Artworks Catalogue

Ehrenhausen, Parish and Pilgrimage Church Our Lady of Sorrows, north façade (photo by Julia Strobl, 2018)
Ehrenhausen, Our Lady of Sorrows, Pietà with chronogramme cartouche (photo by Julia Strobl, 2018)
Ehrenhausen, Our Lady of Sorrows, alliance coat of arms Eggenberg-Leslie in the pediment (photo by Julia Strobl, 2018)
Ehrenausen, Our Lady of Sorrows, figural group in the attic
Ehrenhausen, Our Lady of Sorrows, St. Peter, left side of the north façade (photo by Julia Strobl, 2018)
Ehrenhausen, Our Lady of Sorrows, St. Paul, right side of the north façade (photo by Julia Strobl, 2018)

Location

Austria, Styria, Ehrenhausen

Austria, Parish and Pilgrimage Church of Our Lady of Sorrows ((Pfarr- und Wallfahrtskirche Schmerzhafte Mutter Maria))

Artwork

The sculptures on the façade of the Parish Church of Our Lady of Sorrows in Ehrenhausen

Type

Sculptural group

Inscriptions

  1. “Ist haeC sIt tIbI DoLorosa Matri saCra” (cartouche beneath the Pietà with chronogram 1754)

Critical History

The ground stone of the new parish church of Ehrenhausen was layed in April 1751 under the patronage of the noble family Eggenberg-Leslie and in 1753 the building must have been finished for the greater part.1 The payments in 1752 and 1753 well documented in the parish archives comfirm this state of the construction progress.2 So far, no evidence has been found in the archives to identify the architect. Numerous attributions based on stylistic similarities were suggested by different researchers, for example Joseph Hueber, Johann Georg Stengg, both from Graz, or Johann Fuchs and Josef Hoffer from Maribor. 3 The consecration of the parish and pilgrimage church of Our Lady of Sorrows was held on July 5, 1754, which date is also memorised by the chronogramme on the pedestal of the Pietà on the façade above the main entrance (Ins. 1).

The sculptures on the façade were attributed to Philipp Jakob Straub,4 but the recently found archival sources prove that their author was actually his brother Joseph Straub, who lived in Maribor.5 As a stonemason, Antonio Bombosi (Bombasi), also from Maribor, is mentioned.6 In 1758 linseed oil and lead white was purchased and it was probably used for coating the sculptures on the façade.7

The faces of St Peter and St Paul show significant characteristics of Joseph Straub's personal style: curly hair and beard, big, half open and almond shaped eyes (compare the sculpture of St Peter with the sculpture of St Joachim from Studenci, which is a documented work of Joseph Straub). There are also certain similarities that these statues have in common with the sculptures in minorite church in Ptuj (also documented work of Joseph Straub), namely the creases on the lower hem of the drapery and open sleeves. Finally, the fluttering effect of the drapery and the “holes” in the drapery are significant hallmarks of Joseph Straub personal style. The sculpture of Virgin Mary is a typical female saint of Joseph Straub. The hairstyle, almond shaped eyes and a round chin are the details that may also be observed on the sculptures of St Anne and St Elisabeth from Studenci. The rocaille decoration on the façade is also similar with the ornamentation on the Joseph Straub`s altars. Therefore, besides the archival sources, the stylistic analysis also confirms Joseph Straub as the author.

Construction / Execution

The decoration of the façade, consisting of monumental figural sculptures on pedestals, a coat of arms and vases, was made of sandstone. St Peter (left) and St Paul (right) are flanking the church façade on two lateral high pedestals, about middle height of the lower storey. In the central gable two putti are holding the alliance coat of arms Eggenberg–Leslie, directly beneath the main group in the attics, a Pietà (Our Lady of Sorrows) with St Dismas (left) and probably St Luke (right). Above the volutes we find two more saints: on the left side an apostle, probably St John and on the right side St Mary Magdalene.8 The figures in the attics are barely visible from beneath, nevertheless the sculptor gave a special attention to the details, like the tears on the face of Virgin Mary.


Components

Sculpture
Author: Joseph Straub (Wiesensteig 1712 – Maribor 1756)
Completed: ca. 1752 – ca. 1756
Patron(s): Maria Charlotte of Eggenberg , noble; Maria Theresia Josepha of Eggenberg, noble; Cajetan Count Leslie , noble
Technique(s): stone carving
Material(s): sandstone

Comment

The sculptures in the attics suffered more damage because of their exposure to weather conditions. In June 2018, the restoration works started.

Conservation-restoration

2018

Strategy: removing dirt, removing partial repairs

Treatment Description

The restoration of the sandstone sculptures are undertaken by sculptor Anna Zottmann, Restaurierwerkstatt Zottmann, Gratwein-Straßengel; Hubert Schwarz, Graz, is responsible for the work on the façade, removing loose parts, cleaning and rendering.

Images

  1. Ehrenhausen, Parish and Pilgrimage Church Our Lady of Sorrows, north façade (photo by Julia Strobl, 2018)
  2. Ehrenhausen, Our Lady of Sorrows, Pietà with chronogramme cartouche (photo by Julia Strobl, 2018)
  3. Ehrenhausen, Our Lady of Sorrows, alliance coat of arms Eggenberg-Leslie in the pediment (photo by Julia Strobl, 2018)
  4. Ehrenausen, Our Lady of Sorrows, figural group in the attic
  5. Ehrenhausen, Our Lady of Sorrows, St. Peter, left side of the north façade (photo by Julia Strobl, 2018)
  6. Ehrenhausen, Our Lady of Sorrows, St. Paul, right side of the north façade (photo by Julia Strobl, 2018)

Catalogue entry prepared by Valentina Pavlič and Julia Strobl

Recommended citation: Valentina Pavlič and Julia Strobl, The sculptures on the façade of the Parish Church of Our Lady of Sorrows in Ehrenhausen, in: TrArS – Tracing the Art of the Straub Family, 2018, (accessed 13/07/2020) URL

Sources and Bibliography

  1. Archive of the Diocese Graz-Seckau, Graz, Parish Ehrenhausen, Kirchen-Raittung (account books of the parish Ehrenhausen), 1750-1772
  2. Styrian Provincial Archive, Steirisches Landesarchiv, Graz, StLA, A. Ehrenhausen, Herrschaft und Markt K. 16, H. 54 (old: L.A. Ehrenhausen Sch. 10 H 45)
  3. Karl Moser, Die Welsche Kirche in Graz. Kunstdenkmäler der Steiermark, 1, Vienna, Graz, Leipzig, Moser, 1928
  4. Sergej Vrišer, Mariborski baročni kiparji, in: Zbornik za umetnostno zgodovino, n. v. IV, 1957, 71–127
  5. Rochus Kohlbach, Steirische Baumeister. Tausendundein Werkmann, Graz, Grazer Domverlag, 1961
  6. Hans Reuther, Des steirischen Baumeister Joseph Huebers Weizbergkirche und die verwandten theatralisch-dekorativen Raumwirkungen im Sakralbau des süddeutschen Spätbarocks (doctoral thesis), Universität Erlangen (ed.), 1947
  7. Günther Brucher, Die Entwicklung der barocken Kirchenfassaden in der Steiermark (2. Teil), in: Kunsthistorisches Jahrbuch der Universität Graz, 6, 1971, 85–88
  8. Dehio-Handbuch. Die Kunstdenkmäler Österreichs. Steiermark (ohne Graz), Bundesdenkmalamt (ed.), Vienna, Verlag Anton Schroll & Co, 1982
  9. Horst Schweigert, Philipp Jakob Straub 1706 – 1774. Ein Grazer Barockbildhauer. Eine Broschüre zur gleichnamigen Ausstellung im Grazer Stadtmuseum, Graz, 1992
  10. Horst Schweigert, Ehrenhausen, Diözese Graz-Seckau, Bezirk Leibnitz, Steiermark (Christliche Kunststätten Österreichs, 294), Salzburg, 1996
  11. Hellmut Lorenz, 59. Ehrenhausen (Stmk.), Pfarrkirche Schmerzhafte Maria, in: Geschichte der bildenden Kunst in Österreich, 4. Barock, Hellmut Lorenz, Österreichische Akademie der Wissenschaften, Wien (ed.), Munich, London, New York, Prestel Verlag, 1999, 291-292
  12. Horst Schweigert, 259. Philipp Jakob Straub (1706–1774) zugeschrieben. Engel mit dem Essigschwamm, in: Geschichte der bildenden Kunst in Österreich, 4. Barock, Hellmut Lorenz, Österreichische Akademie der Wissenschaften, Wien (ed.), Munich, London, New York, Prestel Verlag, 1999, 542
  13. Metoda Kemperl, Josef Hoffer: Ein neuer Name unter den steirischen Architekten des 18. Jahrhunderts, in: Österreichische Zeitschrift für Kunst und Denkmalpflege LVI, 2002, H2-3, 2002, 261-271
  14. Matej Klemenčič, Die Bildhauer Straub in der österreichischen und slowenischen Steiermark, in: Bayern und Slowenien im Zeitalter des Barock. Architektur. Skulptur. Malerei. Zweites slowenisch-bayerisches kunstgeschichtliches Kolloquium, Janez Höfler, Frank Büttner (ed.), Regensburg, Schnell & Steiner, 2006, 105–113
  15. Peter Stauder, Ehrenhausen. Altes. Neues. Interessantes (Festschrift zum 750-Jahr-Jubiläum), Marktgemeinde Ehrenhausen (ed.), Ehrenhausen, 2010
  16. Dubravka Botica, V. 2. 2. Ehrenhausen, crkva Žalosne Majke Božje, in: Barokne četverolisne crkve u sjeverozapadnoj Hrvatskoj. Prilog istraživanju tipologije sakralne arhitekture 18. stoljeća, Zagreb, Školska Knjiga, 2015, 180-181

Notes

1 StLA, A. Ehrenhausen, Herrschaft und Markt K.16, H. 54, History of the parish church of Ehrenhausen 1748­–1860: "Vermög im Archiv vorgefundener pro memoria ist dem 17ten April 752 der erste Grundstein zur Kirche gelegt worden [...] Der Bau der Kirche wurde dan den 5ten Juny 754 vollendet (eingeweiht??)." Horst Schweigert, 1992, 7, 10; Peter Stauder, 2010, 49-50.

2 Archive of the Diocese Graz-Seckau, Parish Ehrenhausen, account books 1750, 1752–1758, 1769, 1770 (Research by Valentina Pavlič and Julia Strobl).

3 Karl Moser, 1928, 18-19; Hans Reuther, 1947, 38; Rochus Kohlbach, 1961, 222; Günther Brucher, 1971, 85–88; Dehio-Handbuch, 1982, 77; Horst Schweigert, 1999, 542; Hellmut Lorenz, 1999, 291-292; Metoda Kemperl, 2002, 262; Matej Klemenčič, 2006, 110; Dubravka Botica, 2015, 180-181.

4 Dehio-Handbuch, 1982, 78; Horst Schweigert, 1992, 7, 11; Horst Schweigert, 1996, 6-7

5 Archive of the Diocese Graz–Seckau, Parish Ehrenhausen, account books, Kirchen–Raittung 1758: »Inhalt No. 3 Hrn. Joseph Straub bildhauer Meister zu Mahrburg 70 [fl.]«. Joseph Straub was buried on March 25th, 1756, but the payment in 1758 is probably only one part of the total costs for his works.

6 Antonio Bombosi (Bombasi) is mentioned for the first time already in July 1752, when the presbytery of the church was built (Archive of the Diocese Graz–Seckau, Parish Ehrenhausen, account books, 1752, fol. 5v: “No:1: Ins. dem Hn Bombosi Steinmetz Maister zu Mahrburg vor das brebistery accordiert nach inhalt quittung 65 [fl.]"). A second payment is documented for 1753, 5v: "No: 1 dem Hrn. Antonius Bombosi Steinmetz Maister lauth Quittung 171 [fl.] 30 [xr.]" Bombasi probably colaborated with Joseph Straub, in the account book 1758 his name (No. 2) is mentioned immediately before Straub's (No. 3), Archive of the Diocese Graz–Seckau, Parish Ehrenhausen, account book, 1758, fol. 4r: "Item No. 2 Hn: Antony Bombasi Stain=Mezmeister zu Mahrburg 60 [fl.]". About Antonio Bombasi see: Sergej Vrišer, 1957, 119–120.

7 Archive of the Diocese Graz–Seckau, Parish Ehrenhausen, account books, 1758, fol. 4r: “Lauth No: 4 Vor Leinöhl et bleyweiss 23 [fl.] 27 [xr.]"

8 For the iconographic attributions see Horst Schweigert, 1996, 5-6.