St. Oswald (Regensburg)
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The St. Oswald Church is an Evangelical Lutheran church in Regensburg .
History and description of the building
The Regensburg patricians Karl Prager and Friedrich Auer founded the church and an attached hospital in the late 13th century . Their coats of arms are visible from afar on the buttresses on the north side of the choir, on the street side and on the Danube. After the Prague expiry in 1307, the Gumprecht took over the hospital maintenance, the administration of the hospital. The “Reiche Spital” served to care for pious women from the families of the donors. The Gumprecht coat of arms is located inside the church on the keystone in the Chorjoch. After the Auer died out in 1483, the city council claimed the patronage rights that were granted to it in 1514 after decades of legal dispute. Therefore, in 1537 hospital care was transferred to the imperial city alms office, which had been newly established a few years earlier. The city's coat of arms is on the keystone at the end of the choir.
The church has been used for Protestant worship since 1553. Along with the Bruderhaus chapel on today's Emmeramsplatz, the church of the second hospital foundation, which was created in the late Middle Ages under purely patrician ownership, and the unfinished Neupfarrkirche as the actual parish church of the evangelical imperial city since 1542, it is one of the three evangelical churches of the city up to Construction of the Trinity Church 1627–1631. In addition, until 1627 there was a controversial double use of the Dominican Church with the Dominican Order .
In 1604 the church was expanded to its present size with a spiral staircase in the west, and the hospital buildings were rebuilt along the Weißgerbergraben. The exterior of the extension takes up the existing medieval building up to the first nave buttress: in terms of construction volume, the continuation of the roof shape, with buttresses and window shapes, right up to the detailed replica of the tracery shapes. The church in its current form is a remarkable example of post-Gothic architecture. Inside, in addition to the pews built on the ground floor, it was given a gallery with additional spaces in 1626. Since 1610, the church has served the catechism services that have been held in Regensburg since the early days of the Reformation , sermon services for teaching and deepening the knowledge of the faith that had previously been held in the Neupfarrkirche .
In the early 18th century, the interior of the church was redesigned in Baroque style, the choir vault was painted and the altar was given a new structure using the existing pictures. The nave was stuccoed and decorated with a rich program of images.
In 1750, a new organ was installed in the organ front, matching the baroque interior of the church. The upper gallery had to give way in the west; the lower one was expanded and received its curved shape extending into space. During this time, in the corner between the choir and the nave on the north side, on the street side, a second staircase with a simple, opposite staircase was built.
The last construction work was carried out at the beginning of the 20th century with the construction of a new vestibule based on designs by German Bestelmeyer and the renewal of the roof turret.
In the 1950s and 1980s extensive renovations took place, 1953–1955 with reconstruction and until 1991 with restoration of the baroque organ.
Furnishing
The interior is presented in a baroque style. The altar painting dates from the early 17th century. The altar structure is designed in the manner of the acanthus altars, particularly known from the northern Upper Palatinate, and dates to 1724/26. It was created by local craftsmen, the carpenter Johann Wolfgang Lincken and the decorative painter Balthasar Hueber. At the request of the founder Johann Zacharias Seidel, the paintings by Isaac Schwendter (died 1609) were reused. Schwendter is a later representative of the Danube School with its deep, emotionally charged landscapes. The large painting depicts the crucifixion in front of the darkened sky of the ninth hour. In the base of the altarpiece, typological features include the burning bush, the brazen serpent raised by Moses, and the sea monster that spits the prophet Jonah back on land after three days , reproduced exemplary motifs from the Old Testament. They point to the accounts of the birth, crucifixion, and resurrection of Jesus in the New Testament. The pulpit on the choir arch also dates from the early 17th century and was included in the refurbishment of the church in the first two decades of the 18th century. (Supplement with a stucco drapery with a biblical verse and the year 1709 on the back) The church furnishings are characterized by galleries and stalls from the 1620s as well as several oratorios, separate, enclosed spaces for distinguished and wealthy worshipers of the 17th and 18th centuries.
The church was reshaped in the nave on the ceiling and galleries in 1708/09 with an extensive range of images and rich Wessobrunn stucco decor. During this time, the mighty angel at the choir arch opposite the pulpit came into the church, pointing to the open book in his hand, the Bible, with a sweeping gesture. The decorative painting in the Gothic choir vaults comes from Balthasar Huber. The masters of the plastering and the paintings are unknown.
Much indicates that the refurbishment of the church, in which the "children's teaching" of the catechism service has been held since 1610, is related to the efforts of the 15th Regensburg superintendent (a kind of regional bishop) Georg Serpilius, this service with the instruction in the To deepen the knowledge of the Gospel-Lutheran faith again.
The sequence of images is characterized by two characteristics: typological comparisons can be seen again and again, such as the sea monster that spits out Jonah, followed by a depiction of the resurrection of Christ on the upper gallery, and the assignment of the two parts of the Bible to the old and the new Testament in general, as with the two large ceiling paintings with Moses with the tablets of the law and Jesus of the Sermon on the Mount. A small curved image field on the ceiling near the choir arch appears to take up the form of the open book, which is presented by a painted angel: It contains the Old and New Testaments with VT and NT. An inscription at the lower edge of the picture QVAM BENE CONVENIVNT - How well they fit together emphasizes the togetherness of the two parts as a whole.
On the choir arch itself, in a stuccoed frame, held by stuccoed putti, the Regensburg city coat of arms appears: here, as on the exterior building in the arch of the church entrance from 1604, it is to be understood as a sign of the ecclesiastical authority of the imperial city period.
In the middle of the ceiling, large stuccoed angels hold a picture field with an intricate openwork frame and an inscription according to Isa. 40, 8 VERBVM DOMINI MANET IN ÆTERNVM The word of the Lord is eternal . While the four evangelists also appear in plastic stucco at the four corners of the ceiling mirror, each with his gospel, with a book in hand.
organ
The organ was installed in 1750 by the Regensburg organ builder Franz Jakob Späth . A rebuilding in the neo-baroque style in 1955 by the organ builder Paul Ott is considered unsuccessful . After the renovation from 1986–1991 by the Bonn organ builder Klais and another general overhaul by the Ziegltrum organ builder from Mallersdorf-Pfaffenberg / Ndby. 2005 has sliderchest -instrument now back on the original disposition with 18 registers on two manuals and pedal .
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- Coupling : II / I (manual slide coupling)
- Playing aid : Tutti (as a pedal)
local community
The church of St. Oswald today belongs to the parish of the Dreieinigkeitskirche in the parish of Regensburg. It can be viewed at the weekends during the summer months as part of regular opening times. In addition to the church services, concerts are held all year round. Particularly noteworthy are the so-called late summer concerts, which have been taking place every year in late summer since 2010 around the organ by Franz Jakob Späth.
literature
- Hubel Borgmeyer, Wellnhofer Tillmann: City of Regensburg. Ensembles-Architectural Monuments-Archaeological Monuments. (= Monuments in Bavaria. Vol. III. 37). 2nd Edition. Schnell & Steiner, Regensburg 1997, ISBN 3-927529-92-3 .
- Artur Dirmeier: Welfare , commemoration of the dead and power politics in medieval Regensburg. From hospitale pauperum to alms ministry. In: Martin Angerer, Heinrich Wanderwitz (Ed.): Regensburg in the Middle Ages. Contributions to the history of the city from the early Middle Ages to the beginning of the modern era. Vol. 1: Contributions. Universitätsverlag, Regensburg 1995, ISBN 3-930480-05-0 , pp. 217-236.
- Rosa Micus: The picture program in Regensburg, St. Oswald. A catechetical cycle of images of the Regensburg-Lutheran character. In: The Minster. 63rd vol. 3, 2010, pp. 188-198.
- Peter Morsbach: Protestant churches in Regensburg. (= Great Art Guide. No. 176). Schnell & Steiner, Regensburg 1991, ISBN 3-7954-0855-5 .
- Peter Morsbach: Evang.-Luth. St. Oswald Church Regensburg (= scenes. On the way through Bavaria's history. Art guide ). Morsbach-Verlag, Regensburg 2007, ISBN 978-3-937527-12-3 .
Individual evidence
Web links
Coordinates: 49 ° 1 ′ 17 ″ N , 12 ° 5 ′ 26 ″ E