Kloster, Ehemaliges Zisterzienserinnenkloster, Klosterkirche, Katholische Pfarrkirche Maria Himmelfahrt

Haus Oettingen
Oettingen ist der Name eines edelfreien frankischen und schwabischen Adelsgeschlechts, das 987 moglicherweise erstmals urkundlich im Riesgau erwahnt wurde.
Die Grafschaft Oettingen (auch Ottingen), seit dem 17./18. Jahrhundert auch Furstentum Oettingen, war eine reichsunmittelbare Herrschaft der Grafen von Oettingen rund um die Reichsstadt Nordlingen mit dem Kerngebiet im Nordlinger Ries im heutigen Bayern und Baden-Wurttemberg. Zum Ende des Heiligen Romischen Reiches 1806 umfasste die Grafschaft rund 850 km? und 60.000 Einwohner
Das Geschlecht der Oettingen leitet seine Abkunft zuruck auf den 987 urkundlich erwahnten Fridericus comes und dessen Sohn Sigehardus comes in pago Riezzin, urkundlich 1007. Diese gelten auch als Vorfahren der Staufer. Die Stammreihe als Grafen von Oettingen beginnt (urkundlich 1147) mit Ludovicus comes de Otingen, der in diesem Jahr die alte staufische Gaugrafschaft im Ries als Lehen ubertragen bekam, oder (urkundlich 1250) seinem Bruder Chuno comes de Othingen. Die Verwandtschaft der Ottinger mit den Staufern wird auch durch Urkunden belegt, ohne dass der genaue verwandtschaftliche Zusammenhang deutlich wird. Vom 12. bis zum 14. Jahrhundert gewann die Familie das gro?te weltliche Territorium in Ostschwaben.

Ludwig X (XI) zu OETTINGEN
Born: abt. 1329 Died: 1370
Wife/Partner: Imagina (Anna) von SCHAUNBERG
Children: Ludwig XI (XII; Count) zu OETTINGEN ; Friedrich III (IV) zu OETTINGEN ; Elisabeth von OETTINGEN ; Anna of OETTINGEN ; Margarete von OETTINGEN

D1. Friedrich II, Gf von Oettingen, +14.10.1357, bur Kirchheim; m.1317 Gfn Adelheid von Weid (+22.1.1387)
E1. Ludwig X, Gf von Oettingen, +1.3.1370; m.before 25.5.1337/22.4.1351 Gfn Imagina von Schaunberg (+5.11.1377)
F1. Ludwig XI, Gf von Oettingen, +28.10.1440; 1m: 15.12.1374 Gfn Beatrix von Helfenstein (+1385); 2m: 1420 Gfn Agnes von Werdenberg (+17.12.1474)
F2. Friedrich III, Gf von Oettingen, +23.1.1423; 1m: Elisabetta di Carrara (+by 24.5.1395); 2m: 1397 Euphemia von Munsterberg (+17.11.1447); all kids by 2m.
F3. Friedrich IV, Bp of Eichstadt, *1360, +19.9.1415
F4. Elisabeth, +1406; m.1.4.1376/10.2.1377 Ldgf Albrecht von Leuchtenberg (+1404)
F5. Margaretha, +after 13.12.1360; m.14.9.1352 Gf Heinrich II von Eberstein (+before 1367)
F6. Anna, +before 5.5.1411; m.before 3.3.1363 Gf Ulrich VII von Helfenstein (+by 3.7.1375)

Ludwig VI zu OETTINGEN
Born: ? Died: 1346
Wife/Partner: Agnes von WURTTEMBERG
Child: Irmengarde of OETTINGEN

B3. Ludwig V, Gf von Oettingen, *ca 1240, +9.11.1313; 1m: before 28.7.1263 Bggvn Maria von Nurnberg (+before 28.3.1299); 2m: NN
C1. [1m.] Ludwig VI, Gf von Oettingen, *Harburg before 1288, +Weitra 29.9.1346; 1m: before 3.3.1313 Agnes von Wurttemberg (+18.1.1317); 2m: Baden 26.4.1319 Jutta von Habsburg (+III.1329)
D1. [1m.] Ludwig IX, *ca 1310, +22.7.1342
D2. [1m.] Eberhard, +1335
D3. [1m.] Albrecht, +11.2.1357
D4. [1m.] Irmgard, *ca 1304, +Kloster Liebenau, Worms 6.11.1399; m.VIII.1320 Pfgf Adolf bei Rhein (*27.9.1300 +29.1.1327)
C2. Friedrich I, Gf von Oettingen, +btw 5.11.1311-3.3.1313; m.before 2.2.1291 Elisabeth von Dornberg (+1309/11)

на плите указана дата 1358, имя не указано
Людвигов с датой, даже близкой к указанной, не найдено, но есть Frederic III, к тому же похоронен в Kirchheim (см. выше)
Frederic III, Count von Oettingen1
M, b. circa 1296, d. 4 October 1357
Father Friedrich I, Graf von Oettingen b. c 1266, d. bt 5 Nov 1311 - 3 Mar 1313
Mother Elizabeth von Dornberg b. c 1270, d. bt 28 Jul 1309 - 11 Oct 1311
Frederic III, Count von Oettingen Landgraf im Nieder-Elsass. He was born circa 1296 at of Oettingen, Schwaben, Bavaria. He married Adelheid von Werd, daughter of Ulric von Werd, Landgraf von Alsace and Susanne von Lichtenberg, before 1317. Frederic III, Count von Oettingen died on 4 October 1357.Family Adelheid von Werd b. c 1306, d. 22 Jan 1387
Child Ludwig XI, Count von Oettingen+ b. c 1329, d. 1 May 1370
Citations: [S5692] Unknown author, Lineage and Ancestry of Prince Charles by Paget, Vol. II, p. 296; University of Erlangen internet site.

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Standort: Schwabisch Gmund, Katholische Pfarrkirche Heilig Kreuz, Sudportal, Tympanon, Chor
Hersteller: Heinrich Parler (4), (ungesichert), Baumeister
Datierung: um 1360
Baubeginn: 1310
Sachbegriff: Relief
Gattung: Bauskulptur

HolyCrossMinster and St.Johns Church, Schwabisch Gmund

Short description of monument
The Holy Cross Minster of Schwabisch Gmund is known to be the key building of the German late gothic hall church architecture. Its master builder was Heinrich Parler I, from Cologne, the father of the Parler family of architects and sculptors. It can be assumed, that his son Peter Parler, the most prominent member of the family, later master builder of the St. Vitus Dome of Prague, participated in the construction of the minster choir.
The Minster is an elongate hall church without transepts with towerless west front, two storied choir polygon with ring of chapels in the ground floor. The structure is covered by a huge saddleback roof.
The complete sculptural inventory, especially though that of the five portals, dating from the 30s and 50s of the 14th century, plays an important role in the development of German sculpture. The authorship of the portal sculptures can be identified as that of different stonemasons from the minster workshop, showing a strong "Parler" influence in their style. Two figures, the remains of a cycle of ten prophets are probably by Heinrich Parler I himself. A detailed comparative study, examining the stylistic and technological similarities and differences, with the aim of identifying the individual hands, is in progress. A sensational aspect of the portal sculptures of Schwabisch Gmund is the large amount of polychromy which has survived over the centuries.

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Das Heilig-Kreuz-Munster (offiziell: Munster zum Heiligen Kreuz, von 1761 bis 1803 Stifts- und Kollegiatkirche zu Unserer Lieben Frau; umgangssprachlich Gmunder Munster genannt) in Schwabisch Gmund ist ein ab zirka 1320 als Stadtpfarrkirche errichteter gotischer Kirchenbau mit Hallenumgangschor anstelle eines etwa 200 Jahre alteren Vorgangerbaus. Das Munster ist kunsthistorisch bedeutend als Ausgangswerk der Baumeisterfamilie Parler und als erste gro?e Hallenkirche Suddeutschlands. Es ist einer der ersten Vertreter der Deutschen Sondergotik.
The no fewer than seven workshops that operated here during the fourteenth century can be roughly divided into two groups: the earlier Parler Style (ca. 1340s), and the mature style (ca. 1351-1390). The local Annales, as well as the inscription in Prague cathedral read that "magister henrici parleri de colonia", "Parler lapicide (stonecutter)" is the architect of the church. This is the first time that the word "Parler" – originally Parlier (foreman, Middle High-German) – is used as a family name. Heinrich Parler was the father of both Peter and Johann. An entry dating to 1372 reports that Johann was also working in the church.
The north tympanum features the Passion of Christ in a vivid narrative and energetic movement; the south tympanum – the Last Judgment.
Several soldiers, fashionably dressed, approach Jesus from the right, as Judas signifies his Lord by a kiss; Peter, on the left – his hand now broken – cuts off Malchus' ear, as Christ concomitantly heals it and restores it to its place. The events are composed in a fast rhythm with no intervals between the narrative sequences; one action follows the other, and yet the distinction between the different moments remains clear: the free-standing figures are carved in the round, positioned on stage-like ramps; no one figure conceals another, making the narrative easily discernible from the spectators' level. I took this photo before the recent restorations; an iron grid now prevents photography.
The executions of the Apostles James the Greater, James the Less and Simon in the archivolts:
Although these depictions epitomize the idea of imitatio Christi, many of the eighteen martyrdoms featured do not correspond to the individual saint's vitae but, rather, reveal contemporaneous juridical punishments. Similar imagery of executions of criminals appears in legal treatises, such as in the illuminated fourteenth-century Fleurs des Chroniques, and in the Pittura infamante – effigies of shame – depicting the rituality and technicality of juridical executions and their excessive of violence. The depiction of James the Less with the axe splitting his skull, on the other hand, brings to mind the reality of the medieval battlefield. What modes of response and identification were therefore available for the viewers? Did they see in these images the martyrs or the criminals? Have they identified themselves with the role of the executioner or of the victims?

Parler lapicide
The Parlers have acquired an almost mythical status as the founders of German architecture and sculpture. However, even if one ignores the legends that have evolved around their name, they were still among the most influential artists active in the fourteenth century, from Cologne to Prague, Vienna to Milan. While romantic accounts have tended to focus on the works of Peter Parler in Prague and the naissance of German individualism, the perplexing activity of his brother Johann in the cities of southern Germany has been almost completely neglected.
Johann is first documented as Werkmeister in Basel, 1356. In 1359 he was appointed lifetime Werkmeister in Freiburg, a prestigious contract ensuring the exclusiveness of his skills to the town and preventing him from working elsewhere. There are, however, several entries of his name in the local Annales of Augsburg and Schwabisch Gmund. Fragments of his workshops' ledgers together with stylistic arguments, suggest that he was also in charge of construction sites of Ulm new parish Church (nowadays cathedral) and St. Theobald collegiate church in Thann. Operating as an entrepreneur or a contractor, he probably conducted five local workshops concurrently, an economically viable organization that enabled him to produce in a short time not only several of the most ambitious architectonic endeavors of the period, but also some of the most spectacular sculptured tympana.
The sculptural works executed under his supervision have been marginalized in the scholarly discourse for several reasons: its quasi 'mass-production' appeal did not fit the concept of "genius artist" so cherished by modernist writers; the concomitantly close similarities and dissimilarities between the various projects did not fit into the modernist evolutionary project; the expressive quality was denounced as grotesque; and the narrative impulse was considered as an insult to the connoisseur.
During the last fourteen years I have attempted to construct and deconstruct the figure of Johann Parler as the agent responsible for the production, supervision, and communication of these sculptured tympana. I have investigated their narrative structure, art patronage and reception, as well as modes of spectatorship and voyeurism. In the following online exhibition I hope to introduce to the non-German audience some of the stimulating peculiarities of this sculpture – and its beauty.