St. Peter and Paul (Bonndorf in the Black Forest)

St. Peter and Paul is the Roman Catholic parish church of Bonndorf in the Black Forest in the Baden-Württemberg district of Waldshut . The three-aisled pseudo - basilica with a façade tower and three-sided closed choir, built by Josef Berckmüller in the arched style coined by Heinrich Hübsch , replaced the monastery church that burned down in 1842 at a new location. After several changes to the plan, completion took until 1850. However, the parish was dissatisfied with the furnishings until the church was completely renovated and painted between 1893 and 1900 by Franz Joseph Simmler . The interior of the church was restored to this state between 1972 and 1974.

Together with its branches in Ebnet, Wellendingen and Wittlekofen , the parish belongs to the pastoral care unit Bonndorf-Wutach in the Waldshut dean's office in the Archdiocese of Freiburg .

St. Peter and Paul from the Philosophenweg

St. Peter and Paul from the northwest

St. Peter and Paul from the southwest

Parish history

Church of St. Peter and Paul with the former Pauline monastery around 1815 (painted in the 20th century from a drawing by Josef Köpfer and completed by the artist according to his own ideas)

The place was first mentioned in the year 800 as "Pondorf", the parish only with the mention of a pleban in 1223. At the end of the 14th century the parish was orphaned. In 1402 Rudolf von Wolfurt and his wife Elisabeth von Krenkingen founded a Pauline monastery with the express consent of their son Wolf and the mayor and the council , to which he left the parish church as a monastery church for incorporation . Since then the Paulines have provided the pastors. In 1731 there is talk of a re-erection of the building, for which the St. Blasien Monastery , which had owned the Bonndorf Empire since 1612, supplied wood.

With the secularization of the ecclesiastical properties in 1806, Bonndorf became part of the Grand Duchy of Baden and in 1807 the history of the Pauline Monastery ended after more than 400 years. The monastery church became a parish church again, and the building obligation was transferred to the Grand Duchy. In church Bonndorf came in 1821 from the Diocese of Constance to the Archdiocese of Freiburg.

On the evening of July 18, 1842, a fire broke out in the home of the church fund administrator. Even if a windless night prevented the fire from spreading to other buildings, seven private houses including barns and stables, the rectory and the former monastery church were destroyed.

Building history

After secularization, the Grand Duchy was required to build. From around 1840 there was a plan for a new parish church at the previous location, but this was not implemented after the fire. Instead, the Karlsruhe building inspector Friedrich Theodor Fischer drafted a new plan, which was approved in April 1844. The responsible district building inspection in Donaueschingen envisaged the service administrator Georg Steinwarz as the local site manager. After a preliminary complaint about him and his assistants on the part of Bonndorfer and the request for an exception in the election of the construction management, the Badische Hofdomänenkammer released the building project in May 1844 from the area of ​​responsibility of the Donaueschingen district building inspection and transferred it to Josef Berckmüller , one of the most talented students Friedrich Weinbrenner's . The then private architect and construction intern Berckmüller reserved the right to change the predecessor's plans. His revised plans were submitted to the Catholic upper church council on July 17, 1844 and approved on the same day. Berckmüller, who moved from St. Blasien to Karlsruhe in 1844, became a district master builder there on December 19, 1844 and, in April 1845, an additional military master builder. He was also responsible for the police business (building permits, neighborhood disputes, etc.) and thus filled three offices at once.

Change of building site and further delays

The first plan was to build the church on the site of the previous building that had burned down , but Berckmüller no longer wanted to use it in June 1845. The foundation work that had begun had shown that the soil was unsuitable for the planned dimensions of the church. Even the previous church had shown cracks and cracks, the cause of which was suspected to be the poor building ground. At Berckmüller's request, Heinrich Hübsch , the highest Baden construction officer and a church architect who shaped the style, as well as the fortress builders Georg Eberle and Major Mali, had negative comments on the planned building site and emphasized the need for more expensive security measures.

Because of the presumably higher foundation costs, the remaining risk for the church building and the impending additional delay, the Hofdomänenkammer also rejected the planned location in early July 1845. A place in the east at the Viehmarktplatz and today's location above the city (“behind the house of Joseph Dobler”) were up for discussion . By August 1845, an agreement had been reached on the building site. The decisive factor came from the believers in the Ebnet branch church, who unanimously decided in favor of the latter and thus the location closest to them. The Bonndorfer would have preferred the cattle marketplace, as it was closer to the town center at the time.

Berckmüller probably had to adapt his plans to the new location, so that the foundation stone was not laid until May 7, 1846. The stones from the ruined monastery church were used to support the new church. Then the stones came from a sandstone quarry that was located in the area of ​​today's sports field. In addition to the location problem and the slow-moving funds, the Baden Revolution of 1848 "with its 'democratic confusion' and 'insurgent uprisings'" is seen as a further reason for sluggish construction progress. Franz Josef Bodenmüller , who was born in Löffingen, came to Bonndorf from Engen in the year of the revolution . His predecessor, Joseph Gerspacher, was transferred from Oberbiederbach to Bonndorf in 1838 and was still in office in February 1847. In 1838 Gerspacher had succeeded the parish administrator Joseph Anton Heizmann, who had been transferred to Bonndorf in 1836 as successor to Dominikus Kuenzer .

In December 1848 the rectory complained to the Grand Ducal Domain Chamber about the delays, while the structural work was now completed. Another complaint in January 1849 suggests that the work was completely suspended. After these lawsuits, there was further progress, so that the first negotiations for bells and organs were held in the same year and Berckmüller designed the altar and baptismal font. It is believed that the church was handed over on May 23, 1850, while work continued through December 15. Also in 1850 Hieronymus Schuler from Engen was appointed pastor from Frickingen to Bonndorf and was thus the third pastor who was involved in the construction of the new church.

Complaints after the end of construction

Mary with angels above the main entrance by Franz Xaver Reich

The Baden Ministry of Finance dealt with complaints from Bonndorf several times in the following years, as the church was not fully equipped despite the construction work being completed. So in 1850 u. a. the choir stalls , a communion bench and a tabernacle (the latter for the goatee, an indication that Berckmüller's design for the altar was never executed). In July 1858 the ministry entrusted the interior construction of the church to Heinrich Huebsch, who had been Weinbrenner's successor as director of the Karlsruhe Building School and the Karlsruhe Polytechnic School since 1826 . Hübsch designed three new altars, for which Amalie Bensinger created paintings until 1859. The main altar showed Christ with the princes of the apostles , the side altars Mary (left) and Joseph (right). The work has meanwhile been supervised again by the Donaueschingen district building inspection. In addition, Hübsch commissioned the Hüfingen sculptor Franz Xaver Reich (1815–1881), who created a terracotta Madonna with angels for the tower vestibule above the main entrance . The cost of the altars and the relief amounted to 2,422  guilders .

Easter lamb supposed to have been renovated in 1894

In contrast to the relief from Reich, the altars have disappeared today; a generation later, in historicism towards the end of the century, Berckmüller and Hübsch's post-classical forms were felt to be sparse. City pastor Fridolin Honold (1837–1900) campaigned for a new interior design from 1886 with memoranda at the Baden Ministry of Finance. In the same year he wrote that he had collected 3,400 marks for a high altar, but this cost 8,000 marks. He described in detail where he could imagine paintings, statues, etc. The Grand Ducal Badische Domänendirektion described Honold's descriptions of the interior of the church as exaggerated and replied that the domain owner was not obliged to purchase pictures, statues and the like and was certainly not able to do so. At most you are ready for a new interior painting. Honold responded by threatening to turn to the Domain Directorate again and at the same time to the Grand Duke and Minister of State Turban . The church authorities, to which he had also turned, saw no prospect of success and recommended that private charity be used.

Between 1893 and 1900, shortly after Bonndorf was granted town charter in 1891 , today's interior was built, which was completely financed by private donations. It goes back to the sculptor, painter and altar builder Franz Joseph Simmler (1846–1926), who ran a large workshop for church art in Offenburg . Simmler had already made drafts for the choir of the Bonndorf Church in the spring of 1892. For the late autumn of 1894, Simmler predicted the completion of the church “except for the pictures of the ship wall” in May of that year. However, the communion bench, choir stalls and St. Mary's altar were not finished until 1896. Nevertheless, a depiction of the Easter lamb on the book with the seven seals and the victory flag in the roof vault of the tower vestibule reports on a renovation in 1894. Immediately before the painting and furnishing of the Bonndorf church, Simmler was in the Bräunlingen church Our Lady of the year with the same tasks Berge Karmel , which also lasted until 1897.

Changes in the 20th century

Christmas church at the time of the redesign by Simmler with objects that were later changed or removed: on the left the old pulpit, in the middle (behind a crib ) the communion bench, on the left above the eternal light, on the right the passage to the right church door, which later was occupied with benches, as well as the old font

Restoration of the upper storey pictures in the 1970s

In 1902 the rectory was built north of the church in the same style. The stones came from the quarry that had already been used for the construction of the church and that of the official prison built in between. From 1907 the original pulpit was replaced by a larger one with four wooden reliefs from the Church Fathers and a new sound cover . This was done by the Moroder brothers , who had taken over Simmler's workshop and who had also made a new font by 1911. After the power station, approved for 150,000 gold marks (2020: approx. 1,020,000 euros), had been built in Bonndorf at the end of 1902, the church was illuminated with a chandelier in the middle of the nave.

In 1919, after installing electricity and coke heating for the church and sacristy , the Bonndorf parish set a precedent with the financing: The parish, represented by the Catholic Upper Foundation Council in Karlsruhe, sued the Ministry of Finance, as this, in the view of the community, would follow the secularization had the duty to satisfy individual needs of a new kind, in this case to bear the cost of heating. After three instances, the proceedings ended in July 1927 with the Bonndorfer settlement . This states that the tax authorities only have to pay 60% for new needs. When it was signed, the Bonndorf settlement was expanded to include a number of other churches, for whose needs a monastery had previously been responsible.

After the design by Simmler, but before the Second World War, three confessionals were installed between two buttresses in the outer wall. One of them replaced the right side door of the church. The former corridor to this door was filled with pews.

The tower was renovated in the 1960s. As a result of the liturgical reform decided in the Second Vatican Council in 1963 , the pulpit, which was no longer required, was moved one pillar closer to the altar and the sound cover was removed so that the congregation's view of the altar was less obscured. The communion bench made by Simmler together with the choir stalls was moved from the choir room in front of the altar steps under the choir arch to create space for the new celebration altar with a trapezoidal altar foot. In addition, an ambo made of steel pipes with wood paneling and exchangeable cloth was set up. The decision as to whether the partially faded interior painting should be painted over was postponed for a long time by the state that was obliged to build.

Only in the years 1972 to 1974 was St. Peter and Paul extensively restored. The square painting that ran through the church was replaced by plain, light surfaces. In addition to the wooden celebration altar, ambo, choir stalls and wooden altar servers, new chairs were designed and made. The previous stalls, which had become unusable, were more recent than the overall furnishings. Communion bench and pulpit have been removed. During the renovation phase, the Protestant parish made its Paulus church available to Catholics before they could return to their renovated church in a procession. Almost exactly 100 years earlier, the new Protestant church community, at that time still a diaspora community, had moved into the castle chapel . It stayed there until, in 1954, when the bells of the Catholic Church began to ring, it was able to move to its St.

21st century

In 1999 the roof was re-covered. A renewal of the heating system was planned for 2014, although no decision had yet been made regarding the type of heating. In the meantime, Solarcomplex AG has installed the second local heating network in Bonndorf, to which the church has also been connected since December 2015. The previous oil boiler was replaced by a heat exchanger , but the warm air heating was retained.

building

Facade tower and nave

A flight of stairs leads to the facade of the “ west ” church on a hill above the village. The tower front of the church consists of a lower block and a square tower formed from two free storeys, which is crowned by a steep pyramid spire. Above the arched portal, in the facade framed by pilaster strips, there is a coupled arched window with a central column, accompanied by tall rectangular windows. The lateral parts of the lower building block are covered by sloping roofs of the central nave roof, which is extended to the front. Its verge cornice, supported by a battlement frieze , continues horizontally across the facade. On plans from August 1846, which are in the General State Archives in Karlsruhe , the vestibule has arched windows that are also distributed differently. A balcony is drawn below the clock. Under the portal, a stone staircase leads into the lower floor of the tower to the two-winged coffered door that forms the main entrance and leads through a vestibule and a glass door into the three-aisled pseudo - basilica nave. The nave adjoins the facade tower. Plain buttresses mark the yokes on the outside, which are illuminated by arched windows cut into the wall without a profile. Roof cornices with crenellated friezes surround the side aisles with their pent roofs and the three-sided, central nave-wide choir with sacristy extensions. The central nave roof is only raised above the side roofs by means of an eaves cornice. Overall, the exterior is “determined by the precise and elegant cut of the exposed sandstone, which was popular around the middle of the 19th century”.

Obergade window opening below the aisle roof

The central nave and side aisles are flat-roofed and separated by arched arcades on pillars of square cross-section with bevelled corners. Despite the design as a pseudo-basilica, the church has six openings on the tall nave walls above a cornice each, such as upper aisle windows , which are covered by the aisle roofs being attached to the upper aisle wall and have been boarded up since 1849. These arched niches with pilaster strips between the windows are unusual for a pseudo-basilica. Both Honold and Simmler as well as Hans Jakob Wörner and his wife Judith (1975) assumed that Berckmüller had planned a basilica with a windowed central nave and that this plan was changed without him. Such a change in plan in the absence of the architect is suspected for the Alexander Church in Marbach am Neckar , for example . According to Joseph Sauer , the supposed change of plan had u. a. a static reason: the aisle roofs became steeper, an advantage in the Black Forest with its snowy winters. Simmler wrote to Honold that Berckmüller had the same idea as he and asked for the plan to be carried out retrospectively by requesting Honold to install light shafts in the aisle roofs and to have the upper aisle windows broken through. However, Elisabeth Spitzbart was able to refute the thesis that the plans had been changed without Berckmüller's intervention: In Karlsruhe she found the aforementioned plans from 1846 to 1849, which Berckmüller had drawn up himself. Together with expense reports for trips to Bonndorf, sees they provide evidence that Berckmüller carefully supervised the work right through to the end. The plans do not include the blind upper clad windows, the high wall of the central nave is closed there. Why Berckmüller had actually installed the blind upper clad windows was soon forgotten. In April 1858, the Baden Ministry of Finance wrote that the niches were supposedly intended for the display of figures of apostles.

A round arched choir arch leads into the choir, which is covered by "a kind of engineered cross-ribbed vault". The lower row of windows in the choir was planned to be larger, but was made with smaller cross-shaped windows. However, after a suggestion by Simmler in 1892, they were bricked up in favor of a larger painting surface. The outlines of these windows can still be seen from the outside. However, two of the windows were not walled up: They point from the choir to the attic of the southern sacristy extension, which, if one believes Berckmüller's plans from 1847, was added later before the painting by Simmler, but after completion by Berckmüller .

The church is 38 meters long, 18.25 meters wide and 14.5 meters high. It offers 400 seats and 200 additional standing places.

Furnishing

The interior is determined by the painting by Franz Simmler, the details of which are difficult to see due to the deep, rich color tones and the lack of light - a consequence of the lack of clerical windows. Where painting with oil wax paints is not figurative, ornaments, gothic tendrils, palmettes , meanders and arches take up large areas. The ceiling with heavy transverse boards and finer longitudinal bars is also painted ornamentally in the main nave and side aisles.

Choir

Choir

At the entrance to the choir there are framed wooden figures: on the left side of the choir arch Maria with Child, donated by Bernhard Morath in 1935, on the right Christ the King.

In the choir arch hangs a triumphal cross from the second half of the 19th century, which has echoes of Romanesque and Gothic crucifixes. As in the Romanesque, Christ is represented as king. He wears a halo and is flanked in paintings on the arched wall by two angels who hold scepter , orb and a crown in their hands. At the ends of the cross the symbols of the evangelists are attached as reliefs. On the other hand, Christ is shown with his crown of thorns and in the form of the three-nail type as a sufferer, as did not happen until the Gothic.

The choir has seven twin windows , the middle three of which are figurative. A two-part Emmaus scene can be seen behind the high altar . The twin window on the left shows Bernhard von Baden and Emperor Heinrich II , on the right King Ludwig IX. and John the Baptist . The other four outer twin windows only have ornamental borders. This coincides with Simmler's recommendation from 1892: "I would only have stained glass installed in the choir and only the windows that are visible from the ship." He also recommended the use of cathedral glass . The windows were made in 1894 by Helmle & Merzweiler in Freiburg.

The keystone of the choir vault is adorned with the coat of arms of Pope Leo XIII. , during whose tenure from 1878 to 1903 Simmler's interior fittings fell.

High altar

High altar

The high altar, consecrated in 1896, consists of four columns with Byzantine bronze capitals around the altar table and tabernacle made of gilded bronze. The pillars are made of polished red fossil-rich limestone . Simmler announced the column material to Honold as red marble , a designation that was common in his industry, but is mostly inaccurate from a geological point of view. The columns were definitely not made of porphyry , as Wörner and Wörner stated a year later. Such volcanic rocks , unlike sedimentary rocks such as limestone, do not contain fossils.

In the antependium there are three bronze tablets with sacrificial scenes from the Old Testament: Abel offers a lamb, Melchizedek at the meeting with Abraham bread and wine, and Abraham wants to offer his son Isaac as a sacrifice. The tabernacle is flanked by reliefs of the four evangelists . As a ciborium, the columns carry a canopy with an eyelash . On the gold background of the front of the eyelash is a depiction of the Sacred Heart in front of a mandorla, flanked by two angels with censer. On the left there is a representation of Thomas Aquinas in Dominican costume and with a book that refers to his hymn Tantum ergo . On the right, Saint Barbara is depicted with a chalice , host , crown and martyr's palm . On both sides of the canopy stand the church patrons Peter and Paul under their own canopies .

To compensate for additional costs for the columns, Simmler suggested to Pastor Honold that the stone canteen on the back of the altar and the back gable of the canopy be made simpler. According to Simmler, the production of the cast bronze capitals and the polished granite steps required by the archbishop's building director Max Meckel in the contract would have cost 6,000 marks (2020: approx. 42,000 euros). Instead, Simmler relied on capitals made of electroplating with a wooden or metal core and on stone steps. Both the Simmler and Venator company and Max Meckel used the Bonndorf altar design as a basis for other churches in the years that followed. Simmler described the altar as "very rich" and hoped "that it would be the most beautiful ciborium altar".

After the cantilever of the traffic light for the Eternal Light manufactured by Simmler & Venator was lost in the course of the renovation in the 1970s , the oil lamp is now directly on the tabernacle, while the traffic light was moved to the attic of a sacristy. On the wall to the left of the altar, you can still see the bracket for the bracket.

Wall painting

Sacrament scenes to the right of the altar: marriage and anointing of the sick

The walls of the choir show pictures of six of the seven sacraments :

• left for baptism ( Mt 28,19  EU ), confirmation ( Acts 8,17  EU ) and the sacrament of penance ( Jn 20,22-23  EU ),
• right to ordination ( Acts 6,6  EU ), marriage ( Eph 5,31-32  EU ) and anointing of the sick ( Mk 6,13  EU )

Simmler wrote to Pastor Honold about the sacrament scenes : “I recently bought very beautiful motifs for the pictures: 'The seven sacraments from Overbeck , scenes from the life of Jesus and the apostles, which are very suitable.'” Oberbeck had the tapestry -Cycle from 1847 originally designed for Orvieto Cathedral , but not received the commission. Simmler must have been in possession of one of the woodcut editions of these designs by August Gaber , which were widespread at the time , and which also contain explanations by Overbeck. Each painting on a lapis lazuli blue background is raised by a semicircle with a Byzantine canopy . However , Simmler did not explain the "border decorations in the manner of Rafael's wallpaper, in which the Church's teaching on the Sacraments is illustrated by compiling the examples from the Old Testament," highlighted by Overbeck .

The seventh sacrament, the Eucharist , is not represented by a painting, but by the ciboric altar on which the Eucharistic celebration is performed. In keeping with this, the twin window above the altar depicts the Lord's Supper with the two disciples in Emmaus. The choir wall behind the altar bears a Bible verse from the Gradual of the Feast of the Most Holy Trinity: “BENEDICTVS ES DOMINE IN FIRMAMENTO COELI ET LAVDABILIS IN SAECVLA ALLELVIA” (Blessed are you, Lord, above in the Feast of Heaven and praiseworthy in eternity Alleluia) Dan 3.56  VUL .

Central nave

Detail from the picture frieze in the upper storeys

The baptismal font between the right end of the choir arch and the right side altar has a wooden cover. On its eight-sided margin, based on Mt 28:19  LUT , the following is written: “GO OUT - INTO ALL THE WORLD - TEACH ALL PEOPLES - U BAPTIZE THEM IN THE NAME OF THE FATHER - U OF THE SON - U · THE · HL · SPIRIT ”. In one corner of the foot it says: "LARCHI 22.9.11"

Upper storey pictures

At the level of the arched niches, a picture frieze stretches across the walls of the tall nave . Simmler painted figures that appear to be standing in the twelve niches. Apostles can be seen in the eight inner niches , although the church patrons Peter and Paul, depicted on the high altar, have been deliberately omitted. At the four corner points, i.e. at the transition to the choir and back wall, the four evangelists follow with their symbols in the order of their Gospels: front left Matthew with the winged man, rear left Mark with the lion, rear right Luke with the bull and front right John with the eagle.

Their names are under the figures. Each of these interrupts one of the twelve beliefs in the wording of the Apostles' Creed . The creed begins with the “CREDO IN DEVM PATREM OMNIPOTENTEM” on the left of the choir arch. Then the creed continues on the south wall to “DEI PATRIS OMNIPOTENTIS” in the organ gallery, continues on the opposite side of the organ gallery with “INDE VENTVRVS EST IVDICARE” and on the north wall and ends at the choir arch on the right with “AMEN”. Above that, Simmler visualized the text with upright biblical scenes to the right and left of the arched niches. Only above the "DEI PATRIS OMNIPOTENTIS" and the "INDE VENTVRVS EST IVDICARE", at the end of the tall nave walls, there are no pictures: These writings run on the wall, parallel to the side of the organ prospect , which would obstruct the view of the pictures.

With this presentation, Honold and Simmler have made the biblical foundation of the creed evident. Since the parts of the Creed are not only assigned to eight apostles, but also to the four evangelists, it is not an apostolic credo .

image	motive	signature	translation	apostle
	God creates the stars	CREDO IN DEVM PATREM OMNIPOTENTEM	I believe in God the Father Almighty	Matthew
	God creates living beings	CREATOREM COELI ET TERRAE	the creator of heaven and earth.
	God expels Adam and Eve from the garden of Eden after the fall of man ( Gen 3.23  EU )	ET IN JESVM CHRISTVM FILIVM EIVS	And in Jesus Christ, his only begotten Son,	James the Elder
	John , shown on the island of Patmos , points to a sentence from his gospel: ET VERBVM CARO FACTVM EST ( Joh 1,14  EU )	VNICVM DOMINVM NOSTRVM	our lord,
	Annunciation	QVI CONCEPTVS EST DE SPIRITV SANCTO	received by the Holy Spirit,	Philip
	Birth of jesus	NATVS EX MARIA VIRGINE	born of the Virgin Mary,
	Christ is crucified	PASSVS SVB PONTIO PILATO CRVCIFIXVS	suffered under Pontius Pilate, crucified,	Bartholomew
	Entombment of Christ	MORTVVS ET SEPVLTVS	died and buried,
	Christ's descent into the underworld	DESCENDIT AD INFEROS TERTIA DIE	descended into the realm of death on the third day	Simon
	Mary Magdalene sees the empty tomb and meets the risen Christ ( Noli me tangere )	RESVRREXIT A MORTVIS	risen from the dead,
	Jesus in front of a mandorla , flanked by two angels; one holds the book of life in which all saved believers are recorded ( Rev 20:15  EU )	ASCENDIT AD COELOS SEDET AD DEXTERAM	ascended to heaven; he sits on the right	Markus
Organ prospectus		DEI PATRIS OMNIPOTENTIS	God the Almighty Father
Organ prospectus		INDE VENTVRVS EST IVDICARE	from there he will come to judge	Luke
	Jesus sits at the right hand of the Father, with the Holy Spirit above them	VIVOS ET MORTVOS	the living and the dead.
	Christ as judge of the world with Mary and John the Baptist as intercessors ( Deësis )	CREDO IN	I believe in	Jude Squidward
	Descent of the Holy Spirit	SPIRITVM SANCTVM	the Holy Spirit,
	The apostles Peter and John call down the Holy Spirit on the baptized in Samaria ( Acts 8:17  EU )	SANCTAM ECCLESIAM CATHOLICAM	the holy catholic church,	James the Younger
	Warring, suffering and triumphant Church	SANCTORVM COMMVNIONEM	Communion of saints ,
	Christ casts out demons	REMISSIONEM	forgiveness	Thomas
	Handing over the keys to Petrus ( Mt 16.19  EU )	PECCATORVM	of sins
	At the resurrection of the dead, the Archangel Michael separates the good from the bad	CARNIS	the dead	Andreas
	An angel marks the righteous with a mark on the forehead ( Rev 7  EU )	RESVRRECTIONEM	resurrection
	An angel with a flaming sword drives the damned to hell	VITAM AETERNAM	and eternal life.	John
	An angel leads the blessed to the gate of paradise	AMEN	Amen

Statues

On the pillars of the nave there are framed wooden representations of individuals and groups. On the right-hand side when looking at the altar, the row after the entrance begins with Brother Konrad , who gives bread to a boy and a girl. Saint Joseph follows him with an ax as an attribute. On the next pillar stands Antonius of Padua with the baby Jesus in his arms and on the last one the blessed Bernhard of Baden with a flag and a shield with the Baden coat of arms. The left page begins at the entrance with Judas Thaddäus , who, in addition to his club, also holds a medallion with the image of Jesus, an attribute that is connected to the legend of the Abgarle . A man and a woman kneel next to him with folded hands and ask him for help, because Squidward is seen as a savior in difficult situations. Saint Walburga follows with an abbess's staff in her right hand and a book and a bottle of oil in her left. Then you can see St. Theresa of the Child Jesus with roses and a cross, and finally St. Aloysius with a cross and sword.

Aisles

Side altars

The two side altars

The side altars are both built according to the same pattern: columns reminiscent of early Gothic carry the altar table, above which “a mighty structure in the form of a late Romanesque-Byzantine Wimperg aedicula , supported on both sides by a group of three columns” rises. Behind the altars there are arched niches, each crowned by a banner. If the paintings above the banner are also included in the altars, then these extend to the ceiling.

In the center of the left side altar is the sculpture of a Pietà . In the excerpt , Maria is shown as a half-length figure with raised arms in a relief. Two hands hold a crown over her head. The inscription on the banner reads “SANCTA MATER DOLOROSA ORA PRO NOBIS!” (Holy Mother of Sorrows pray for us!). Angels with Veronica's handkerchief can be seen above the altar . As can be read in one of the nave windows, the altar was donated by Amalia Glunk in 1895.

The main sculpture on the right side altar is a representation of the Holy Family in the form of Holy Walk . The relief in the excerpt shows Mary and Jesus blessing Joseph, his dying foster father. The banner also refers to the Holy Family: "JESUS ​​MARIA ET JOSEPH SALVATE NOS AMEN" (Jesus, Mary and Joseph save us. Amen). The angels above the Holy Family altar wear a wreath of lilies with the Jesus monogram " IHS ". At the altar there is a tablet that refers to the sculptor Josef Eberle from Überlingen. The year and donor are shown in another window in the nave with “1894” and “F. Werner ”stated.

Wall painting

Stations of the Cross: Jesus is stripped of his clothes (X) and Jesus falls for the third time under the cross (IX)

Between the windows of the aisles there is a series of stations of the cross on the walls . Each of these stations, which also go back to Simmler, is crowned by a tympanum in an eyelash . They also start after the first window to the left of the choir and side altar and thus have the same reading direction as the Credo articles. After three groups of two, each between two windows, there is a single station of the cross in front of the penultimate window on both sides, so that there is space for all 14 stations.

window

Believers ask Saint Fridolin to intercede with God for the protection of the home town of Bonndorf (1918)

Baptism of Jesus in the Jordan by John the Baptist (1914)

Francis receives the stigmata (1899)

Anna teaches Maria to read in the presence of Joachim (1898)

Beheading of Saint Barbara by her father (1914)

St. Martin shares his coat with the poor (1938)

Death of St. Joseph (1916)

Jesus in Emmaus

Cleopas and another disciple in Emmaus

Bernhard of Baden

Emperor Heinrich II.

King Louis IX

John the Baptist

Seven of the twelve leaded glass windows in the side aisles are figurative. Based on the years of their creation and their similarity, it can be seen that two windows were donated around the same time.

The oldest windows are by the side altars. They show in the left aisle how Anna teaches to read in the presence of Joachim Maria and in the right Francis while receiving his wounds. They were created in 1899 by Helmle & Merzweiler from Freiburg and go back to designs by Karl Jennes, who worked there. The Franziskus-Fenster was donated in 1899 by members of the Third Order of the Franciscans , the other by Anna Frei, née Glunk, wife of the businessman Heinrich Frei.

A window that is only painted ornamentally follows. Then depictions of the beheading of St. Barbara by her father can be seen in the left aisle and the baptism of Jesus in the Jordan by John the Baptist in the right aisle. These two windows were designed by Protz and Ehret from Freiburg in 1914 and donated by I. Buttler "to the glory of God".

While there is another ornament window in the right aisle, the youngest of the church windows is in the south aisle. It shows St. Martin sharing his cloak with the poor and contains further depictions in the lower area, in this case the baptism of St. Martin and Paul of Thebes , to whom the Pauline order goes back, together with another old man, Andrew is labeled. It was donated by the Martin Duttlinger family from the Steinasäge district in 1938, shortly before the outbreak of World War II, after their 18-year-old son Martin drowned in the Rhine near Cologne in 1927.

Protz and Ehret also created the following two windows, which were donated by Bonndorf residents in memory of their sons who died in World War I. In 1916, the depiction of The Death of St. Joseph was created , in the lower third of which soldiers of the German Empire at the grave of a comrade and a Field service can be seen. This window was donated by Pauline Glunk, born Berger, after her son Edwin Glunk died on June 12, 1916 on the Western Front. On September 17, 1918, Fridolin Kech fell in / near Le Cateau , to whom his mother and sister donated the other window in the right aisle that same year. The upper part shows how believers ask Saint Fridolin to intercede with God for the protection of their home town of Bonndorf, clearly recognizable by the church shown and a woman in traditional Black Forest costume. In the lower part of the window there are two representations of field work with the captions "THE WOMEN IN THE FIELD" and "EVERYTHING TVT DAS SEINE".

The remaining two windows are at the level of the gallery and again show ornament paintings.

Back wall

False and real repentance: Judas and Peter

The three pictures on the east wall of the church with the theme of penance come from the time of Simmler's painting and match the two confessionals that were once there. On the left, as seen from the altar, on two plaques on a crucifix, there are 92 names of victims of the Second World War, whom the parish had to lament. The lunette painting above the cross is divided into two parts by a post and addresses the concept of repentance using the example of Judas Iscariot and Peter . They both betrayed Jesus, with repentance driving Judas to suicide - the tree and rope indicate this - and leading Peter back to Jesus after the betrayal of Jesus before the council and the crowing of the cock.

On the right side you can see the sinner washing Jesus' feet during his visit to Simon of Bethany ( Lk 7.37-50  EU ). In the middle above the entrance portal the homecoming of the prodigal son is depicted. On the back wall there is a picture of Mary and Joseph. Doors on the tower side lead out below. The right door, below Maria, also leads via a spiral staircase to the gallery, to the attic of the aisle and to the tower. The stairwell to the left of the tower is empty and divided by a false ceiling at the level of the gallery. From there, a ladder leads to the attic of the other aisle.

In the back wall of the gallery there is an ornamentally decorated window, which was also created by Helme & Merzweiler in 1895. Behind the comparatively large window, bounded on the right by the spiral staircase and on the left by the stairwell without stairs, lies the bell room of the tower, in which the bellows treadmill used to do its job. On this side of the window, a curtain can be seen horizontally from the nave, which was used in World War II to darken the church during the service and to prevent the light from penetrating the two large arched windows of the tower facade.

organ

Organ, behind it decorated arched window with blackout curtain

The first organ was built in 1853 by Konrad Albiez from Unteralpfen. When Konrad Albiez died in 1878, Wilhelm Schwarz from Überlingen took over the maintenance of the organ from 1879. Wilhelm Schwarz & Sohn built a new organ with 26 registers in 1908  , the case being supplied by Simmler. The organ had pneumatic cone shutters , which meant that the console could be set up on the side of the gallery.

In 1984 the organ was completely renovated, rebuilt and expanded by the Freiburg Orgelbau company . The new organ has 32 registers, slider drawers with mechanical action, electrical registration and a free-standing new console. 17 registers could be taken over from the still existing stock of pipes from Albiez and Schwarz, including the wooden pipes in their entirety. The Simmler case was also adopted, which was supplemented by attaching roofs, side walls and a swell box for the second manual to a full case. In the two large outer towers there is the main work, behind it the pedal work , diatonic divided. In the middle, behind the low three-part round arch field, is the swell. This was supplemented in 2014 by a coupling through sub-octave coupling . In addition, all pipes were re-voiced with the extended stylistic competence.

Disposition :

I Hauptwerk C – g 3 1. Bourdon 16 ′ 2. Principal 08th' 3. Big dumped 08th' 4th Gemshorn 08th' 5. octave 04 ′ 6th Small set 04 ′ 7th octave 02 ′ 8th. Large Mix IV 0 2 2 ⁄ 3  ′ 9. Sharp III 01' 10. Cornet V 08th' 11. Trumpet 08th'

II Swell C – g 3 12. Light principal 08th' 13. Covered flute 08th' 14th Saliconal 08th' 15th Voix céleste 08th' 16. Wide principal 04 ′ 17th Capstan flute 04 ′ 18th Nazard 02 2 ⁄ 3  ′ 19th Flageolet 02 ′ 20th third 01 3 ⁄ 5  ′ 21st Larigot 01 1 ⁄ 3  ′ 22nd Sifflet 01' 23. Acuta III 01' 24. Metal dulci 16 ′ 25th Hautbois 08th' Tremulant

Pedals c – f 1 26th Sub bass 16 ′ 27. Octave bass 08th' 28. Pointed flute 08th' 29 Holzpraestant 04 ′ 30th Mixturbass IV 02 2 ⁄ 3  ′ 31. trombone 16 ′ 32. Trumpet bass 08th'

• Action action: mechanical
• Registration: electric

Bells

When the parish church burned in 1842, the bells were also destroyed, so that in 1849 a new four-part bell was cast by the Karl Rosenlächer bell foundry in Constance. The bronze bell hangs in a wooden belfry consisting of two compartments . In addition to religious texts, the bells carry historical information about the former monastery, the church and the secularization. During the First World War, the bell was preserved as an excellent product of German foundry art. During the Second World War, the large and the two small bells were removed from the tower in August 1942 as part of the metal donation . Since the big bell did not fit through the tower opening, it was broken in half on August 25, 1942.

After the war, the two small bells lay in the bell cemetery in Hamburg and found their way back up the tower in January and July 1948. For the broken big bell, a new one was cast on October 12, 1949 at Benjamin Grüninger Söhne Villingen 's Neu-Ulm plant. In terms of diameter, dimensions and tone, it corresponds to its predecessor, on which Peter and Paul were depicted and which bore the following inscription: “I shout for your joys - I mourn your tears. Jehovah's hymn of praise sounds whether happy or mournful. ”The new bell refers to the destruction of its predecessor.

Johannes Wittekind, the bell inspector of the Archdiocese of Freiburg, describes the sound character of the bell as very idiosyncratic, but definitely attractive. In terms of depth, it appears well-founded and rounded. In addition, the bright and festive sounding trio (major-sixth chord) of bells 2, 3 and 4 is the most extensive and most beautiful ringing of Rosenlächers in Baden.

1 St. Peter's bell
Casting year	1949
Caster	Benjamin Grüninger, Neu-Ulm
diameter	132.5 cm
Dimensions	1500 kg
Chime	es′-1
Motif	Peter
inscription
You are Peter the rock on which I build my church. Mt. 16.18 EU On July 18, 1842 the old church burned down. In 1849 the new one was completed. On August 25, 1942, the old bell on the tower was smashed for war purposes. (Key inscription: "Master Benjamin Grüninger Villingen - Neu Ulm 1949 poured me")

2 Mary's bell
Casting year	1849
Caster	Karl Rosenlächer, Constance
diameter	105 cm
Dimensions	700 kg
Chime	g′-4
Motif	Mary Annunciation
inscription
If God is for us, who can be us again. Rom. 8.31 EU Blessed are the dead who die in the Lord. Rev: 14:13 EU Hail Mary, full of graces, the Lord is with you. Luc. 1.18 (stroke inscription: "The Aerar builds the rectory and church without cheers from the community. It maintains all facilities. Karl Rosenlächer in Konstanz 1849")

3 Savior Bell
Casting year	1849
Caster	Karl Rosenlächer, Constance
diameter	88 cm
Dimensions	380 kg
Chime	b′-2
Motif	Christ with children
inscription
Come to me, all of you who are troublesome and burdened, I want to refresh you. Math: 11.18 Let the little ones come to me because the Kingdom of Heaven is theirs. Math: 19.14 EU ( stroke inscription : "The Grand Ducal Badische Aerar received all the cloister occupations. Karl Rosenlächer in Konstanz 1849")

4 angel bell
Casting year	1849
Caster	Karl Rosenlächer, Constance
diameter	66 cm
Dimensions	150 kg
Chime	es ′ + 4
Motif	Angel with trumpet
inscription
Glory to God in the highest and peace to people on earth who are of good will. Luc. 2.14 EU (stroke inscription: "The Pauliner monastery was founded in 1402 and closed in 1807. Karl Rosenlächer in Konstanz 1849")

reception

Probably the most negative judgment about the original church building comes from Pastor Honold. On April 6, 1886, he wrote to the Baden Ministry of Finance:

"When you enter the local church, you find yourself literally pushed back by the bleak emptiness that presents itself to the eye ... since it looks more like an emptied magazin or a neglected railway hall ... the eye involuntarily tears, namely if you think of what is used today in waiting rooms and music halls, in restaurants and gyms on the interior equipment. When you enter the church, starting from above, you immediately notice the flat, gray-painted wooden ceiling, as poor as you find it in the hallway of a neat town hall ... In our church, probably according to an earlier plan, you are in Lichtgaden 12 windows of the central nave were installed. These windows have been boarded up since 1849 (!). <…> There are no large areas in the central nave because of the high, widely blown column arches, windows, pilaster strips and friezes. So you could apply decorative and ornamental painting here. In contrast, there are wonderful painting surfaces in the choir and in the aisles. All of these walls were previously whitewashed with light yellow ocher - the well-known kitchen color - and decorated with extremely simple pilaster strips and leaf friezes, etc. Now everything is faded and light gray. "

In a letter to the Archbishop's Office in Freiburg , he added that the side altars were so poor that a well-traveled painter called them milk boxes. During the restoration in the 1970s, it was found that the original wall treatment, which Honold reminded of a neglected railway hall, had essentially consisted of a block painting.

Franz Baer from the Archbishop's Building Office criticized in his report from 1887 or 1889 on the renovation the "decidedly too depressed upper part of the portal tower", "the interior suggestion of the windows of the central nave, which was not actually implemented," and the vaulting that " with regard to the decorative treatment, it is by no means a happy one ”. The styles of the church were reminiscent of those that Hübsch and his students would have preferred to use in church buildings, a mixture of early Christian antiquing with early Romanesque motifs. Spitzbart adds that Berckmüller was able to fall back on his design for a Protestant church , but made significant cuts and therefore had to do without double towers and valuable interior fittings.

In contrast, the Ministry of Finance praised Berckmüller as an “outstanding architect” who had built a “well-made” church. It is further admitted, however, that the already simple interior has become unsightly due to a “faulty” plaster made of “white whitewash”.

However, through Honold's efforts and the work of Simmler, it was finally possible to "create an unusually rich, uniform interior design, which is one of the most characteristic and high-quality total works of art of this time in the entire area." Hans Jakob Wörner attests to Honold's great influence Conception of the interior and sees in him the person who put up the "impressive" picture cycle. He not only sacrificed his time and his “tireless energy”, but also his private fortune to achieve the richest, highest quality and dignified furnishing of the church. According to Judith and Hans Jakob Wörner, Honold and Simmler have succeeded in creating a total work of art with the interior of St. Peter and Paul, in which architecture, painting and sculpture work together in an excellent atmosphere.

literature

• Joseph Sauer : Church art in the first half of the 19th century in Baden. Extended special print from the Freiburg Diocesan Archive Volumes 30, 31 and 32. Herder, Freiburg im Breisgau 1933, pp. 66–70 ( digitized version ).
• Judith Wörner and Hans Jakob Wörner : Catholic parish church in Bonndorf, Waldshut district . In: Badische Heimat 55, 1975, pp. 129-143 ( digitized version ).
• Judith Wörner and Hans Jakob Wörner: Bonndorf (Black Forest). Catholic parish church of St. Peter and Paul (= Little Art Guide No. 1058). Schnell & Steiner, Munich, Zurich 1976.
• Hans Jakob Wörner: Catholic parish church Bonndorf in the Black Forest restored as a work of the 19th century. In: Denkmalpflege in Baden-Württemberg , 5th year 1976, issue 4, pp. 152–154 ( digitized version ).
• Dagmar Zimdars u. a. (Ed.): Baden-Württemberg II. The administrative districts of Freiburg and Tübingen ( Georg Dehio: Handbuch der Deutschen Kunstdenkmäler ). Deutscher Kunstverlag, Munich 1997, ISBN 3-422-03030-1 , pp. 113–114.
• Elisabeth Spitzbart: Karl Joseph Berckmüller 1800–1879. Architect and draftsman. Braun, Karlsruhe 1999, ISBN 3-7650-9052-2 , pp. 142-150.

Web links

Commons : St. Peter and Paul (Bonndorf im Schwarzwald)  - album with pictures, videos and audio files

Individual evidence

1. ↑ ^{a b} Dagmar Zimdars et al. (Edit.): Baden-Württemberg II. The administrative districts of Freiburg and Tübingen ( Georg Dehio: Handbuch der Deutschen Kunstdenkmäler ). Deutscher Kunstverlag, Munich 1997, ISBN 3-422-03030-1 , pp. 113–114.
2. ↑ ^{a b c d} Goatee, p. 148.
3. ↑ ^{a b c} Archbishop's Ordinariate Freiburg i. Br. (Ed.): Real schematic of the Archdiocese of Freiburg i. Br. , Badenia, Karlsruhe 2001, p. 868.
4. ^ Bonndorf in the Black Forest (Altgemeinde-Teilort) - detail page. leo-bw.de, accessed on March 25, 2016 . 
5. ^ Hermann Schmid: The Pauliner Monastery in Bonndorf (1402-1807). In: Schwarzwaldverein Bonndorf (Hrsg.): 100 years Schwarzwaldverein Bonndorf. Bonndorf 1985, p. 17 f.
6. ^ Hermann Schmid: The Pauliner Monastery in Bonndorf (1402-1807). In: Schwarzwaldverein Bonndorf (Hrsg.): 100 years Schwarzwaldverein Bonndorf. Bonndorf 1985, p. 22 f.
7. ^ Bonndorf, July 18. In: Freiburg newspaper . July 19, 1842. Retrieved January 17, 2016 . 
8. ↑ ^{a b c} Wörner and Wörner 1975, p. 130.
9. ↑ ^{a b} Großherzoglich Baden Government Gazette No. 1 , Karlsruhe, January 17, 1845, full text in the Google book search
10. ↑ ^{a b} Spitzbart, p. 143.
11. ↑ ^{a b c} goatee, p. 144.
12. ↑ Spitzbart, p. 142.
13. ↑ ^{a b c d e f} Spitzbart, p. 145.
14. ↑ Artur Riesterer: The foundation stone of the church was laid 150 years ago , In: Badische Zeitung of May 7, 1996.
15. ^ Memoirs of Augustin and Nikolaus Kern from Bonndorf 1768–1849, cited in: Artur Riesterer: The foundation stone of the church was laid 150 years ago , In: Badische Zeitung of May 7, 1996.
16. ↑ Großherzoglich Baden Government Gazette No. 51, Karlsruhe, June 24, 1848, full text in the Google book search; Franz Josef Bodenmüller . In: Friedrich von Weech (ed.): Badische Biographieen . First part. Publishing bookstore Fr. Bassermann, Heidelberg 1875, p. 106 f.
17. ↑ Großherzoglich Badisches Regierungs-Blatt , No. 11, Karlsruhe, March 7, 1838, full text in the Google book search
18. ↑ Hof- und Staats-Handbuch des Großherzogtums Baden , Braun, Karlsruhe 1847, p. 265, full text in the Google book search
19. ^ Christian Schröder: Welfare for the poor and Catholic identity: South Baden and the Saar region in historical comparison (1803-1870) . LIT, Münster 2014, ISBN 978-3-643-12020-5 , p. 163 f. Preview in Google Book Search; Friedrich von Weech:  Kuenzer, Dominikus . In: Allgemeine Deutsche Biographie (ADB). Volume 17, Duncker & Humblot, Leipzig 1883, p. 404 f.
20. ↑ Großherzoglich Badisches Regierungs-Blatt , No. 30, Karlsruhe, June 17, 1850, full text in the Google book search
21. ↑ ^{a b c d} Sauer 1933, p. 67.
22. ↑ Sauer 1933, p. 643.
23. ↑ Spitzbart, p. 149.
24. ↑ Sauer 1933, p. 67 ff.
25. ↑ Wörner and Wörner 1975, p. 136.
26. ↑ Sauer 1933, p. 70.
27. ↑ ^{a b c d e f} Wörner and Wörner 1975, p. 133.
28. ↑ ^{a b c} Wörner and Wörner 1975, p. 138.
29. ↑ The rectory is still missing on the postcard from 1898 , it can already be seen on a postcard from 1903 ; Ulrich Werner Schulze, Günter Hany: Bonndorf - how it was and how it has changed , Moog Druck, Hüfingen 2014, p. 95.
30. ↑ ^{a b} Illustration of the pulpit and chandelier on a postcard after 1905
31. ↑ Wörner and Wörner 1975, p. 143.
32. ↑ Hans Bunte (Ed.): Schilling's Journal for Gasbeleutung and related types of lighting as well as for water supply . No. 46, November 14, 1902, full text in the Google book search
33. ^ Reichsgericht: Judgment file number: IV 264. Case: State as legal successor to the secularized monasteries. Opinionioiuris.de, November 22, 1920, accessed April 1, 2016 . 
34. ^ Eugen Baumgartner : Parish church and parish of St. Urban in Freiburg-Herdern in: Freiburg Diocesan Archive , Volume 65, 1937, pp. 99-102 ( digitized version ).
35. ↑ The side door is included in a plan by Berckmüller from 1847, see Spitzbart, p. 143.
36. ↑ ^{a b c} Wörner and Wörner 1975, p. 134, 138.
37. ↑ ^{a b c} Meinrad Götz: 150 years "Peter and Paul" in: Badische Zeitung of June 24, 2000, p. 27.
38. ^ ^{A b} Hans Jakob Wörner: Catholic parish church Bonndorf in the Black Forest restored as a work of the 19th century. In: Denkmalpflege in Baden-Württemberg , 5th year 1976, issue 4, pp. 152–154 ( digitized version ).
39. ↑ Ulrich Werner Schulze: Bonndorf: A sign of ecumenism carved in stone. Badische Zeitung, November 30, 2013, accessed April 16, 2016 . 
40. ^ Bruno Morath: Bonndorf: New heating for church buildings. Badische Zeitung, October 18, 2013, accessed on March 26, 2016 . 
41. ↑ Juliane Kühnemund: Bonndorf: Wherever there is planing, there are shavings. Badische Zeitung, December 16, 2015, accessed on March 29, 2016 . 
42. ↑ ^{a b} Wörner and Wörner 1976, p. 8.
43. ↑ ^{a b c} goatee, p. 146.
44. ↑ Sauer 1933, p. 68.
45. ↑ Spitzbart, pp. 145 ff.
46. ↑ Wörner and Wörner 1976, p. 9.
47. ↑ Spitzbart, p. 147.
48. ↑ ^{a b c} Wörner and Wörner 1976, p. 12.
49. ↑ Panel on the base of the figure
50. ↑ ^{a b c d e} Wörner and Wörner 1976, p. 13.
51. ^ ^{A b} Daniel Parello: From Helmle to Geiges. A century of historicist glass painting in Freiburg . City archive, Freiburg im Breisgau 2000, ISBN 3-00-006521-0 , p. 260
52. ↑ ^{a b} Wörner and Wörner 1975, p. 135.
53. ^ Wilhelm Schlink : Salvation history in the painting of the Nazarenes . In: Aurora. Yearbook of the Eichendorff Society for the Classical-Romantic Era 61, 2001, pp. 97–118 ( digitized version ).
54. ↑ Benedictines of the Archabbey of Beuron (ed.): The complete Roman missal, Latin and German, with general and special introductions following the missal by Anselm Schott OSB Herder Verlag, Freiburg im Breisgau 1958, p. 597.
55. ^ Inscription on Anna window in the nave
56. ↑ Inscription on Francis window in the nave
57. ^ Daniel Parello: From Helmle to Geiges. A century of historicist glass painting in Freiburg . Stadtarchiv, Freiburg im Breisgau 2000, ISBN 3-00-006521-0 , p. 260; here p. 127 Fig. 95 the design for the St. Francis window.
58. ↑ Nikolaus Wandinger: The doctrine of sin as a key to human beings: Impulse by K. Rahners and R. Schwagers on a heuristic of theological anthropology , LIT Verlag, Münster 2003, p. 232 f., Preview in the Google book search
59. ↑ Wörner and Wörner 1976, p. 14.
60. ^ Hermann Fischer, Theodor Wohnhaas: Lexicon of southern German organ builders . Florian Noetzel Verlag, Wilhelmshaven 1994, ISBN 3-7959-0598-2 , p. 13 .
61. ^ Hartwig Späth: "Festschrift" organ consecration on January 13, 1985 . Bonndorf 1985.
62. ↑ A gem in the Black Forest. Freiburg Orgelbau Spaeth-Orgelbau, accessed on April 9, 2018 . 
63. ↑ Verkündblatt the Catholic town parish Bonndorf to delivery of our church bells . August 1942.
64. ↑ Verkündblatt the Catholic town parish Bonndorf no. 25 bells hard number . October 20, 1949.
65. ↑ Johannes Wittekind: Catholic parish church St. Peter and Paul in Bonndorf i. Schw. Retrieved on March 26, 2016 (including extract from the German Bell Atlas). 
66. ↑ Wörner and Wörner 1976, pp. 13-14.

Remarks

1. ↑ Wörner and Wörner 1976, p. 13 mention two confessionals on the back wall, the crucifix, which has meanwhile been placed on the left side to commemorate the dead of World War II, cannot have been placed in front of them.
2. ↑ The church fathers' reliefs in the pulpit are now in the neighboring Paulinerheim community center.
3. ↑ The statement in Wörner and Wörner 1976, p. 8, that the church is "northward" is erroneous.
4. ↑ Martin Duttlinger (1871–1956), Maria Duttlinger (1878–1945) and Martin Duttlinger (1909–1927), family grave in the city cemetery
5. ↑ According to the search for graves of the Volksbund Deutsche Kriegsgräberfürsorge , it has since been found in the war cemetery in Neuville-St. Vaast is buried in Block 12, grave 977.
6. ↑ According to the search for graves by the Volksbund Deutsche Kriegsgräberfürsorge , he has since been buried in the local war cemetery in Block 2, Grave 191, under the name of Fridolin Koch .
7. ↑ The memorial plaques in the open abdication hall of the city cemetery contain, among other things, the names of 123 fallen soldiers in World War II, some, but not entirely, of the names in the church (see transcript on denkmalprojekt.org of February 17, 2007)
8. ↑ Wrong Bible verse: This is Lk 1.28  EU
9. ↑ Wrong Bible verse: This is Mt 11:28  EU
10. ↑ Sauer writes on p. 67 of the report by J. Baer from September 16, 1889. On p. 69, however, the report by Baer had already arrived in 1887. Since Sauer also dated a reply to a letter from 1889 to 1887 on p. 69, the dates are uncertain.

This article was added to the list of excellent articles on July 18, 2016 in this version .

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