#: locale=en-GB
## Tour
### Beschreibung
tour.description = 55_Weidenberg_St-Michael
### Titel
tour.name = 55_Weidenberg_St-Michael
## Skin
### Multiline Text
HTMLText_4B644D86_5386_A129_41BD_5DB894DC1294.html = The parish church of St. Michael,
Weidenberg
Around 1690; with a golden corpse, halo of rays of light and angels’ heads, and striking brightly coloured foliage in red (colour of blood and of love) and green (colour of hope and of life).
‘Last Supper’ designed by the court painter W. E. Wunder and painted by F. Gout around 1780, above the communion table.
In the tower basement for Wolf Adrian von Künßberg, a gentleman ‘on the Weidenberg’, a colonel in the Swedish regiment in the Thirty Years’ War (d 1645); and for Elias Schnorr (d 1738) and members of his family, from the workshop of E. Räntz.
Around 1750; with a pair of angels at the base and three angels on the ends of the arms and top of the cross; on the back (seen by the mourners in the procession to the graveyard): ‘Christ// you are my //life, my death// and my gain’.
Instrument made by the organ-builder Purucker (1725, renovated several times), case by J.Ch. Möckel with initials G(eorg) W(ilhelm) M(argraf) Z(u) B(randenburg).
‘Baptism of Jesus’ designed by the court painter W. E. Wunder and painted by F. Gout around 1780; John the Baptist with the ‘bronze serpent’ as a symbol of salvation through the Cross of Christ; many onlookers, predominantly female, and in the background a Red Indian as a sign of the baptism command: ‘Go ye into all the world’.
By E. and G. Räntz, painted by J. P. Langheinrich (1730), and enlarged by J. G. Riedel (after 1771); the late Gothic crucifix (c 1500, rear painted in 1641) was added in the 19C and given neo-Gothic symbols of the Evangelists; six blue pillars shine out through the golden figures, capitals and ornaments; the pulpit is surrounded by billowing silver curtains; on the pulpit roof is a splendid margravial coat of arms; the cross is in a triumphal arch, flanked by two big angels and crowned by a triangle in a halo of rays of light; and at the base are two lifesize allegories, one with a cross and a chalice, and the other with a crown and a laurel wreath.
Dated 1735; with a large, squared-off halo of rays of light, with two angels’ heads on the ends of the horizontal arms and an angel with a chalice above as a reminder of the scene in the Garden of Gethsemane: drinking the cup of sorrow and being obedient to God’s will.
Early baroque picture epitaph for Father S. Thumser (d 1622) with a resurrection picture and a Latin bible quotation from Job 19 v 25 (‘I know that my Redeemer liveth’); below: the deceased with his wife and 13 children praying before the Cross (the children who died prematurely shown in white) ; more priests’ epitaphs (16C-19C) on the west wall.
‘Nativity’ designed by the court painter W. E. Wunder and painted by F. Gout around 1780; with an ‘Adoration of the Shepherds’ with a background of towering architecture; on the ledge: the naked Job (‘I know that my Redeemer liveth’); in the open heavens: a triangle with God’s name Jahwe in angelic splendour.