St. Remigius (Merdingen)

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St. Remigius in the densely built-up town center

St. Remigius is the Roman Catholic parish of the municipality Merdingen , west of Freiburg in Breisgau on Tuniberg located. The parish belongs to the pastoral care unit Breisach-Merdingen of the Archdiocese of Freiburg . The church has been researched in particular by the teacher and art historian Hermann Brommer , who lived in Merdingen for half a century . It is built in the late Baroque and Rococo styles .

history

A church in Merdingen is first mentioned in 1139. At that time it belonged to the Principality of Basel . 1346 they got to the Teutonic Order and was under its Coming in Freiburg until they, together with the site at the secularization in 1806 to the Grand Duchy of Baden fell.

St. Remigius from the north

In the beginning of the 18th century the church was dilapidated. A thunderstorm put them "ultimately in an irreparable state in Anno 1737". The Teutonic Order was responsible for building the choir, and the municipality for the nave and tower. The community left the building project to the Teutonic Order, who entrusted Johann Caspar Bagnato with the planning and execution, the building director of the Deutschordensballei Alsace-Burgundy . In 1738 the old church was demolished and on October 1, 1740 the first service was held in the new one. On October 7, 1990, "the 250th anniversary of the construction of the former Teutonic Order Parish Church in Merdingen - exactly to the Sunday - <...> was celebrated in the form of a festive service <...>". Bagnato also built a new rectory the size of a manor house in 1754. Pastor at the time of construction was Franz Carl Joachim (* 1699 in Freiburg, † 1772 in Merdingen), who participated in the financing.

The first restoration was carried out in 1778 by Johann Caspar Bagnato's son Franz Anton Bagnato . In 1811 the cemetery was moved from the area around the church to the outskirts; Pastor Joachim's grave was preserved. In 1901, the ceiling paintings were painted over white in accordance with contemporary tastes. The church was restored in 1964 and 1978, the church square was redesigned from 1979 to 1980, and the rectory was restored from 1987 to 1988. The most recent restoration took place between 2005 and 2006.

building

The church shines in warm yellow and red tones on the elevated former cemetery in the middle of the densely built-up town center. The view from the north is impaired by the demolition of the baroque street wall. A choir with a semicircular apse and adjoining rooms in the north and south are attached to the single-nave hall with four window axes. With their gables protruding above the eaves of the nave, they look like a transept from the outside . The tower is integrated into the middle of the west wall.

Look at the choir
View to the west galleries

The west facade is divided into three parts by the tower. The area above the portal is enlivened by a large figure niche, the side parts are enlivened by glare windows. The tower towers over the facade in three further, each tapering storeys, the eight-sided bell storey with smooth corners, Tuscan pilasters and a " Welschen dome ". The outer walls of the nave and choir are divided by plinths, pilasters and a cornice under the eaves. The arched window frames are covered by curved cornices. The forms of decoration were new for the Breisgau at that time. Brommer judges that the bizarre windows in the tower and the closed gables of the choir additions not only showed the builder's delight in the decorative accessories, but also a play with forms that took little account of tectonic relationships in detail. The two side portals are inconspicuous.

Franz Xaver Kraus already praised the internal effect in 1904. The overall impression is rich, festive, cheerful. Flat wall pilasters with capitals and high entablature above alternate with the windows and, like these, are roofed alternately with arches and triangles. Stitch caps cut into the mirrored ceiling, the center of which arches up to form a flat oval dome. The inward protruding tower carries two galleries one above the other, the lower one swinging further into the room than the upper one. The angle between the nave walls and the arched triumphal arch is concave. With the two side altars in front of these corner hollows and the entablature above, Bagnato achieved a flowing transition to the choir. The choir is also elevated by a flat dome. At the sides, loggias open up above the sacristy doors for the local authorities with swinging balustrades.

Furnishing

In the niche above the west portal stands Maria as the Immaculate Received , created by Johann Christian Wentzinger , "a work of art of immaculate beauty". The art historian Hans Martin Gubler (* 1939) writes about the interior design in his large Bagnato monograph that it works “although it is colorful, integrated and indispensable. <...> Stucco and ceiling painting confirm this serving function of the furnishings: not overflowing and optically dominating, but consciously restricted and subject to the concept of the room, interpreting it in its main lines: thus in the support or constitution of slight centralization tendencies. ”The individual forms seemed restrained. Lively, architectural elements are avoided in the altars. In the high altar, the architectural framework provides support for the lively moving figures.

Walls and ceiling

Inside, the stucco by Francesco Pozzi is distributed harmoniously around the windows and architectural pieces , on open areas and especially around the ceiling paintings by Franz Joseph Spiegler . Bagnato, Pozzi and Spiegler had already worked together from 1734 to 1739 on the building of the Mainau Castle Church , which, like the whole island, belonged to the Teutonic Order. The nave dome shows the Assumption of Mary , the corner pictures show the Annunciation of the Lord in front (towards the choir) on the left , the visit of Mary to her relative Elisabeth ( Lk 1.39-40  EU ) in front on the right, the birth of Jesus in the back ( towards the west entrance) on the right, back left the presentation of Jesus in the temple ( Lk 2.22  EU ).

The painting in the chancel dome shows the Holy Trinity surrounded by angels playing music, the painting on the front wall of the choir above the main altar shows the lamb , symbol of Jesus, on the apocalyptic book with the seven seals ( Rev 5,1  EU ), surrounded by the " twenty-four elders ”( Rev 4,4  EU ). Spiegler designed the same picture program in the Mainau Castle Church.

  • Ceiling pictures

  • Nave dome, the direction towards the choir in the picture below

  • Choir dome, the Sanctus angel at the bottom

  • Front wall of the choir

  • Annunciation to Maria, left corner picture of the nave ceiling towards the choir

  • Birth of Jesus, towards the west entrance, right corner image of the nave ceiling

A detail typical of the late Baroque is the angel on the eastern edge of the Holy Trinity, which is wrapped in a band of writing "SANCTUS SANCTUS SANCTUS". He sits on the stucco frame, the body painted by Spiegler, the left leg by Pozzi molded in stucco, protruding into the room. "Painter and stucco worker worked hand in hand and made it possible to move from the illusionistic two-dimensional representation to the (tangible) three-dimensionality."

Altars

The stucco of the altars was created by Joseph Anton Feuchtmayer , the altar leaves again by Franz Joseph Spiegler. Feuchtmayer had also worked with Bagnato on the Mainau, and with Spiegler in the St. Peter monastery in the Black Forest . Ten letters from Spiegler to the Freiburg Teutonic Order have been preserved. Feuchtmayer is also mentioned in it. One of the letters accompanied Spiegler's draft for the three main sheets - all signed:

"Very well Edl. strictly honored gentleman and patron

On the 9th of December the wine from Martin Föhrenbach von Eyßenbach was good, fair, and without any damage or flaws at my fingertips! the wine is incomparable. Well then say the tidy and most owed thank you in front of such great well-known good things and specials. Service compliance.

<...> anbey have the same reception of my raised thoughts on those altar leaves after Mördingen

No 1: Chor altar blath: like the hayl. Archbishop of Rems baptizes King Clodofeum. his queen, Clodildis, was diligently left out, but if one wants the same thing, then expectation breaks. No 2: brotherhood altar of hayl. Rossen Cranzes can be seen among other things like the hayl. Catharina a person teaches the hayl. To bed Rossen Cranz or the whole Psalter. No. 3: the hayl. Fridolinum with the dead Ursonem and his brother Landolfum, who is on trial.

beliebe what mechte be nit decent and pleasant, which dan with zue Rükh come ducks so auszuesezen from all Fisierung zue hear schriftl. erwarthe.

Riedlingen March 12th, 1740 Debtor, the franc. Jos. Mirror "

  • Altars

  • Left side altar

  • Emperor Heinrich

  • Main altar

  • Empress Kunigunde

  • Right side altar

The high altar is very wide. The columns and beams are made of bright blue stucco marble. Four putti balance on volutes. On the pedestals next to the altar are the holy Emperor Heinrich II. , On the right his wife, the holy Kunigunde . Both, like the four putti (and the putti on the side altars), have been alabaster white again since the last restoration, while the imperial couple were previously colored blue and the putti pink, as seen in Gubler and in the 1999 edition of Brommer's church leaders. Unlike the other figures, the two putti on the tabernacle, like this one, are carved from wood. The mask-like roguish faces on the kneecaps of Heinrich's armor are an expression of Feuchtmayer's playful imagination and humor. Forms of the early rococo appear in details, so when the column bases suddenly merge into small volutes with a rolling outline and the edges of the pedestals below are ornamentally softened, as in the cartouche above the main painting, where the rocaille appears golden . Here, where Feuchtmayer goes over to "not only bending and wandering tectonic lines and making the most versatile use of the volute, but also adding an organic life to these forms , his imagination opens up unimagined design possibilities."

As explained by the painter in his letter, the main picture of the high altar depicts the baptism of the Merovingian King Clovis I by the patron of the Merdinger Church, St. Bishop Remigius , in Reims around the year 500. All brightness shines with the direction of flight of the dove of the Holy Spirit from top left to bottom right. The space between the earthly baptismal group and the heavenly angel group with its curtain is only criss-crossed by flooding light and diffuse bundles of pillars. "The power to design such an unfulfilled place defying the ' horror vacui ' exemplarily shows the <...> sovereignty of the <...> painter." The upper picture presents Remigius once again.

Right side altar and pulpit; Depression of the nave corner

The side altars are more simple and made of red stucco marble. The main picture on the left, the altar of the Rosary Brotherhood , shows the donation of the rosary by Mary to St. Dominic and St. Catherine of Siena . Dominic on the right edge of the picture takes a white rosary from the hand of the baby Jesus. Below him a dog carries a burning torch in its mouth - an attribute of the saint. Katharina with a wreath of thorns, which she asked for from Christ instead of a golden crown, explains, as the painter explains, to a woman praying the rosary that she is already holding in her hands. With her right hand, Mary, crowned with stars, takes another rosary from a bowl held by an angel. The upper picture, St. Joseph , is a work of the 19th century.

The main picture of the right side altar shows a legend from the life of St. Fridolin von Säckingen : Fridolin brings the dead Ursus (or Urso) back to life so that he can testify to a donation of land that Ursus' brother Landolf had denied. The center of the picture is the document that the skeleton hands to Landolf in white. In between stands Fridolin in a monk's robe with a bright glow around his head, enthroned above, his staff in hand, the old judge. The upper picture shows St. Sebastian .

On the left side altar is an Immaculata by Joseph Dettlinger , on the right side altar is a Saint Joseph, also from the 20th century and carved in Feuchtmayer's style.

organ

St. Remigius organ

After there had already been several organs in St. Remigius, in 2007 the church received a new instrument from Waldkircher Orgelbau Jäger & Brommer with 30 stops on three manuals and pedal . The construction was difficult because of the two galleries . On the main case sits a “grape-tasting” putto in the Rococo style, carved by the Waldkirch sculptor Klaus-Dieter Kienzler. "The grapes carved into the wooden music stand above the console also remind us that the organ is in a winegrowing community."

I main work C – a 3
1. Bourdon 16 ′
2. Montre 8th'
3. Bourdon 8th'
4th Prestant 4 ′
5. Flute 4 ′
6th Nazard 2 2 ⁄ 3  ′
7th Duplicate 2 ′
8th. Tierce 1 3 ⁄ 5  ′
9. Sifflet 1'
10. Cornett V
11. Fittings IV-VI 2 ′
12. Trumpets 8th'
II Swell C – a 3
13. Reed flute 8th'
14th Salicional 8th'
15th Prestant 4 ′
16. Flute 4 ′
17th Flageolet 2 ′
18th Nazard 2 2 ⁄ 3  ′
19th Tierce 1 3 ⁄ 5  ′
20th Plein jeu 2 ′
21st Trumpet Harmonique 8th'
22nd Basson Hautbois 8th'
III Récit (solo work) C – a 3
23. Dumped 8th'
24. Cornet IV
25th Cromorne 8th'
Pedals C – f 1
26th Sub-bass 16 ′
27. Octave bass 8th'
28. Prestant 4 ′
29 Bombard 16 ′
30th Trumpets 8th'
  • Coupling: (kicks) I / II (also as sub-octave coupling), I / P, II / P (also as super-octave coupling)
  • Effect register: Zymbelstern, Nightingale

Bells

The five-part ringing of the Merdinger church consists of two baroque bells, a bell from the 19th century and two bells cast in the 1980s that hang in a baroque bell cage. All bells are made of bronze . The bells are also used to indicate the time: the three smaller bells strike the quarter-hour, the largest bell strikes the hour.

No. Caster year Ø (mm) kg Chime
1 Karlsruhe bell foundry 1984 1102 766 f ' +2
2 Johann G. Gapp, Freiburg 1722 1000 560 g ' +8
3 Hans H. Weidnauer, Basel 1722 825 400 as ' +7
4th Karlsruhe bell foundry 1984 838 340 b ' +7
5 Gebruider Bayer, Freiburg 1824 660 170 des '' +9

Others

Feuchtmayer made the pulpit like the side altars from red stucco marble. Its originally curved staircase was straightened in 1910. The fourteen stations of the cross , "exquisite late baroque-classicist pictures", painted in 1780 by Simon Göser , the frames carved by Matthias Faller .

  • Way of the Cross

  • First to seventh station

  • Fourth station: "Jesus meets his busy mother"

  • Sixth station: "Veronica hands Jesus the handkerchief"

  • Eighth station: "Jesus falls down the second time to earth"

  • Eighth to fourteenth stations

In a niche on the north wall there is a “mother of seven pains” from the previous building of the current church. Johann Baptist Sellinger carved a processional figure of St. Remigius .

Appreciation

The Dehio manual finds “architecture and furnishings of high quality”, the “Discover regional studies” website “splendid”. For “art hikes in Baden”, the church “has a beneficial effect on the inside”. It is Bagnato's "best executed church building". Bagnato has an amazing feeling for modeled buildings. “Only those who are aware of the spirit of the Baroque will understand why those responsible have brought outstanding masters from Upper Swabia and the Lake Constance area to have a baroque building built in the vineyard on the Tuniberg that stands out among the rural churches in Breisgau. <...> The fact that such excellent artists as F. Pozzi, FJ Spiegler, JA Feuchtmayer, J. Ch. Wentzinger and S. Göser joined the work would be enough to underline the special status of the Merdingen Baroque Church. " In short, St. Remigius in Merdingen is "the baroque jewel on the Tuniberg".

Rectory

Rectory
Portal to the rectory

Two storeys rise above a cellar with four high windows on the street side and five high windows on the courtyard side, painted corner pilaster strips and a hipped roof. The pastor lived (and lives) in the basement, the upper floor contained visitor rooms and a meeting room for the German rulers. The portal in the middle of the broad side is richly designed, flanked by pilasters, with two coats of arms above it, foliage, shell work and a fancy crown. The heraldic right , i.e. left from the viewer, is that of the commendator provincialis or Landkomturs der Ballei Alsace-Burgundy Philipp Joseph Anton Eusebius von Froberg († 1757), the heraldic left, i.e. right from the observer, that of the Commander of the Freiburg branch Wilhelm Jacob Eusebius von Breitenlandberg († 1755). The composition is attributed to Johann Baptist Sellinger. The main farm building comes.

literature

  • Wilhelm Boeck : Joseph Anton Feuchtmayer. Ernst Wasmuth Verlag, Tübingen 1948.
  • Hermann Brommer : The German Order Coming Freiburg. In: Hermann Brommer (Ed.): The German Order and the Ballei Alsace-Lorraine. Konkordia-Verlag, Bühl / Baden 1996, ISBN 3-7826-1263-9 , pp. 331-366.
  • Hermann Brommer: Merdingen, parish church St. Remigius. 5th edition. Schnell and Steiner publishing house, Regensburg 1999, ISBN 3-7954-4737-2 .
  • Hermann Brommer: Parish Church of St. Remigius, Merdingen. Kunstverlag Josef Fink, Lindenberg im Allgäu 2007, ISBN 978-3-89870-447-2 .
  • Hans Martin Gubler: Johann Caspar Bagnato 1696–1757 and the construction of the Teutonic Order in the Alsace-Burgundy Ballei in the 18th century. Jan Thorbecke Verlag, Sigmaringen 1985. ISBN 3-7995-7031-4 .
  • Raimund Kolb : Franz Joseph Spiegler 1691–1757. Wilfried Eppe Verlag, Bergatreute 1991, ISBN 3-89089-019-9 .
  • Franz Xaver Kraus (Ed.): Merdingen. In: The art monuments of the Grand Duchy of Baden . Volume 6, 1: Districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (Freiburg Land district). Verlag JCB Mohr, Tübingen and Leipzig 1904, pp. 91-92.
  • State Monuments Office Baden-Württemberg and District Office Breisgau-Hochschwarzwald: District of Breisgau-Hochschwarzwald. List of cultural monuments. I. The architectural and art monuments of the former Freiburg district. Freiburg im Breisgau 1974, pp. 208-215.
  • Merdingen in: Discover regional studies online Baden-Württemberg.
  • State archive administration Baden-Württemberg: Merdingen. In: Freiburg im Breisgau, city district and district. Official district description. Volume II, 2. Rombach-Verlag, Freiburg im Breisgau 1974, pp. 667-686.
  • Dagmar Zimdars (Ed.): Georg Dehio, Handbuch der Deutschen Kunstdenkmäler ( Dehio-Handbuch ) Baden-Württemberg II . Deutscher Kunstverlag, Berlin 1997, ISBN 3-422-03030-1 .

Web links

Commons : St. Remigius  - collection of images, videos and audio files

Individual evidence

  1. ↑ Discover Baden-Württemberg online.
  2. ↑ a b Brommer 2007, p. 3.
  3. ↑ Brommer 1996, p. 343.
  4. ↑ Brommer 2007, p. 11.
  5. ↑ a b See literature.
  6. ↑ Brommer 2007, p. 14.
  7. ↑ Brommer 2007, p. 7.
  8. ↑ Gubler 1985, p. 304.
  9. ↑ Zimdars 1997, p. 432.
  10. ↑ Kolb 1991, pp. 378-382 and 409-410.
  11. ↑ Brommer 2007, p. 16.
  12. ↑ Kolb 1991, p. 489.
  13. ↑ Gubler 1985, p. 303.
  14. ^ Brommer 1999.
  15. ↑ Boeck 1948, p. 198.
  16. ↑ Boeck 1948, p. 102 and Brommer 2007, p. 19.
  17. ↑ a b Boeck 1948, p. 122.
  18. ↑ Kolb 1991, p. 412.
  19. ↑ Fridolin in the Ecumenical Lexicon of Saints. Accessed December 31, 2014.
  20. ^ Website of the organ builder, here also the disposition
  21. ↑ Homepage of Klaus-Dieter Kienzler, under Organ building / Church organs
  22. ↑ Kathrin Blum: An organ in which Merdingen is. In: Badische Zeitung . December 24, 2014. Accessed December 31, 2014.
  23. ^ Archdiocese of Freiburg, bell inspection: Parish church Merdingen
  24. ↑ State Monuments Office Baden-Württemberg 1974.
  25. ↑ Brommer 2007, p. 8.
  26. ↑ Zimdars 1997, p. 455.
  27. ^ Emil Lacroix, Heinrich Niester: Art walks in Baden. Belser-Verlag , Stuttgart 1959, p. 153.
  28. ^ Dissertation by Franz Acker on Bagnato, quoted in Brommer 2007, p. 24.
  29. ↑ Gubler, quoted in Brommer 2007, p. 24.
  30. ↑ Brommer 2007, p. 24.
  31. ^ Alois Seiler: The construction of the Teutonic Order in southwest Germany from the 16th to the 18th century. In: Hermann Brommer (Ed.): The German Order and the Ballei Alsace-Lorraine. Konkordia-Verlag, Bühl / Baden 1996, ISBN 3-7826-1263-9 , pp. 192-312, here p. 311.
  32. ↑ Brommer 1996, p. 344.
  33. ^ Hermann Brommer: Johann Baptist Sellinger. A Baroque sculptor from Breisgau (1714–1779). Works and importance in art history. In: Schau-ins-Land. 81, 1963, pp. 66-98, here pp. 90-91.

Coordinates: 48 ° 1 '0.4 "  N , 7 ° 41' 22.7"  E