Former main church St. Nikolai (Hamburg)

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St. Nikolai Memorial, 2004
The Nikolaikirche in the Alsterschleife . Engraving around 1590

The ruin of the main church St. Nikolai on Hamburg's Hopfenmarkt is dedicated as a memorial to St. Nikolai "to the victims of war and tyranny between 1933 and 1945". The church was founded in 1195 and its last neo-Gothic version was completed in 1874. Its 147.3 meter high tower was the tallest structure in the world from 1874 to 1877.

The main church St. Nikolai was relocated as a new building in the Harvestehude district to the Klosterstern in 1962 .

Memorial to the bombing war

After the war destruction in 1943 and the extensive demolition in 1951, part of the southern outer wall and the walls of the choir are still preserved next to the tower . For a memorial , works of art and monuments were set up on the open space of the former church space and in the immediate vicinity. In the basement of the ruin, the Rettet association, founded in 1987, organized the Nikolaikirche e. V. (meanwhile renamed the Förderkreis Mahnmal St. Nikolai) a documentation center with a permanent exhibition. The memorial museum was extensively rebuilt and expanded in 2012/2013. The permanent exhibition "Gomorrah 1943 - The Destruction of Hamburg in the Air War" has been on view here since September 2013.

Older story

First constructions of the parish church St. Nikolai

After the establishment of a secular new town in 1189 and the construction of a harbor opposite the episcopal old town, the Schauenburg Count Adolf III approved . the construction of a church at the request of the new residents. However, the clergy of the Hamburg Cathedral insisted that only him be entitled to patronage . After some contentious negotiations, Adolf III gave. the church a plot of land near the destroyed New Castle , so that in 1195 the construction of a chapel could begin. This had a floor plan of 12 × 26 meters, offered space for around 300 people and was dedicated to St. Nicholas , the patron saint of seafarers and travelers.

The first expansion took place between 1240 and 1250, the chapel was framed as a choir and a three-aisled , almost square hall about 22 meters high made of brick was added. The central nave was only slightly wider than the two side aisles, all three were vaulted at the same height, so that a three-part roof was created. High, slender pillars, pointed arches and articulated, large-area windows showed early Gothic features , an art-historical classification calls the construction "brick hall church construction of the Hamburg type". The church now had space for 1,000 people. In 1353 the church was given a roof tower nearly 60 meters high.

Hamburg 1572. On the left the highest tower in the city: S. Nicolaus

A second expansion for 1,500 people took place between 1384 and 1400. The ships were lengthened and the entire structure was slightly widened. In a third expansion between 1400 and 1425, the choir received a new apse and extensions on both sides. There was also an ossuary to move the bones of the overcrowded churchyard and the stump for a planned tower. The hexagonal structure on a square base was 1518 by the builder Hinrich Berndes (Barteldes) of Hannover with a pointed spire crowned. From 1513 to 1516, Berndes replaced the old spire of the Petrikirche with a new one that was 445 feet high (127.5 meters). The Nikolaiturm now reached a height of 470 Hamburg feet (almost 135 meters). On July 16, 1589, it was completely destroyed by a lightning strike. The second tower, built between 1591 and 1593 by the builder Hans Petersen, also collapsed in 1644 after a storm.

St. Nikolai around 1835

The Nikolaikirche received its third tower in 1657 according to the plans of the architect Peter Marquardt from Plauen . The 122 meter high structure caused a “baroque reinterpretation” of the appearance of the church and shaped the city ​​skyline for almost 200 years with three hoods one on top of the other and a closed and an open lantern .

Main church St. Nikolai from the Reformation

As one of four parishes in the city, St. Nikolai was involved in all theological debates in the city, especially during the Reformation . After the pastor Henning Pillowbrügge resigned in 1524, the citizens elected Johannes Bugenhagen , a distinguished reformer and confidante of Martin Luther , into the office. They intervened considerably in the previous order according to which the pastors were appointed by the cathedral chapter . The city ​​council was able to prevent Bugenhagen's appointment at first, but in 1527 the church superiors achieved the independent right to elect pastors and appointed Johann Zegenhagen from Magdeburg as the first Lutheran chief pastor of St. Nikolai. As a result, the main churches, with the support of the council, gained considerable power and influence over the cathedral chapter. Since no measures were taken against Old Believers, the Reformation in Hamburg took place largely peacefully. In 1528 Bugenhagen appeared in Hamburg and became a preacher in St. Nikolai. Above all, he gave the city of Hamburg a church ordinance , which, among other things, regulated the organization, finances and especially school operations of the churches.

The beginning of the post-Reformation church music in Hamburg marked the music at Christmas 1526. Because the old believing vicars refused to participate in the dispute over the church ceremonies, Zegenhagen improvised the festival music with his chaplains, the sexton and school boys. The community was of the opinion that it could do without the vicars: even later, they were no longer allowed to read soul masses , from which they made their living. Johann Praetorius (1620–1660) and Vincent Lübeck (1654–1740) were among the organists of the Nikolaikirche . The figural music in St. Nikolai, as in all Hamburg main churches, was provided by the cantor of the Johanneum . On March 4, 1652, the painter David Kindt was buried in the church.

In 1665 the church received a carillon with 25 bells over two octaves, which inspired Georg Philipp Telemann for the concert piece Hamburgische Glockenspiele . The organ by Arp Schnitger , which was completed in 1687 and on which he had built for five years and took into account everything “that the technology of the time made possible” , also became famous . It is said to have been the largest organ in the German-speaking area at the time, if not worldwide. The instrument had 67 registers , four manuals , a pedal and over 4,000 pipes. The largest pipe in the pedal tower was the 32-foot C, weighing 860 pounds .

Burning main church of St. Nikolai on May 5, 1842
Photograph of the ruins of the main church St. Nikolai 1842

On August 6, 1767, the tower was again badly damaged by a lightning strike. This event prompted the natural scientist Johann Albert Heinrich Reimarus to write a treatise on lightning rods . In fact, the local council followed the warning to install one, but in 1801 lightning once again caused considerable damage.

On May 5, 1842, the first day of the three-day Great Fire , St. Nikolai was the first of Hamburg's churches and large buildings to fall victim to the fire. The main morning service could still be held, the midday service was broken off after an intercession for the preservation of the church. At about four in the afternoon fire caught the tower. Because of the inadequate extinguishing technology, it was not possible to raise sufficient quantities of water. Eventually it collapsed and carried the flames to the nave, which burned down completely. Few works of art had previously been rescued from the building.

New building after the great fire

After the fire there was a dispute between pastors, architects and council members about the reconstruction of the church, which was ultimately decided by the council with a resolution to demolish the ruins and rebuild the church. The demolition work began on June 1, 1843, and continued until 1844. In addition, the established Technical Commission decided to move the new church a good 50 meters to the southeast so that it would be framed in a semicircle by the Alster arm, today's Nikolaifleet . In 1844, the church building commission announced a public competition , which the Altona- born architect Gottfried Semper won with the design of a Romanesque dome building.

However, the church council obtained further reports, which, due to the continued construction of the medieval Cologne Cathedral , were influenced by a new appreciation of the Gothic architectural style. The background was the growth of a Hamburg awakening movement , which saw the artistic expression of a new piety in a romantic medieval cathedral.

St. Nikolai Church under construction, around 1868

Finally, it was decided to implement the plan by the London architect George Gilbert Scott , who had already made a name for himself in the restoration of medieval churches and was known as a connoisseur and advocate of the Gothic architectural style, which had taken third place . The considerably higher costs - they amounted to three times the Semen design - were to be brought in through a so-called Schilling collection , in which donations for the building project were collected by committed citizens.

In the cityscape of 1879, seen from the Alsterarkaden ; Drawing by Wilhelm Kretschmer

The foundation stone was laid on September 24, 1846. 17 years later, on September 24, 1863, the work was so far completed that the church could be consecrated. The construction of the 147.3 meter high tower was completed in 1874. This made the Nikolaikirche the tallest building in the world until the Rouen Cathedral was completed in 1877 . After the television tower , the Nikolaiturm is still the second tallest building in Hamburg and also the fifth tallest church in the world.

The neo-Gothic church building

Perspective drawing of Scott's design, view of the choir and north portal

The neo-Gothic building based on Scott's design stood out significantly from the Hamburg tradition not only because of the height of the tower, but also because of the materials used - yellow brick and elements made of sandstone and Carrara marble - and the design. The church had a three-aisled nave 86 meters long with vaults up to 28 meters high and a single-nave transept. The three apsidial choir, however, was a takeover of the Romanesque basic form of North German characteristics, as it also occurred in the previous building and in other main churches. The chancel was limited to the width of the central nave and was separated by walls closed at the sides and flanked by two side chapels with their own apse. Mighty pillars supported the high outer walls.

Floor plan of the Church of St. Nikolai

The design of the side chapels clearly shows the architectural problem of adapting the historicizing floor plan to the changed needs of a Protestant community. The northern chapel was divided into two floors, with the sacristy on the lower floor and a church hall on the upper floor. The south chapel remained unused for a long time. It was not until 1920 that it was furnished with seven granite tablets as a memorial chapel for those who fell in the First World War . The nave was designed as a basilica with a raised central nave and two lower side aisles separated by pillars. It did not correspond to the ideal of a Protestant preaching church.

The square tower showed signs of irregular settlement during its construction and required additional support measures. Stepped sloping pillars were added on the southwest side, which were concealed by building a tower chapel in a round design based on the English model. The pointed, openwork spire is designed based on the Cologne model. The crowning cross placed in 1883 came from George Scott junior, the architect's son.

Elements of the interior - the pulpit attached to a pillar, the high altar and the organ gallery - were finely carved out of white Carrara marble and contrasted with the brick. The pulpit and altar were made by the English sculptors Farmer & Brindley.

window

The high, large windows made of colored, ornamentally designed glass played a major role in the effect of the church building . George Scott was able to get the Hamburg church building commission to commission English artists who had developed what was then a novel process for colored glass. Most of the windows of St. Nikolai were designed by the draftsmen John Richard Clayton and Alfred Bell. Particularly noticeable were the choir windows in an opening of 19 × 1.70 meters, with which the life of Christ was thematized.

Sculptures

Particular attention was paid to the extensive range of sculptures that were to decorate the pinacles on buttresses, the crowns, the reveal surfaces of the portals and the interior. 64 statues carved in sandstone were planned. However, since the willingness of Hamburg citizens to donate significantly decreased during the construction period, only 30 of these figures could be realized. The program provided for certain groups of people to be put together in individual parts of the building; the tower portal was intended for the evangelists and martyrs , the exterior design of the choir was intended for the church fathers, the south transept for the reformers, the north transept for personalities from the Protestant church and the porch on the north portal for the representatives of the Hamburg parishes. The inner choir was decorated with the twelve apostles .

A special feature presented the group of display symbols of the Church's Arts shows, the composers were at the southern nave sculptures Johann Sebastian Bach and George Frideric Handel , the painter Albrecht Dürer , the hymn writer Paul Gerhardt , the inventor of printing Johannes Gutenberg and the philosopher Friedrich Schleiermacher set .

organ

In 1863 the church received a medium-sized organ from the Philipp Furtwängler & Sons company . The 39 registers were divided into two manuals and a pedal. The organ, completed in 1891, was created as a replacement by the master organ builder Ernst Röver . It was a three-manual instrument with 101 registers , built in the system of tube pneumatics and with box bellows, and had 5808 pipes. The five-part neo-Gothic prospect reached a height of 20 meters. The pewter 32-foot principal was set up in the pedal towers.

Bells

The tower bell consisted of 28 bells and was cast by Severin van Aerschodt in Leuven in Flanders. It was first posted on September 23, 1888. The largest bell was Emperor bell named because William I had donated it, she weighed 6,372.5 kg. Except for the smallest bell, the entire carillon was confiscated by the mobilization authorities during the First World War. The last bell of St. Nikolai melted in 1943 during the bombing.

Destruction in 1943

During the air raids on Hamburg during the Second World War , the tower of the Nikolaikirche served as a target marker for the British and American air forces . On July 28, 1943, the church was badly damaged by aerial bombs as part of " Operation Gomorrah ". The roof collapsed and devastated the interior. The walls were cracked, but largely remained standing, as was the tower. The impact of the bomb fragments can still be seen today.

Securing the destruction instead of rebuilding

Sculpture of the Evangelist John on the tower, south side;
visible bomb damage in the masonry

After the war, the Hamburg Senate decided not to rebuild the church. Since the resident population in the inner city of Hamburg and the number of visitors to the four main churches in the old town had decreased significantly in the course of urban development, the St. Nikolai parish was relocated to Harvestehude . From 1956 it was initially able to use a concert hall on Harvestehuder Weg , in 1962 the new main church St. Nikolai am Klosterstern, a round building with a free-standing bell tower by the architects Gerhard and Dieter Langmaack , was inaugurated.

Fragments of the altar and pulpit, which could easily be found in the rubble, were exhibited - in addition to a collection in the documentation center - in the vestibule of St. Nikolai on the monastery star, the altar plate rests on the ruins of the pillars of the old church. A window completed in 1939 by the artist Elisabeth Coester , intended for the north transept of the old Nikolaikirche, was no longer installed there because of the beginning of the war, but was stored in the basement of St. Michaelis , where it had survived the bombing; When the St. Nikolaikirche was rebuilt at the Klosterstern, the entrance hall was designed with this work.

Many of the windows were preserved as the panes had been removed during the war as a protective measure. After the war they were partly built into other churches, so the war-torn windows of St. Gertrud in Uhlenhorst were replaced with six windows from the Nikolaikirche, another one, the so-called Window of Mercy by the glass painter Franz Xaver Zettler , can be found in the Franz-von-Assisi-Church in Neu-Allermöhe . Other rescued windows are exhibited in the documentation center, but most of them are still in the restoration workshop of the glass guild.

The figures of Peter and Paul from the row of the twelve apostles in the choir had survived the destruction. Today they are on display in the anteroom of the community center next to the ruins at the Neue Burg. Fifteen other sculptures have been preserved on the outer work and can be found on the tower, on the pillars of the northern extension and on the southern nave wall. In addition, 26 of the former 36 angel figures above the west portal of the tower survived the destruction, also some medallions and mythical animals, which were mainly designed as gargoyles . The tower hall, designed for Elisabeth Coester's window originally created in 1939 for the old Nikolaikirche, as a hall of tradition houses some rescued exhibits, including a Christ torso from the old altar and a sculpture by Ansgar von Bremen . The former weather vane is now in front of the Hospital of the Holy Spirit .

Securing the building fabric for a memorial

The load-bearing structure of the Nikolaikirche, which had been destroyed by bombs, remained largely intact and the building fabric was in a condition that made reconstruction appear realistic. Nevertheless, the Hamburg Senate decided to tear down the nave and justified this with security measures. After negotiations between the church council and the then mayor Max Brauer , an agreement was reached in March 1951 to leave the tower and choir standing. The demolitions and demolitions lasted five weeks, some of the rubble was used to fortify the banks of the Lower Elbe . A joint committee of the Senate and the regional church developed the idea of ​​building a memorial in the ruins; Lengthy negotiations about its maintenance could only be concluded in 1968 with the result that only the tower remained in the ownership of the Nikolaigemeinde, while the former church nave was transferred to the city along with the obligation to maintain safety and security.

The first renovation work began in 1955, and in 1960 the tower was listed as a historical monument. In 1971 the Senate abandoned plans to set up a memorial, and instead the ruins themselves were to function as a memorial. In the years that followed, the tower and ruins were left to their own devices and fell into disrepair. On December 16, 1987, after an initiative of the building contractor Ivar Buterfas, the Förderkreis Rettet die Nikolaikirche e. V. In the tradition of the Schilling collection , the association solicited donations, renovated the building fabric and created a space for events and exhibitions in the crypt . Since then, the St. Nikolai memorial has been continuously expanded as a place of remembrance for the victims of war and tyranny and equipped with monuments and works of art. In 1993 the St. Nikolai Memorial became a member of the Cross of Nails Community . The Cross of Nails from Coventry in the tower hall is a symbol of the concern to "bridge old contradictions and look for new ways into a common future".

The design of the memorial

The St. Nikolai memorial includes the tower with the glass elevator to the viewing platform in the west and opposite the former choir and the remains of the wall on the south side. In between there is a place of rest in the former nave , which can be entered from the open north side. The earlier pillars of the church are marked in the floor.

tower

In 1995 the two-tonne “Sun Cross” was taken down from the top of the tower and re-gilded.

Since September 1, 2005, a glass panorama lift inside the tower has made it possible to drive to a 76-meter-high viewing platform. An exhibition is shown here, designed by the Hamburg-Hamm district archive , among others , which documents the destruction of Hamburg's inner city after the Second World War. Some of the picture panels are attached in such a way that today's panoramic view can be compared with the post-war views. In 2009, 30,000 visitors used this facility.

“The tower is a reminder of the worst moral defeat. In the half century since the end of the war, Hamburg has been almost completely restored. Coventry has also been rebuilt, as has Hiroshima. And yet freedom and peace are at risk. Civil courage will always be necessary to defend them. "

- Helmut Schmidt : Speech on the 50th anniversary of the liberation from National Socialism

Carillon in the tower

In July 1993, a carillon was inaugurated on the open east side of the first tower level . The carillon consists of 51 church bells , cast by the Dutch bell foundry Eijsbouts in Asten , and has a total weight of 13 tons. It can be played directly by the glockenspiel using a cable mechanism, the stokken game table is located below, in a glass cabin on the site of the former organ. The carillon game differs from a mechanical carillon by the ability to regulate the strength of the attack. An electronically controlled hourly melody is played every day at 9 a.m., 12 a.m., 3 p.m., 6 p.m. Half-hour concerts take place regularly on Thursdays at 12 noon.

platform

Since 2005, a glass elevator in the tower has led to a viewing platform at a height of 76 meters.

museum

The museum operated by the St. Nikolai Memorial Support Group is located in the preserved cellar. The museum in the cellar vault of the destroyed church shows a permanent exhibition about the history of the imposing church as well as the destruction of Hamburg during the Second World War by the "Operation Gomorrah". On an area of ​​around 450 square meters, the museum vividly presents the changing (city) history. Lectures, concerts, commemorative events and guided tours are also held regularly in the atmospheric vault.

Works of art

  • Barbara Haeger. Female angel

  • Oskar Kokoschka: Ecce homo

  • Ulrich Rückriem: Temple , line of sight to the tower

Barbara Haeger: Female angel

The three-meter-high bronze sculpture by the sculptor Barbara Haeger with the title Female Angel , created in 1960, was acquired by the regional church in 1972 and placed in a north-east facing outside niche of the choir between two choir pillars as the first work of art on the memorial.

Oskar Kokoschka: Ecce homo

On July 21, 1977, the black and white mosaic Ecce homo , created according to a design by Oskar Kokoschka in 1975, was installed in the tower hall , showing Jesus crucified to whom a soldier is holding a soaked sponge with a spear. The words “ Ecce homo ” (“See what a person”) are written on the upper cross bar . The work has the dimensions 3.64 × 2.55 meters, is composed of nine parts and consists of thousands of mosaic stones made of Greek marble , Italian Carrara , umber-colored, white and beige Danube gravel and dark Belgian limestone . The work was carried out by the Gruppo Mosaicisti dell 'Accademia di Belle Arti in Ravenna under the direction of Sergio Cicognani .

A colored version with the title Ecce homines ("See what people") hangs above the altar in St. Nikolai on the monastery star and was inaugurated there in 1974. The correspondence between the two works is considered to be a "peculiar bridge" between the old and the new location of the church.

The installation of the elevator disturbed the effect of the mosaic; in July 2008 it was hung on the front wall of the choir. A simple altar made of Posta sandstone complements the open space as a place of collection and tranquility . A stone inscription by the sculptor Fritz Fleer remained in the tower hall , which contains both an explanation of the memorial and an interpretation of the crucifixion mosaic, as Kokoschka himself interpreted it:

"Open your mouth for the mute and for the cause of all who are abandoned."

- Proverbs of Solomon, chapter 31, verse 8

Ulrich Rückriem: Temple

The three-meter-high granite block with a floor plan of 1.5 × 1.5 meters and titled Temple by the sculptor Ulrich Rückriem , created and erected in 1984, is located on the hop market about 40 meters away and in a direct line of sight to the tower. The granite comes from Normandy and is split horizontally into three, the middle block in turn into five. The work of art is intended to convey a silent dialogue with the Nikolaiturm, a “dialogue about decay and eternity, about destruction and duration”.

Sculptures by Edith Breckwoldt

  • Peace prayer

  • Earth angel

  • exam

Three bronze sculptures displayed in the memorial were made by the Hamburg sculptor Edith Breckwoldt . Peace prayer is the title of a figure from 2001: it depicts a kneeling, praying woman who is hugged by a child. It is located in the middle of the so-called Garden of Contemplation , a demarcated area in the former north aisle, which is planted with rhododendrons and covered with pebbles of different colors. The figure is supposed to create an arc from the terrifying past to a hopeful future.

In this garden there are also individual fragments of the church, including some that were removed during the demolition in 1951 and that the friends' association is trying to find again. In November 2000, for example, some rubble was lifted from the Haseldorfer Inner Elbe.

A central figure is the six meter high bronze sculpture with the title Earth Angel from 2003. The title and subtitle of the sculpture are affixed to the base in eight languages. The artist's message is take my hand, and I will lead you back to you and should express that all knowledge rests in people themselves: When they find their way back to themselves, they also find peace, which in turn is a prerequisite for peacefulness between people .

The bronze figure Examination , also created by Edith Breckwoldt in 2004, is placed in the apse of the former south aisle and dedicated to the memorial of the former main camp Sandbostel , which, 60 km west of Hamburg, was one of the largest German prisoner-of-war camps from 1939 to 1945 . More than 50,000 people died there, including around 10,000 prisoners from the Neuengamme concentration camp . The base of the sculpture is made of bricks from the foundations of the barracks, which were collected on the camp grounds by students from Sandbostel. The artist inscribed a bronze plaque with a quote attributed to Dietrich Bonhoeffer :

“No one in the whole world can change the truth. One can only look for it, find it and serve it. The truth is in every place. "

Redevelopment

In 2011, a 10 kilogram stone loosened from the tower and fell on the Willy-Brandt-Straße that passed by. After a damage report, the tower was scaffolded. The renovation lasted until the beginning of 2018: B. Replacement of 22,000 bricks and 35 kilometers of grouting. From June 2015 to 2016, the damage from the top of the church tower, meter 147, down to meter 76, was repaired. From 2016, the work on the brick masonry was carried out from 76 meters to the ground. The memorial with the tower has been accessible again since January 2018 after the renovation.

Wine cellar

A special feature is the wine store in the preserved cross vault of the cellar since 1886. After the large stoves in the church had been replaced by a heating system in 1885, the areas used for coal storage could be made available for additional financing and rented to several long-established Hamburg wine shops. In 1926, the company CCF Fischer-Wein leased the premises and used them to store wine in barrels and bottles, as well as cognac, sherry and Madeira. With a year-round temperature of 12 to 14 degrees with 75 percent humidity, the conditions for this purpose turned out to be ideal. Up to 650,000 bottles are said to have been stored here at times on an area of ​​13,000 square meters.

The cellar vault survived the war damage to the church unscathed. During the blasting in 1951, the owners decided not to transport the wine because of the possible loss of quality. The ceiling withstood the load at first, but after a year around a third of the cellar was spilled. The damage could be repaired by 1954, the entrance was relocated from the former address Hahntrapp on the north side below the former south portal, today Willy-Brandt-Straße.

In the 1980s, CCF Fischer-Wein opened the cellar vaults to the public, as Hamburg's cosmopolitan wine cellar under St. Nikolai , the company ran a small wine museum next to the warehouse with exhibits of wine production , a tasting room in the former ossuary and a bottle sale. In 2005 the wine shop filed for bankruptcy , the cellar has been closed since then, but still houses a large part of the furnishings and goods.

See also

literature

  • Ferdinand Ahuis: cannons to bells - bells to cannons. The bells of St. Nikolai as an example of a culture of remembrance . In: Information 38 (2018) 1 + 2, pp. 41–65.
  • Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg. Published by the support group “Save the Nikolaikirche eV”, Hamburg 2010, ISBN 978-3-940445-97-1
  • Eberhard Petzold , Sylvester M. Robert: Memorial St. Nikolai . Historika Photoverlag, Hamburg 1995, ISBN 3-929307-24-3 .
  • Volker Plagemann: Art history of the city of Hamburg. Junius Verlag, Hamburg 1995, ISBN 3-88506-257-7 .
  • Ivo von Trotha (ed.): 800 years of the main church of St. Nikolai. Festschrift, Hamburg 1995.

Web links

Commons : St. Nikolai (Hamburg)  - Collection of images, videos and audio files

Remarks

  1. ^ Thorsten Ahlf: Time travel through Hamburg . Kajen and Nikolaifleet. In: Hamburger Abendblatt . April 10, 2017, p. 8 .
  2. ^ Volker Plagemann: Art History of the City of Hamburg , Hamburg 1995, p. 45
  3. ↑ cf. Friedrich Müller: The artists of all times and peoples or the lives and works of the most famous builders, sculptors, painters ... , 1st volume, Stuttgart 1857 Keyword Berends, Heinrich p. 127
  4. ↑ Volker Plagemann : Sunken Art History - The Churches and Artists of the Middle Ages in Hamburg , 1999, pp. 32, 70, 84
  5. ^ Rainer Postel : The Reformation in Hamburg 1517-1528 (sources and research on the history of the Reformation, vol. 52), Gütersloh 1986, p. 64; , see. Heinz Stoob , Hamburgs high towers (1957), p. 15
  6. ↑ A description of the accident and its consequences was provided by Johann Albert Heinrich Reimarus in a treatise on lightning rods in 1789, there in a note: Reimarus (1769), p. 12 .
  7. ↑ Volker Plagemann: Art History of the City of Hamburg , Hamburg 1995, p. 145
  8. ^ Ferdinand Ahuis, Isabel Ranck: The St. Nikolaikirche in the mirror of Hamburg history. Highlights from eight centuries ; in: Ivo von Trotha (Hrsg.): 800 years of the main church St. Nikolai . Hamburg 1995, p. 21
  9. ^ Wilhelm Sillem:  Zegenhagen, Johann . In: Allgemeine Deutsche Biographie (ADB). Volume 44, Duncker & Humblot, Leipzig 1898, pp. 764-768.
  10. ↑ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 100
  11. ↑ Gustav Fock: Arp Schnitger and his school. A contribution to the history of organ building in the North and Baltic Sea coast areas . Bärenreiter, Kassel 1974, ISBN 3-7618-0261-7 , p. 49 .
  12. ↑ See Reimarus (1769), p. 4ff .
  13. ^ A b Volker Plagemann: Art History of the City of Hamburg , Hamburg 1995, p. 246
  14. ↑ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 37 ff.
  15. ↑ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 34
  16. ↑ Memorandum for the upcoming inauguration of the large new organ of the St. Nicholas Church in Hamburg, built by the master organ builder E. Röver. Pontt & v. Döhren, Hamburg 1891 ( digitized version ).
  17. ^ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 64
  18. ↑ memorial contract of January 18, 1962/5. March 1962 between the Hamburg State Church and the Free and Hanseatic City of Hamburg, paragraph 6 (compulsory traffic safety and entertainment)
  19. ^ Memorial St. Nikolai: The sponsorship group
  20. ^ Nails Community Germany: History ( Memento of July 2, 2013 in the Internet Archive ) accessed on May 10, 2011
  21. ^ Air number , in: Hamburger Abendblatt, May 5, 1995 PDF.
  22. ↑ Website Lutz Lifts: St Nikolai Memorial - Installation of an elevator installation in the tower ruin ( Memento of 31 May 2011 at the Internet Archive ).
  23. ^ Website hamburg.de: Memorial St. Nikolai Church Hamburg , accessed on March 27, 2011.
  24. ^ Ivo von Trotha: Guardian without a house. The tower ruins of the Nikolaikirche in a view back and forth ; in: Ivo von Trotha (Hrsg.): 800 years of the main church St. Nikolai . Hamburg 1995, p. 75.
  25. ^ Carillon - tower carillon
  26. ↑ a b c http://www.mahnmal-st-nikolai.de/?page_id=16
  27. ^ Church council St. Nikolai (ed.): So are people. Kokoschka's crucifixion in St. Nikolai ; Hamburg (no date)
  28. ^ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 16; see also: Julia Mummenhoff hamburg.de ; welt-der-form.net
  29. ^ Nico Binde: Construction site with a view. In: Hamburger Abendblatt from May 21, 2015, p. 9. online ( Memento from June 5, 2015 in the web archive archive.today )
  30. ↑ Newly opened - St. Nikolai urges peace again. In "Hamburger Abendblatt", January 26, 2018, p. 12. Author abbreviation (axö).
  31. ↑ Gerhard Hirschfeld: History of the memorial and the church buildings of St. Nikolai in Hamburg , p. 36
  32. ↑ Michael Grube: The vaults under St. Nikolai ; in: Hamburger Unterwelten , accessed on May 12, 2011
before Tallest building in the world after that
Strasbourg Cathedral (147 m)
1874-1876		 Rouen Cathedral


This article was added to the list of articles worth reading on May 15, 2011 in this version .

Coordinates: 53 ° 32 ′ 51 ″  N , 9 ° 59 ′ 26 ″  E