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[[File:Oberzell Georgskirche 01.jpg|thumb|10th-century frescoes of the Church of St. George]]
{{copy edit
[[File:Sankt Georg Reichenau.jpg|250px|thumbnail|right|Exterior]]
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The '''Church of Saint George''' is a Roman Catholic church. It is part of [[Reichenau Abbey]] founded in 724,<ref>{{Cite web|url=https://whc.unesco.org/en/list/974|title=Monastic Island of Reichenau|publisher=UNESCO World Heritage|website=whc.unesco.org|language=en|access-date=2018-11-17}}</ref> located on the island of [[Reichenau Island|Reichenau]] on [[Lake Constance]] in southern Germany. The island is home to the churches of Saint Mary, Marcus, Peter and Paul. The church was built in the late 9th century to house the relic head of [[Saint George]], a gift from [[Pope Gregory II]], which commemorated a visit to [[Rome]] by Abbot Hoito in 896.<ref name=":1">{{Cite book|url=https://www.worldcot.org/oclc/48753854|title=Early medieval art|last=Lawrence|first=Nees|date=2002|publisher=Oxford University Press|isbn=0192842439|location=Oxford|oclc=48753854}}{{Dead link|date=July 2020 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
| date = January 2019

}}
The church is owned and run by the [[Catholic Church]] of Saint George Fund. The church interior is decorated with wall paintings that depict stories and figures from [[Religious text|scripture]] and was designed for those who dedicate their lives to prayer and worship.
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[[File:Oberzell Georgskirche 01.jpg|thumb|10th century Frescoes of the Church of St. George]]
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The '''''Church of Saint George''''' is a part of a [[Benedictines|Benedictine]] monastery founded in 724 CE<ref>{{Cite web|url=https://whc.unesco.org/en/list/974|title=Monastic Island of Reichenau|last=|publisher=UNESCO World Heritage|website=whc.unesco.org|language=en|access-date=2018-11-17}}</ref> on the island of [[Reichenau Island|Reichenau]] on [[Lake Constance|Lake Constance]] in Southern [[Germany|Germany]]. This island is also home to the churches of Saint Mary and Marcus, and St. Peter and Paul. The '''''Church of Saint George''''' was built in the late 800's to house the relic head of [[Saint George|Saint George]], a gift from [[Pope Gregory II]] to commemorate a visit to [[Rome]] by '''Abbot Hoito''' in 896.<ref name=":1">{{Cite book|url=https://www.worldcot.org/oclc/48753854|title=Early medieval art|last=Lawrence|first=Nees|date=2002|publisher=Oxford University Press|isbn=0192842439|location=Oxford|oclc=48753854}}</ref> The church is currently owned and run by the ''[[Catholic Church]] of Saint George Fund''. The interior of the church is decorated with wall paintings depicting stories and characters from [[Religious text|scripture]], and was designed for those who dedicate their lives to prayer, worship, and devotion.


== Frescoes ==
== Frescoes ==
The '''''Church of Saint George''''' was built at the end of the 9th century, and the [[Fresco|Frescoes]] were added nearly a century later.<ref name=":2">{{Cite book|url=https://www.worldcat.org/oclc/1035762729|title=Word and image : an introduction to early medieval art|last=J.,|first=Diebold, William|isbn=9780429982613|location=New York, NY|oclc=1035762729}}</ref> The nave Frescoes are divided into three pictorial zones, with the first and lowest zone being located between the nave and the arches. It depicts the abbu Island|Reichenau]] monasteries. The second zone is located above the arches. These large panels portray the miracles of [[Jesus|Christ]]<ref>{{Cite book|url=https://www.woration=New York|oclc=936299427}}</ref>. The third panel is the highest portion located above the windows. It depicts the [[Old Testament]] [[Prophet|prophets]] and the [[New Testament]] [[apostles]].<ref name=":2" /> The second panel is the most researched. Each fresco details a specific story from the life of Christ. Descriptive inscriptions accompany the paintings. [[Titulus (inscription)|Tituli]],<ref name=":2" /> These wall paintings are an important example of artistic expression from the [[Middle Ages]] and are unique for their age and location. The frescoes of the Church of St. George are the only preserved and complete set of wall paintings north of the [[Alps]] from before the year 1000.<ref name=":0">{{Cite web|url=https://whc.unesco.org/en/list/974|title=Monastic Island of Reichenau|last=Centre|first=UNESCO World Heritage|website=whc.unesco.org|language=en|access-date=2018-11-17}}</ref>
The church hosts [[fresco]]es were added in the 10th century.<ref name=":2">{{Cite book|title=Word and image : an introduction to early medieval art|last=J.|first=Diebold, William|isbn=9780429982613|location=New York, NY|oclc=1035762729|date = 2018-05-04}}</ref> They are not frescoes in the proper sense of the word but are [[fresco-secco]] where the painting is applied to a dry surface. The wall paintings typify artistic expression from the [[Middle Ages]] and are unique for their age and location. They are the only preserved complete set of wall paintings produced north of the [[Alps]] before 1000 AD.<ref name=":0">{{Cite web|url=https://whc.unesco.org/en/list/974|title=Monastic Island of Reichenau|last=Centre|first=UNESCO World Heritage|website=whc.unesco.org|language=en|access-date=2018-11-17}}</ref>


The frescoes are divided into three zones. The first and lowest zone is located between the nave and the arches. The second zone is above the arches. The third and highest zone is located above the windows. The lowest panel depicts the monasteries at [[Reichenau Island]]. The second is the most researched zone. It portrays Christ's miracles.<ref>{{Cite book|url=https://www.worldcat.org/oclc/936299427|location=New York|oclc=936299427|title=German Painting|isbn=9781783107933|last1=Carl|first1=Klaus H.|date=15 September 2015|publisher=Parkstone International }}</ref> The top panel depicts [[Old Testament]] [[prophet]]s and [[New Testament]] [[Apostles in the New Testament|apostles]].<ref name=":2" />
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=== The eight miracles and their Titular (translated into English) ===


Each fresco details a specific story from the life of Christ. Descriptive inscriptions, or [[Tituli]], accompany the paintings.<ref name=":2" />
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#[[Exorcism of the Gerasene demoniac|''The Healing of the Demon-Possessed Man'']] (Mark 5:1-19) “The demon is driven out, which bears the name Legion. Then [the demons] enter the swine. They throw themselves into the open sea”

#[[Healing a man with dropsy|''The Healing of a Man with Dropsy'']] (Luke 14:1-11)“A man with dropsy comes straight toward the path and is healed. He goes there loaded. He returns freed of the burden.”
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=== The eight miracles and their Titular ===
#[[Calming the storm|''The Calming of the Windstorm on the Sea of Galilee'']] (Matthew 8:23-27) “God sleeps in his bodily form; east and south wind in particular break loose./ With [[sovereign]] power he gives the command. Wind and water are calm.”

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#[[Healing the man blind from birth|''The Healing of the Man Born Blind'']] (John 9:1-38) “Here the one born without light is anointed with saliva and clay and…” (the remainder of the Titulus is unreadable do to partial destruction).
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#[[Exorcism of the Gerasene demoniac|''The Healing of the Demon-Possessed Man'']] ({{Bibleverse|Mark|5:1-19}}) “The demon is driven out, which bears the name Legion. Then [the demons] enter the swine. They throw themselves into the open sea”
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#[[Jesus cleansing a leper|''Healing of a Leper'']] (Matthew 8:1-13) “... thankfully gives…” (Titulus mostly destroyed)
#[[Raising of the son of the widow of Nain|''Raising of the Young Man of Nain'']] (Luke 7:11-16) “Dead one, rise quickly, and by rising and at the same time saying, return to life!/ And so drive away all sadness of your [[Widow|widowed]] mother!”
#[[Healing a man with dropsy|''The Healing of a Man with Dropsy'']] ({{Bibleverse|Luke|14:1-11}}) “A man with dropsy comes straight toward the path and is healed. He goes there loaded. He returns freed of the burden.”
#[[Raising of Jairus' daughter|''The Daughter of Jairus Restored to Life and a Sick Woman Healed'']] (Matthew 9:18-26) “See, the faith of the ruler encourages you, Jesus, to say,/ By the power of [my] force I want to,/ ‘Magdalena now arise’!”
#[[Calming the storm|''The Calming of the Windstorm on the Sea of Galilee'']] ({{Bibleverse|Matthew|8:23-27}}) “God sleeps in his bodily form; east and south wind in particular break lose. With [[sovereign]] power, he gives the command. Wind and water are calm.”
⚫
#[[Healing the man blind from birth|''The Healing of the Man Born Blind'']] ({{Bibleverse|John|9:1-38}}) “Here the one born without light is anointed with saliva and clay and...” (the remainder of the inscription is unreadable due to partial destruction).
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#[[Raising of Lazarus|''Lazarus Raised from the Dead'']] (John 11:1-45) “Lazarus, come forth!,you who have already been buried four days!/ ‘Leave the delay in death.’: Thus speaks the Father’s image.”<ref name=":3">{{Cite journal|last=Ursula|first=Schädler-Saub,|date=2013-09-11|title=“Bildtapeten” and the conservation of medieval wall paintings at the turn of the twentieth century in Germany. New perspectives in the conflict between authenticity and visual integrity|url=https://journals.openedition.org/ceroart/3551|journal=CeROArt. Conservation,exposition,Restauration d’Objets d’Art|language=fr|issue=HS|issn=1784-5092}}</ref>
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#[[Jesus cleansing a leper|''Healing of a Leper'']] ({{Bibleverse|Matthew|8:1-13}}) “... thankfully gives...” (inscription mostly destroyed)
#[[Raising of the son of the widow of Nain|''Raising of the Young Man of Nain'']] ({{Bibleverse|Luke|7:11-16}}) “Dead one, rise quickly, and by rising and at the same time saying, return to life!/ And so drive away all sadness of your [[widow]]ed mother!”
#[[Raising of Jairus' daughter|''The Daughter of Jairus Restored to Life and a Sick Woman Healed'']] ({{Bibleverse|Matthew|9:18-26}}) “See, the faith of the ruler encourages you, Jesus, to say, By the power of [my] force I want to, ‘Magdalena now arise’!”
⚫
#[[Raising of Lazarus|''Lazarus Raised from the Dead'']] ({{Bibleverse|John|11:1-45}}) “Lazarus, come forth! you who have already been buried four days! ‘Leave the delay in death.’: Thus speaks the Father's image.”<ref name=":3">{{Cite journal|last=Ursula|first=Schädler-Saub|date=2013-09-11|title="Bildtapeten" and the conservation of medieval wall paintings at the turn of the twentieth century in Germany. New perspectives in the conflict between authenticity and visual integrity|url=https://journals.openedition.org/ceroart/3551|journal=CeROArt|language=fr|issue=HS|doi=10.4000/ceroart.3551|issn=1784-5092|doi-access=free}}</ref>


==UNESCO==
==UNESCO==
The whole island of [[Reichenau Island|Reichenau]] was declared a [[World Heritage site|UNESCO World Heritage]] site in 2000. According to [[UNESCO]], the island, including the wall paintings of the Church at St. George, is protected based on the following criteria: The remains bear witness to the role of [[Middle Ages|Medieval]] [[Benedictines|Benedictine]] [[Monastery|monasteries]], they are a strong example of monastic [[architecture]] in [[Central European Time|Central Europe]] from the 9th to 11th centuries, and they held great artistic significance in [[Europe]] during the same time period.<ref name=":0" />
[[Reichenau Island|Reichenau]] island was declared a [[UNESCO World Heritage Site]] in 2000. According to [[UNESCO]], the island, including the frescoes of the Church at St. George, are protected based on the following criteria: the remains bear witness to the role of [[Middle Ages|Medieval]] [[Benedictines|Benedictine]] [[Monastery|monasteries]]; they are a strong example of monastic [[architecture]] in [[Central European Time|Central Europe]] from the 9th to 11th century; and they held great artistic significance in [[Europe]] at the time.<ref name=":0" />


== Restoration and recent damage ==
== Restoration and recent damage ==
Since their discovery in 1856, the paintings have faded quite significantly.<ref name=":3" /> After being uncovered between 1856 and 1857, it was declared that the paintings, specifically those depicting the life of [[Jesus|Christ]], should and would be preserved in an authentic state, and not restored, so as to not lose their historic and artistic value. The [[Switzerland|Swiss]] model of “Bildtapten”, or picture wall papers, was introduced to the church as a way of having a clean mural for visitors to observe, without having to restore the original work. The Bildtapten could be raised and lowered from a mechanism installed in  the ceiling, depending on who was in the building. For example, the Bildtapten would be lowered for mass and visiting hours to give a complete picture of the paintings, but raised to reveal the original [[Fresco|frescoes]] when art historians and other experts came to research and inspect the wall paintings. The academic painter Carl Ph. Schilling began creating and installing the Bildtapten in 1889 and completed them in 1891. In 1909 the Bildtapten of St. George were removed after a part of the mechanism had broken down. A [[restoration]] that included partial repainting and artificial patination was completed by Victor Mezger between 1921 and 1922.<ref name=":3" />
Following their discovery in 1856, the frescoes significantly faded.<ref name=":3" /> The paintings depicting the life of [[Jesus|Christ]] were to be preserved in an authentic state and not restored, reflecting their historic and artistic value. The [[Switzerland|Swiss]] technique of ''Bildtapeten'', or picture wallpaper, was introduced to the church as a way to display a clean mural without restoring the original work. Depending on the visitors, the ''Bildtapeten'' could be raised and lowered from a mechanism installed in the ceiling. For example, the ''Bildtapeten'' might be lowered for mass to provide a complete picture of the paintings, then raised to reveal the original frescoes when art historians or other experts are inspecting the walls. Academic painter Carl Schilling began creating and installing the ''Bildtapeten'' in 1889 and completed the project in 1891. In 1909, the ''Bildtapeten'' was removed after a part of the mechanism broke. A [[Restoration (cultural heritage)|restoration]] that included partial repainting and artificial patination was completed by Victor Mezger between 1921 and 1922.<ref name=":3" />


The rise in visitors to the church in the last few decades has led to the paintings being damaged, calling for a need to closely monitor the state of the paintings. The increase in the number of visitors every year has actually caused a [[climate change]] in the church itself. With more bodies entering the church, there is an increase in the [[humidity]] and [[pollution]] levels. The humidity and pollution have created an environment ideal for the growth of [[mold]] and [[bacteria]], which have caused severe damage to the frescoes.<ref name=":0" />
A subsequent rise in visitors damaged the frescoes, requiring the church to closely monitor their state. This increase has led to climate change within the church building. As more bodies enter the church each year, the [[humidity]] and [[pollution]] levels in the building increase. This humidity and pollution created an environment ideal for the growth of [[Mold (fungus)|mold]] and [[bacteria]], further damaging the frescoes.<ref name=":0" />


The current damage is being monitored by [[General Directorate for Cultural Heritage Rhineland-Palatinate|''Landesamt für Denkmalpflege'']], alongside the [[University of Stuttgart|University of Stuttgart, Institute for Materials of Architecture]]. These groups state that the data they collect includes “[[Indoor climate control|indoor climate]], [[microclimate]] impacts, [[Fluid dynamics|air motion]], influence of [[radiation]], and influence of visitation on the microclimate.”<ref name=":0" /> This data will help support new ideas to regulate the indoor climate, including controlling visitor access. This could include limiting the number of visitors allowed into the church at one time, limiting the number of daily visitors, and decreasing open hours.
The frescoes are monitored by [[General Directorate for Cultural Heritage Rhineland-Palatinate|Landesamt für Denkmalpflege]] and the [[University of Stuttgart|University of Stuttgart, Institute for Materials of Architecture]]. These groups collect data on [[Indoor climate control|indoor climate]], [[microclimate]] impacts, [[Fluid dynamics|air motion]], [[radiation]], and visitation.<ref name=":0" /> These data were expected help prompt new methods by which to regulate the indoor climate, including visitor access.

==See also==

* [[List of churches under the patronage of Saint George]]


==References==
==References==
{{reflist}}
{{Reflist}}


{{Authority control}}
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{{Coord|47.6893|9.0819|type:landmark_globe:earth_region:DE|display=title|format=dms}}
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[[Category:724 establishments]]

[[Category:Freiburg (region)]]
[[Category:Buildings and structures in Konstanz (district)]]
[[Category:Benedictine monasteries in Germany]]
[[Category:Benedictine monasteries in Germany]]
[[Category:Catholic church buildings in Europe]]
[[Category:Roman Catholic churches in Baden-Württemberg]]
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[[Category:724 establishments]]
[[Category:Churches completed in the 720s]]
[[Category:8th-century churches in Germany]]

Latest revision as of 12:01, 3 December 2024

10th-century frescoes of the Church of St. George
Exterior

The Church of Saint George is a Roman Catholic church. It is part of Reichenau Abbey founded in 724,[1] located on the island of Reichenau on Lake Constance in southern Germany. The island is home to the churches of Saint Mary, Marcus, Peter and Paul. The church was built in the late 9th century to house the relic head of Saint George, a gift from Pope Gregory II, which commemorated a visit to Rome by Abbot Hoito in 896.[2]

The church is owned and run by the Catholic Church of Saint George Fund. The church interior is decorated with wall paintings that depict stories and figures from scripture and was designed for those who dedicate their lives to prayer and worship.

Frescoes

[edit]

The church hosts frescoes were added in the 10th century.[3] They are not frescoes in the proper sense of the word but are fresco-secco where the painting is applied to a dry surface. The wall paintings typify artistic expression from the Middle Ages and are unique for their age and location. They are the only preserved complete set of wall paintings produced north of the Alps before 1000 AD.[4]

The frescoes are divided into three zones. The first and lowest zone is located between the nave and the arches. The second zone is above the arches. The third and highest zone is located above the windows. The lowest panel depicts the monasteries at Reichenau Island. The second is the most researched zone. It portrays Christ's miracles.[5] The top panel depicts Old Testament prophets and New Testament apostles.[3]

Each fresco details a specific story from the life of Christ. Descriptive inscriptions, or Tituli, accompany the paintings.[3]

The eight miracles and their Titular

[edit]
  1. The Healing of the Demon-Possessed Man (Mark 5:1–19) “The demon is driven out, which bears the name Legion. Then [the demons] enter the swine. They throw themselves into the open sea”
  2. The Healing of a Man with Dropsy (Luke 14:1–11) “A man with dropsy comes straight toward the path and is healed. He goes there loaded. He returns freed of the burden.”
  3. The Calming of the Windstorm on the Sea of Galilee (Matthew 8:23–27) “God sleeps in his bodily form; east and south wind in particular break lose. With sovereign power, he gives the command. Wind and water are calm.”
  4. The Healing of the Man Born Blind (John 9:1–38) “Here the one born without light is anointed with saliva and clay and...” (the remainder of the inscription is unreadable due to partial destruction).
  5. Healing of a Leper (Matthew 8:1–13) “... thankfully gives...” (inscription mostly destroyed)
  6. Raising of the Young Man of Nain (Luke 7:11–16) “Dead one, rise quickly, and by rising and at the same time saying, return to life!/ And so drive away all sadness of your widowed mother!”
  7. The Daughter of Jairus Restored to Life and a Sick Woman Healed (Matthew 9:18–26) “See, the faith of the ruler encourages you, Jesus, to say, By the power of [my] force I want to, ‘Magdalena now arise’!”
  8. Lazarus Raised from the Dead (John 11:1–45) “Lazarus, come forth! you who have already been buried four days! ‘Leave the delay in death.’: Thus speaks the Father's image.”[6]

UNESCO

[edit]

Reichenau island was declared a UNESCO World Heritage Site in 2000. According to UNESCO, the island, including the frescoes of the Church at St. George, are protected based on the following criteria: the remains bear witness to the role of Medieval Benedictine monasteries; they are a strong example of monastic architecture in Central Europe from the 9th to 11th century; and they held great artistic significance in Europe at the time.[4]

Restoration and recent damage

[edit]

Following their discovery in 1856, the frescoes significantly faded.[6] The paintings depicting the life of Christ were to be preserved in an authentic state and not restored, reflecting their historic and artistic value. The Swiss technique of Bildtapeten, or picture wallpaper, was introduced to the church as a way to display a clean mural without restoring the original work. Depending on the visitors, the Bildtapeten could be raised and lowered from a mechanism installed in the ceiling. For example, the Bildtapeten might be lowered for mass to provide a complete picture of the paintings, then raised to reveal the original frescoes when art historians or other experts are inspecting the walls. Academic painter Carl Schilling began creating and installing the Bildtapeten in 1889 and completed the project in 1891. In 1909, the Bildtapeten was removed after a part of the mechanism broke. A restoration that included partial repainting and artificial patination was completed by Victor Mezger between 1921 and 1922.[6]

A subsequent rise in visitors damaged the frescoes, requiring the church to closely monitor their state. This increase has led to climate change within the church building. As more bodies enter the church each year, the humidity and pollution levels in the building increase. This humidity and pollution created an environment ideal for the growth of mold and bacteria, further damaging the frescoes.[4]

The frescoes are monitored by Landesamt für Denkmalpflege and the University of Stuttgart, Institute for Materials of Architecture. These groups collect data on indoor climate, microclimate impacts, air motion, radiation, and visitation.[4] These data were expected help prompt new methods by which to regulate the indoor climate, including visitor access.

See also

[edit]

References

[edit]
  1. ^ "Monastic Island of Reichenau". whc.unesco.org. UNESCO World Heritage. Retrieved 2018-11-17.
  2. ^ Lawrence, Nees (2002). Early medieval art. Oxford: Oxford University Press. ISBN 0192842439. OCLC 48753854.[permanent dead link‍]
  3. ^ a b c J., Diebold, William (2018-05-04). Word and image : an introduction to early medieval art. New York, NY. ISBN 9780429982613. OCLC 1035762729.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: multiple names: authors list (link)
  4. ^ a b c d Centre, UNESCO World Heritage. "Monastic Island of Reichenau". whc.unesco.org. Retrieved 2018-11-17.
  5. ^ Carl, Klaus H. (15 September 2015). German Painting. New York: Parkstone International. ISBN 9781783107933. OCLC 936299427.
  6. ^ a b c Ursula, Schädler-Saub (2013-09-11). ""Bildtapeten" and the conservation of medieval wall paintings at the turn of the twentieth century in Germany. New perspectives in the conflict between authenticity and visual integrity". CeROArt (in French) (HS). doi:10.4000/ceroart.3551. ISSN 1784-5092.

47°41′21″N 9°04′55″E / 47.6893°N 9.0819°E / 47.6893; 9.0819

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