Bose house
The Bose House is a 1710/1711 built community center of the Baroque in Leipzig . It houses the Bach Archive and the Bach Museum .
Location and building description
The Bose House is located on the south side of the Thomaskirchhof at number 16. It is diagonally opposite the south entrance of the Thomaskirche .
The Bose House consists of four parts of the building that enclose a rectangular inner courtyard of around 10 by 17 meters. The outer boundaries of the property against the neighboring properties are irregular, which leads to sloping floor plans in the side buildings. A small garden adjoins it to the south.
The four-story front building has six window axes. Above the round portal, an oriel with a round arch extends over the first and second floors. Three dormers belong to the converted attic. Ledges and flat pilaster strips structure the facade. The ground floor has cross vaults supported by three pillars in the entrance area.
The Bach Museum mainly uses the ground floor and the first floor, while the remaining floors of the building are reserved for the Bach Archive with its extensive library. On the second floor of the back building there is a small concert hall of around 60 m 2 , the so-called summer hall. As a special feature, this has an oval ceiling part with a ceiling painting, which can be raised, whereby special acoustic effects can be created by means of a balustrade that becomes free. The rear building has a flat extension with a green roof at the transition to the garden.
history
As early as 1529, a house belonging to Wolf von Lindenau is mentioned at the relevant point. After changing ownership, Peter Hofmann had a new house built in place of the old one in 1585; After other owners, the house came to the von Ryssel merchant family from Leipzig and from them to the Bose family by way of inheritance.
From April 1710, Georg Heinrich Bose was the new owner and immediately planned a major renovation under the direction of the master mason Nikolaus Rempe . In the rear building the summer hall was built in 1717, which later received a ceiling painting by Adam Friedrich Oeser .
In 1723 Johann Sebastian Bach moved to the neighboring Thomas School and the Bose and Bach families became friends, which was not least reflected in the four sponsorships of daughters of Bach by daughters of the Bose family. Bach was a regular guest in the Bose household.
Georg Heinrich Bose died in 1731. In 1744 the wealthy merchant and councilor Johann Zacharias Richter (1689–1751) married the eldest daughter of Bose Christiana Sibylla (1711–1749) in third marriage and acquired from the community of heirs of the nine living descendants of Georg Heinrich Bose, to whom his wife also belonged, the House at the Thomaskirchhof. In addition to his magnificent baroque garden, Richter owned a large art collection, which he now housed in his new house - probably in the eastern side building. His second marriage son, Johann Thomas Richter (1728–1773), also an art collector, enlarged the collection and made it available to the public in 1764 - two hours a week. The collection comprised around 400 paintings, including works by Rubens , Rembrandt and Titian , over 1000 hand drawings and several thousand copperplate engravings . Until 1773 the top of the artistic life of the city, the "Society of Scholars, Scholars, Artists and Art Promoters", met in Richter's house. After Johann Thomas Richter's death, the exhibition went to his brother Johann Friedrich Richter (1729–1784) in 1763 . Well-known visitors to the exhibition were Goethe , Wieland , Jean Paul , Chodowiecki , Tischbein and Moses Mendelssohn . In 1810 the collection was auctioned off by Richter's heirs and thus scattered to the wind.
The Richters owned the house until the middle of the 19th century. In 1853, the President of the Appeal Court, Johann Ludwig Beck, bought it and, after six years, began a major renovation in 1859. The aim was to create as much residential and business space as possible that could be easily let. Two shops with large shop windows were set up in the front building and the first roof floor was given a straight outer wall, making the building four-story. The three dormers that are still in existence were built for the floor above. On the courtyard side, the rear building received an annex extending over all floors to accommodate corridors. The building symmetries of the baroque building and the generosity of the baroque buildings were completely given up. The house hardly differed from the rental house type of the later founding years .
On March 7, 1893, a private music history museum opened here on the second floor in the presence of the Saxon King Albert the Dutchman Paul de Wit , in which he exhibited part of his extensive collection of historical musical instruments. The editorial office of the magazine for musical instrument making, which he founded in 1880 and was published until 1943, was also located in the building . The museum existed until 1905. Then de Wit sold his collection to Wilhelm Heyer from Cologne after negotiations with the city of Leipzig had failed. In 1926, with the Heyers collection, parts of the de Wit collection from Heyer's heirs could be acquired by the Saxon state for the University of Leipzig . They formed an essential basis for the Museum for Musical Instruments at the University of Leipzig, which opened in 1929 .
Gastronomy also moved into the Thomaskirchhof 16 at the end of the 19th century. In the back building, the Ansbach beer halls and later the restaurant with cabaret Oberpollinger established themselves . In 1910, the director of the Riebeck brewery in Reudnitz , Friedrich Wilhelm Reinhardt, bought the whole house and led the Oberpollinger to great success.
From 1961 to 2007 the cabaret Leipziger Pfeffermühle played in the back building. In 1960/1961 this was preceded by an extension of the rear building ground floor with low-rise buildings on the courtyard and garden side.
With the demolition of the old Thomas School in 1902, apart from the churches in Leipzig, there seemed to be no more places with a direct reference to Johann Sebastian Bach that would authentically have been suitable for a Bach museum. In 1970 the Bach researcher Werner Neumann pointed out the importance of the Bose House for Bach and suggested the museum design of the house. As early as 1973, a small Bach memorial was set up on the ground floor of the front building.
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In preparation for a larger museum, a comprehensive reconstruction of the building ensemble began in 1982, on the one hand with the aim of gaining museum space, and on the other hand, to largely restore the building to its baroque condition, which is valuable in terms of building history. Therefore, the room breakdowns from 1859 were reversed and the courtyard fixtures removed from the rear building. The summer hall, which was now called the Bach hall without a movable sound cover, was restored. The Oesersche ceiling painting, which has been lost in the meantime, was replaced by a work by the Leipzig painter Wolfgang Peuker above the open gallery. Inspired by Baroque ceiling painting , it showed an allegory with a cloudy sky. On March 21, 1985, on Bach's 300th birthday, the Bach Museum was opened in the Bose House. At the same time, the Bach Archive , which has been located in the Gohliser Schlösschen since it was founded in 1950 , moved into the Bose House.
On the occasion of the Bach year 2000, the museum was redesigned. Another structural overhaul of the house was necessary from 2008 to 2010. The measures focused primarily on expanding the museum and library as well as on necessary security measures such as fire protection and air conditioning. By including the neighboring house Thomaskirchhof 15, the usable space could be increased. The museum was set up according to modern museum educational aspects with interactive and multimedia exhibition parts. The house's baroque garden has been redesigned and a museum café has been opened.
For a number of years it has been possible to have a civil marriage in the historic summer hall .
Building history
In today's front building, a three-storey Renaissance house has been preserved, which Peter Hofmann had built in 1585 instead of an older house. A gable wall that has been preserved to this day shows that the ridge then as now extended parallel to the street facade and that the house was only three quarters of the depth of the baroque house. The entrance hall on the first floor had a groin vault that is still preserved. There will have been wooden back buildings around an irregular courtyard, which are still mentioned in the building files of the early 18th century and which Bose removed. As in many other Leipzig houses, vertical communication is likely to have been mediated by a spiral staircase tower.
Immediately after purchasing the property in 1710, Georg Heinrich Bose had the structure of the house fundamentally changed. The master craftsman was the master bricklayer Nikolaus Rempe from Leipzig . Four wings of the building were created, the three storeys of which had the same heights and mansard roofs with dormer roofs . The three-storey frontage showed the two upper floors before the living rooms a two-storey bay window and a central dormer in the mansard roof.
The front building was extended to the rear by about a third of its depth and received a new roof, so that the longitudinal wall dividing this wing on the two upper floors came to lie roughly in the middle of the structure. With this, Bose followed a new development in Saxon town house construction, which significantly enlarged the rear access areas (antechamber) of the living rooms (rooms) facing the street. The new straight staircase at the interface between the front building and the courtyard was also modern. As the building files show, this courtyard was deliberately laid out in a regular square and replaced the older Leipzig type of wooden galleries with an irregular floor plan. The courtyard was surrounded by the front building, side wing and a regular rectangular back building. This had a hall on the second floor, the windows of which overlooked the courtyard and the garden with a fountain.
The front building was given its present shape in 1859 after minor, older renovations. At that time, the lower storey of the mansard roof was given a vertical facade, so that from then on the house has four full storeys. Further additions from that time were dismantled during the monument conservation restoration in 1982/85.
literature
- Armin Schneiderheinze (Ed.): The Bose House at Thomaskirchhof , Edition Peters, Leipzig 1989, ISBN 3-369-00040-7
- Horst Riedel: Stadtlexikon Leipzig from A to Z . PRO LEIPZIG, Leipzig 2005, ISBN 3-936508-03-8 , pp. 59/60
- Kerstin Wiese, Anja Fritz: Bach's Neighbors - The Bose Family = exhibition catalog of the Bach Museum Leipzig . Leipzig 2005. DNB 985253908
- Kerstin Wiese [Hrsg.]: Citizen pride and Musenort. 300 years of Bosehaus = exhibition catalog of the Bach Museum Leipzig | Bach Museum Leipzig. Leipzig 2011. DNB 1010246607
Web links
- The Bose House on the side of the Bach Archive
- Bose, Bier und Bach , exhibition on the history of the Bose House ( Memento from February 2, 2014 in the Internet Archive )
- Brochure Bach's legacy
- Civil weddings in the historic summer hall
Individual evidence
- ↑ Schneiderheinze, p. 49
- ↑ a b Big farewell in the Bose House ( Memento from February 2, 2014 in the Internet Archive )
- ↑ Schneiderheinze, p. 72
- ^ City Lexicon Leipzig
- ↑ Bose, Bier und Bach , exhibition on the history of the Bose House ( Memento from February 2, 2014 in the Internet Archive )
- ^ Werner Neumann: A Leipzig Bach memorial. About the relationships between the Bach and Bose families , Bach yearbook 56th year, 1970, pp. 19–31, also included in Schneiderheinze (ed.): Das Bosehaus am Thomaskirchhof , pp. 11–30
- ^ Basically on the building history: Jens Müller: On the building history and the renovation of the Bosescher Haus am Thomaskirchhof . In: Armin Schneiderheinze (ed.): The Bose House at the Thomaskirchhof. Leipzig 1989, pp. 31-138.
Coordinates: 51 ° 20 ′ 19.5 ″ N , 12 ° 22 ′ 20.3 ″ E