Holy Trinity and St. Marien (Lebach)

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Holy Trinity and St. Marien (Lebach), tower facade
Holy Trinity and St. Marien (Lebach), view of the church from the apse with sacristy from 1967

The parish church of the Holy Trinity and St. Marien is the main Catholic church in the city of Lebach in the center of Saarland . It is a neo-Gothic building in the style of Gothic hall churches . The church is assigned to the diocese of Trier . Patronage day is the Holy Trinity . The second day of the patronage is the feast of the birth of Mary on September 8th.

history

Holy Trinity and St. Marien (Lebach), the old church shortly before the demolition in 1881
Holy Trinity and St. Marien (Lebach), location of the church on the cadastral plan from 1845
Holy Trinity and St. Marien (Lebach), floor plan of the old Lebach church around 1835, dimensions: nave = 70 feet long and 40 feet wide; Choir area = 30 feet long and 30 feet wide (Diocese archive Trier, Dept. 122, No. 3, p. 18)
Holy Trinity and St. Marien (Lebach), apse with stone high altar
Carl Friedrich Müller (born June 14, 1833 in Hersfeld; † August 1, 1889 ibid.), Master builder of the Saarlouis district, architect of the neo-Gothic Lebach church (photo from 1870)
Holy Trinity and St. Marien (Lebach), On the basis of the Lebach cadastral plan from around 1840, the floor plan of the old Lebach church with the surrounding cemetery (small crosses) and that of the neo-Gothic new building are superimposed. The east sides of the sacred buildings diverge slightly. The old church tower was in the middle of the current nave
Holy Trinity and St. Marien (Lebach), organ loft
The spire torn down by the storm of July 28, 1895
Cross on the outside of the apse, the old cemetery cross was erected around 1820 and originally stood in the Lebach churchyard, which was laid out around the church until 1880. When the cemetery was moved, the cross was placed on the back wall of the church. It stands on a classicist cafeteria with a festoon in the base. The crucifix with skull and bones, the bones of Adam, rises above a multi-tapered and broken fluted round column on a rectangular base. The churchyard cross is a listed building

The first written mention of the Lebach parish comes from the 10th century. In 1537 the previously independent parish of Knorscheid was added as a branch. Eidenborn has belonged to Lebach since 1836 and Landsweiler became independent in 1931.

From the Middle Ages to the end of the 18th century, the parish of Lebach had a close historical connection with the imperial knight dynasty of the Barons von Hagen zur Motten , who came from the immediate vicinity of Lebach and also resided here. Three grave slabs of family members from the early modern period have been preserved inside the church under the gallery.

Before the monastery of Fraulautern was converted into a noble women's monastery, it was provided by the pastors of the Lebach parish. The Lebach Holy Trinity Patronage may be traced back to that of Fraulautern . The first two churches in the Lebach parish, which were probably built in the ninth and thirteenth centuries, were dedicated to the Blessed Mother alone . This patronage was and is celebrated on September 8th, the feast of the birth of Mary . On the occasion of the Marian patronage festival, the Marian Birth Market is still held in Lebach in September. From the 12th century the pastoral care of the parish was taken over by the Premonstratensian Abbey of St. Marien zu Wadgassen .

In 1630, during the Thirty Years' War , the village of Lebach was plundered and the furnishings in the church and the rectory were destroyed or stolen. A new altar could only be consecrated in 1657 . It was not until the 18th century that the church and the rectory were restored and new furnishings were purchased. When the church was broken into in 1717, valuable sacred objects were stolen; they could only be replaced by new ones twenty years later. When the parish continued to grow and around 1774 the old church became too small, it was decided to build a new church in the form of a hall church . At that time the parish numbered 1,000 believers.

In the wake of the turmoil of the French Revolution and the Napoleonic Wars , there was looting and the seizure of church assets, so that worship was no longer possible in Lebach.

The predecessor of today's neo-Gothic sacred building, the beginnings of which was probably started in the 10th century, was an east-facing, four-axis, hipped roof hall with a slightly retracted polygonal choir. The baroque hall, which was built in 1774/1775 under the aegis of the abbess of the Abbey Fraulautern , Sophia von Neuenstein, replaced a Gothic nave from the 14th century. The room height of the baroque hall was significantly higher than that of the Gothic choir area. The architect of the nave was Joseph Thomann from Hottingen in the Black Forest , who married in 1775 in the sacred building he built. Thomann is also the builder of the Lebach rectory that still exists.

At the north-east corner of the nave a Romanesque church tower from the 10th or 11th century, built from sandstone blocks, rose on a rectangular floor plan. On the bell floor it opened in twin arched windows. The slated church tower roof was designed as an octagonal bent helmet , with the octagonal tip being long in relation to the tower. The tower should have been 10 m high. The octagonal buckled helmet was probably also 10 m high. The belfry contained two bells from 1743. The smaller bell weighed five hundredweight. Its inscription read: Laudo Deum celebro sanctos lugeo defunctos terrentes arceo nubes. Richart fecit 1743. (German: "I praise God, I praise the saints, I mourn the dead, I keep the terrible clouds away. Richart made me in 1743.") As a relief, the bell showed a crucifixion scene and a representation the Mother of God Mary with the baby Jesus. The larger bell weighed eight hundred pounds. Its inscription read: Laudetur sancta trinitas et gloriosa virgo genetrica Dei Maria sine fine a superis et terrigenis. Richart fecit anno 1743. (German: "The Holy Trinity and the venerable Virgin, Mary the Mother of God, should be praised endlessly by the heavenly and the earthly. Richart made me in 1743."). The bell also showed a crucifixion scene as a relief.

In 1829 a small sacristy was added to the apse . The apse, which probably dates back to the 14th century, was vaulted with a ribbed vault. The portal facade had a centrally positioned gate with a split gable and a niche with a figure of Mary, the church's patroness. The church's Trinity patronage was taken up architecturally with three round windows on the facade. Around the church was the Lebach churchyard, where the town's dead were buried.

The high windows of the church hall closed in a rounded arch. In the west of the interior there was a wooden gallery that carried the organ. A relief inside the church showed the five-spoke wheel coat of arms of the Fraulautern Abbey . The main altar, dedicated to the Most Holy Trinity, stood in the apse. Eight Corinthian columns stood around an altarpiece that showed the Virgin Mary as Queen of Heaven. Side altars each with four flanking columns from the 1770s (in the south Joseph's altar, in the north Marien's altar) were located at the transition from the nave to the choir area. Remains of a sacrament house had been preserved in the northern area of ​​the apse. A carved choir stalls came from the 1770s. A carved pulpit is said to have been made in the 17th century. The baptismal font adopted in the neo-Gothic new building dates from the 13th century. It comes from the St. Gervasius Church in Trier, which was demolished in 1765, and was given as a gift to the Lebach pastor Raab. The grave slabs placed under the gallery of the neo-Gothic building today were originally in the choir area of ​​the previous building. The interior was richly decorated with paintings and statues. A silver reliquary set with rock crystal contained a cross relic.

In 1825 Christian Geller became pastor in Lebach, he worked here for 38 years. In 1844 Gellert organized a parish pilgrimage to the exhibition of the Holy Rock in Trier Cathedral . The exhibition of the relic was a major religious event in the 19th century and a first-rate Catholic demonstration of faith in the Protestant Kingdom of Prussia . The Lebach pilgrim group was joined by the villages of Limbach, Bettingen, Hüttersdorf, the communities of the Nalbach Valley (Nalbach, Piesbach, Bettstadt, Körprich, Bilsdorf, Diefflen), Saarwellingen, Hülzweiler, Schwalbach, Schwarzenholz and Reisweiler (today Reisbach). In total, the pilgrimage group of the villages mentioned comprised over 6000 people. The pilgrimage began in Lebach on August 23, 1844 at half past one in the morning with a prayer in the church. On August 25th they reached Trier and worshiped the tunic of Christ in the cathedral . On August 29th, a second Lebach pilgrimage group of around 350 people set out for Trier. The Lebach parish church also became a transit station for pilgrims from southern regions. During the pilgrimage, which lasted from August 18 to October 6, 1844, a total of five hundred thousand pilgrims were led past the religious exhibit in Trier.

Under the aegis of Pastor Christian Gellert, the prerequisites were created for Dechant Jakob Schneider to demolish the previous church building, including the Romanesque tower that was probably around a thousand years old , and build the current neo-Gothic church. While the old building had an area of ​​around 12 × 24 m, the new building had a surface area of ​​20 × 32 m. The main argument for the total demolition of the old sacred building was that the number of Lebach parishioners had grown significantly. Due to the heated conflicts between the Prussian state and the Catholic Church in the so-called Kulturkampf , the planned new building in Lebach was delayed considerably. Prussia blocked the Lebach pastor's payments for several years, so that the parishioners had to pay pastors and chaplains themselves for six years through voluntary donations. In 1879, the Lebach civil parish declared its willingness to support a new church financially. A first cost estimate was 72,000 marks . The parish had already raised 40,000 marks itself, while 30,000 marks were borrowed. Thanks to the willingness of the Lebach residents to donate, the loan could already be repaid in 1886. The cost of the entire interior of the church was also financed through donations. In 1881 the old church was closed and a temporary emergency church was designated. A harmonium borrowed from a Saarlouis music store accompanied the community singing.

During the demolition work, a container with French gold coins was found under the floor slabs of the old church, which were probably buried here in a time of need. The coins were not examined any further, but instead were immediately given to a Trier goldsmith to melt down so that the proceeds could be used for the construction of the new church. The melted down coins produced a total of 810 marks, which at that time corresponded to 270 daily wages for a single worker.

On October 1, 1883, the new building was consecrated by the Trier auxiliary bishop Johann Jakob Kraft . As early as 1869 Lebach and the surrounding parishes had been separated from the Saarlouis deanery and raised to a new deanery.

On Sunday evening July 28th, 1895, the slated tower hood of the neo-Gothic new building was torn off during a heavy thunderstorm with hailstones as thick as a fist and fell on the roof of the nave. Presumably there was also a lightning strike. In the nearby lease, too, the newly erected spire of the St. Maximin Church fell victim to what was probably the worst storm in Saarland and the neighboring Lorraine in the 19th century. Parts of the vault of the Lebach church collapsed due to parts of the gable crown of the tower octagon , the organ was smashed and the interior was unusable. The Saarlouis master builder estimated the cost of repairing the damage to the building at 12,000 to 14,000 marks, not including the cost of the destroyed organ. Thanks to donations from Lebach parishioners, reconstruction could begin soon afterwards.

The church survived the First and Second World Wars almost unscathed. During the Second World War, artillery fire caused damage, which mainly damaged the roof.

Due to damage to the pointed spire of the tower, the entire upper octagonal part of the tower was removed in 1967/1968 and replaced with a purified modern tip, which is based on the architectural cubature of the neo-Gothic tower end. Due to the different materials of the tower, the overall composition appears very disparate. The disproportion between the mass of the nave and the pencil-like slenderness of the tower octagon with point was strongly emphasized by the redesign. In addition, a larger sacristy in a more modern shape was added between the nave and the choir area during the renovation.

With regard to the neo-Gothic interior, the neo-Gothic winged altar, the pulpit, the wood-carved communion bench and numerous figures of saints fell victim to the purifying zeal for reform of the time as early as 1955. The rich interior painting was also destroyed. This fell during the tenure of pastors Alois Kneip and Karl Ludwig Quirin. In the years 1980 to 1982, under the direction of the Trier architect Günther Kleinjohann under the aegis of Pastor Tilman Haag (1930–1990, term of office 1972–1989), a rehistoric restoration was carried out. A new heater was installed, the damp masonry was renovated and the floor was renewed. The interior was painted sparingly in a rehistoric fashion. The figures and carvings destroyed during the purification of the 1950s could only be partially restored during the major restoration in the 1980s.

A neo-Gothic stone altar was included in the redesign of the choir, so that the interior could be fully used again on October 1, 1983 - 100 years after the consecration. On October 22, 1987 a new organ was consecrated.

architecture

The neo-Gothic church was built in dark red sandstone from 1881 to 1883 according to the designs of the architect Carl Friedrich Müller .

Dimensions
  • Total inside width: 17.80 m
  • Length of the tower hall: 4.60 m
  • The depth of the gallery from the inner wall to the pillars: 5.00 m
  • Length of the aisles: 30.00 m
  • Choir area with apse: 16.75 m
  • Total internal length of the church: 46.75 m
  • Width of the aisles: 4.00 m
  • Width of the central nave between the pillars: 8.25 m
  • Width of the apse arch: 8.00 m
  • Arcade inter column: 6.70 m
  • maximum ceiling height of the gallery hall: 4.50 m
  • maximum vault height of the aisles: 12.40 m
  • maximum arch height of the central nave: 13.80 m
Holy Trinity and St. Marien (Lebach), view from the opposite bank of the Theel

Exterior

The sacred building is a three-aisled, four-bay stepped hall without a transept. A recessed choir area adjoins the nave, which consists of a choir bay and a three-sided polygon. The tower, positioned in the middle in front of the nave, rises above a transverse rectangular floor plan. On the upper floor, the rectangle turns into a square. A four-lane tracery window opens above the main portal, which, connected by the common strong profile, forms a unit with it. A small round window is positioned above the large tracery window. The upper area of ​​the tower front is adorned with tracery . Multiple stepping of the buttresses, gable fields and buttresses add to the gothic impression of the tower front. In the transition level from the transverse rectangle to the square, dazzling tracery flanks a twin window, the pointed arches of which frame the tower clock. Above this begins the square part of the bell chamber, which is supported on the sides by buttresses. The tower merges into the octagon. The octagon sides originally closed off like a coronet with small gables and led over to the pointed, slated spire. The octagonal tower part of the Lebach church quotes the upper parts of the tower of the Nuremberg St. Lorenz church . The neo-Gothic facade of the Petrikirche in Berlin-Cölln , which was inaugurated in 1853 in the presence of Friedrich Wilhelm IV . However, the tower octagon is made much more elongated here. Since the renovation between 1966 and 1968 by the Saarwellingen architect Toni Laub, the upper part of the tower of the Lebach church looks like a sharply pointed pencil. The sound windows of the octagonal bell chamber, formerly pointed arches, are now closing. When the tower was rebuilt in 1967, the tower was also robbed of the four filigree corner pinnacles, which now gives the tower architecture a meager impression. The outer walls of the nave and the choir are structured by buttresses and tracery windows.

Architect Carl Friedrich Müller designed the Lebach Church in a similar way to his first sacral construction, the Beckinger Church of St. John and Paul , built between 1860 and 1863 , for the design of which he drew on earlier plans by the Saareisenbahnbau site manager, R. Vogdt. The rectangular architectural design of the tower front of the Beckinger and Lebach churches could be inspired by the very broad tower front of the Gothic Wendalinus basilica in St. Wendel , which was built around 1400 . Here, however, the viewer has to think away from the spiers of the flank towers and the baroque central dome. Instead of the baroque St. Wendel hood, there is an octagonal structure with a pointed helmet in Beckingen and Lebach, modeled on the Nuremberg Lorenz Church.

  • Architectural comparisons with churches in Beckingen, St. Wendel, Berlin-Cölln and Nuremberg

  • The Catholic parish church of St. John and Paul in Beckingen

  • View inside the Beckinger Church

  • R. Vogdt: First construction plan of the side view of the Church of St. John and Paul (Beckingen) from 1859

  • R. Vogdt: First construction plan for the tower front of the Church of St. Johannes and Paulus (Beckingen) from 1859

  • Nuremberg, St. Lorenz Church , tower portal

  • St. Petri Church in Berlin

  • Tower front of the Wendalinus basilica

  • Interior of the Wendalinus basilica

Interior

Church interior around 1900

Inside the church, wide-span, ogival arcades on slender round pillars open to the side aisles. The warriors adorned with leaves and buds with octagonal cover plates carry the belt and scabbard arches as well as the ribs of the ribbed vault. Thin circular services on the church walls take up the ribs of the vaults of the aisles. The longitudinally rectangular side aisle yokes correspond to approximately square yokes in the central nave. The choir area is only separated from the nave by a narrow triumphal arch, opening up almost the full width of the central nave.

Furnishing

The original choir window was made by the renowned Munich “Institute for Church Glass Painting” under the direction of Franz Xaver Zettler , who was closely associated with the Mayer'schen Hofkunstanstalt , at a price of 6,400 marks. The other windows were created by the Trier workshop in Binsfeld at a price of 3,400 marks. Heinrich Klein was responsible for the painting of the church from 1891/1892, which was destroyed in the 1950s. The current church window was made in 1951 by Heinrich Göttker from Ensdorf (Saar) . The axis window of the apse represents a mercy seat . The left apse window shows the Annunciation of the Lord by the Archangel Gabriel to Mary, the right apse window shows the coronation of Mary by Jesus Christ.

The wooden sculptures of the Virgin Mary, St. Joseph flanked by two angels, St. Anna and St. Elisabeth was created in 1956 by the sculptor Ernst Brauner from Lebach- Landsweiler .

The statue of the Virgin Mary represents the Virgin with a veil and floor-length cloak that opens only slightly in the area of ​​the breast. A headband surrounds her head. The position of her two hands resembles an ancient prayer position. Between her hands, three interwoven rings appear on her chest in a ray halo, each containing a blessing hand, a dove and a cross as a symbol of the Holy Trinity. The representation alludes to the invocation of Mary in the Lauretanian litany , in which the Blessed Mother is referred to as a “venerable, spiritual vessel of devotion”. Mary humbly looks down at the apparition.

The statue of Joseph holds a saw in its left hand as an indication of the carpenter's profession of the nursing father of Jesus. With his right hand, the saint, clad in a long robe and working apron, appears to be blessing the viewer. While the angel on the right (as seen by the observer) carries a lily as a symbol of Joseph's marital chastity, the angel on the left holds a model of St. Peter's Basilica in Rome, as a symbol of the church. Both angels are depicted as floating and lean towards the saint in a worshipful posture. Saint Joseph is presented to the viewer as the patron saint of the church and as a model of chastity.

The Easter candlestick, a wrought iron work with Easter symbols made of brass, dates from 1957 and was made by the Saarbrücken art workshop Kopp. Also in 1957 the Saarbrücken company Papst & Sohn manufactured a new tabernacle, which has not been erected since the rehistoric renovation work on the interior of the church in the 1980s. The Terracotta Stations of the Cross (reliefs) were designed by the Lebach artist Herbert Sträßer in 1958. The celebration altar and the ambo were designed by Günther Kleinjohann ( Trier ) and executed by the Lebach sculptor Alban Jacob. The neo-Gothic stone high altar was procured by Pastor Tilmann Haag at the beginning of the 1980s from the parish in Plaidt in the Eifel as a replacement for the Lebach high altar that was destroyed in the 1950s. In the niches are (from left to right) the statues of St. Sebastian , Jesus Christ and St. Willibrord . The nave was repainted between 1980 and 1982. Parts of the original painting from the 19th century were able to be reconstructed.

Funerary monuments

In the church there are early modern grave monuments of the Lebach noble family Hagen zur Motten, which have been transferred from the previous building to the neo-Gothic church. The inscription of the tombstone of Nicholas VI. reads:

"ANNO DOMINI DIED IN 1547, THE EDEL AND ERENVEST JUNKER NICKLASCH OF HAGEN HERR TO MOTHERS OF THE SELEN GOT MERCY"

The inscription on the tombstone of Johann VI. von Hagen reads:

"IN JAR 1569 AVFF SANT GALLEN DAGH DIED IN GOD, THE EDELL VND ERNVEST JOHANN VON HAGEN HER ZU BVSCHFELD VND ZVR MOTTEN HIS AGE 46 JAR OF THE MERCY GOD"

The inscription on the grave slab of Anna Maria Charlotte von Hagen reads:

"HERE IS BURIED THE HIGH-WELL-DRILLED FREYIN VON ELZ-ROTENDORFF OF JOANNIS WILHELMI LUDOVICI FROM HAGEN, WHO HAVE BEEN A LIFETIME OF A LIFETIME OF SPONSORSHIP IN THE SOME OF THE YEARS OF 17, IN THE SOME OF THE YEARS OF THE OLD AGE OF THE OLD THE 15 DAY MAY "

  • Grave slab of Nicholas VI. von Hagen, Herr zur Motten and Büschfeld, (1503–1547), married in 1508 to Rosa Mohr von Sötern zu Eberswald, married in 1524 to Odilia von Kerpen zu Sommerau; Ancestral coats of arms on the corners of the panels

  • Grave slab of Johann VI. von Hagen, Herr zur Motten and Büschfeld, Zweibrücker Rat, (1525–1569), married 1546 to Beatrix Zandt von Merl, married 1558 to Agnes Schenk von Schmidtburg; Ancestral coats of arms on the corners of the panels

  • Grave slab of Anna Maria Charlotte von Hagen, b. Baroness von Eltz-Rottendorf (1684–1753), married from 1706 to 1750 to Johann Wilhelm Ludwig Herr zur Motten, Büschfeld, Hüttersdorf, Hellenhausen, Düppenweiler, Lebach, Michelbach and Bardenbach, Kurtrierischer Marshal and Oberhofmeister, Polish and Saxon real privy councilor and imperial Reichshofrat (1673–1750), mother of Johann Hugo II. Von Hagen

organ

organ

In 1826 the Lebach church received its first organ . It was a one-manual instrument (16 stops) made by the organ builder Johann Friedrich Verschneider (1771–1844) from Püttlingen in Lorraine. This instrument was overhauled in 1870 by organ builder Johann Josef Müller (1832–1898) from Rehlingen with regard to the fan and the mechanics. A new keyboard was also installed.

After the old church was demolished in 1881, the organ was re-erected in the new parish church by organ builder Heinrich Voltmann from Klausen in 1883. In 1895 it was destroyed in the storm-induced collapse of the spire.

In 1897 the church received a new, two-manual organ with pneumatic action and romantic disposition from the Stahlhuth organ builder from Burtscheid near Aachen . The cost of the new building in a neo-Gothic housing amounted to 11,300 marks. This organ, whose bellows had previously been powered by muscle power, was equipped with an electric motor in 1924. The 35 prospect pipes delivered for metal extraction during the First World War were replaced by the Stahlhuth company in exchange for the payment of 1,100 marks.

The instrument was in use until 1969 when it became unplayable in the run-up to Christmas. As a provisional replacement, an electronic organ was therefore purchased for 20,500 German marks . This was replaced in 1981 by a borrowed small mechanical pipe organ.

I Hauptwerk C – g 3
1. Bourdon 16 ′
2. Principal 8th'
3. Harmony flute 8th'
4th Gamba 8th'
5. Dumped 8th'
6th Octave 4 ′
7th Octave flute 4 ′
8th. Fifth flute 2 2 ⁄ 3  ′
9. Octavin 2 ′
10. Mixture IV-Vf.
11. Trumpet 8th'
Positive C-g 3
12. Violin principal 8th'
13. Dumped 8th'
14th Salicional 8th'
15th Aeoline 8th'
16. Soft flute 4 ′
17th Piccolo 2 '
Pedal C – g 3
18th Violon 16 ′
19th Sub bass 16 ′
20th Octave bass 8th'
21st Dacked bass 8th'
22nd cello 8th'
23. trombone 16 ′
24. Trumpet 8th'

The present organ was used by the Hugo Mayer / Heusweiler company with the old case from 1985 (order placed on July 7, 1987) to 1987 (start of construction on September 28, 1987) on the initiative of the Lebach organ building association founded in 1981 of the original pipework and consecrated on the Cäcilienfest , October 22, 1987, by regional dean Albert André . The organ association collected a total of 100,000 German marks for the purchase of a new organ. The church choir also contributed by donating concert proceeds. The Prime Minister of Saarland, Oskar Lafontaine , granted a grant from state funds. Grants also came from Saarland Sporttoto GmbH, Kreissparkasse Saarlouis and Lebacher Volksbank.

The new instrument has 37 registers (including an extended register) on three manuals and a pedal. The action mechanism is mechanical, the stop action is electrical. The oak wood front of the Stahlhuth organ from 1897 (until 1969) was restored and adopted for the new instrument. In 2005 it was thoroughly cleaned and re-voiced, slightly expanded and equipped, among other things, with an electronic setting system with 8000 combinations.

I Hauptwerk C – g 3
1. Dumped 16 ′
2. Principal 8th'
3. flute 8th'
4th Principal 4 ′
5. Flute 4 ′
6th Fifth 2 2 / 3 '
7th Night horn 2 ′
8th. Mixture V-VI 1 1 / 3 '
9. Trumpet 8th'
II Echowerk C – g 3
10. Wood-covered 8th'
11. recorder 4 ′
12. Principal 2 ′
13. Sharp Vf. 1'
14th Cromorne 8th'
15th Tremulant
Tremulant
III Swell C – g 3
16. Metal flute 8th'
17th Dumped 8th'
18th Viol 8th'
19th Beat 8th'
20th Principal 4 ′
21st flute 4 ′
22nd Nazard 2 2 / 3 '
23. Octavine 2 ′
24. third 1 3 / 5 '
25th Plein jeu IVf. 2 ′
26th bassoon 16 ′
27. Hautbois 8th'
28. Clairon 4 ′
Tremulant
Pedal C – f 1
29 Violon 16 ′
30th Sub bass 16 ′
31. Quintbass (ext.no.30) 10 2 / 3 '
32. Octave bass 8th'
33. Covered bass 8th'
34. Choral bass 4 ′
35. recorder 2 ′
36. trombone 16 ′
37. Trumpet 8th'
  • Pairing :
    • Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P
    • Sub-octave coupling: III / I
  • Playing aids : 8,000 combinations, tutti

Bells

A four-part bell hangs in the tower with the striking notes d 1 , f 1 , g 1 and a 1 .

Rectory

  • Holy Trinity and St. Marien (Lebach), parsonage in dark red colored garments

  • Holy Trinity and St. Marien (Lebach), parsonage in light colored garments

The Catholic rectory is a listed building as an individual monument. The two-storey plastered building with eaves was built around 1770 by the Black Forest master builder Joseph Thomann in the Baroque style and has two low extensions. The facade on the street side is structured with two storey cornices. In the middle of the five window axes is the entrance above a narrow plinth. Like the windows, it is spanned by a segmental arch. In the attic area of ​​the roof, flanked by two mansard windows, there is a dormer with a triangular gable. The rectory was completely renovated at the beginning of the 1980s under Pastor Tilmann Haag.

Art in the environment

Ernst Brauner, “ Schutzmantelmadonna ”, 1956, Metzer Kalkstein (Jaumont), 2.00 × 0.85 × 0.50 m, Lebach, forecourt of the Catholic Church, Pfarrgasse

In the forecourt of the church, on the gable of the Groß office building, stands the figure of a protective coat Madonna, which was commissioned under the aegis of Pastor Alois Kneip and was supposed to replace a figure of the Virgin that was destroyed in World War II. It is one of the early works that the sculptor Ernst Brauner, who comes from the Sudetenland and lives in Lebach (born 1917 in Oberlipka near Grulich in the Sudetenland , Austria-Hungary , now Horní Lipka, Králíky , Czech Republic ; died 1979 in Lebach- Landsweiler ) for the Saar region, in which he had started his own business as an artist in 1955, created. Under the wide sleeveless cloak of the Virgin Mary, she wears over her belted robe, are graded in importance perspective downsized reproduced, pleading for protection people of different ages and sexes. A standing cleric with a straight look holds a model of a church in his hand, a nun is sunk in silent devotion, a standing man, perhaps a miner , is holding a miner's lamp , a little girl has lowered her eyes and folded her little hands in prayer , a boy Mother kneels pleadingly with her little child in front of the Madonna, at whose feet a jug and a bundle of wheat are laid. The compassionate gaze of Mary turns to those seeking protection. The sculpture was carved from Metz limestone ( Jaumont stone ), which is characterized by its golden yellow color. Iconographically and formally it is based on medieval figures of this type.

literature

  • Bernhard H. Bonkhoff: Historical organs in Saarland. Regensburg 2015, pp. 22-23, 39, 76, 132, 287.
  • H. Brunner, H. Caspary, A. v. Reitzenstein, F. Stich: Rhineland-Palatinate / Saarland, art monuments and museums. Reclam's Art Guide Germany, Vol. 6th, 8th edition, Stuttgart 1990, p. 240.
  • Festschrift for the consecration of the new organ in the Catholic parish church Hl. Dreifaltigkeit und St. Marien zu Lebach. Lebach 1987.
  • Georg Dehio : Handbook of the German art monuments, Rhineland-Palatinate / Saarland. Edited by Hans Caspary u. a., 2nd edition Munich / Berlin 1984, p. 550.
  • Philipp de Lorenzi: Contributions to the history of all parishes in the Diocese of Trier. Trier 1887, pp. 321-323.
  • Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V. Merzig 2016, pp. 564-586.
  • Klaus Gross: The organs of the parish church in Lebach. In: Catholic parish of the Holy Trinity and St. Mary in Lebach. Lebach 1987, pp. 5-9.
  • Handbook of the Diocese of Trier. 20th edition Trier 1952, p. 287.
  • Karl Kiefer: From the history of the parish Lebach. In: Festschrift to celebrate the 1,000th anniversary of the Lebach parish. Edited by the parish and the Lebach tourist office. Lebach 1950.
  • The art monuments of the Ottweiler and Saarlouis districts. Edited by Walter Zimmermann. 2nd edition Saarbrücken 1976, p. 223 f.
  • Kristine Marschall: Sacred buildings of classicism and historicism in Saarland ( publications by the Institute for Regional Studies in Saarland. Vol. 40.) Saarbrücken 2002, pp. 273–274.
  • Rudolf Saam: Contribution to the building history of neo-Gothic churches on the Saar. On the life and work of the builder Carl Friedrich Müller. Saarbrücken booklets. Issue 48. Saarbrücken 1978, p. 34 f.
  • Rudolf Saam: The master builder Carl Friedrich Müller and his work in the Saarlouis district. In: Heimatkundliches Jahrbuch des Landkreis Saarlouis 1981. Saarlouis 1981, pp. 11-14.
  • L. Sudbrack et al. A. Jakob (ed.): The Catholic Saarland, Home and Church, Saarbrücken 1954–1956, II / III. 1954, p. 39 f.
  • Albert Wagner: The "new" parish church in Lebach. Edited by Volksbank Lebach. Lebach 1982.
  • Albert Wagner: Catholic parish church "Holy Trinity - St. Marien" built in 1881/83 by Carl Friedrich Müller. In: Historical Calendar Lebach 2009, The Lebach Churches. Published by the Lebach Historical Society. Lebach 2009.

Web links

Commons : St. Marien (Lebach)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b Diocese archive Trier, 122, No. 11.
  2. ^ Historical calendar Lebach 2008 .
  3. ↑ Johannes Naumann: The barons of Hagen to motten - their life and work in the Saar-Mosel region. Blieskastel 2000, p. 521.
  4. ↑ Diocese archive Trier, 70.3348a.
  5. ^ Albert Wagner: From the Congress of Vienna to the 1st World War. In: 60 Years of the Verkehrsverein e. V. 1921-1981. Edited by the tourist association Lebach e. V. Lebach 1981, pp. 79-88, here p. 84.
  6. ↑ Diocese archive Trier, 70.3348.
  7. ^ A b Klaus Gross: The organs of the parish church in Lebach. In: Catholic parish of the Holy Trinity and St. Mary in Lebach. Lebach 1987, pp. 5-9, here p. 5.
  8. ^ Albert Wagner: The "new" parish church in Lebach. Edited by Volksbank Lebach. Lebach 1982.
  9. ↑ Saarlouiser Journal of July 29, 1895 and July 30, 1895.
  10. ^ Saarlouiser Journal of August 1, 1895.
  11. ^ Albert Wagner: The "new" parish church in Lebach. Edited by Volksbank Lebach. Lebach 1982, pp. 58-60.
  12. ↑ a b Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V., Merzig 2016, pp. 564-586, p. 582.
  13. ↑ Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V., Merzig 2016, pp. 564-586, p. 585.
  14. ^ Institute for Current Art in Saarland. Archive. Inventory Lebach, Holy Trinity and St. Marien (Dossier K 604).
  15. ↑ Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V., Merzig 2016, pp. 564-586.
  16. ↑ http://www.pg-lebach.de/wir-ueber-uns/unsere-kirchen/lebach.html , accessed on April 29, 2017.
  17. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland. Vol. 40). Saarbrücken 2002, pp. 273-274.
  18. ↑ H. Brunner, H. Caspary, A. v. Reitzenstein, F. Stich: Rhineland-Palatinate / Saarland, art monuments and museums. Reclam's Art Guide Germany, Vol. 6th, 8th edition, Stuttgart 1990, p. 240.
  19. ^ Georg Dehio: Handbook of German art monuments, Rhineland-Palatinate / Saarland. Edited by Hans Caspary u. a. 2nd edition Munich / Berlin 1984, p. 550.
  20. ^ The art monuments of the Ottweiler and Saarlouis districts. Edited by Walter Zimmermann. 2nd edition Saarbrücken 1976, p. 223 f.
  21. ↑ L. Sudbrack, A. Jakob (Ed.): The Catholic Saarland. Home and Church, Saarbrücken 1954–1956. II / III. 1954, p. 39 f.
  22. ^ Philipp de Lorenzi: Contributions to the history of all parishes in the Diocese of Trier. Trier 1887, pp. 321-323.
  23. ↑ Handbook of the Diocese of Trier. 20th edition Trier 1952, p. 287.
  24. ^ Rudolf Saam: Contribution to the building history of neo-Gothic churches on the Saar. On the life and work of the master builder Carl Friedrich Müller (= Saarbrücker Hefte. Issue 48) Saarbrücken 1978, p. 34 f.
  25. ^ Rudolf Saam: The master builder Carl Friedrich Müller and his activity in the Saarlouis district. In: Heimatkundliches Jahrbuch des Landkreis Saarlouis 1981. Saarlouis 1981, pp. 11-14.
  26. ↑ http://www.kunstlexikonsaar.de/kunst-im-sakralen-raum/artikel/-/kirchenbau-und-kunst-im-sakralen-raum-nach-1945-im-saarland-katholische-kirchen-landkreis-saarloui -4 / , accessed April 29, 2017.
  27. ↑ Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V. Merzig 2016, pp. 564-586, here p. 577.
  28. ^ Albert Wagner: The "new" parish church in Lebach. Edited by Volksbank Lebach. Lebach 1982, pp. 41, 47.
  29. ^ Hans Peter Buchleitner: Cultural Reconstruction in the Saarland. A text and picture work. Volume II, additions to the church structure in Saarbrücken and in the parishes of both Christian denominations in the Saarlouis and Merzig-Wadern districts. Saarbrücken 1959, p. 45.
  30. ^ Institute for Contemporary Art in Saarland, archive, holdings Lebach, Holy Trinity and St. Marien (Dossier K 604)
  31. ↑ Klaus Gross: The organs of the parish church in Lebach. In: Catholic parish of the Holy Trinity and St. Mary in Lebach. Lebach 1987, pp. 5-9, here p. 6.
  32. ↑ Klaus Gross: The organs of the parish church in Lebach. In: Catholic parish of the Holy Trinity and St. Mary in Lebach. Lebach 1987, pp. 5-9, here p. 7.
  33. ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland. Regensburg 2015, p. 132.
  34. ↑ Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V., Merzig 2016, pp. 564-586, here p. 577, p. 585 f.
  35. ↑ Information on the history of the organs.
  36. ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland. Regensburg 2015, pp. 22/23, 39, 76, 132, 287.
  37. ↑ The information about the disposition varies; see. the disposition on OrganIndex; the disposition on the municipality's website; the disposition ( memento of the original from January 25, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. for organ information. @1@ 2Template: Webachiv / IABot / orgel-information.de
  38. ↑ Festschrift for the consecration of the new organ in the Catholic parish church Hl. Dreifaltigkeit and St. Marien zu Lebach. Lebach 1987.
  39. ↑ Johannes Dillinger: From the Stone Age to the 21st Century. The history of the city of Lebach. Published by the historical association Lebach e. V. Merzig 2016, pp. 564-586, p. 527, p. 585.
  40. ↑ Hans Peter Buchleitner: Cultural Reconstruction in Saarland, a text and picture work. II. Volume. Additions to the church structure in Saarbrücken and in the parishes of both Christian denominations in the Saarlouis and Merzig-Wadern districts. Saarbrücken 1959, p. 34.
  41. ^ Oranna Dimmig: Art in Public Space, Saarland. Volume 3. Saarlouis district after 1945, essays and inventory. Edited by Jo Enzweiler. Saarbrücken 2009, p. 229.

Coordinates: 49 ° 24 ′ 37.9 "  N , 6 ° 54 ′ 42.2"  E