Christ Church (Schlangenbad)

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Fig. 1: Main front of the Christ Church in Schlangenbad (drawing by the architect)

The Protestant Christ Church in Schlangenbad is a major work by the architect Ludwig Hofmann (1862–1933).

Preparation of the construction

The new construction of the Christ Church in Schlangenbad took place in the time of wealthy spa guests before the First World War . The construction manager of the project was Hofmann's proven technician Theodor Lenz, who also advised Pastor Höfer in 1912 on the competition procedure for the painting of the church.

As with every project, Hofmann also presented several design variants for the new Schlangenbad church. The design, examined in 1904 by government and building officer Richard Saran at the district government in Wiesbaden and by Oskar Hossfeld at the Prussian Ministry of Public Works in Berlin and approved in Langenschwalbach in 1907, was carried out.

Surroundings

The location and orientation of the building is determined by the problematic conditions of the rectangular building site on the steeply sloping eastern slope between the road to Bad Schwalbach and the forest on the mountain side (with a continuous public path). The church must nestle against the mountain, i.e. That is, the longitudinal axis could only run in a north-south direction. Hofmann initially planned the access to the property directly from the street and, because of the large difference in terrain between the street and the nave, with a three-flight staircase. The steep and arduous ascent seems to have been unsatisfactory, because the further plan development only includes the access from the south, which was also implemented. The facade of the church on the street side remained at the front. It is exposed and can be seen from afar. Hofmann designed it richly and referred to it as the main front.

Building description

The longitudinal axis of the church is in principle an axis of symmetry. The floor plan (Fig. 5) shows a nave with a square central space and a rectangular extension on the north side, this in turn with a 2.50 m deep conche. Hofmann defines the rectangular area partly as an extension of the ship and partly - in connection with the cone - as a chancel (increased by 3 steps). In the south there is the porch of the main entrance with vestibule and the staircase to the organ gallery accessible from the outside. The transepts extend the square central space by 2.00 m. If the public “pathway” in the plan from 1904 is still outside (west) of the church, it was later placed in the built-up passage between the western transept and the mountainside. This open passage also serves as protection against the moisture on the slope and the superstructure (with organ gallery) serves to stabilize the building on the slope. To the side of the ship rectangle (and at the same depth of the transept) there is a side entrance with toilet on the mountain side and the sacristy with its own entrance and terrace on the slope . In the gallery level, benches with 45 seats are installed above the entrance porch. The rows of benches are staggered so that the pulpit and altar can be clearly seen from every seat (Fig. 6). The organ gallery is located in the extension above the passage of the public path (and in the cross section of the square central space and the transepts).

Under the eastern transept (in the main front) is a representative hall with access to the tower staircase and the boiler room (under the sacristy; Fig. 1). The tower staircase with a double door is the second entrance to the church; it also serves as a prescribed second escape route. The massive octagonal tower stands in the corner between the main entrance and the eastern transept. As a corner tower, it is a counterpoint both in the main front and in the west facade with the main entrance. It marks the end of the church to the valley. Its round staircase inside connects the lower, second entrance with all levels above up to the bell floor. Regarding the exterior design of the church, Hofmann says:

“In the substructure, the church was made of quarry stone, in the superstructure of bricks and the outside of the wall surfaces with ashlar blocks - in the base gable from basalt lava, in the rising with Rhenish tuff. These stone facings have irregular layer heights and rough outer surfaces; this increases the monumental character not insignificantly. With the exception of some links made in basalt lava, all architectural parts were made in the Rhenish tuff from which the massive tower helmet is made up to the pommel. "

- Höfer 1909 pp. 16–18 and Failing pp. 35–37

The transept gable of the main front is richly designed above the hall: the 4 windows stand in staggered blind arcades, a round window in the gable triangle above; the approx. 1.50 m high figure of Christ stands on the capital (with butterfly relief) of a half-column (fig. 8), in front of the facade; an ornamental frieze closes the triangular gable. The penetration of the nave with the transept had on the main front, i.e. H. on the east side resulted in the creation of a gable motif, which here almost had to be considered indispensable. This east gable, in connection with the flanking tower, can be described as the main architectural motif of the entire building complex, which, seen from the south-east (Fig. 9), extends with the south portal gable and to the north-east with the sacristy extension and with the north choir apse to form a pleasing overall group of monumental effect united.

The arrangement of an open hall in the basement of the east gable has significantly increased this architectural image. Hofmann planned the hall in the basement as an arcade with three round arches with arched friezes, which rest on massive pillars with a base and suggested early Ionic capitals. In his drawing, only the middle, 3.00 m high opening with differential steps was intended as a passage. However, three identical, only 2.50 m low openings were made, the arches of which rest on indicated capitals consisting of two panels (Fig. 10), which has a negative effect on the proportions of the main front. Another main facade is the gable facade of the entrance with vestibule, side staircase to the organ gallery and main portal. The large Romanesque arch of the entrance with an ornamental gable above it is supported by blind pillars. In Hofmann's plan, a figure of an angel is indicated as a bas-relief in the ornamental gable. On the left side (on the side of the foundation stone) the depiction of the expulsion from paradise (Fig. 11), on the right (as a counterpart) the return of the prodigal son (Fig. 12), and in the gable the good shepherd (Fig. 13). The stonemason was Max Bachmann from Wiesbaden. The gable is crowned with the pelican. Woven into the garland above the entrance are images of a hoopoe pecking fruit (Fig. 14), a snail, a snake, a pigeon, an owl, the head of a child and an old man. The facade of the main gable is - like that of the eastern main front - structured with staggered false arcades and windows. The covered public passage is on the mountain side; the side of the slope is rounded off by the octagonal, 35 m high tower. It has a total of 6 levels: the lower entrance level of the church, the main floor, the gallery level, a mezzanine floor, the clockwork is on the fifth and the bells hang on the sixth level. At the level of the clock floor, the facade is decorated with Romanesque arcades. The outer walls of the bell storey are reduced to 8 corner pillars; in between there are two coupled windows with Romanesque overlapping arches . Animal figures sit on the capitals of the central columns. The end of the tower shaft is a cornice with a round arch and zigzag frieze. The octagonal helmet is solidly bricked and is crowned by a capping stone in which the iron cross (height 1.11 m) with a ring is located. The exposed brickwork of the helmet is also the roof skin.

The other roof surfaces of the church are covered in slate in the old German style. The rising masonry of the church consists of the external stone facing and a back wall with bricks. The inner surfaces are plastered. The basement ceiling was designed as a concrete ceiling with I-beams. The vaults above the central square and the rectangle of the nave are cross vaults (with ridges) and in the transepts and the south pore as barrel vaults. Pillars with half-column templates and cube capitals (with acanthus and animal figures) support the belt arches and the vaults (Fig. 15) The radii of the belt arches and barrels each correspond to half the opening width; its center is at the level of the upper edge of the capitals. The interior of the church with the altar, pulpit, organ loft, benches, floor covering, wheel candlestick, colored choir windows (Fig. 16) and the other lead-glazed windows are still originally preserved. The organ was unfortunately - probably during the installation of the new plant - changed for the worse: The sides of the sheet have been cut (fig. 17).

The massive execution of the pulpit in cylinder form and the altar made of sandstone and their design are already shown in Hofmann's plan set 1:50 from 1906. The altar and pulpit (Figs. 18 and 19) are made of solid gray sandstone and harmonize in a monumental way to create the simple, dignified interior. The organ case was architecturally designed in the same way. W. Franke (Naumburg ad S.) produced the glass paintings for the choir windows. The font from the new era is a romanizing addition by the architect Wilfrid Franzen (Wiesbaden).

The painting was only started four years after the church was consecrated. In his letter of January 20, 1912 to Pastor Höfer, construction manager Theodor Lenz put together the conditions for holding a competition, including the recommendation that Hofmann be appointed to the jury as the builder of the church. The main sponsor of the church building was Baron von Krauskopf (his place of honor is still marked today with the brass plate from August 16, 1908), and he donated another 3,000 marks for the painting of the church. He suggested the involvement of the architect Georg Heinsius von Mayenburg and the painter Haussmann (both from Dresden). Haussmann then carried out the painting in 1913 under the direction of Hofmann.

In the lower area of ​​the wall surfaces there is an approx. 3.00 m high plinth in a turquoise tone. Vertical dark stripes at a distance of 1.00 m interrupt the base surfaces; window and passage openings are also marked with a strip. A frieze with a gold cross ornament closes the base surface at the top. Floral patterns dominate above the base. The vaulted barrels are decorated with brocade painting. The undersides of the belt arches are decorated with brown-red flame (or branch?) Ornaments, framed in gray, red, black and gold decor with blue-red acanthus leaves (Fig. 20).

The ridges of the vaulted ceiling are emphasized with narrow gray-blue and ocher-colored leaf, stripes and arch ornaments. The chandelier hangs in a rosette with a halo in the dome of the central square (Fig. 21). The gray base of the triumphal arch ends with a high zigzag frieze. In the arch above the risen Christ is shown in heaven, framed by angels. Two archangels present a palm branch and the crown. The entire arch surface is underlaid with gold-colored mosaic. In the dome behind it the blue canopy with star decoration, on the lower edge five windows with stained glass and turquoise reveals. On the side of the window a high frieze with flowers, thorns and acanthus decor in the color transition from the blue of the sky to the ocher of the earth (the base). Turquoise garlands lie above the windows, which - like pilaster strips - hang down to the floor (Fig. 22). The gallery parapet above the exit is adorned with a turquoise acanthus surface. A banner with the text May the Lord protect your exit and entrance is embedded in it. The arch to the south pore is decorated with a snake motif with leaf ornaments. The gallery walls have turquoise-colored plinths at door height, a frieze and two stripes into three parts of the barrel soffit. The pillar rings, the capitals, the altar and the pulpit are also decorated in delicately hinted at blue, turquoise and gold colors. The natural-colored wood of the doors, benches, parapets and the organ prospect contrasts warmly with the turquoise-colored wall surfaces. The sacristy walls and ceiling are paneled with red-brown wood. The picture of Karl Bantzer donated by Hofmann is also embedded in the wall with a frame: Last Supper in a Hessian village church.

The architectural style of the Christ Church cannot be aptly described with any common stylistic term and the church is also unique in Hofmann's work. He himself says the following about the architectural style: The architecture of the church moves in Romanesque forms, the free treatment of which in places deviates from the strict traditional tradition. Through the choice of these forms in conjunction with the already mentioned technical execution, an architectural image of a peculiar appearance was created, which forms a pleasant contrast to the nearby Catholic church built in high Gothic style and provided with a pointed helmet, and which is due to the green of the surrounding forest is advantageously framed and enlivened. In terms of style, the Christ Church should be a counterpart to the neo-Gothic Catholic Church built in 1895. Its external appearance is determined by the Romanesque, the interior by Art Nouveau and the round arch. The shape of the monumental, sandstone-walled table altar (two octagonal columns with capital carry the heavy plate) has its counterpart in the cylindrical pulpit, also made of sandstone. The massive wooden entrance doors are reminiscent of a castle gate: They are fitted with heavy wrought iron hinges, locks (the handle in the form of a snake!), Bolts, tread plates (with a corrugated top edge) and forged nails. In the massive door lintel, the word God alone is chiseled into honor. The brocade painting in the nave is reminiscent of the painting of the Luther Church in Wiesbaden (by Rudolf and Otto Linnemann, Frankfurt a. M. 1910, architect: Friedrich Pützer).

While the handing over of the bells for the First World War could still be prevented by a cost comparison by Hofmann, in the Second World War the largest and smallest bell in the tower had to be smashed and the metal had to be delivered. On August 28, 1952, the church council decided to purchase a new one. On December 12, 1952, two new bronze bells were cast by Rincker, which the local priest and dean Julius Knodt consecrated on December 25, 1952 (Christmas Day). For the church jubilee on August 16-17, 1958, the interior of the tower, the main portal and the tower clock with dial were renewed and new exterior lights were installed.

Thanks to its robust structure and careful renovations, the church and its paintings have been preserved in good and original form for over 100 years. Perhaps this stroke of luck is also due to a reverence of your pastor Julius Knodt to his uncle Ludwig. But adversity threatens: Wet spots on the vault (with damage to the plaster and the painting) and in the floor indicate long-term neglect; the tower entrance is used as a road salt store, storage room and parking space for the long ladder. Inappropriate furnishings (lecterns made of fashionable square steel, candlesticks, song boards, umbrella stands) and the damaged organ prospect disturb the otherwise homogeneously designed church interior. The building requires continuous care, for which the appointment of a volunteer but committed church master (or church master) would be appropriate. The key to the main entrance, artistically forged by master locksmith Marx from Schlangenbad, is carefully kept in the rectory.

organ

At the end of the 1960s, irreparable defects in the Link organ from 1908 were discovered. After a disposition by Cantor Johannes Krüger (Wiesbaden-Schierstein) and master organ builder Manfred Nicolaus, Förster & Nicolaus built a new work (18 stops , two manuals and pedal ) in the old case in 1969 . Presumably, the side parts of the central arch were sawed off, which is detrimental to the proportions of the prospectus . To prevent larger temperature fluctuations (and thus also mood fluctuations), the organ was fitted with a radiator on the outside wall of the building.

I Hauptwerk C – g 3
6th Quintad 16 ′
7th Principal 8th'
8th. Reed flute 8th'
9. octave 4 ′
10. recorder 4 ′
11. Sesquialter II
12. Flat flute 2 ′
13. Mixture IV-V
14th Tremulant
II Positive C-g 3
15th Wooden dacked 8th'
16. Gemshorn 4 ′
17th Principal 2 ′
18th Fifth 1 1 ⁄ 3  ′
19th Scharff III-IV
20th Salicional 8th'
21st Rohrschalmey 8th'
22nd Tremulant
Pedal C – f 1
1. Pedestal 16 ′
2. Principal 8th'
3. Hollow flute 4 ′
4th Rauschpfeife III
5. bassoon 16 ′

The positive was expanded by two votes in 1990.

Illustrations

  • Fig. 2: Eastern main front, scale 1: 200

  • Fig. 3: South and east views, scale 1: 200

  • Fig. 4: Main floor plan, scale 1: 200

  • Fig. 5: Main floor plan, 1:50, approval plan

  • Fig. 6: Longitudinal section 1:50, approval plan

  • Fig. 8: Christ on a half column

  • Fig. 9: South-east facade around 1907

  • Fig. 10: Arcades in the eastern main front

  • Fig. 11: “Expulsion from Paradise” at the main entrance on the southern front

  • Fig. 12: “Return of the Prodigal Son” At the main entrance on the southern front

  • Fig. 13: “The Good Shepherd” At the main entrance on the south front

  • Fig. 14: Hoopoe at the main entrance of the south front

  • Fig. 15: Cube capital of the belt arches on the organ gallery

  • Fig. 16: Donated organ window

  • Fig. 17: Organ prospectus without the dismantled wooden frames on the side of the prospectus arch

  • Fig. 18: Altar

  • Fig. 19: Pulpit

  • Fig. 20: Decorative belt arch on the east transept (with water damage)

  • Fig. 21: Radial wreath with candlestick in the dome of the central room

  • Fig. 22: Altar and conche

References and comments

  1. ↑ In the meantime Lenz had moved to Münster and no longer an employee in Hofmann's office.
  2. ↑ 40m long, 30m deep
  3. ↑ inside dimensions: 8.26 mx 8.26 m
  4. ↑ clear internal dimensions 8.52 mx 5.61 m, external width - like the width of the entrance porch - 9.80 m
  5. ↑ External dimensions 9.80 mx 5.15 m
  6. ↑ also as a safe escape route from the organ gallery
  7. ↑ The problem with moisture was tackled again around 1960 (see Failing, p. 50), but apparently remained unsolved in some places.
  8. ↑ Failing reports strong cracks in the masonry, caused by blasting in the nearby quarry, by moisture or by traffic vibrations. Vaults and pillars had to be stabilized; P. 51.
  9. ↑ clear depth 5.64 m clear width 7.74 m
  10. ^ Note from Marianne and Dr. Michael Streubel on June 13, 2007
  11. ↑ See Failing p. 53
  12. ↑ In Hofmann's detailed plan, the surfaces of the knob end are embossed and intended for sculptural work.
  13. ↑ Donated by Mme. U. Jonkh. Lampsins van den Velden from Utrecht.
  14. ↑ See also plan no.8 AGW 054-008 and AKg plan no.7.
  15. ↑ In the preliminary drafts, the pulpit was octagonal and it was intended to be located to the left of the altar; However, it was moved to the right-hand side in the execution plan from 1907 and made in a cylinder shape - for better visual contact from the organ side and because of its proximity to the sacristy.
  16. ↑ Even before the painting, the church painter Johann Rauland from Koblenz-Ehrenbreitstein issued an invoice for the delivery of stencils; Note from Marianne and Dr. Michael Streubel.
  17. ^ Copy from Marianne and Dr. Michael Streubel received on May 17, 2007.
  18. ↑ he had already donated 40,000 marks; Failing p. 34.
  19. ↑ Rev. Höfer on January 13, 1913, Tgb. No. 18; ZAeKHN 1/2784.
  20. ↑ Mayenburg, Georg Heinsius from . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 24 : Mandere – Möhl . EA Seemann, Leipzig 1930, p. 294 .
  21. ^ Letter of February 3, 1912 to Rev. Höfer; Copy from Marianne and Dr. Michael Streubel received on May 17, 2007.
  22. ^ Rev. Höfer on October 4, 1913; ZAeKHN 1/2784. Presumably no competition was advertised.
  23. ↑ cf. ev. Martin Luther Church in Königstein-Falkenstein (1912-14)
  24. ↑ Hofmann also uses forged nails on his own house (Kirchberg 9) and on the castle gate in Herborn.
  25. ↑ May 21, 1918; Rev. Höfer on April 25, 1940; ZAeKHN 1/2784.
  26. ↑ caught in winter weather on December 18, 1952, pulled up on December 18, 1952
  27. ↑ Failing p. 44
  28. ↑ Failing p. 45
  29. ↑ with the exception of the romantically arranged organ and the song tables.
  30. ↑ Julius Knodt was the brother-in-law of Hofmann's daughter Gertrud. It was in Bärstadt from 1928 to 1932 and in Schlangenbad from 1932 to 1959.
  31. ^ Franz Bösken : Sources and research on the organ history of the Middle Rhine. Vol. 2: The area of ​​the former administrative district of Wiesbaden . Part 2 (L-Z). Schott, Mainz 1975, ISBN 3-7957-1370-6 , p. 742 (Contributions to the Middle Rhine Music History 7.2).
  32. ↑ Failing p. 54. The housing has space for 23 registers.
  33. ^ Information from Dr. Martin Balz, Mühltal, on May 22, 2007.
  34. ^ Organ in Schlangenbad , seen on February 25, 2012.
  35. ^ Franz Bösken: Sources and research on the organ history of the Middle Rhine. Vol. 2: The area of ​​the former administrative district of Wiesbaden . Part 2 (L-Z). Schott, Mainz 1975, ISBN 3-7957-1370-6 , p. 742 (Contributions to the Middle Rhine Music History 7.2).

swell

  • Archive F. Gerecke-Wiesbaden (AGW) 054-001 / 017 (set of plans M 1:50 without sheets 013 and 014), 028-001 / 002 (tower details), 039-013 (isometric diagram), sheet 5: “Door from Hall to Tower” (door detail M 1:10, pencil drawing on tracing paper);
  • Invitation (with festival regulations) to the laying of the foundation stone on July 23, 1907;
  • Invitation (with festival order, announcement of the organ concert on the same day and travel times of the Eltville-Schlangenbad train and small train) to the inauguration of the Christ Church on August 16, 1908;
  • Hofmann's words on handing over the keys (manuscript of the concept); Rheinischer Kurier (?) Of 8 (?) August 1908;
  • Three postcards from Rev. Höfer dated May 4, 1904, December 30, 1907 (?) And September 1, 1908;
  • a picture postcard from 1908; two historical photos of the facade from 1908 (photographer W. Ballmann, Schlangenbad);
  • ZAeKHN I / 2784 (with a sheet VE 1);
  • Photos No. 146-26 / 27 from March 20, 1977, No. 203-24 / 32 from March 22, 1983, film 783 and E-photos from May 18, 2007, films 784–787 from June 10, 2007.

literature

  • Friedhelm Gerecke: "Historicism - Art Nouveau - Heimatstil in Hessen, Rhineland and Westerwald - The life's work of the architect and monument conservator Ludwig Hofmann (1862-1933) from Herborn" Petersberg 2010, ISBN 978-3-86568-458-5
  • Adolf Failing: Schlangenbad and his Christ Church . Edited by the Ev. Church community in Schlangenbad 1968.
  • Adolf Höfer: The celebration of the laying of the foundation stone for the Protestant church in Schlangenbad. Festschrift for Tuesday, July 23, 1907, self-published by the editor, printed by Franz Bechler, Wiesbaden 1907.
  • Adolf Höfer: The inauguration of the Protestant Christ Church in Schlangenbad . Festschrift for August 16, 1908, self-published by the editor, printed by Franz Bechler, Wiesbaden 1909.
  • Julius Knodt: consecration of bells and 50th anniversary . In: Adolf Failing: Schlangenbad and his Christ Church . Edited by the Ev. Church community in Schlangenbad 1968.
  • Robert Mielke : The picture in the farmhouse. In: Heinrich Sohnrey (ed.): Art in the country . Bielefeld, Leipzig, Berlin, 1905.

Web links

Commons : Christ Church (Schlangenbad)  - Collection of images, videos and audio files

Coordinates: 50 ° 5 ′ 42.5 ″  N , 8 ° 6 ′ 12.2 ″  E