, has only survived in fragments after a fire, the right part with Hell has been destroyed. It is now attached to the north wall of the choir. To the right of him hangs a picture of St. Wolfgang with ax and church model in his hands, who is enthroned in front of a Gothic winged altar and is surrounded by believers or donors (end of the 15th century).

The choir stalls were created by Jörg Syrlin the Younger in 1486. The knobs of the cheeks consist of small animal figures and skulls. On the south wall of the choir there is a manorial chair belonging to those of the Stadion from 1775. A Gothic sacrament niche closed with an iron grating is built into the north wall. Wilhelm Geyer (1900–1968) designed the three leaded glass windows at the end of the choir in 1962 with scenes from the Gospel of John.

Transept

In the transverse arms are six winged altars that were put together in the 19th century and contain works not only from the Gothic period, but also from later centuries. Three of them are dedicated to Mary.

Northern cross arm

Anne Altar

The first Marian altar is placed on the left of the choir arch. The closed front side presents two paintings: the child murder in Bethlehem in front of the enthroned King Herod and St. Vitus in a cauldron in front of a landscape. When the front side is open, a statue of the Virgin Mary with baby Jesus can be seen against a golden background in the center of the central shrine. She is accompanied on the left by St. Margaretha and on the right by St. Agnes . On the paintings of the wings the saints Dorothea or Elisabeth (left) and Ottilie are shown. In the middle of the blast stands St. Anthony of Padua , on the right beside him St. Catherine of Alexandria, on the left an unknown saint; both female figures are dated to the early 16th century. In the predella are the half-length portraits of St. Blaise , King David and St. Sebastian from the 18th century. In the middle of the antependium is a double-sided painted panel with the image of a holy king and Christ as the Man of Sorrows, flanked by Sebastian (left) and Christ on the scourge column. The altar was created around 1510 by Ulm artists.

The St. Vitus altar is located on the free-standing arcade pillar. The outside of the painted wings show four scenes from the legend of St. Vitus from around 1490, the inside pictures of Saints Peter and Urban by Jörg Stocker from the same period. The three 19th century statues in the central shrine represent, from left to right, Augustine , Joseph and Barbara . A relief of St. Vitus in a cauldron with boiling oil from the 16th century can be found between two panel paintings with scenes from the Legend of Wolfgang in the middle of the antependium. In the extract of the altar is a carved half-figure of St. Eligius as a blacksmith (around 1500). In the predella there are busts of three saints; their heads are probably late Gothic, in the 18th century they were reassembled and framed.

On the north wall of the transverse arm is the Anna Altar , the so-called Stocker Altar from 1520, which, however, does not come from Jörg Stocker (as stated in the inscription made during the restoration in 1864). The outer sides of the wings are painted, the inner sides and the central shrine are decorated with sculptures against a golden background. In the painting, St. Michael is depicted as a weigher of souls in the style of late-ulm renaissance painting. In the shrine there is a group of Anna-selbdritt , to which St. Barbara turns on the left and St. Catherine on the right. The left wing contains a relief of St. Sebastian, the right one of Christophorus . All figures are painted golden and colored. Veronica's handkerchief is spread out on the predella .

On the east wall of the transverse arm hangs a picture by F. Johann Georg Glyckher (1653–1731) from Rottweil, signed "1708" and depicting the Holy Walk . To the right of it, an oil painting by Konrad Huber from 1817 with an Adoration of the Shepherds decorates the wall. The author Christoph von Schmid , who was pastor in Oberstadion from 1816 to 1827, was inspired to write his story The Christmas Eve (1825) through this picture . On the west wall is a panel painting from 1682 by Johann Heiss , which shows the crucifixion of Christ and came to the Oberstadion in 1926.

Southern cross arm

Marien Altar on the choir arch on the right

At the choir arch on the right is the second retable of Mary. When closed, the winged altar shows four painted scenes from the Passion of Christ: the flagellation at the top left , the crowning of thorns with the mockery of Jesus, and the crucifixion at the bottom left, followed by the burial of Christ. If you open the wings, three carved figures become visible in the central shrine: Mary with the baby Jesus in her arms, flanked by Catherine of Alexandria (left) and St. Agnes. An inscription in Gothic minuscule at the foot of the shrine indicates the year of origin of the altar: "Anno Domini MCCCCLVIII completum est hoc opus ad honorem Virginis Mariae" (In the year of the Lord 1458 this work was completed in honor of the Virgin Mary). The paintings on the two wings are divided into four rows with depictions of three saints each. An exception is the bottom row of the right wing, in which four saints have found space. They are named in their nimbs . On the left wing are (from left to right and from top to bottom): Ursula , Barbara, Dorothea - Augustinus, Ambrosius Autpertus , Hieronymus - Sebastian, Stephanus , Erasmus - Georg , Achatius , Mauritius . The right wing shows: Martin, Verena , Nikolaus - Adelheid , Elisabeth, Anna (Wissagerin) - Alexius , Klara , Marina - Antonius Eremita , Franziskus , Crescentia , Kunigunde . The background of the insides of the wings and the center shrine is golden. In the middle of the antependium is a painted panel with King David on the front and a Mater Dolorosa on the back. St. Nicholas stands in the middle between John the Baptist (left) and Paul. These three statuettes were created in the early 16th century. The altar probably comes from the Ulm school, possibly from Jakob Acker's workshop . It came to the church in 1874 as a gift from Carl Friedrich von Stadion. The heads of four female saints on reliquary boxes in the predella are around three decades younger and originally did not belong to this altar.

Marien Altar on the arcade pillar

Another Triptych of Mary is located on the free-standing arcade pillar . Two saints are depicted on the painted wings of the closed altar: Notburga with nine small children in her apron and Verena. In the center of the open central shrine there is an enthroned Madonna with the baby Jesus on a pedestal, standing on her left thigh. This sculpture from the early 15th century is flanked by two statues from the beginning of the 16th century, on the left by an Anna herself, on the right by St. Wendelin . The wings carry paintings of John the Baptist and the Apostle John . The images of saints on the wings are attributed to Jörg Stocker and are dated to the last decade of the 15th century. The predella is decorated with reliefs of Catherine of Alexandria and Christophorus from around 1520. Between them, on the tabernacle, there is a painting with a Pietà that came to the church in 1811.

The George Altar stands on the south wall of the cross arm. On the outside of the wings there are painting panels with the saints Christophorus and Sebastian, on the inside there are pictures of the saints Theodul and Ulrich. Stylistically, the paintings match those of the high altar and were therefore probably created by Jörg Stocker around 1490. In the central shrine there is a carved figure of St. George on horseback fighting a dragon. It dates from the 18th century, as does the baroque statuette of St. Roch in the extract of the altar. The antependium is - as with the St. Vitus altar - decorated with two panel paintings with scenes from the legend of Wolfgang. In the predella, between the statuettes of Anthony of Padua and St. Clare, there is a large red flaming heart.

The panel paintings in the antependia of the George Altar and the Mary Altars from 1458 and 1510 probably come from altar wings painted on both sides.

On the east wall hang two baroque paintings (around 1740) of the penitent Maria Magdalena and the repentant Peter by Johann C. Koler. In front of the Petrus picture is an octagonal baptismal font with a neo-Gothic top, on the west wall the tombstone of Hans von Stadion († 1458), who was also called "Knight Hans the Rich", with the name "Jörg Syrlin zu Ulm 1489".

Longhouse

Baroque altar of the three kings

In four of the six side chapels of the nave there are Baroque altars that came into the church in the 18th century, and in the two eastern chapels there are confessionals from the same period. The Rococo pulpit by Jakob Sauter from 1773 is located on the pillar between the northern transverse arm and the first side chapel with confessional. This year is in Roman numerals in a cartridge on the back wall of the pulpit. The pulpit is carried by an angel at the bottom, and a putto holds the tablets of the law at the top of the sound cover .

The adjoining chapel houses the Martinus altar. Created in 1708 as the George altar, it bears an altar painting showing St. Martin dividing the coat, and with “M. invenit et pinxit 1734 “is signed. A depiction of St. George has been preserved in the antependium. In the last chapel in the west of the north side is the altar of the Evangelist Johannes with a painting by Johann C. Koler, on which the evangelist and several saints are depicted.

Opposite on the south side is the Three Kings Altar, also called the Altar of Apparitions, with an Adoration of the Magi painted by Kohler . The chapel next door contains an Andrew altar from 1700 with a statue of the saint in front of the St. Andrew's cross in a round-arched niche.

On the consoles stand Maria, Cäcilia and an unknown saint on the southern pillars, and Barbara and Johannes Nepomuk on the northern pillars . A nativity scene by Sebastian Osterrieder (1864–1932) from 1921 is set up in front of the choir arch during the Christmas season .

The organ is a work by Albert Reiser from 1965 with 15 stops on two manuals and pedal . It is built into a baroque housing from around 1774 on the upper floor of the double gallery in the west of the nave. The parapet on the lower floor, divided into thirteen fields, is painted with the twelve apostles, with Christ as Salvator mundi in the middle. Under the gallery are the so-called court chairs from the 17th century, seating for the count's officials.

Crypt

In the count's crypt chapel with a crucifixion group on the front wall, a tombstone for Ludwig von Stadion († 1521) and an epitaph dated 1584 with nine coats of arms for Hans von Stadion († 1568) are worth mentioning.

In the St. Anna Chapel there is an altar from 1710 with a statue of the Archangel Michael weighing souls, adorned with rocaille decoration. A stone relief with a crucifixion from 1606 by Hans Morink (1555–1616) is embedded in one side wall.

literature

  • Georg Dehio: Handbook of the German art monuments. Baden-Württemberg II: The administrative districts of Freiburg and Tübingen. Deutscher Kunstverlag, Munich / Berlin 1997, ISBN 3-422-03030-1 , pp. 505–506.
  • Eduard von Paulus , Eugen Gradmann (Hrsg.): The art and antiquity monuments in the Kingdom of Württemberg. Inventory. Danube district. First volume: Oberämter Biberach, Blaubeuren, Ehingen, Geislingen. Paul Neff Verlag, Eßlingen a. N. 1914, pp. 163-179.
  • Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs. Christoph von Schmid memorial in the town hall . Kunstverlag Josef Fink, Lindenberg 2002, ISBN 3-89870-046-1 .

Web links

Commons : St. Martinus (Oberstadion)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church as well as the churches and chapels of the suburbs , p. 5.
  2. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 11.
  3. ↑ a b c d websites of the community of St. Martinus Oberstadion. Retrieved January 15, 2019 .
  4. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 1.
  5. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 9.
  6. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 11f.
  7. ↑ Eduard von Paulus, Eugen Gradmann: The art and ancient monuments in the Kingdom of Württemberg , p. 167.
  8. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 17.
  9. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , pp. 18–21.
  10. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 12.
  11. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 28.
  12. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church as well as the churches and chapels of the suburbs , p. 25.
  13. ↑ Lieselotte contactor: Ambrose Autpert. In: Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography , Volume 5, Herder, Freiburg im Breisgau a. a. 1994, ISBN 3-451-22568-9 , Sp. 114.
  14. ^ Gabriela Kaster: Anna (Hanna). In: Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography , Volume 5, Herder, Freiburg im Breisgau a. a. 1994, ISBN 3-451-22568-9 , Sp. 168.
  15. ^ Gabriela Kaster: Marina (Maria) - Marinus. In: Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography , Volume 7, Herder, Freiburg im Breisgau a. a. 1994, ISBN 3-451-22568-9 , Sp. 545-546.
  16. ^ Georges Kiesel: Kunigunde (Cunégonde). In: Wolfgang Braunfels (Ed.): Lexicon of Christian Iconography , Volume 7, Herder, Freiburg im Breisgau a. a. 1994, ISBN 3-451-22568-9 , Sp. 357-360.
  17. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , pp. 13–15.
  18. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , pp. 15–17.
  19. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 18.
  20. ↑ Eduard von Paulus, Eugen Gradmann: The art and ancient monuments in the Kingdom of Württemberg , p. 175f.
  21. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 21.
  22. ↑ Georg Steinle, u. a .: upper stadium. St. Martinus Church and the churches and chapels of the suburbs , p. 24.
  23. ↑ Information about the organ on orgbase.nl. Retrieved December 27, 2018 .
  24. ↑ Eduard von Paulus, Eugen Gradmann: The art and ancient monuments in the Kingdom of Württemberg , p. 176.

Coordinates: 48 ° 11 ′ 8.9 "  N , 9 ° 41 ′ 31.6"  E