ENSINGEN, Ulrich von - b. ~1365 Swabia, d. 1419 Strasbourg - WGA

ENSINGEN, Ulrich von

(b. ~1365 Swabia, d. 1419 Strasbourg)

German architect and sculptor. He belonged to a family of architects who came from Ensingen near Ulm, Wurtemberg, and who shared as master-builders in the construction of the most important Gothic buildings of the fifteenth century in Southern Germany. Ulrich, the founder of the family, is known from the year 1391. Apparently he learned his craft in the stonemason’s guild of Ulm, and was also a pupil of Master Heinrich the Younger of Ulm. In 1391 he was asked to take charge of the work on the Milan cathedral, but he seems to have stayed in Ulm, where he was architect of the cathedral until his death. At first his engagement at Ulm was for five years only, but in 1397 he was appointed master architect for life.

At Ulm, Ulrich completed the choir, began the nave, and made the ground plan of the tower. In 1394-95 he worked on the cathedral of Milan, but, disagreeing with the Duke of Milan as to questions of artistic detail, he went back to Ulm. His connection with the work on the Strasbourg cathedral, however, lasted longer; at Strasbourg he was master-builder during 1399-1419 and built the north tower from the platform to the great window. At the same time he completed the nave and the lower part of the tower of the church of Our Lady at Esslingen.

Besides two daughters Ulrich had three sons who all followed the calling of their father. At first they used Ulrich’s official title Kirchenmeister as a family name, but later adopted that of Ensingen (Ensinger).

Exterior view
Exterior view by

Exterior view

The main parish church in Ulm is the work of the Parler family. Two masters by the name of Heinrich and Michael Parler planned a large church. The design changed from hall structure to basilica, however, the nave reaching a height of 42 metres, which makes it one of the most imposing in Europe. The change was the responsibility of the architect Ulrich von Ensingen, known to have worked in Ulm from 1392. He designed the tower, which was to become the highest church tower in the world, reaching 162 metres. He also designed the vault of the nave, completed in 1471.

The photo shows the west front of the church with the tower.

Interior view
Interior view by

Interior view

The main parish church in Ulm is the work of the Parler family. Two masters by the name of Heinrich and Michael Parler planned a large church. The design changed from hall structure to basilica, however, the nave reaching a height of 42 metres, which makes it one of the most imposing in Europe. The change was the responsibility of the architect Ulrich von Ensingen, known to have worked in Ulm from 1392. He designed the tower, which was to become the highest church tower in the world, reaching 162 metres. He also designed the vault of the nave, completed in 1471.

The outstanding feature of the church is the handling of light. Developing throughout the 15th century, the filling of a church with bright, clear light became one of the distinguishing characteristics of German church architecture. The effect was achieved not by making the windows larger, but by using the new, mostly clear, glazing.

The photo shows the nave toward the choir with the ancient glass in the apse and the wooden filigree canopy of the nave pulpit.

Interior view
Interior view by

Interior view

The main parish church in Ulm is the work of the Parler family. Two masters by the name of Heinrich and Michael Parler planned a large church. The design changed from hall structure to basilica, however, the nave reaching a height of 42 metres, which makes it one of the most imposing in Europe. The change was the responsibility of the architect Ulrich von Ensingen, known to have worked in Ulm from 1392. He designed the tower, which was to become the highest church tower in the world, reaching 162 metres. He also designed the vault of the nave, completed in 1471.

The outstanding feature of the church is the handling of light. Developing throughout the 15th century, the filling of a church with bright, clear light became one of the distinguishing characteristics of German church architecture. The effect was achieved not by making the windows larger, but by using the new, mostly clear, glazing.

The photo shows the nave toward the choir with the ancient glass in the apse and the wooden filigree canopy of the nave pulpit.

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