Wusterhusen Church
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The church Wusterhusen is the village church of Wusterhusen and one of three churches in the parish Wusterhusen and Lubmin . It has been part of the Demmin Propstei in the Pomeranian Evangelical Church District of the Evangelical Lutheran Church in Northern Germany since 2012 . Before that she belonged to the Greifswald parish of the Pomeranian Evangelical Church .
location
The Wolgaster road leading from Lubmin coming south through the village. There it meets Greifswalder Straße , which runs from west to east. The church stands northwest of this intersection on an elevated plot of land that is enclosed with a wall made of reddish brick .
history
The oldest known written source names a Pleban Servatius for Wusterhusen for the year 1230 . A wooden church building was probably already in existence at that time. In 1271, the altar consecration of a single-bay hall church in field stone with a recently closed choir and sacristy by the Camminer Bishop Hermann von Gleichen . A dendrochronological examination of the roof structure revealed felling dates from 1268 for the sacristy and from 1283 for the choir.
Further dendrochronological studies showed that the wood for the nave was felled around 1350. It can therefore be assumed that the hall was built in the middle of the 14th century. At the beginning of the 15th century, the choir was enlarged with a polygonal brick end . The west tower was built in three construction phases. The wood required for this was dated to the years 1479, 1504 and 1516. In 1627 and 1648 there was damage, probably connected with collapses, to the north aisle, which was later rebuilt with smaller dimensions and without arching. At the end of the 19th century, craftsmen built glass paintings on the apex window of the choir, which went back to the architect Theodor Prüfer .
Building specification
The choir is strongly drawn in opposite the ship and has a five-eighth closing . The lower part of the component was built from field stones that are not hewn and lightly layered. The craftsmen used reddish bricks above this. The windows used in the end of the choir are large lancet triple windows with a raised pointed arch and a double-profiled reveal . In between there are simply stepped buttresses . The north wall of the choir was built from large fieldstones, which were hardly hewn and only lightly layered. To the west is a triple-profiled pointed arch portal, above it a smaller, slightly offset to the west, and another, larger round-arched window offset to the east. In front of the north wall of the choir is the sacristy from 1268 with a rectangular floor plan. It does not have its own entrance from the outside, but a small arched window on the north side. Above it is a gable that is richly decorated with five panels in the lower area and three smaller panels in the upper area. The middle of the lower panels is designed as a window. While the west side of the sacristy is windowless and straight, craftsmen built a mighty buttress on the east side with a slit-shaped and high rectangular opening. The sacristy has a simple gable roof . On the south side is a pressed, three-part lancet window in the middle, the middle window of which is covered by a four-stepped buttress. While this wall was also built from field stones, craftsmen used reddish brick for the soffit, the buttress and the repair work above the pillar. To the west of the window is a richly profiled and quadruple stepped priest gate with changing, glazed red-black robe profile. In the 21st century it is blocked with bricks. In the choir roof there are two bat dormers on the south side . The interior of the choir has an eight-part raised cross-ribbed vault , its polygon has a small-part star vault. The sacristy has a domed vault. The cross rib vault of the ship is supported by octagonal pillars.
The nave from around 1350 is three bay long. The western wall was mainly built from reddish brick. Except for two small windows in the gable, it has no openings. In the southern area of the aisle, a rectangular area that extends to just below the eaves on the choir is lightly plastered. On its north side there are two large pointed arched windows in the east and west, each divided into four vertical sections. In the center is a smaller, three-fold pointed arched window, underneath a pressed-segment arched gate. While the nave wall was mainly built from field stones, repair work made of reddish brick can be seen below the windows. Between the windows are three mighty, triangular buttresses, which are supplemented by another, incomparably narrower pillar on the northeast corner of the nave. Three large pointed arch windows are built into the south side. Below the middle, slightly smaller window, there is a pressed, ogival opening, which is walled up in the lower area and above it is provided with a window. The wall is stabilized by four narrow buttresses. On the north wall of the aisle is another buttress, followed by a pressed-segment arched window. Numerous field stones are built into the lower area of the south wall. They were not hewn or layered. Above it is a large pointed arch window. Above right is a pressed-segment arch-shaped opening that has meanwhile been blocked.
The square west tower is strongly drawn in opposite the ship. It can be entered from the west via a large, five-fold profiled portal. Above it is an ogival opening with two small, tall rectangular windows. These are also available on the north and south sides. The beginnings of a bulge can be seen on the inside, but this has apparently not been implemented. In the middle floor there is only one narrow, ogival opening. On the north side there is a small wooden door above it on the right. Above is the bell storey. It consists of two outer, ogival diaphragms with an integrated circle in the upper third as well as a centrally arranged ogival opening with two sound arcades each . Above this is another panel field that extends into the tall, octagonal pointed helmet. It concludes with a tower ball and weather valve.
Furnishing
altar
In the predella from around 1700 the Lord's Supper can be seen. The medieval altar block has a carved altar top, which has been significantly redesigned three times in the last five hundred years. It dates back to the period between 1510 and 1520 and probably goes back to the Usedom archdeacon Christopher , an illegitimate son of the then church lord Wusterhusens, Bogislaws X. In 1650 the essay was seriously redesigned. A crucifixion painting by Caspar Niemann replaced a group of sculptures in the center shrine that had existed up to that point . Investigations found remains of gold behind the painting , which suggests that a three-figure coronation of Mary was once installed there. Traces on the background of the box wings show that there were four smaller apostles and saints in two lines. At this point are the monumental sculptures of Mose and Aaron from 1740. These came from the workshop of Michel Müller from Stralsund , a student of Elias Keßler . The original figures are no longer preserved.
The double painting of the altar wings, which had been nailed shut for around 200 years, was rediscovered during a restoration in 1963. The representations of saints on the outside have suffered badly and urgently need to be secured. Above left is Catherine of Alexandria on a meadow of flowers. The sword and the wheel are reminiscent of their flagellation . The apostle Simon Peter is shown with the key to heaven and a splendid papal robe . In a red scholarly costume with sword and book, Paul of Tarsus can be seen at the bottom left, next to Barbara of Nicomedia . She stands in front of the tower in which her father Dioscorus once locked her. The chalice in a tower niche symbolizes her role as a helper in need of communion .
On the inside there is a double-line cycle depicting the legend of Mary . The painter is also unknown here, but the work is striking because of the extensive use of brocade and various pomegranate motifs . In the picture above left you can see the angel's annunciation to Joachim . He learns that he will no longer be childless. The 40 days of his penance, which he spent in the desert with a flock, are over. In the background you can see a shepherd playing the bagpipes . The blue sky is also striking. Joachim now returned to Jerusalem and hugged his wife Anna in front of the entrance to the Golden Gate , the city's temple. In the distance a dog is chasing a hare. The following picture shows Anna in childbirth in a magnificent setting with elegantly covered walls and a maid who is doing the laundry. The last painting on the top line shows Mary walking up the steps to the temple. She is received by a priest while her parents Joachim and Anna remain standing in the stairway.
The second line begins with the Annunciation to Mary. The Virgin is shown kneeling in front of a lectern while the Archangel Gabriel announces the birth of Jesus Christ to her. A banner around a scepter in his hand shows the English greeting . Also noteworthy is a note above Mary's bed on which the word Amen can be seen in the bottom line . In addition, another painting shows the visitation when Maria meets her cousin Elisabeth. You are standing in a meadow that resembles a carpet of daisies , a symbol of innocence from the 15th century. In the background you can see a landscape that resembles the steep coast of Rügen ; presumably a reference by the painter to his client. The two swans that are reflected in the water are also striking . The birth of Christ follows and shows the child with two angels standing behind it, while a third proclaims the Christmas message. In the background is illuminated Star of Bethlehem , which the Three Wise Men shows the way. They can be seen in the last picture as they worship the Christ Child. The three figures represent the three human ages as well as the continents known at the time, Europe , Africa and Asia .
Further equipment
The pulpit was built in the first half of the 17th century, the sound cover and the parapet around 1740. The baptismal font, a fifth made of granite, dates from the first half of the 13th century. It is decorated with four male heads on its kuppa.
During a restoration of the choir in 1972, the colored interior design was rediscovered. This dates from the 13th century on the longitudinal walls. Wall paintings on the triumphal arch between the polygon and the old choir were made in the first quarter of the 15th century. They show the adoration of the Magi , Saint Gertrude with pilgrims, the World Judge with Mary and John the Baptist and Saint Christopher , the flight to Egypt and Saint George . In the apex window of the choir there is a glass painting showing Christ between Paul and Peter.
The hall rests on octagonal pillars with profiled arcade floors that support a ribbed vault. The ship on the north side has a flat roof - presumably the result of a collapse. Other church furnishings include a standing baptismal angel from the first third of the 18th century. There is also a small Pietà , which was probably made in the 18th century. A limestone tombstone commemorates the pastor Christoph Caden, who died in 1662.
organ
The organ was built by Carl August Buchholz in 1841 . In 1923 it was expanded by the organ builder Heintze from Kolberg . In 1951 there was an exchange by B. Grüneberg from Greifswald.
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- Coupling : II / I, I / P,
- Playing aids: Hauptwerk valve, Oberwerk valve, pedal valve, evacuant, calcanten bell
Peal
The oldest of the three bells with a diameter of 129 cm dates from the beginning of the 14th century. It has incised writing and the striking note e I +2.5. It could have been cast in 1319. Another bell from 1419 has the strike tone f 2 +9. A third bell was cast in 1996 by the Bachert bell foundry in Heilbronn .
literature
- State Office for Monument Preservation Mecklenburg-Western Pomerania (Hrsg.): The architectural and art monuments in Mecklenburg-Western Pomerania. Western Pomerania coastal region. Henschelverlag, Berlin 1995, pp. 373-374.
- Georg Dehio (edited by Hans-Christian Feldmann et al.): Handbook of German Art Monuments - Mecklenburg-Vorpommern Deutscher Kunstverlag, Berlin / Munich, 2016, ISBN 978-3-422-03128-9 .
- Working Group on Church History of the Ev. Landeskirche Greifswald (ed.): The altarpiece in Wusterhusen , VOB Eichsfelddruck Heiligenstadt, February 1984, leaflet
Web links
Individual evidence
- ^ Burkhard Kunkel: Reception - Renovation. Reformation design of medieval furnishings in Pomeranian churches between aesthetics and catechesis . Bonn 2009, p. 269-290 .
- ↑ Detlef Witt: The panel pictures of the Wusterhusener Altar , 2004.
- ↑ Information on the organ
Coordinates: 54 ° 6 ′ 43.2 " N , 13 ° 37 ′ 4.9" E