Evangelical Church Breidenbach

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Evangelical Church Breidenbach

The Protestant Church Breidenbach is a church building in Breidenbach in the Marburg-Biedenkopf district ( Hesse ). The three-aisled early Gothic hall church is listed as a listed work in the list of cultural monuments in Breidenbach . The foundations of the choir possibly go back to the time of Boniface . The west tower with its twisted pointed helmet is the symbol of Breidenbach.

history

A church in Breidenbach was first mentioned in a document in 913, when priest Guntbald bequeathed his property including the Taufkirchen (legitimas ecclessias) in Breidenbach in Perfgau and Muffendorf in Bonngau to the Walpurgis monastery in Weilburg . A previous chapel, which was consecrated to St. Martin of Tours , probably dates back to the time of Boniface. In the year 993 King Otto III. the Worms monastery, the Weilburg monastery, which also included the Breidenbacher church. The church passed into the possession of Count Werner in 1100, who remained Vogt (advocatus) and patron of the church until his death in 1121. By 1103, 29 branches belonged to the Breidenbach parish. In 1103 Ober- and Niedereisenhausen were demarcated from the mother church in Breidenbach and formed their own parish. From 1122 to 1339 the Counts of Nassau were owners and patron saints, from 1339 to 1570 the Lords of Hohenfels. The current church dates back to the 13th century, but has been rebuilt several times. Gerlach von Breidenbach and his wife donated the southern choir window in 1479.

At the end of the Middle Ages, Breidenbach was the district's send church within the Deanery Kesterburg ( Christenberg ) and belonged to the Archdiocese of Mainz in the Archdeaconate of St. Stephan . Before the Reformation was introduced, 16 villages were still parish off as branches to Breidenbach. When the Reformation was introduced, the congregation switched to the evangelical creed. The first Protestant pastor was Balthasar Kleinhenn from 1528 to 1564, who was initially a Roman Catholic priest. Since 1540 Lixfeld and Oberhörlen formed their own parish. The Wallau and Weifenbach branches broke away from the mother church in 1551 and became an independent parish of Wallau. In 1582 the parish still comprised ten places. In 1606 the community of Breidenbach accepted the Reformed Confession and finally returned to the Lutheran in 1624. The chaplaincy , which was set up in addition to the parish office in the second half of the 16th century , was repealed in 1624, but reinstalled in 1660.

Coat of arms of the von Breidenbach family (1631) on the northern choir gallery

A comprehensive renovation took place from 1624 to 1629, during which, among other things, a new pulpit was purchased and the galleries were expanded. During the service of Pastor Andreas Beißenherz, an extensive interior renovation followed in 1774. The galleries were expanded again and received the parapet paintings. For the new organ, the aristocracy was relocated to the northeast in 1768. A second nobility with glazed windows on the opposite south side was damaged and demolished in 1966 during work on the foundation of the church. The top of the helmet structure, tower knob and cock were renewed in 1858.

In the course of an interior renovation from 1952 to 1954, the whitewashed wall paintings in yellow, brown and red were exposed again and partially supplemented, new church stalls were purchased and the floor was covered with new panels. A separate tower room was created by pulling in a wall under the central gallery. In 1969 the church windows were renewed, and in the early 1970s the pulpit, organ, altar cross and baptismal font were renovated. A thorough restoration of the church between 1999 and 2004 also included the church tower. The southern choir window was partially reconstructed in 2003 and received tracery with a triple pass and honeycomb lead glazing. In the same year a cavity was discovered behind the east wall of the south aisle, the medieval paintings of which were exposed and preserved before the cavity was closed again. They show John the Baptist and a ladder with a handle basket and a trident. Further wall paintings from the southern vestibule to the sacristy with scenes from the passion story, which were probably made in the 13th century, were discovered and secured in 2004.

architecture

Floor plan of the tower, nave and choir
Twisted pointed helmet of the west tower
North side of the ship

The roughly east-facing , light yellow plastered church was built in the middle of the 13th century in the town center. It shows South Westphalian influence. The oldest structures are the choir on a square floor plan and the four-sided walled shaft of the church tower, whose fortified Romanesque construction points to the time around 1000. Tower, choir and central nave are the same width.

The nave is covered by a steep gable roof from 1477/1478, the ridge of which almost reaches the eaves of the tower. From the outside, inclined buttresses from around 1460 support the vaults of the three equally high halls with three bays each . The original small side apses on the side aisles have not been preserved. The central nave is vaulted by ridge domes from the middle of the 13th century, which are half-shaped in the side aisles. Arcades with blunt pointed arches open the narrow side aisles to the central nave. The shield arches of the aisles are semicircular, the straps of the central nave are pressed. The four central nave pillars on square ground plans have plastered capitals made of quarry stone. The pillars and chords are painted as a rectangle. Originally, small high-seated arched windows were let into the upper third of the aisles. Today the nave is lit through large, slender windows whose round arches are still preserved from the Romanesque period, while others were replaced by pointed arches in the Gothic period. The ship is accessed on both long sides through a round arched portal. The west door in the tower is more recent.

The massive walled-up tower shaft has three storeys, of which the upper one is set off by a surrounding cornice . The tower is covered by a twisted, slated pointed helmet from 1501, which develops from four triangular gables that end in a steep, angular nose . In the gables there are two small sound holes on each side and a clock face for the tower clock. The helmet is crowned by a tower pommel, a decorated cross and a weathercock. The bell storey houses a triple chime with two bells from the pre-Reformation period. One was poured by Delman von Hungen (= part of Keppel) in 1454, the other probably by Hinrich von Dortmund in 1512. The whole width of the ground floor opens up to the central nave. The first floor ends with a groin vault and was originally open across the entire width of the nave, possibly to serve as a mansion gallery. The top floor serves as a bell house and has ogival sound openings.

The square choir is lower and retracted opposite the nave. Two tracery windows supply the interior, which is vaulted with a groin vault from the middle of the 13th century, with light. The eastern window dates back to the third quarter of the 13th century and has no central mullion. In the gable rises a quatrefoil two pointed arches. The southern one has two lanes and has two rounded arches with noses under a fish bladder . Underneath, two square panels are embedded in the outer wall, which show the coat of arms of Breidenbach and another, bear a building inscription from 1479 and name the donor couple: "anno domini mdcccclxxix gerard von Breidbach, Lyse sin husfraw". At the bottom left there is a small arched window and a small rectangular window at the bottom right. The choir is covered by a slated gable roof on which a small slated roof turret from around 1500 is attached. This consists of a cube-shaped shaft and an octagonal pointed helmet. Inside, a high, drawn-in pointed arch opens the choir to the central nave. In the northeast, in the corner between the nave and the choir, there is a small sacristy on a rectangular floor plan. It stands in line with the north wall of the ship and is spanned inside with a barrel vault.

Furnishing

View of the chancel and choir
Wall frescoes: Saint Martin and consecration cross

The Lungstein baptismal font with a round-arched frieze, which stood in the parish garden for decades and has been placed in the church again since 1976 and found its place to the left of the altar, is part of the initial equipment from around 1250 . The local blacksmith Erwin Thomä created the wrought-iron ring-shaped attachment based on a design by Pastor Ulrich Contag and a drawing by Günther Ostrowski. It shows symbols of the church as a ship and the baptism as well as the Christ monogram in circles and holds the silver baptismal bowl in the middle. On the block altar is a crucifix from around 1300, the original version of which was restored by the church painter Hermann Velte in 1975.

Renaissance pulpit from 1628

In the upper area of ​​the choir, wall frescoes from around 1300 show Martin von Tours on a horse, the tree of life and the fragment of a crucifixion scene, on the north-east wall of the ship St. Christopher . The polygonal wooden Renaissance pulpit on the south-eastern pillar was designed by Wilhelm Möller (Miller) in 1628, who made the pulpit in St. Martin's Church in Dautphe in 1631 . It is also very similar to the former Biedenkopfer pulpit and is richly decorated with inlays and fittings . The sound cover is crowned by openwork carving. The four evangelists are depicted on the pulpit and on the back wall the outpouring of the Holy Spirit painted by Johannes Bender. Bender created the dove in the sound cover in 1639. In the same year, the painter Bender designed an arm table at the pulpit staircase, which shows St. Elisabeth of Thuringia feeding the poor and sick. An offering box is placed underneath. Four marble epitaphs from the years 1700, 1706, 1723 and 1760 are reminiscent of pastor families, another one to Knight Hotzfeld († 1600). Opposite the pulpit, a painting with a wooden architectural framework is hung on the northeast pillar, which was probably made around 1628 and originally served as an altarpiece . It depicts Moses with the tablets of the law, King David playing the harp and a high priest in the temple.

Interior facing west with parapet paintings from 1774

The staggered, three-sided circumferential galleries were built in between the 16th and 18th centuries. The west gallery is the oldest and its core dates back to 1521. This makes it one of the oldest wooden galleries in Germany. The extension of the west gallery and the galleries on the long sides date from 1628/1629. In 1774 the five-row west gallery was torn down and rebuilt as a six-row gallery and a seventh row was added below. The side galleries were also extended by one row at the bottom and since then have three rows. The 23 gallery paintings attached to the parapet in the central nave in the shape of a horseshoe were created by Johann Henrich Hahn in 1774. They show New Testament scenes from the life of Jesus and the apostles. In the upper area the galleries have balusters . The convex organ loft in the choir also has parapets. The north gallery in the choir bears the coat of arms of the von Breidenbach family and is designated 1631, while the east and south pores were probably built in 1774 when the ship galleries were expanded for the last time. The wooden stand for the gentlemen of Breidenbach with openwork lozenges and rocaille shapes on the left choir arch was originally attached to the right above the Breidenbach coat of arms from 1631 and probably dates from this time. It was moved to its current location in 1768 to make room for the new organ. The wooden church stalls from 1954 have curved cheeks and leave a central aisle free. In the south aisle the shorter benches face east, but in the east yoke face north, in the north aisle long benches face south and in the choir short benches face west towards the altar. The benches in the central nave leave a central aisle free.

organ

Drawing of the organ from 1639
Heinemann organ from 1768

In 1639 the community acquired a new organ from the Lich organ builder Georg Henrich Wagner , which had seven registers and four subsidiary registers. The successor, which was built in 1767/1768 by the well-known organ builder Johann Andreas Heinemann , is considered a treasure. The elevated central round tower is flanked in the lower area by two small round towers and at the top by two flat fields with silent pipes. This is followed by two medium-sized pointed towers and two flat fields on the outside. In 1858 the organ builder Küthe probably replaced the manual keyboards and created the register labels. The pewter principal 8 ′ had to be delivered for war purposes in 1917.

The instrument was restored in 1971/1972 by the Hillebrand organ builder (Altenwarmbüchen near Hanover) and repaired in accordance with the preservation standards. However, the lost Vox humana 8 ′ was not reconstructed, but replaced by a third 1 3 ⁄ 5  ′ at the suggestion of the expert Hanns Brendel from Wiesbaden . Hillebrand added the two missing choirs to the mixture and made new prospect pipes . The largely original work with mechanical sliding chests has 14 registers that are distributed on a manual and pedal . The disposition is as follows:

Manual C – e 3
Principal 8th'
Dumped 8th'
Quintatön 8th'
flute 8th'
Octave 4 ′
Pointed flute 4 ′
Dumped 4 ′
Fifth 2 2 ⁄ 3  ′
Octave 2 ′
Gemshorn 2 ′
Third B / D 1 3 ⁄ 5  ′
Mixture IV 1'
Pedal C – c 1
Sub bass 16 ′
Violon bass 8th'

Peal

The bell tower houses a triple bell. Two late Gothic bells have been preserved. The larger one was cast in 1512 and consecrated to St. Martin of Tours . The second bell from 1454 also bears an inscription with Gothic minuscules . She is Maria consecrated and shows as reliefs a Madonna and two saints. A third bell was already in place in 1625 and was cast around and enlarged several times, most recently in 1910 by Rincker . After it had to be delivered for armaments purposes in 1917, Rincker cast a new bell in 1921. The bell was only in service for 20 years and was melted down during World War II. Rincker replaced it in 1957.

No.
  		Casting year
  		Foundry, casting location Diameter
(mm) 		Mass
(kg) 		Chime
  		inscription
  		image
 
1 1512 Hinrich von Dortmund, Breidenbach 1000 650 g sharp 1 " Sanctus martinus is min na [m] / min gelut is gode da [m] / ik stille den donder / ik beseste (?) De doden / ik rope [g] ot / anno d (omi) ni m ccccc xii " ( Sanctus Martinus is my name, my bells are pleasant to God. I silence the thunder, I weep the dead, I call God. In the year of the Lord 1512) [Relief with handkerchief of Veronica ] Breidenbach Ev. Church bell (2) .jpg
2 1454 Delmann von Hungen, Breidenbach 970 550 a 1 " Sit aura pia do (minu) m rogat ista maria est sua vox bam bam potens repellere satan S (anctus) martinus Anno d (omi) ni m cccc l iiii " (Still be the air when this Mary calls God, her voice makes bambam, powerfully drives out Satan. Sanctus Martinus, in the year of the Lord 1454) Breidenbach Ev. Church bell (3) .jpg
3 1957 Rincker , Sinn 890 441 h 1 “ Seek the Lord and you will live! Amos 5/6 " Breidenbach Ev. Church bell (1) .jpg

Web links

Commons : Evangelische Kirche Breidenbach  - Collection of images, videos and audio files

literature

  • Günter E. Th. Bezzenberger: Worth seeing churches in the church areas of Hesse and Nassau and Kurhessen-Waldeck, including the Rhine-Hessian church districts of Wetzlar and Braunfels. Evangelical Press Association, Kassel 1987, p. 69 f.
  • Folkhard Cremer (arrangement), Georg Dehio (founder), Ernst Gall (ed.), Dehio-Vereinigung (ed.): Handbook of German Art Monuments , Hessen I. Administrative districts of Giessen and Kassel. Deutscher Kunstverlag, Munich 2008, ISBN 978-3-422-03092-3 , pp. 127–129.
  • Wilhelm Diehl : Pastor and schoolmaster book for the acquired lands and the lost territories. (= Hassia sacra. Vol. 7). Self-published, Darmstadt 1933, pp. 215-217.
  • Adolf Failing: From the youth of the Breidenbacher church. In: Hinterland history sheets. Vol. 53, No. 3, 1974, p. 166.
  • Hans Feldtkeller (arrangement): The architectural and art monuments of the Biedenkopf district. Eduard Roether, Darmstadt 1958, pp. 17-19.
  • Karl Huth: Breidenbach. Center of a historical small landscape. Wetzlarer Verlag-Druckerei, Wetzlar 1963.
  • Ferdinand Luthmer (edit.): The architectural and art monuments of the districts of Biedenkopf, Dill, Oberwesterwald and Westerburg. Heinrich Keller, Frankfurt am Main 1910, pp. 17-19 ( online ).
  • Ursula Ostrowski; Church council of the Evangelical Church Community Breidenbach (Ed.): The Evangelical Church in Breidenbach. Breidenbach 2005. DNB 108329251X
  • Frank W. Rudolph: Evangelical churches in the deanery Biedenkopf . Deutscher Kunstverlag, Berlin / Munich 2012, ISBN 978-3-422-02355-0 , p. 28 f .

Individual evidence

  1. ↑ a b Bezzenberger: Churches worth seeing in the church areas of Hesse and Nassau and Kurhessen-Waldeck. 1987, p. 69.
  2. ^ Huth: Breidenbach. Center of a historical small landscape. 1963, p. 58.
  3. ↑ a b Failing: From the youth of the Breidenbacher church. 1974, p. 166.
  4. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, pp. 4-5.
  5. ^ Huth: Breidenbach. Center of a historical small landscape. 1963, p. 22.
  6. ^ Huth: Breidenbach. Center of a historical small landscape. 1963, p. 59.
  7. ^ Diehl: Pastor and schoolmaster book. 1933, p. 215.
  8. ↑ Biedenkopf. Historical local dictionary for Hessen. In: Landesgeschichtliches Informationssystem Hessen (LAGIS). Hessian State Office for Historical Cultural Studies (HLGL), accessed on May 27, 2017 .
  9. ^ Diehl: Pastor and schoolmaster book. 1933, p. 216.
  10. ^ Huth: Breidenbach. Center of a historical small landscape. 1963, p. 23.
  11. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, p. 58.
  12. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, p. 63.
  13. ↑ a b Rudolph: Evangelical churches in the deanery Biedenkopf. 2012, p. 28.
  14. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, pp. 76-81.
  15. ↑ Dehio: Handbook of German Art Monuments, Hessen I. 2008, p. 217.
  16. ↑ Feldtkeller: The architectural and art monuments of the Biedenkopf district. 1958, p. 18.
  17. ^ Gottfried Kiesow : Romanesque in Hessen . Konrad Theiss, Stuttgart 1984, ISBN 3-8062-0367-9 , pp. 205 .
  18. ↑ Ferdinand Luthmer: The architectural and art monuments of the administrative district of Wiesbaden. Gleanings and additions to volumes I to V Register of places and names of the entire work. Keller, Frankfurt am Main 1921, p. 168 ( online ).
  19. ^ Dehio: Handbook of German Art Monuments, Hessen I. 2008, p. 219.
  20. ↑ a b c d e f Dehio: Handbuch der deutschen Kunstdenkmäler, Hessen I. 2008, p. 218.
  21. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, p. 19 ( online ).
  22. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, p. 18 ( online ).
  23. ↑ Hinterland history sheets. Vol. 55, No. 4, 1976, p. 47.
  24. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, p. 37.
  25. ↑ Rudolph: Evangelical churches in the deanery Biedenkopf. 2012, p. 29.
  26. ↑ Rudolph: Evangelical churches in the deanery Biedenkopf. 2012, pp. 28-29.
  27. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, p. 55.
  28. ^ Ostrowski: The Protestant Church in Breidenbach. 2005, p. 54.
  29. ^ HJ Freytag, Dieter Schneider: The 200-year-old Heynemann organ in Breidenbach . Breidenbach 1972 (brochure on organ restoration).
  30. ^ Franz Bösken : Sources and research on the organ history of the Middle Rhine (=  contributions to the Middle Rhine music history . Volume 7.1 ). tape 2 : The area of ​​the former administrative district of Wiesbaden. Part 1: A-K . Schott, Mainz 1975, ISBN 3-7957-1307-2 , p. 97 .
  31. ^ Organ in Breidenbach , accessed on May 28, 2017.
  32. ↑ Christian Runkel: From the history of the church and the parish Breidenbach. In: Hinterland history sheets. Vol. 26, No. 3, 1937 ( online , PDF; 3.7 MB).

Coordinates: 50 ° 53 ′ 6.6 "  N , 8 ° 27 ′ 19.3"  E