The choir windows are of a contemporary style.Thomas creates elegant glass vessels - bottles and vases - in his studio in Lumsdale near Matlock. The representations of saints that were originally found below were destroyed in the 16th century by Protestant iconoclasts. In the nave, the upper parts of the windows are lavishly decorated with architectural and botanical motifs. Of the medieval leaded windows, only the rose at the front of the church remains intact. Paul's Church, Wissembourg, the largest of its kind in France. Neoclassical sculptor Landolin Ohmacht is represented by two works, one of them dedicated to Jean-Frédéric Oberlin.Ī late-Gothic representation of Saint Michael, probably a work by Jost Haller, is, after the Saint Christopher in St. Roeder had been the donor of the life-size Mount of Olives group of sculptures (1498) now to be seen inside Strasbourg Cathedral. Among the many other remarkable monuments, the Renaissance tombstone of Nikolaus Roeder von Tiersberg (1510) is notable for its realistic depiction of his decaying corpse. 1130) by the Master of Eschau and the grand late-Baroque mausoleum of Marshal Maurice de Saxe (1777), created by Jean-Baptiste Pigalle. Most famous are the richly decorated sarcophagus of Bishop Adelochus (ca. Monuments at the church date from between 11. The other organ is a 1905 organ in the Neo-Baroque style (installed in 1906) built by Fritz Haerpfer, following a design by the organist then, Albert Schweitzer. The church is internationally renowned for its historic and musically-significant organs: the 1741 Silbermann organ, played by Wolfgang Amadeus Mozart in 1778 and faithfully restored in 1979 by Alfred Kern the French organist Louis Thiry recorded the Art of Fugue by Johann Sebastian Bach on this organ. There is a gallery on the left outer aisle, and chapels to the left and right of the apse. Inside it is approximately 65 metres long and 30 metres wide, with a height of 22m (30m under the late-Gothic cupola). The church is a five- naved hall church, the oldest on the territory of former south-west Germany. On May 7, 2006, the church was the place of the official celebration for the creation of the Union des églises protestantes d'Alsace et de Lorraine (Union of the Protestant Churches of Alsace and Lorraine), or UEPAL. Julius Smend came to preach regularly from 1893, and between 18, the Gesangbuch für Elsaß-Lothringen (English: Hymn Book for Alsace-Lorraine) was developed there. The church played a crucial part in the liturgical revival as the place where, from 1888, Friedrich Spitta tested new forms of church service, and where the Akademische Kirchenchor (English: Academic Chorus) was brought into being. It still administers the primary and secondary schools École Saint-Thomas and Foyer Jean Sturm, as well as the Séminaire Protestant, a seminary located in the adjacent Baroque building. In 1524, the church, which had been a pillar of local Catholic faith thanks notably to the efforts of the canon and poet Gottfried von Hagenau, converted to the Protestant faith ( Martin Bucer served there as a Pastor ), a status which it maintained despite annexation of Alsace to the Catholic France. The upper right angle of the Christ Carrying the Cross shows the St. It is assumed that he is identical with the painter Hans Hirtz, recorded in Strasbourg before 1460. Most of the surviving panels of this once scattered set are now kept in the Staatliche Kunsthalle in Karlsruhe, which is why the anonymous master who painted them earned the notname of ″ Master of the Karlsruhe Passion″. Around 1450, the church commissioned a set of oil on panel paintings dedicated to the Passion of Jesus. Interrupted several times, the building work was completed in 1521, in the style of the late Gothic. In 1196, construction began on the façade of a new, fortress-like building with an imposing steeple, built in the Roman style. In the ninth century, Bishop Adelochus established a magnificent church with adjoining school, however both burned down in 1007, and again in 1144. The site on which the current church stands was used as a place of worship under the patronage of Thomas the Apostle as early as the sixth century.
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