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The "sweet mother" of Birnau (Bodensee)



The main focus of the church and Mediatrix of Grace emphasized that glitters since 1790, the Blessed Mother statue, like a pearl in its shell, in the classical design of the high altar center. The image of one of the "Beautiful Madonna" Mother of the corresponding Birnau applies to admirers and experts as "the most beautiful end enthroned Madonna in Upper Swabia. He was also the great paintings on the ceiling above the nave of the sanctuary is dedicated. Angel bear there the picture of grace in the church to honor the new shrine with it and continue the tradition of Marian devotion Altbirnauer. The
about one meter high sculpture of the Madonna with the soft flowing Case of the robe and the deep creases between the feet, a bowl of Gothic architecture around 1430 According to research by Jürgen Michler it can be compared with works of sculpture of the city of Ulm retired during the years 1420/36. be especially crafted decorative stone sculptures of the Ulm Cathedral facade and related work on the Überlingen Münster, both in the decorative style and in the delicate line of beauty, the stylistic relationships between the Birnau picture of grace and the Ulm school, see particularly the "Masters of the mandrel townspeople altar". Especially as a written source in 1430 a "Maister of Ulm" testified for work in Überlingen, is the stylistic classification to be derived in the art-historical context is not difficult. Has remained unclear why in 1430 a new image of the enthroned Virgin for old Birnau was carved. What had happened to the original miraculous image? It is striking that in the "soft style" held miraculous image has become ever popular Gothic, but well established based on the model of a Roman, was seated Madonna. It is natural to the previous image Birnau think. Moreover, it appears also typological characteristics of the previous, often imitated by hermit miraculous image of the Gothic imitation of the precious treasures. What was new on Lake Constance in the Madonna pictures 1 Third of the 15th Century. the use of the crescent moon motif at the base of the sculpture Marie (See picture of Marie Eriskirch, 1410). This half-moon image eingeschmiegtem face of the apocalyptic woman must be seen in relation to the original, now missing halo behind the seated figure (see picture display of grace Christoph Lienhard, 1708). On the sun shine (light and warmth of God) and the moon we see in Mary the woman of the secret revelation that existed in God's plan from all eternity as Mother of the Redeemer and Mediatrix of Grace (Rev. 12, 1-5). Sun and crescent in the Middle Ages, used like, from antiquity assumed royal symbols of Christ, which were in the Baroque era but also related to Mary, because the moon get its light from the sun.
The Old Birnau miraculous image was kidnapped in 1746 with a feint in the Abbey Salem and 1750 transferred to the new shrine on Lake Constance. "Our Lady" has dignified her son, the Word made flesh, on her lap. It presents her child to the salvation of the world. By 1900, completed the Überlingen Restoration Gebr Mezger the lost hands and attributes of mother and child and applied a new color version. Thus, the gestures, the half-eaten apple in reference to the original sin and the crosses of the Child Jesus at the beginning of the 20th Century. after old documents accompanying symbols of salvation through Christ wiederhergestllten.

Mary, Star of the Sea

"your people you will know you in the stream of earthly life varies between storms and more storms than on solid ground turns, turns your eyes from not from the brilliance of this star, if you are not overwhelmed by the storms want! If raise the winds of temptations when you get into the rocks of tribulation, then looking down on the star, call on Mary! When you are pushed to the waves of pride, on the waves of ambition, abuse, the jealousy directed the view of those star, call on Mary! If anger, greed or the lure of the flesh, your life will ship diverted from its path, look to Mary! in danger in distress, in unsafe situations, think of Mary, call to Mary "

(From a sermon of St. Bernard of Clairvaux.)

From: Hermann Brommer: The Birnau - shrine on Lake Constance . Published by Editions du Signe, BP 94, F-67 038 Strasbourg Cedex 2, ISBN 2-87718-756-X.

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Forgiveness To Best Friend

Sanctuary Betenbrunn -Heiligenberg

The grace altar

The Sanctuary in Betenbrunn

history. The name is a Fountain of the three prayer returned that have been revered as caregivers of the dead from the Celts, or a man named Betto or to a much revered healing well. Probably early this heathen mothers worship by Christian missionaries in a place of worship of Mother of God has been transformed. 1275 "bed Fountain" was first documented in the Liber decimationis mentioned the tax book of the diocese of Constance, 1353 In respect of the Cistercian monastery of Salem and the town of Winter Sulgen. When in 1373 the dilapidated "and Peter and Paul Parish BMV" settled a Franciscan monastery, authorized Pope Gregory XI. the construction of a new church with a tower. 1387 was "Maister Johann von Ah "by Constance sent here to" ain correct and ain Sekristy to build. "But by 1388 the Franciscans established themselves in Überlingen on. 1398 voted Pope Boniface IX. The transformation of the church into a collegiate church with a pastor and three canons to . 1406 was a 4th canonicate, 1681 by Provost Wey a 5th donated. The Collegiate was under not always the Bishop of Constance and the Abbey of Salem, but sometimes also the abbot of Weingarten. In 1414 the church was at once grave lay the Count's family and remained so to installation of the crypt chapel at the castle 1586th Albrecht IV and his wife Anne of Montfort were buried here as the first. 1522 family donated the 3 still hanging bells in the tower of Hans Folmer, Biberach. In the 2 Half of the 16th Century came - apart from the now existing equipment pieces this time - in the Church: a 1579 dated altarpiece (later in the chapel of Echbeck, now in the front sacristy of Holy Hill) and the 1591/92 dated altars of Überlingen carver Hans Ulrich Hunchback (now the Castle Heiligenberg). 1632 - During the 30 years war - the palace was looted, damaged in Betenbrunn the pilgrims Madonna and overturned the baptismal font. In the 2 Half of the 17th Century took a collegiate recovery: A church was rebuilding after the wedding, Count Hermann Egon's planned 1655, the baroque interior was well until the end of the century completed. In 1727 the church was again in need of repair: court architect of Brix Messkirch set a rollover, which was approved; 1728 roof repair by praying Brunner carpenter Joseph Miller (1734 died) running. Brotherhood was established in 1731 a rosary. Probably created Joh Georg Aich streets 1738, new organ. 1740-43 were building inspector Bikel from Donaueschingen and the measurement because of the court cabinetmaker Kircher Accords for the high altar several times summoned to Betenbrunn. From 08/04/1740 to 01/09/1741 was the painter John Nik. Mirror (1706-59) from the high altar Messkirch active. Since 1742, the altars were erected. 1743 consecrated Auxiliary Bishop of Constance, Count Fugger, the high altar.
After about 400 years anniversary of prayer collegiate Brunner started negotiations to move to Donaueschingen, 1801 was carried out with papal approval of his resolution: The last pastor was Rev. Wetz in Donaueschingen and director at the local high school, two canons were professors. With the secularisation of 1803 the property went into the Gymnsialfonds. 1804 Betenbrunn received from these funds with a parish priest and chaplain, and the Princes of Fürstenberg were patrons. 1892 Chateau administrator Brütsch as an architect for repairs has been proposed: tower roof and the well which had already been changed in 1840, were again in need of repair. 1892/93 a new church door, 1894 Giebelortgang placed for tower repairs of present stepped gable; in stone. After a long correspondence 1900, the Chapel of Grace, and especially the altar were renovated, preserving the old dining hall, the pilgrimage of the Virgin and St. Dominic and Catherine. New grid of metalworkers from Albert Hertrach. 1904 and 1906, new windows in the choir of Lutz and Empt, Constance in 1911 new tabernacle of Mezger. 1902 new sand stone floor and new pews, while retaining the cheeks. found the case of heating channel excavations 1913/14 and 1943 foundations of an earlier nave, restored 1912 church entrance, 1914 donated minister and former mayor Stationsweg clerk in the Eastern Church and Olivet Chapel. Last renovation of the interior 1969-71, the exterior 1979/80.



interior. After the simple exterior of the church you are surprised by the celebration of her bright interior. Above the rectangular aisled nave, a white blanket covered with stucco strip forms. In an oval in the middle grows a heart of acanthus leaves, surrounded by twelve heads of angels on clouds, entwined with a garland of flowers and a sword pierced, are from the heart blazing flames, dominated by a large, simple cross, a symbol of the pain the mother of God. The same stucco acanthus leaves with flowers from the end of the 17th Century decorate the arch Driving to Wall chapel and the three-painted coat of arms in the fillet above the chancel arch. These arms are reminiscent of the founders, supporters and patrons of the Church: Where next mountain crest (inscription: HOC FUND ANTE), right-arms Montfort (HOC adjuvant), in the middle of Fürstenberg-arms patrocinante).
In the nave walls are five rectangular, on wood painted oil paintings on them inserted transversely oval pictures, all framed by the same stucco ornaments. There are scenes from the life of Mary with a symbol: 1 The right of the pulpit: Visitation, is leaning over a landscape of palm trees and the tape Blanda SE PACE salutant. 2. Opposite: the birth of Christ with the rising sun and Curatis FERT GAUDIA parturition. 3. In addition: Presentation in the Temple with the singing dying swan and Aliis VITAM SIBI funerary cantata. 4. On the north side: the Virgin with incense and EXPIRAT suaviter. 5. Opposite: Virgin on the crescent moon, with clouds and angels of the sky taken about one in Phoenix and uplifting coelum Rediviva PETIT. Even in the organ loft to be part of the positive organ four images, each with two music-making Englen recessed, framed by reddish, the stucco-like ornaments that until the last repair came to the surface. On the bottom of the organ loft of the blessing God the Father is depicted with the globe.
we see in the choir at the ceiling stylistically similar Paintings in the middle of a coronation of Mary, a rectangular painting that has been evident here in the second enriched by added using circular segments with cherubs, clouds, and down through the extended river. The oval medallions with angel musicians, as well as the smaller part of the side galleries, with the heads of the Evangelists to the older of paintings representing the Virgin according to legend a random sequence E. Sadeler of 1556/88 after paintings by Hans von Aachen, in 1600 must be developed and probably is from another church.
The oldest cult images of Betenbrunn are in the same time as the Long House were chapel on the north side. It is dominated by the high altar, the 1900 Victor Mezger on the old refectory built in neo-baroque forms has. The old separation image shows the pilgrimage wells on which worshipers kneel, including the figure of the enthroned Virgin Mary hovering over a view from Betenbrunn. Look to the miraculous image of the kneeling St. Dominic - with its attribute, the little dog with a torch in its mouth - and the St.. Catherine of Siena. The revision of these three early Baroque carved the Madonna and child were put on other crowns.
On the right side wall of the chapel is a late Gothic Pietà included painful expression of the Mother of God in a war memorial. Laws, including is a boulder walled. The pilgrimage to legend, a Swedish mercenary wanted to break them with his sword, the holy image, but it slipped. A notch is today och both the head of the figure, as also seen in the boulder. A wooden offering box with iron bands and old circuit is built into the chapel area.

From: Quick, Künstführer No. 1428 - Unv. Reprint of the 1 Edition (1983), 2002, Steiner Verlag GmbH & Quick, Leibnitz Strasse 13, D-93055 Regensburg, ISBN 3-7954-5139-6

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