GERMANY - Pilgrimage Church of Wies

 Postcard sent by Svenja in a You choose Unesco Tag

Sent- 28 of August of 2018.

INSCRIPTION/INSCRITO: 1983

Miraculously preserved in the beautiful setting of an Alpine valley, the Church of Wies (1745–54), the work of architect Dominikus Zimmermann, is a masterpiece of Bavarian Rococo – exuberant, colourful and joyful. The sanctuary of Wies, near Steingaden in Bavaria, is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.

The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary. Consequently, work began in 1745 under the direction of the celebrated architect, Dominikus Zimmermann, who was to construct, in this pastoral setting in the foothills of the Alps, one of the most polished creations of Bavarian Rococo. The choir was consecrated in 1749, and the remainder of the church finished by 1754. That year, Dominikus Zimmermann left the city of Landsberg to settle in Wies near his masterpiece, in a new house where he died in 1766.

The church, which is oval in plan, is preceded to the west by a semi-circular narthex. Inside, twin columns placed in front of the walls support the capriciously cut-out cornice and the wooden vaulting with its flattened profile; this defines a second interior volume where the light from the windows and the oculi is cleverly diffused both directly and indirectly. To the east, a long deep choir is surrounded by an upper and a lower gallery.

A unique feature is the harmony between art and the countryside. All art forms and techniques used - architecture, sculpture, painting, stucco work, carving, ironwork, etc. - were melded by the architect into a perfect, unified whole, in order to create a diaphanous spatial structure of light and form. The remarkable stucco decoration is the work of Dominikus Zimmermann, assisted by his brother Johann Baptist -  who was the painter of the Elector of Bavaria, Max-Emmanuel, from 1720. The lively colours of the paintings bring out the sculpted detail and, in the upper areas, the frescoes and stuccowork interpenetrate to produce a light and living decor of unprecedented richness and refinement. The abundance of motifs and figures, the fluidity of the lines, the skilful opening of surfaces, and the 'lights' continually offer the observer fresh surprises. The ceilings painted in trompe-l'œil appear to open to an iridescent sky, across which, angels fly, contributing to the overall lightness of the church as a whole. 

 Thank you Svenja!