Teutonic Minster of St. Peter and Paul (Heilbronn)

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The Teutonic Order Minster

The Teutonic Order Minster in the Deutschhof in Heilbronn is a Catholic church that was built by the Teutonic Order , whose origins lie in the 13th century and which goes back to an older predecessor building.

Building history

The Kommende Heilbronn of the Teutonic Order was apparently founded in the 1220s. The convent buildings of the Deutschhof were built in the following period, whereby the church belonging to the coming church was initially referred to as the Marienkapelle in the 13th century.

In the years 1994/95, during renovation work in the south wall of the choir tower chapel, brickwork and under the side chapel remains of limestone foundations were found that are even older than the current structure. However, the finds remained undated and their origins remain open.

  • Teutonic Order Cathedral (status 1850)

  • Teutonic Order Cathedral (as of 1900)

  • Teutonic Minster (as of 2000)

The Romanesque church “St. Marien “around 1225

Floor plan of the Romanesque church

The first religious church was probably built from sandstone in 1225–1235 and consecrated to St. Mary. The impressive late Romanesque tower choir in the basement of the choir tower of this complex, which bears the greatest stylistic similarity to the Weinsberg town church , which was built around the same time , is likely to have been created. In the tower choir there is a Romanesque sarcophagus altar from the middle of the 13th century. The ribbed vault in this tower choir contains a Moorish keystone and dates from the same era.

  • 1225: Moorish keystone in the tower choir (13th century)

  • 1225: Romanesque tower chapel

  • 1225: Cross of the Teutonic Order in the tower choir

The new Gothic building of the “Marienkapelle” from 1340 to 1360

Floor plan of the early Gothic Frauenkirche

The popularly known "Marienkapelle" became a pilgrimage church. This made an expansion necessary in 1340. The building now in existence represents this extension, which was placed in the north right next to the older facility. However, in the Gothic period this was a three-aisled pillar hall with three bays . The pillars had a cross-section of 92 cm. They carried a vault with a crown height of 10 meters. The pillars stood on two rows of four individual foundations each, each 1.60 m × 1.60 m in size, at a depth of 1.80 m. The eight pillar foundations are all made of hewn sandstone, walled with lime mortar. The two rows of foundations are arranged in such a way that they divide the nave lengthways into three almost equally large fields. When the secret gate was uncovered, parts of the Gothic pillars were discovered that had been removed during the Baroque era in 1720. The tower choir of the Romanesque chapel was preserved as the church tower of the new complex, but the pre-Romanesque nave to the Romanesque tower chapel was lifted, and it merged into the subsequent sacred building.

A simple choir, structured by buttresses on the outside, was attached to the pillar hall, the apse of which was constructed from five sides of an octagon .

  • Reconstructed cross-section of the Gothic pillar on cardboard (left). Remains of an original Gothic pillar (right), remains of the ribbed vault of the late Gothic choir.

The 2nd extension from 1490 to 1510 and "Church of Our Lady" or "Frauenkirche"

Teutonic monastery with late Gothic choir (extension 1490–1510)

From 1490 to 1510, the church was further expanded under the master builders Hans von Karstädt, von Welden and von Liebenstein under the old commandant of Sachsenheimer, eight large Gothic windows were installed and the nave was raised by a third. The choir was extended by three bays in the late Gothic style and received an apse with a 5/8 end. The interior of the choir is spanned by a ribbed vault. Remnants of the vault were found during the renovation in 1994.

Kirchweihtag was April 25, 1510 on St. Marx Day. The name was changed with the second extension. Since then, the sacred building has been called the “Church of Our Lady”, later simply the Frauenkirche .

  • Middle window of the choir with original Gothic tracery

  • Late Gothic choir from the east (Eichgasse)

  • Late Gothic choir from the north (Kirchbrunnengasse)

The "Speydelsche Chapel"

Bronze epitaph in memory of Ludwig Speydel

In the second half of the 15th century, the Speydelsche Chapel with a ribbed vault and spiral staircase was built on the north side of the late Gothic choir. It was built according to a bequest by Ludwig Speydel, who died in 1484. In 1968 the intact late Gothic chapel was demolished in favor of a new, modern single-storey sacristy. The vault ribs, spoils and a keystone with a medieval face were reused. A keystone of the chapel shows the coat of arms (3 wedges or spiers) of the founder Ludwig Speyel, who died in 1484, and is now in the lapidarium.

The "creeping gate" 1530

In 1530 the council and citizenship profess the Augsburg denomination . Thus the city of Heilbronn and the parish church of Heilbronn become Protestant. After the Reformation in Heilbronn, the Liebfrauenkirche of the Deutschhof is considered a refuge and mother church of Heilbronn Catholics. Since the city council had the main portal of the Liebfrauenkirche of the Deutschhof locked with chains, the Heilbronn Catholics sneaked into the church via a side portal from the Teutonic Order Cemetery. This side portal has since been called the "sneak portal".

The renaissance reconstruction of the church around 1602

Floor plan of the Teutonic Order Minster with a corridor in the side chapel (1602)

When the so-called Stein-Kallenfels-Bau was built in the small Deutschhof around 1600, an entrance was created from the building, which is now used as a rectory, to the Gothic church. The Romanesque nave was cut in half in the west. The Renaissance corridor, which still exists today, was created. The corridor consists of two floors and shows four pillars with three archivolts . The first floor of the corridor shows a cross vault made of bricks with sandstone ribs. A staircase was added between the Gothic nave and the bell tower.

  • The first floor of the Renaissance corridor

The baroque church “St. Peter and Paul ”around 1720

Floor plan of the baroque church “St. Peter and Paul ”around 1720
Teutonic Order Cathedral, view of the high altar (plasterer Franz Joseph Roth and fresco painter Luca Antonio Colomba )

After he had already carried out various renovations to the church, the Heilbronn Comtur Georg Adam von Speth hoped to get permission from the building-ready Landkomtur Karl Heinrich von Hornstein in Ellingen, seat of the administration of the Deutschordensballei Franconia , for a radical redesign of the upcoming church. The Landkomtur did not seem to have been averse to the request of the Heilbronn Komtur von Speth for a renewal, because he asked him to name individual building measures. On April 18, von Speth wrote to Ellingen and declared:

"... because of the reparations planned for the local churches [I] are ... of the opinion ... that the church would be made with a roof truss, faciate, portal and window, plastered from the outside ... [it is also necessary] that the old, unshaped church tower standing there is special whose pointed roof chair has to be removed, so then one story has to be bricked on it, the following has to be adorned with a French domed roof. "

Hornstein answered the commander on April 29, 1720 and promised him that he would discuss the scope with his builder Franz Keller as soon as he was back in Ellingen. On May 13, von Hornstein stated that he had discussed the matter with his master builder and suggested that Keller “have to do this work in the future year”.

According to the accord, Keller was supposed to demolish the old roof structure, raise the main walls by 15 shoes and provide the nave with a main stone cornice. Special emphasis was placed on the design of the facade with the gable and a richly decorated portal with four columns, cornices and coats of arms.

“... front large gable, as a faciat against the Stattgasse with a continuous and recessed main cornice including a few pedestals, no less the portal with four free-standing columns, cornices, 3 large coats of arms and other decorations, also an inside staircase with a pierced gallery all made of hewn stones do."

Keller's elevation shows us the “Faciaten against the Stattgass” as a high, almost undivided wall that is framed by side pilaster strips . The central part of the facade is accentuated by the portal and a high, ogival window. The profiled cornice does not run horizontally, but swings open in the middle over the top of the window in an arched segment . Starting from the side pedestals, the gable line runs upwards in a gentle concave curve and ends in a profiled gable triangle. The facade was given a magnificent entrance as a further accent. A two-flight flight of stairs leads to the wide, segment-arched portal. It is flanked by slender, composite columns that appear somewhat intrusive due to their narrow position and their doubling. They have an architrave , a bulged frieze and a cornice that swings up in the middle and thus takes up the motif of the curved gable cornice. On the cornice are the coats of arms of the Hauskomtur, Landkomtur and Grand Master of the German Order. They are flanked by helmets, armor and other armies of the order. The renovation work according to Franz Keller's proposals was carried out under the supervision of his younger brother Johann Michael Keller the Elder , who was based in Neckarsulm - "to master builder Johan Michael Keller from Neccarsulm, above all to the church and tower in question."

The plastering was done by the Mergentheim plasterer Franz Joseph Roth , who had also worked at the Teutonic Order Castle in Ellingen. Roth created the four large stucco figures of the four church fathers Augustine, Ambrosius, Gregory and Hieronymus. Two stucco herms supported the fighters, who carried the wide, segment-arched belt between the second and third yoke in the nave. The two arching herms were only removed during the renovation work in the 1960s.

The stucco marble work on the altars was done by Dinkelsbühler plasterer Christian Kurz .

The Italian painter Luca Antonio Colomba could be won over to paint the church . He was paid 1200 guilders for "the fresco painting in the church by the choir, lanhaus and chapel above the vault". The painting started in the summer of 1722.

Other participating artists were the Heilbronn sculptor Ignatius Schupp and the Münnerstadt painter Eberhard Würth with his apprentice Nicolaus Spiegel .

When the Gothic Church of Our Lady was converted into a Baroque church, the patronage probably also changed to St. Peter and Paul, which was only mentioned in 1766. After the dissolution of the Teutonic Order and the establishment of a city parish, the first diocesan priest, Josef Schmalstieg, took over the parish in 1806.

  • Exterior view of the baroque church from 1835

  • Baroque portal, renovated by Speth in 1696

  • Baroque north chapel

The destruction in 1944

On December 4, 1944, the Deutschordensmünster and the surrounding Deutschhof were destroyed in the air raid on Heilbronn . The first loss of historical building material was to be lamented when on February 5, 1948, half the choir ceiling of the Teutonic Order Minster collapsed as a result of cold and rain. The "mighty stucco, the magnificent pulpit, the feudal royal box and the ceiling paintings of Colomba" were finally lost.

HH Pastor Dean Dr. As an eyewitness, Stegmann reported on the destruction of the sacred building:

“When I was the last eyewitness in the burning church, I only saw how the fire, kindled and nourished by phosphorus bombs, had first hit the altar and the organ, and then the pews and the gates burned with them. The storm had seized almost every combustible part of the church with a mad rush. First the ceiling over the organ had collapsed "

The reconstruction from 1948 to 1951

The baroque stucco allegory was preserved on the wall of the nave in 1951

The building suffered further losses in its baroque furnishings when, in the course of reconstruction on October 7, 1948, work began to remove the baroque stucco cladding that may still be preserved from two of the western inner pillars in the southern side chapel (memorial chapel) and from the entrance pillars to the tower chapel.

Other baroque furnishings were retained, however, such as that of the outer chapel on the north wall with the ceiling mirror and Marian monogram , or the two stucco allegories on the high walls of the nave.

When the church was rebuilt, the remaining parts were integrated into a reconstruction with simplified forms. The well-preserved massive tower substructure still has a lot of the original structure. The formerly baroque spire was made more matter-of-fact.

A heavy wooden coffered ceiling, the balustrade of the gallery and the portal came from the workshop of the master carpenter Baumgärtner. An emergency organ was initially set up. In 1951 the choir was separated from the nave by a low barrier made of brown Offenau marble. The low pulpit was also made from the same marble. On the altar in the choir was the 3 meter high, heavy wooden cross, on which a restored figure of Christ was attached.

Renovations in 1968, 1994 and 2017

View to the choir and right through the tower chapel into the tower choir
Baroque portal with Teutonic coat of arms and angels

Small repair work on the tower in 1958 and 1960/61 resulted in the first extensive interior renovation of the church in 1968/69 under the direction of Pastor Josef Baumgärtner and the Stuttgart architect Hans Georg Reuter. In the process, however, further parts of the historical furnishings that were still preserved were destroyed and therefore led to further losses of the historical building substance. The renovation was inspired by the liturgical reform of the Second Vatican Council. The aim was to create an undivided interior space between the nave and the choir in the sense of a meeting church. A late Gothic triumphal arch separating the two rooms was broken off. The right half of a late Gothic wall painting on the side of the arch was removed. The coffered ceiling was boarded in order to gain an undivided level for a painterly execution. This was colored by Karl Blau. The ceiling design of the Würzburg Cathedral served as a model .

The baroque furnishings that remained after the reconstruction have now been removed for good, including the two pilasters adorned with herms on the north and south walls. Likewise, the side walls of the small baroque Lady Chapel on the north wall were broken in to insert oversized glass doors. The old baroque dome of the chapel was hammered in at the hanging spandrels to create a smooth new ceiling.

In 1977, the then diocesan bishop Dr. Georg Moser made the church of St. Peter and Paul in Heilbronn the "Teutonic Minster".

Another renovation in 1994/95 under the direction of the architect Rudolf Lückmann brought back many artistically and historically important elements that had not been taken into account in the simplified reconstruction after the war or had been subordinated in the previous renovation. The baroque ceiling, which was exposed and restored during the renovation in 1994/95, shows a ceiling mirror with a Marian monogram.

In 2017 the entrance area was extensively renovated, with the baroque portal being reconstructed. Funds have been collected for the reconstruction since 1995.

Building description

Interior view from 1900
The bronze cross came to the Neckargartach church

Altars

In the Gothic Frauenkirche there were two other altars in addition to the small Marien altar in the tower, namely a Maria Magdalenen altar, mentioned in 1496, and the Elisabeth altar, mentioned in 1512. In the Speydelschen Chapel, donated in 1484, there was an altar "ad St. Mariam". In 1496, the descendants of Speydel donated a parchment missal on the chapel altar, with a special weekly mass for the founder Ludwig Speydel being read at this altar.

In 1498, Pope Alexander VI decreed that the chaplaincy of the Peter and Paul Altarpiece, which was under the patronage of Heilbronn, should be included in the sacristy of the Carmelite monastery. After the Carmelite monastery was dissolved during the Reformation, the Carmelite altar of the apostles Peter and Paul (as well as the so-called miraculous image) was moved to the Teutonic Order Church. Therefore the patronage of the church was later changed from a Marienkirche to a Peter and Paul church.

In the baroque period the church interior was dominated by three large altars. The archway to the choir, decorated with coats of arms, was flanked by two high baroque altars; the high altar was in the choir. The group of 3 altars with the low tiered main altar in the middle formed a beautiful composition.

The side altar on the epistle side (right of the archway) was framed by Corinthian columns and showed a picture of the Assumption of Mary from 1780. The side altar on the Gospel side (left of the archway) from 1720 showed St. George and was also from framed Corinthian columns. The high altar in the choir, flanked by the life-size figures of St. Peter and Paul, showed a "Entombment of Christ" painted by Colomba. The current figures of the two church patrons Peter and Paul are popular works from the 19th century.

After the altars were destroyed in the Second World War, a 3 m high wooden cross was erected on the altar during the reconstruction in 1951, on which a restored figure of Christ was attached.

In the wake of the renovation in 1968, Franz Bucher from Rottweil created a new altar, which also created the tabernacle and the Marian column. In 1980/81 Karl-Peter Blau from Stuttgart designed a bronze cross for the altar . The cross is 1.50 m wide and 1.60 m high. The obverse shows Christ crucified, flanked by vine leaves and grapes and the four evangelist symbols . On the back there are depictions of the Passion . During the renovation in 1994 it came to the parish church of St. Michael in Neckargartach.

In 1994/95 a new altar was created for the choir. This was carved from a block of grained sandstone by the sculptor Rudolf Kurz (* 1952). Concept and implementation were carried out together with Klaus-Peter Scherer (Nuremberg). The three parts of an altar - stipes (substructure), canteen (table top) and sepulcrum (reliquary grave) - have been clearly worked out. Four pillars form the stipes of the altar. The pillars have a longitudinal, step-shaped profile and are arranged in an X-shape. At the intersection of the diagonals, a gold-plated capsule containing relics was placed. A gilded tabernacle and a pewter baptismal font were also set up in the nave.

Way of the Cross

The Way of the Cross is a mosaic work by Karl Blau from 1960.

Door handles

During the renovation in 1968, a new - now no longer existing - main portal was used. The door handles showed the following inscriptions, made by Franz Bucher :

" YOU ARE PETER THE ROCK AND I WANT TO BUILD MY CHURCHES ON THESE ROCKS "

" PAULUS IS A CHOSEN TOOL FOR ME TO CARRY MY NAME IN FRONT OF PEOPLES AND KINGS "

Paintings

Wall u. Ceiling painting

From the time of Gothic , a has Secco get left of the choir arch. According to an interpretation by Clemens Jöckle, the picture allegedly shows Christ on a throne bench, with Mary Magdalene kneeling in front of him and washing his feet.

“The wall painting on the choir arch pillar, executed in Secco technique, dates from around 1380 and can be interpreted on closer inspection. It shows Christ on a throne. Mary Magdalene kneels in front of him. She washes the Lord's feet. Records show that there was a Magdalene altar in the religious order "

- Clemens Jöckle : Teutonic monastery of St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 , p. 29. (using a manuscript on the building history of Max Georg Mayer ).

Antonio Colomba decorated the church with many frescoes in the Baroque (1721) that were lost in the Second World War.

The frescoes in the choir showed 3 paintings in a row; the middle painting was flanked on either side by groups of angels. They represented “God - Son” (Easter), “God - Holy Spirit” (Pentecost), “God - Father” (Christmas).

Since the minster of the Deutschhof in Heilbronn used to be not only a St. Mary's Church, but also a Holy Cross Church of the Teutonic Knights, the theme of the two domed vaults was the veneration of the Virgin Mary and the Cross.

One group was dedicated to Marian devotion. The group consisted of a large, round central picture with the theme "Assumption of Mary" and the following four medallion pictures that surrounded the central picture:

    1. " Annunciation of the Lord " with the inscription: "ecce ancilla Domini" (See, I am the Lord's maid.)
    2. " Christ's birth " with the words: "Gloria in excelsis Deo" (Glory to God on high!)
    3. "Christ in the temple" with the inscription: "quaeretis me et non invenietis" (You will look for me and not find me.)
    4. "The Holy Spirit who floats down on Mary" with the words: "sapientia aedificavit sibi domum" (wisdom has built a house for itself.)

The middle picture of the second group showed "Adoration and Triumph of the Cross". The medallion pictures surrounding it showed:

    1. "Moses before the snake on the pole" with the words: "Non est in alio salus" (In no other is salvation)
    2. "David and Goliath" with the inscription: "Omnis armatura fortium" (the whole armed forces of the strong)
    3. "Cross with 5 wounds" with the words: "Pacificans per sanguinem crucis" (he made peace through his blood on the cross)
    4. "St. Helena finds the cross "with the inscription:" Causa salutis nostrae "(cause of our salvation)

A small preserved baroque side chapel shows a monogram of Mary in a fresco.

  • The Secco painting was painted in 1380 and shows Christ on a throne, with Mary Magdalene kneeling in front of him and washing his feet.

  • The only preserved baroque stucco with ceiling painting (north chapel), which shows a Marian monogram in a fresco.

painting

In 1847 the parish bought a Vesper picture, a Pietà, for 1000 guilders. It was located between the tower chapel and the gallery. In 1929 it was placed over the pastor's confessional.

The altarpiece "Entombment of Christ" - a copy of the original painting by Anthonis van Dyck - was installed in the memorial chapel on March 3, 1953. Until then, the picture was on a side altar of the Rottenburg Cathedral. After the renovation in the 1990s, the picture was hung back in the place from which it was removed in 1968.

On the side wall of the nave there is an original baroque painting "Mariae Annunciation".

  • A copy of the original is in the tower chapel (memorial chapel)

  • Painting of the Annunciation

Stained glass

  • "Objective glass painting": In 1968 the three Gothic choir windows were given glass paintings based on designs by Wilhelm Geyer (1900–1968) from Ulm. They show a three-part choir window cycle with biblical scenes. Since they were erected in close proximity to the altar, they should have a theme that is directly related to what is happening at the altar, such as the theme of the Eucharist.
    1. The middle choir window is dedicated to the theme of the Eucharist . The bottom row in the window shows the forerunners of the Old Testament sacrificial meal, the Passover meal (Exodus 12: 1-28). The second zone above shows the manna meal in the desert (Exodus 16: 13-34). The third zone shows the so-called bread speeches of Christ according to John 6. In the fourth zone the washing of the feet (John 13, 1-17) can be seen, in the fifth the Lord's Supper (Matthew 26,20-30), in the sixth and topmost that Wedding Supper of the Lamb: The Lamb stands on top of his throne, surrounded by the 24 elders (Revelation 4,4).
    2. The right window of the choir deals with “People of God - Church”. The two lower rows of windows indicate the people of God in the Old Testament. The first row shows the covenant with the Israelite people as the ancient people of God (Exodus 19f.). The second row shows the opened Ark of the Covenant enthroned over the cherubim with the tablets of the law ( Deuteronomy 10, 1-5) as well as the rediscovery and new proclamation of the laws by Ezra (Nehemia 8) after the return of the Israelite people from Babylon. The third row shows how Christ gives the church keys to the apostle Peter in order to found the church of the new people of God (Matthew 16). The fourth zone shows the sending of the apostles all over the world. Geyer was inspired by the iconography of the ancient assembly of philosophers to portray Christ as the "empowering teacher" (Mark 16:15). The fifth zone shows the baptism of fire by the Holy Spirit at Pentecost (Acts 2). The baptized stand in a piscina sunk into the ground. The sixth zone shows the call to the community regardless of origin or skin color (1 Corinthians 11:13); this is how the Chinese are represented there. The top row shows the heavenly Jerusalem with the lamb, surrounded by the battlements and gates of Jerusalem (Revelation 21ff.), Above which a dove - symbol of God's spirit - hovers in the gusset.
    3. The left window is dedicated to the theme of the “saving acts” of Christ. It begins in the first zone with creation and the divorce in night / day, in water / land, in land / sky. Christ puts Adam on his feet and presents him as his "likeness" (Genesis 1,1-2,4). The second shows the Fall. Adam and Eve stand naked on the tree and are then sent by the angel from the garden of Eden (Genesis 2-3). The third shows the birth of Christ in the middle, on the right the shepherds are called by an angel of the Annunciation in a golden disc, on the left Joseph is thoughtfully attending the birth (Luke 1:57). The fourth shows the raising of the dead. This is how the daughter of Jairus is depicted, who pulls Christ up from her deathbed in front of an astonished crowd (Mark 5, 21-43). The fifth row shows the crucifixion. The representation above is supposed to symbolize the words of Paul - namesake of the church (1 Corinthians 5) - "He who is in Christ is a new creation". Therefore, numerous people are shown here with the most varied of dress and trade marks of their profession; the liberal arts are shown on the right. In the middle you can see a painter in front of the easel, the sculptor at the modeling block, the architect at the drawing table, the man of letters at the standing desk and a musician. In the middle you can see the alpha and omega: the "creation". The top row shows the lamb with the book closed by seven seals (Secret Revelation 4 and 5).
  • "Progressive glass painting": Prof. Ludwig Schaffrath (* 1924 in Alsdort / Aachen) created the glass paintings for the church in 1969, which are non-representational. So the organ window and the small windows in the tower chapel.
    1. The organ window shows a closed circle from which structured currents emanate - "the symbol for the energy flowing and working in the cosmos ... as elements of the effect of grace". Here Schaffrath was inspired by medieval book illumination, where the earthly, self-contained worldview is represented as a closed circle. Through a bluish band - blue as the color of the cosmic - the self-contained circle seeks the way to a circle which is located in the lower part of the window. This circle is split open by the strong band - "everything that can still be hermetically sealed, breaks open and can penetrate to the core".
    2. The tracery of the windows in the tower chapel was reconstructed in 1968 from an existing original tracery in the Gothic style. The blue-white coloring and representation should support the reconstruction - “in their different blue and white colors they fit in well with the old architectural conception and thus increase the expressiveness of the room ... Old architectural art and modern glass painting are happily together here connected".
  • "Float glass painting": During the renovation, other glass paintings by Thomas Bischoff (* 1962) were added, who uses a new technique in glass painting by the Franz Mayer'sche Hofkunstanstalt in Munich.
    1. The stained glass in the windows of the nave are influenced by the school of Dieter Groß, Stuttgart Academy. The starting point of the Stuttgart artist is the “search for the immaterial light as the soul of the room.” Hatching and nervous lines set small accents in the milky, light-flooded glass paintings
    2. The stained glass in the former secret gate under the organ gallery is intended to illustrate the historical role of the gate. A blue trunk is severed by a red fire. The red fire symbolizes the Reformation, which splits the blue stream - “symbol of the purity of faith”. Three rings are incorporated into the picture. They are supposed to remind of Lessing's Nathan the Wise: "Let everyone emulate his love free from prejudices". The rings show the symbols of the three great monotheistic world religions.

Epitaphs

In the former war memorial chapel on the way to the tower chapel there is the bronze epitaph in memory of Ludwig Speydel, who donated the two-story Speydel chapel named after him with the altar of Mary for his death. The chapel was added to the north side of the choir of the Teutonic Order Minster but was demolished in 1968 in favor of a one-story sacristy building. In 1994 an epitaph was discovered during grave work and this was attached to the wall in the side chapel. It shows a memorial stele from 1622 for two girls who died in the Thirty Years War. They are the two daughters of Johann Pirett from Waibstadt. They died in quick succession in July 1622. At that time there was a plague-like epidemic in Heilbronn. The inscription reads:

Margaretha Pirett fell asleep in God on the 20th day of Julius 1622. On the 26th day of Julius 1622 Anna Maria Pirett fell asleep in God. These two little boys are mine. Johann Pirett and Anna Maria Pirett married children ... Citizen and trader from Waibstatt. this stone made to memory here in Deischenhofkirchen "

After the restoration, three epitaphs were placed in the choir. One of the epitaphs shows the coat of arms and the inscription panel of Commander Carl Friedrich Sohn von und zu Eltz-Rodendorf from the year 1784. Under the gallery is the epitaph in memory of Commander Georg Adolph von Speth, Baron von Schülzburg who died on February 15, 1731 Originally this was on the northern choir wall, after the renovation in 1994 the epitaph was placed under the gallery. Further epitaphs are that of Commander Claudius Franz Josef Freiherr von Reinach (died on January 23, 1717 and buried in the DO church) and that of Baron Johann Phil. Von Hoheneck (died December 31, 1718 and buried in the DO church) .

  • Epitaph in memory of Commander Carl Friedrich Sohn von und zu Eltz-Rodendorf from 1784.

  • Epitaph in memory of Commander Georg Adolph von Speth, Baron von Schülzburg died on February 15, 1731

Statues

In the middle of the 14th century a figure of the Madonna was created, which had adorned the tower of the church until 1927. It stood in a niche at a corner of the tower facing the little Deutschhof, under a small canopy. Your description is:

“Tranquility and grace, balance and mildness, wonderful restraint in expressing emotions characterize you as the Swabian Madonna. The waves of hair fell fine in soft filler over the narrow shoulders. The face, virginally delicate, smiled lost at the child. She stood under the canopy in a peculiar oscillation of the body, which gave so many early Gothic figures a supernatural grace. "

Building councilor Rimmele described them in the Catholic Church Gazette of September 4, 1927:

“How beautiful this Maria is! How the full hair in long braids wells out of a crown worked on the side and falls over the shoulders, How the one weather-protected side of her noble, narrow-shaped face still bears youthful features and it is said to be almost 600 years old. An almost inconceivable thought ... The tips of her wrinkled robe fell into her hand at the slightest touch. I realized that it was high time to save her. "

It was then taken to the Historical Museum, where it was destroyed in World War II.

In 1978, the parish priest Msgr. Josef Baumgärtner had a statue of Mary erected on the corner of the church on Deutschhofstrasse and Kirchbrunnenstrasse, based on the example of the early Gothic Madonna.

The so-called Heilbronn Madonna , a carved figure of Mary from the 13th century found in the ruins of the destroyed city, has been on a wall bracket in the Romanesque tower chapel since 1978.

There are also various baroque statues in the sacred building. So the figure of St. Wolfgang in the side chapel and that of St. Antonius under the gallery. In addition, the baroque figure of Christ in the choir arch.

  • Today's figure of Mary was modeled on an early Gothic, destroyed figure (1350).

  • Heilbronn Madonna (15th century)

  • St. Wolfgang

  • St. Anthony

  • Christ figure

organ

Seifert organ

The organ was built in 1996 (in the course of the redesign of the interior) by the organ builder Romanus Seifert (Kevelaer), as a replacement for the previous instrument from 1961, which needed renovation. Today's instrument has 44 sounding registers plus four transmissions in the pedal. The installation of three further registers, u. a. of the effects register Celesta, is prepared and should take place in 2020. The game actions are mechanical, the stop actions are electric.

I Grand Orgue C – c 4
01. Montre 16 ′
02. Montre 08th'
03. Flûte harmonique 08th'
04th Bourdon 08th'
05. Violoncello 08th'
06th Prestant 04 ′
07th Flute 04 ′
08th. Duplicate 02 ′
09. Cornet V (from c 1 ) 08th'
10. Fittings IV
11. Basson 16 ′
12. Trumpets 08th'
13. Clairon 04 ′ (v)
II Positif expressif C – c 4
14th Montre 8th'
15th Bourdon 8th'
16. Salicional 8th'
17th Unda maris 8th'
18th Prestant 4 ′
19th Flûte douce 4 ′
20th Nazard 2 2 ⁄ 3  ′
21st Duplicate 2 ′
22nd Tierce 1 3 ⁄ 5  ′
23. Larigot 1 1 ⁄ 3  ′
24. Fittings IV
25th Trumpets 8th' (v)
26th Clarinet 8th'
Tremblant
III Récit expressif C – c 4 (c 5 )
27. Bourdon 16 ′
28. Flûte traversière 08th'
29 Cor de Nuit 08th'
30th Viol 08th'
31. Voix céleste (from c 0 ) 08th'
32. Flûte octaviante 04 ′
33. Octavine 02 ′
34. Carillon I-III
35. Bombard 16 ′
36. Trompette harmonique 08th'
37. Voix humaine 08th'
38. Hautbois 08th'
39. Clairon 04 ′
Celesta (v)
Tremblant
Pedals C – g 1
40. Grand Bourdon 32 ′
41. Contrebasse 16 ′
42. Soubasse 16 ′
43. Big flute 08th'
44. Bourdon 08th'
45. Flûte harmonique (= No. 3) 08th'
46. Violoncello (= No. 5) 08th'
47. Flute 04 ′
48. Bombard 16 ′
49. Basson (= No. 11) 16 ′
50. Trumpet (= No. 12) 08th'
51. Clairon (= No. 13) 04 ′ (v)
  • Pairing :
    • Normal coupling: II / I, III / I (electrical), I / P, II / P, III / P
    • Super octave coupling (electrical): III / III (expanded to c 5 ), III / P
    • Sub-octave coupling (electrical): III / I, III / III
  • Playing aids : 768-fold electronic typesetting system , sequencer
  • annotation
(v) = vacant, prepared for later installation.

Bells

In the pre-war period the church had four medieval bells.

The two smallest and at the same time oldest bells went down in the Second World War. The second smallest was long and baggy in shape; it was 62 cm in diameter and weighed about 150 kg; it bore the inscription "Berthold me fecit" (Berthold made me). The smallest bell was 56 cm in diameter and weighed 100 kg; It melted down in the Second World War and was cast by the Bachert bell foundry in Heilbronn as a small Mary bell of the Maria Immaculata Church and consecrated by Dean Dietrich of Regina Pacis on September 21 .

Preserved medieval bells

The two large bells from the historical collection have been preserved. The large, so-called Rohr's bell , was cast in 1721 by the well-known bell founder Johann Georg Rohr from Heilbronn, whose bells were widely used in the local area. The bell is richly decorated. Four circular shields are in the upper part of the bell. Each shield shows different figures, such as the birth of Christ . Eight oval shields are located in the lower part of the bell and show the figures of Mary with the child , Christ on the cross , and Christ with the thieves . She was drafted during World War II, but returned on May 5, 1948.

The second largest bell in the historical collection is decorated with rich oak leaves and was cast in 1656 by Stefan Bruncler (according to another source Gustav von Arnold 1636). Bruncler came from Levédourt (Haut Marne) and worked as a traveling caster from 1650 to 1688 in northern Württemberg.

Surname
 		 Diameter
(mm)		 Mass
(kg)		 Inscriptions
Rohr's bell 1000 658 Sub regimine gratiosi GASpeth istas aedes occupavi. Factus sum velut aes sonans. Intelligent clamorem meam. Psalm 5 V 2; 13 V I. Nocte diece sono compelle et sacra subire. Audior et rarus propat, orat, adit populus. Joh. Georg Rohr poured me in 1721.
(In German: "Under the government of gracious GASpeth I took possession of this house. I have become a sounding ore. Hear my call! Sounding I call day and night and invite you to church. But the people hurry up only sparsely to pray ”.)
870 450 Benedicamus patrem et filium cum spiritu sancto, laudemus et superexaltemus eum in saecula. 1656
(In German: "Let us praise the Father and the Son together with the Holy Spirit, let us praise and exalt him for ever, 1656".)

New bell

5 bells from A. Bachert's bell foundry hang in the tower of the Teutonic Minster. 4 bells were cast on June 25, 1954. The deepest bell was cast in 1985.

No.
 		 Surname
 		 Casting year
 		 Diameter
(mm)		 Mass
(kg)		 Nominal
(16th note)		 Inscriptions
1 Jubilate 1986 1600 2,200 c 1 “JUBILATE DEO OMNIS TERRA. FROM LABORANTES IN VIIS VRBIS FESTINANTES SISTITE DATEQUE HONOREM CELSO CREATORI LARGITORIQVE PACIS ”. In German: "Cheer the Lord all over the world. All of you who hurry along the streets of this city in your toil, stop and honor the exalted Creator and Giver of Peace! "
2 St. Peter and Paul 1954 1310 1,330 e 1 "Be living stones let yourself be built up to a spiritual temple building."
3 St. Michael
death knell		 1954 1090 763 g 1 "May angels guide you to paradise."
4th Mary's
Angelus Bell		 1954 970 521 a 1 "Come to the help of your people who, although sunk, want to rise again."
5 St. John the Baptist
Baptismal Bell		 1954 287 c 2 “You should go ahead”.

literature

  • Albert Laub: The Heilbronn Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952.
  • Klaus D. Koppal: On three problems in Heilbronn's city history: The place name - the Rosenberg - the churches. In: Hist. Heilbronn Association: Yearbook. 26 (1969), p. 79ff.
  • Helmut Wild: Geological-morphological aspects of the location of the Franconian royal court him Heilbronn. In: Hist. Heilbronn Association: Yearbook. 28 (1976), p. 9ff.
  • Norbert Jung: Short history of the church bells in the Deutschhof in Heilbronn. In: Deutschordenspfarramt St. Peter and Paul Heilbronn (ed.): Festschrift for the consecration of the JUBILATE bell of the Teutonic Order Minster St. Peter and Paul in Heilbronn. Heilbronn 1986.
  • Catholic parish of St. Peter and Paul, Heilbronn (Hrsg.): The Deutschordensmünster St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995.
  • Clemens Jöckle : Teutonic Minster St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 .

Individual evidence

  1. ^ Alois Seiler: The Teutonic Order House and the City of Heilbronn in the Middle Ages . In: Catholic parish of St. Peter and Paul, Heilbronn (ed.): The German Order Minster of St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995, p. 49 .
  2. ↑ a b c Rudolf Lückmann: renovation of the German Medal Minster in Heilbronn . In: Catholic parish of St. Peter and Paul, Heilbronn (ed.): The German Order Minster of St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995, p. 27 .
  3. ↑ Max Georg Mayer: Discoveries during the renovation work on the Teutonic Minster St. Peter and Paul in Heilbronn . In: Catholic parish of St. Peter and Paul, Heilbronn (ed.): The German Order Minster of St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995, p. 31 .
  4. ↑ Ch. Schaetz, D. Bönsch, Michael Weihs: Report on an archaeological finding in the Deutschhauskirche St. Peter and Paul in Heilbronn in August 1994 . In: Catholic parish of St. Peter and Paul, Heilbronn (ed.): The German Order Minster of St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995, p. 35 .
  5. ↑ Christhard Schrenk , Hubert Weckbach , Susanne Schlösser: From Helibrunna to Heilbronn. A city history (=  publications of the archive of the city of Heilbronn . Volume  36 ). Theiss, Stuttgart 1998, ISBN 3-8062-1333-X , p. 25 .
  6. ↑ a b Seiler 1995, p. 50
  7. ^ Wilhelm Steinhilber: The Heilbronner Teutonic Order Church St. Peter and Paul and their community . In: Josef Baumgärtner: Festschrift for the inauguration of the parish hall of St. Peter and Paul. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1964, p. 23–62, there: p. 30.
  8. ↑ Mayer 1995, p. 30
  9. ↑ Josef Baumgärtner: INTROI BO AD ALTARE DEI. Sunday Gaudete 1969. Festschrift for the consecration of the altar of St. Peter and Paul. Heilbronn 1969, p. 43. (Timeline)
  10. ↑ Pfarramt St. Peter and Paul (eds.): 750 years of the German Order Coming Heilbronn - memories of the past, thoughts on the present . Heilbronn 1977, p. 51 [The Frauenkirche] .
  11. ^ A b Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 18.
  12. ↑ Catholic parish of St. Peter and Paul (ed.): Deutschordensmünster St. Peter and Paul Heilbronn. P. 11.
  13. ↑ Data from the Heilbronn city archive, contemporary history collection, signature ZS-12922, entry on Ludwig Speydel in the HEUSS database
  14. ↑ http://heuss.stadtarchiv-heilbronn.de/index.php?f=/_bin/img.php&imgf=/bilder/95074.jpg&
  15. Jump up ↑ Joachim Hennze: On the renovation and refurbishment of the former Teutonic Order Church of St. Peter and Paul in Heilbronn from 1720 to 1725 . In: Historischer Verein Heilbronn: Yearbook for Swabian-Franconian history. 32/1992.
  16. ↑ a b Julius Fekete et al .: Monument Topography Baden-Württemberg Volume I.5 Stadtkreis Heilbronn . Edition Theiss, Stuttgart 2007, ISBN 978-3-8062-1988-3 , p. 42.
  17. ^ A b Joachim Hennze: On the reconstruction and refurbishment of the former Teutonic Order Church of St. Peter and Paul in Heilbronn from 1720 to 1725. In: Historischer Verein Heilbronn: Yearbook for Swabian-Franconian History. 32/1992, p. 93.
  18. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 28.
  19. ↑ a b Pfarramt St. Peter and Paul (ed.): 750 years of the German Order Coming in Heilbronn - memories of the past, thoughts on the present . Heilbronn 1977, p. 71 [Change of patronage (The Baroque Church)] .
  20. ↑ Alexander Renz, Susanne locks: Chronicle of the city of Heilbronn. Vol 6. 1945–1951. Heilbronn 1995, ISBN 3-928990-55-1 , p. 225.
  21. ↑ a b c d erz .: Preserving the valuable old, creating the new in the spirit of the times. Consecration of the renewed St. Peter and Pauls Church . In: Heilbronn voice . No. 80 , April 7, 1951, pp. 4 .
  22. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 33.
  23. ↑ Alexander Renz, Susanne locks: Chronicle of the city of Heilbronn. Vol 6. 1945–1951. Heilbronn 1995, ISBN 3-928990-55-1 , p. 269.
  24. ↑ Lückmann 1995, p. 14
  25. ↑ Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. P. 14.
  26. ↑ Pfarramt St. Peter and Paul (eds.): 750 years of the German Order Coming Heilbronn - memories of the past, thoughts on the present . Heilbronn 1977, p. 105 [Renovation of our Peter and Paul Church] .
  27. ↑ a b Lückmann 1995, p. 14f, p. 18
  28. ↑ Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. Pp. 18, 29.
  29. ^ Catholic parish of St. Peter and Paul, Heilbronn (ed.): The Deutschordensmünster St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995.
  30. ^ Paul: Teutonic Minster of St. Peter and Paul Heilbronn. P. 16.
  31. ↑ Donate for our piece of jewelery - Lord Mayor appeals to citizens for the Heilbronn Teutonic Minster. In: Heilbronn voice. July 9, 1994, number 156, p. 13.
  32. ^ Kilian Krauth: Eternal construction site on the cathedral. The new entrance to St. Peter and Paul should have been ready in Advent - nasty surprises underground. In: Heilbronn Voice February 4, 2017 online
  33. ^ Kilian Krauth: Annoying: Eternal construction site at Heilbronn church. Heilbronn passers-by and neighbors have long been amazed at the permanent construction site at Heilbronn's Teutonic Minster. The architect in charge now dares to predict the end of the work. In: Heilbronn Voice February 3, 2017 online
  34. ^ Wilhelm Steinhilber: The Heilbronner Teutonic Order Church St. Peter and Paul and their community . In: Josef Baumgärtner: Festschrift for the inauguration of the parish hall of St. Peter and Paul. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1964, pp. 23–62, there: p. 31f.
  35. ↑ Lückmann 1995, p. 25
  36. ^ Julius Fekete: Art and cultural monuments in the city and district of Heilbronn. Stuttgart 1991, ISBN 3-8062-0556-6 , p. 38.
  37. ↑ Wolfgang Urban: On the old and new furnishings of the Heilbronn Teutonic Minster . In: Catholic parish of St. Peter and Paul, Heilbronn (ed.): The German Order Minster of St. Peter and Paul Heilbronn. Festschrift for the renovation in 1994/95 and for the consecration of the altar . Süddeutsche Verlagsgesellschaft, Ulm 1995, p. 42 .
  38. ↑ Pfarramt St. Peter and Paul (eds.): 750 years of the German Order Coming Heilbronn - memories of the past, thoughts on the present . Heilbronn 1977, p. 110 .
  39. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 30.
  40. ↑ Alexander Renz: Chronicle of the city of Heilbronn . Volume VII: 1952-1957. Heilbronn City Archives, Heilbronn 1996, ISBN 3-928990-60-8 , p. 97 ( Publications of the Archives of the City of Heilbronn . Volume 35).
  41. ↑ The stained glass in the church. In: Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 , p. 20f.
  42. ↑ Urban 1995, p. 39f
  43. ↑ The windows of our church. In: Josef Baumgärtner: INTROI BO AD ALTARE DEI. Sunday Gaudete 1969. Festschrift for the consecration of the altar of St. Peter and Paul. Heilbronn 1969, p. 21f.
  44. ↑ The stained glass in the church. In: Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 , p. 25.
  45. ↑ The stained glass in the church. In: Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 , p. 23.
  46. ↑ a b Urban 1995, p. 40
  47. ↑ a b c The stained glass in the church. In: Catholic parish of St. Peter and Paul: Deutschordensmünster St. Peter and Paul Heilbronn. Kunstverlag Josef Fink, Lindenberg 2000, ISBN 3-933784-84-0 , p. 26.
  48. ↑ The windows of our church. In: Josef Baumgärtner: INTROI BO AD ALTARE DEI. Sunday Gaudete 1969. Festschrift for the consecration of the altar of St. Peter and Paul. Heilbronn 1969, p. 32.
  49. ↑ Lückmann 1995, p. 23
  50. ^ Wilhelm Steinhilber: The Heilbronner Teutonic Order Church St. Peter and Paul and their community . In: Josef Baumgärtner: Festschrift for the inauguration of the parish hall of St. Peter and Paul. Self-published by the Catholic parish of St. Peter and Paul, Heilbronn 1964, p. 23–62, there: p. 32 and p. 62.
  51. ↑ a b Pfarramt St. Peter and Paul Heilbronn (ed.): Marienverehrung. A piece of the Teutonic Order tradition. For the celebration in the Teutonic Minster Heilbronn on Allerheiligen 1978. Heilbronn 1978, p. 14.
  52. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 15f.
  53. ↑ Marian veneration - a piece of the history of the Teutonic Order . Parish office of St. Peter and Paul, Heilbronn 1978, p. 17.
  54. ↑ For the planned renovation of the organ
  55. ↑ Description of the Seifert organ in the Festschrift for the consecration of the organ and on the website of the community
  56. ↑ Norbert Jung: Short history of the church bells in the Deutschhof in Heilbronn. In: Deutschordenspfarramt St. Peter and Paul (ed.): Festschrift for the consecration of the JUBILATE bell of the Teutonic Order Minster of St. Peter and Paul in Heilbronn. Heilbronn 1986, p. 6.
  57. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 31f.
  58. ↑ Albert Laub: The Heilbronner Teutonic Order Church through the centuries. Self-published by the Catholic parish office of St. Peter and Paul, Heilbronn 1952, p. 32.

Web links

Commons : Deutschordensmünster Heilbronn  - collection of images, videos and audio files


Coordinates: 49 ° 8 ′ 29 ″  N , 9 ° 13 ′ 3 ″  E