Church of Saint George (Reichenau): Difference between revisions
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[[File:Oberzell Georgskirche 01.jpg|thumb|Wall paintings of the Church of St. George]]<mapframe latitude="47.6950" longitude="9.0633" zoom="7" width="274" height="231" align="right" /> |
[[File:Oberzell Georgskirche 01.jpg|thumb|Wall paintings of the Church of St. George]]<mapframe latitude="47.6950" longitude="9.0633" zoom="7" width="274" height="231" align="right" /> |
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= '''<big> |
= '''<big>Church of St. George, Oberzell, Reichenau</big>''' = |
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== Overview == |
== Overview == |
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The Church of St. George is a part of a |
The Church of St. George is a part of a Benedictine monastery founded in 724 CE<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> on the island of [[Reichenau Island|Reichenau]] on [[Lake Constance]] in Southern [[Germany]]. The island is also home to the churches of St. Mary and Marcus, ans St. Peter and Paul.<ref name=":0" /> The Church of St. George was built in the late 800s to house the relic head of [[Saint George|St. George]], a gift from [[Pope Gregory II]] to commemorate a visit to [[Rome]] by Abbot Haito in 896.<ref name=":1">{{Cite book|url=https://www.worldcat.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 St. George Fund.<ref name=":0" /> The interior of the church is decorated with wall paintings depicting stories and characters from scripture, and was designed for those who dedicate their lives to prayer, worship, and devotion.<ref name=":1" /> |
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== Wall Paintings == |
== Wall Paintings == |
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While the Church of St. George was built at the end of the 9th century, the frescoes themselves weren’t added until 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 frescoes are divided on the nave walls of the church into three pictorial zones: The first and lowest being depictions of the abbots of the Reichenau monasteries between the nave arches, the second, above the arches, being an unbroken space of large panels covering the miracles of Jesus<ref>{{Cite book|url=https://www.worldcat.org/oclc/936299427|title=German painting : Temporis.|last=H.|first=Carl, Klaus|date=2015|publisher=Confidential Concepts|isbn=9781783107933|location=New York|oclc=936299427}}</ref>, and third, the highest portion above the windows, are depictions of the Old Testament prophets as well as the New Testament apostles.<ref name=":2" /> Accompanied with the wall paintings were tituli, or inscriptions, that both gave comment to, and described, the stories and characters in the paintings.<ref name=":2" /> |
While the Church of St. George was built at the end of the 9th century, the frescoes themselves weren’t added until 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 frescoes are divided on the nave walls of the church into three pictorial zones: The first and lowest being depictions of the abbots of the [[Reichenau Island|Reichenau]] monasteries between the nave arches, the second, above the arches, being an unbroken space of large panels covering the miracles of [[Jesus|Christ]]<ref>{{Cite book|url=https://www.worldcat.org/oclc/936299427|title=German painting : Temporis.|last=H.|first=Carl, Klaus|date=2015|publisher=Confidential Concepts|isbn=9781783107933|location=New York|oclc=936299427}}</ref>, and third, the highest portion above the windows, are depictions of the [[Old Testament]] [[Prophet|prophets]] as well as the [[New Testament]] [[apostles]].<ref name=":2" /> Accompanied with the wall paintings were [[Titulus (inscription)|tituli]], or inscriptions, that both gave comment to, and described, the stories and characters in the paintings.<ref name=":2" /> |
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==== The eight miracles and their tituli (translated into English) are as follows: ==== |
==== The eight miracles and their tituli (translated into English) are as follows: ==== |
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# 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” |
#[[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” |
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# 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.” |
#[[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 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.” |
#[[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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# 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). |
#[[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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# Healing of a Leper (Matthew 8:1-13) “... thankfully gives…” (Titulus mostly destroyed) |
#[[Jesus cleansing a leper|Healing of a Leper]] (Matthew 8:1-13) “... thankfully gives…” (Titulus mostly destroyed) |
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# 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!” |
#[[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 widowed mother!” |
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# 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’!” |
#[[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’!” |
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# 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> |
#[[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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The wall paintings in the Church of St. George are the only example of a preserved and complete set of wall paintings north of the Alps from before the year 1000.<ref name=":0" /> |
The wall paintings in the Church of St. George are the only example of a preserved and complete set of wall paintings north of the Alps from before the year 1000.<ref name=":0" /> |
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== |
==[[UNESCO]]== |
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The whole island of Reichenau was declared a 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: "Criterion (iii): The remains of the Reichenau foundation bear outstanding witness to the religious and cultural role of a great Benedictine monastery in the early Middle Ages. Criterion (iv): The churches on the island of Reichenau retain remarkable elements of several stages of construction and thus offer outstanding examples of monastic architecture in Central Europe from the 9th to the 11th centuries. Criterion (vi): The Monastery of Reichenau was an important artistic centre of great significance to the history of art in Europe in the 10th and 11th centuries, as is superbly illustrated by its monumental wall paintings and its illuminations. "<ref name=":0" /> |
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: "Criterion (iii): The remains of the Reichenau foundation bear outstanding witness to the religious and cultural role of a great Benedictine monastery in the early Middle Ages. Criterion (iv): The churches on the island of Reichenau retain remarkable elements of several stages of construction and thus offer outstanding examples of monastic architecture in Central Europe from the 9th to the 11th centuries. Criterion (vi): The Monastery of Reichenau was an important artistic centre of great significance to the history of art in Europe in the 10th and 11th centuries, as is superbly illustrated by its monumental wall paintings and its illuminations. "<ref name=":0" /> |
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== Restoration == |
== Restoration == |
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Since the paintings’ discovery in 1856, they paintings have faded quite severely over time |
Since the paintings’ discovery in 1856, they paintings have faded quite severely over time<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 cam 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" /> |
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== Damage == |
== Damage == |
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The rise of visitors in the last few decades to the church 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 a rise in the humidity and pollution levels. The humidity and pollution has created an environment ideal for the growth of mold and bacteria, which has caused severe damage to the frescoes.<ref name=":0" /> |
The rise of visitors in the last few decades to the church 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 a rise in the [[humidity]] and [[pollution]] levels. The humidity and pollution has created an environment ideal for the growth of [[mold]] and [[bacteria]], which has caused severe damage to the frescoes.<ref name=":0" /> |
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The current damage is being monitored by Landesamt für Denkmalpflege, alongside the University of Stuttgart, Institute for Materials of Architecture. The groups state that the data they collect includes |
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]]. The 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.{{dashboard.wikiedu.org sandbox}} |
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Revision as of 01:23, 29 November 2018
Church of St. George, Oberzell, Reichenau
Overview
The Church of St. George is a part of a Benedictine monastery founded in 724 CE[1] on the island of Reichenau on Lake Constance in Southern Germany. The island is also home to the churches of St. Mary and Marcus, ans St. Peter and Paul.[1] The Church of St. George was built in the late 800s to house the relic head of St. George, a gift from Pope Gregory II to commemorate a visit to Rome by Abbot Haito in 896.[2] The church is currently owned and run by the Catholic Church of St. George Fund.[1] The interior of the church is decorated with wall paintings depicting stories and characters from scripture, and was designed for those who dedicate their lives to prayer, worship, and devotion.[2]
Wall Paintings
While the Church of St. George was built at the end of the 9th century, the frescoes themselves weren’t added until nearly a century later.[3] The frescoes are divided on the nave walls of the church into three pictorial zones: The first and lowest being depictions of the abbots of the Reichenau monasteries between the nave arches, the second, above the arches, being an unbroken space of large panels covering the miracles of Christ[4], and third, the highest portion above the windows, are depictions of the Old Testament prophets as well as the New Testament apostles.[3] Accompanied with the wall paintings were tituli, or inscriptions, that both gave comment to, and described, the stories and characters in the paintings.[3]
The eight miracles and their tituli (translated into English) are as follows:
- 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”
- 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.”
- 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.”
- 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).
- Healing of a Leper (Matthew 8:1-13) “... thankfully gives…” (Titulus mostly destroyed)
- 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!”
- 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’!”
- 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.”[5]
The wall paintings in the Church of St. George are the only example of a preserved and complete set of wall paintings north of the Alps from before the year 1000.[1]
The whole island of Reichenau was declared a 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: "Criterion (iii): The remains of the Reichenau foundation bear outstanding witness to the religious and cultural role of a great Benedictine monastery in the early Middle Ages. Criterion (iv): The churches on the island of Reichenau retain remarkable elements of several stages of construction and thus offer outstanding examples of monastic architecture in Central Europe from the 9th to the 11th centuries. Criterion (vi): The Monastery of Reichenau was an important artistic centre of great significance to the history of art in Europe in the 10th and 11th centuries, as is superbly illustrated by its monumental wall paintings and its illuminations. "[1]
Restoration
Since the paintings’ discovery in 1856, they paintings have faded quite severely over time[5]. After being uncovered between 1856 and 1857, it was declared that the paintings, specifically those depicting the life of Christ, should and would be preserved in an authentic state, and not restored, so as to not lose their historic and artistic value. The 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 frescoes when art historians and other experts cam 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.[5]
Damage
The rise of visitors in the last few decades to the church 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 a rise in the humidity and pollution levels. The humidity and pollution has created an environment ideal for the growth of mold and bacteria, which has caused severe damage to the frescoes.[1]
The current damage is being monitored by Landesamt für Denkmalpflege, alongside the University of Stuttgart, Institute for Materials of Architecture. The groups state that the data they collect includes “indoor climate, microclimate impacts, air motion, influence of radiation, and influence of visitation on the microclimate.”[1] 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.
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- ^ a b c d e f g Centre, UNESCO World Heritage. "Monastic Island of Reichenau". whc.unesco.org. Retrieved 2018-11-17.
- ^ a b Lawrence., Nees, (2002). Early medieval art. Oxford: Oxford University Press. ISBN 0192842439. OCLC 48753854.
{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link) - ^ a b c J.,, Diebold, William. Word and image : an introduction to early medieval art. New York, NY. ISBN 9780429982613. OCLC 1035762729.
{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link) - ^ H., Carl, Klaus (2015). German painting : Temporis. New York: Confidential Concepts. ISBN 9781783107933. OCLC 936299427.
{{cite book}}: CS1 maint: multiple names: authors list (link) - ^ 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. Conservation, exposition, Restauration d’Objets d’Art (in French) (HS). ISSN 1784-5092.
{{cite journal}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)