The old chandelier
The famous Romanesque wheel-shaped chandelier from the 11th century,
which can still be admired today by church visitors at Großcomburg, has
survived many a turbulent age. After it was probably buried in the
ground and had begun to rust, the work of art was "renovated" in 1570
by painting it with gold-bronze oil paint, disfiguring it. H. Merz
reported in 1861, "(...) It was seen and described in this state until
the year of upheaval in 1848 when, on Christmas Eve, as the Catholic
church service had barely ended, the chandelier was also found to be
good for making revolutionary noise. The thin rope with which it was
temporarily secured to the heavy chain at the top tore and it crashed
to the floor with its entire weight. This was its salvation. (...) The
oil coating was softened by boiling in a pot and then immediately
removed: then the old art emerged in such a surprising and delightful
splendor and diversity..."
Angel's tongues
A handwritten translation of the original Latin "Building History of
Comburg Monastery" ("Baugeschichte des Klosters Komburg") in early new
high German, which was probably written in the late 14th century, also
tells founding myths from the early age of Comburg:
One night several men and women went according to their custom to a
church which lay at the foot of the monastery mountain and was
dedicated to Saint John. Suddenly they heard strange, sweet singing and
thought the priests were already singing the mass. After they had
hurried to the church, they found the priests asleep there. Then they
did not doubt that they had heard the song of angels.
The provost's household utensils
In a document from 1498 the last abbot and the first provost of the
Convent of Canons, Seifried von Holtz, lists all objects that the lords
of the Chapter had left him on the occasion of his retirement from the
convent administration. This included twelve beds, thirteen pillows,
sixteen linen sheets, three pans, five wagons with harnesses and
accessories with a value of twenty florins, four cows, twelve pigs,
twelve ox, two plows, twelve silver-plated spoons, two writing desks....
Tomb of the soul
There is still a great deal of evidence to the former monastery on the
Comburg, where numerous inscriptions testify to the life once lived
within the mighty walls. In the age of Convent of Canons, it was above
all Erasmus Neustetter (1523-1594) who emerged as person worthy of
merit. Alone five gravestones bear witness to him and his deeds. A
stone tablet with the date 1570 proclaims:
"Towers I have built ten and new walls
executed...
Florins I have multiplied and interest and tithes...
All that has only occurred through my enormous work (...)
But as no one is born to attend to his own repose,
Rather to care for the field entrusted to him from above,
I have done my duty with zeal, as only
My little strength or the difficult times allowed. (...)
Mortal think of death, always have a good conscience!
Everything else passes away, virtue alone endures."
From Major von Arlts personnel files
In 1866 Major Karl von Arlts, born in 1813, was admitted to the Honor
Corps of Invalids (Ehreninvalidencorps) at Großcomburg for being
"physically unfit for service". His personnel files note that his
"house virgin" had borne him a son there. She then had to leave the
Comburg with her child, while the Major was allowed to remain. He then
took leave for some time and lived together with his family. His
difficult financial situation made it impossible for him to make good
on his promise of marriage. On his request he was appointed as
commander of the prisoners-of-war guard unit at the Hohenasperg in
Württemberg in 1870. In 1871 he returned to the Comburg and became
commander of the Honor Corps of Invalids in 1873. His "blunder" was
considered a petty offence, and the young woman and her child had to
provide for themselves alone...
Malerfleiß
„Zeig immer Stolz dein Prachtgelände
Die schmucken Werke deiner Hände,
Dein Thal, vom Segen Gottes voll,
Und deine grauen Alterthümer,
Der Burg und der Kapellen Trümmer,
Die Kindeskind noch schauen soll“
... wrote the drawing teacher and painter Johann Friedrich Reik in his
"Sketch Book of Schwäbisch Hall and the Surrounding Area" ("Skizzenbuch
aus Schwäbisch Hall und Umgebung"). In his extensive works the artist
he dealt with the old imperial city and the Comburg. Between 1874 and
1902 he produced more than 700 works. These naturalistic, highly
detailed illustrations are of historical value today, as many of the
views shown no longer exist.