Bregenz-Mariahilf Parish Church

Bregenz-Mariahilf Parish Church is a Roman Catholic church that stands in the Rieden-Vorkloster district of Bregenz, the capital of Vorarlberg, Austria. The church belongs to the diocese of Feldkirch. It is also known as a heroic appreciation church, a type of church that was built in gratitude for the sacrifices of the soldiers and civilians during the First World War.

History of the Church

The history of the church dates back to the 19th century, when the Rieden-Vorkloster area was under the pastoral care of the Mehrerau monastery, a Benedictine abbey located on the shores of Lake Constance. In 1910, an emergency chapel was erected in the local school building to serve the growing population of the district. However, this chapel soon proved to be inadequate for the spiritual needs of the faithful.

In 1907, architect Georg Baumeister had already designed a church for the area, but his plan was never realized. In 1917, another architect, Willibald Braun, proposed a different church design, but his project was also shelved due to the outbreak of the First World War. During the war, the people of Vorarlberg suffered from hunger, poverty, and disease, as well as the loss of many lives on the battlefield. In the midst of these hardships, a desire emerged to build a war memorial chapel for the state of Vorarlberg, as a sign of gratitude to God and the Virgin Mary for their protection and assistance.

In 1921, the renowned architect Clemens Holzmeister, who later became famous for designing the Austrian Parliament building and the presidential palace in Ankara, Turkey, was commissioned to plan the war memorial chapel. His design was inspired by the Romanesque and Byzantine styles, and incorporated elements of modernism and expressionism. The construction of the church began in 1925 and was completed in 1931, with the consecration taking place on September 13, 1931. The church was named Bregenz-Mariahilf, meaning Bregenz-Mary’s Help, in honor of the patroness of the church and the state.

In 1980, the church underwent a renovation and refurbishment, led by architect Hans Purin. The interior of the church was modified to adapt to the liturgical reforms of the Second Vatican Council, and the exterior was restored to its original appearance.

Architecture and Art of the Church

The church is a remarkable example of Holzmeister’s architectural genius, as he created a harmonious and coherent ensemble by combining the central church space with the adjacent choir and side chapels, as well as a multi-story tower, in front of which are two wings of the vicarage and chaplain’s dwelling, and a forecourt as an atrium with pillar arcades. The church has a symmetrical and axial layout, with a clear orientation towards the east, where the sanctuary is located.

The central church space is an oval-shaped hall, with a diameter of 18 meters and a height of 16 meters, covered by a tent-like roof. The hall is surrounded by a structural belt, decorated with reliefs of Marian motifs, such as the Annunciation, the Visitation, the Nativity, the Presentation, the Flight into Egypt, the Finding in the Temple, the Wedding at Cana, the Crucifixion, the Resurrection, the Pentecost, and the Assumption. The belt also encloses a mural painting by Leo Sebastian Humer, depicting the protective cloak Madonna with the Trinity, surrounded by soldiers and wounded people, as a symbol of the church’s origin and purpose.

The hall has two semi-circular side chapels, dedicated to St. Joseph and St. Francis of Assisi, and a choir as a conch, or a half-dome, behind the main altar. The choir is separated from the hall by a triumphal arch, and has three windows, designed by Holzmeister, with stained glass by Robin Christian Andersen and the Tiroler Glasmalereianstalt, based on the sketches of Anton Faistauer, who died before completing his work. The windows depict scenes from the life of Christ, such as the Baptism, the Transfiguration, and the Last Supper. The choir also has a fresco by Humer, showing Christ as the King of Peace, with angels and saints.

The main altar, located in the center of the choir, is a masterpiece of art and craftsmanship, made of sheet silver and weighing about 800 kilograms. The altar was created by sculptor Hans Andre, with the help of Gudrun Baudisch-Wittke, who also made the reliefs on the structural belt. The altar has a canopy structure, supported by four columns, and a figure of Mary and the newborn Jesus, as the focal point of the church. The tabernacle, the processional crucifix, and the candlesticks were also designed by Holzmeister, in a simple and elegant style.

The church also has a series of Stations of the Cross, painted by Humer in 1931, along the walls of the hall. The stations depict the Passion of Christ in a realistic and expressive manner, with vivid colors and dynamic compositions. The church also has a crucifix, sculpted by Albert Bechtold in 1933, hanging above the triumphal arch. The crucifix is made of wood and bronze, and has a stylized and abstract form, conveying the suffering and dignity of Christ.

The church has a prominent tower on the eastern side, rising to a height of 42 meters. The tower has five octagonal storeys, each one smaller than the previous one, and a tented roof. The tower has arched windows on each side, and a clock on the fourth storey. The tower also has a relief of St. Michael, the patron saint of Vorarlberg, above the arcade, sculpted by Bechtold in 1932. The relief shows St. Michael slaying the dragon, as a symbol of the victory of good over evil.

The church has two entry chapels on the western side, flanking the main portal. The chapels have baroque altars, with statues of Pietà and St. Anthony, dating from the 17th and 18th centuries, respectively. The chapels were originally part of the emergency chapel in the school building, and were transferred to the church in 1931.

Bregenz, Austria