Auning Church
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The Church of Auning that the diocese of Aarhus of the Evangelical Lutheran Church of Denmark heard was more than 400 years, the Church of the owner of the manor Gammel Estrup . The coat of arms "Christen Skeels" can be found on the altarpiece. Auning is north of Hornslet on the Jutland Djursland peninsula in Denmark .
Only fragments remain from the first church from the 12th century. The nave of today's church (initially two-bay) is rectangular. The choir is square and the apse is semicircular. The star and cross vaults from around 1500 are late Gothic . This conversion was carried out by the owner of the manor house Gammel Estrup Lave Brock († 1504) or his widow Kirsten Høeg.
The style of the rib decorations enables the vault to be determined from the pre-Reformation period. With the Reformation there was initially a loss of tradition in handicrafts ( iconoclasm ). Around 1580 wood carving and wall painting returned to the churches. Their denominationally changed character can be seen in the "secular" depiction of Laurentius , who is equipped with a cap instead of a halo. In 1616 the owner of Gammel Estrup, Eske Brock (1560–1625; also Brok), expanded the church. Its base was almost duplicated with the third bay in the nave and the new tower and vestibule. The Gothic stepped gables made of red brick can be found with the whitewashed blinds on the tower and on the gable of the church vestibule and on the gate tower of Gammel Estrup.
The design of rural churches in the Jursland region is shaped by the Renaissance , the Baroque and the liturgy . Jytte, Eske Brock's eldest daughter, had a pompous Renaissance pulpit with a sound cover made by Niels Kock from Grenaa in 1636 . She married Jørgen Skeel (1578–1631) in 1614 and thus became the link between the two most influential families in the region.
The wooden church furnishings were further developed in the Baroque with the cartilage that prevailed in Germany and Denmark in the 17th century . In the middle of the 17th century the altar in Auning was fitted with cartilage by Christians Skeel (nickname of the rich ) and his wife Birgitte Rosenkrantz . The essay is a carving from the workshop of the then leading carver Peder Jensen Kolding from Horsens .
The silver candlesticks bear the brand of the Augsburg master Heinrich Mannlich , who was one of the leading goldsmiths of this era. The plinths, chiseled with flowers and acanthus leaves and skillfully chased, were created in 1670, at the same time as he was working on “Tsar's silver”. The base of the Holy Communion Cup from 1673 bears the names and coats of arms of Christians Skeel and Birgitta Rosenkrantz, who come from another important family in the region.
In 1699 the burial chapel of the Skeel dynasty was built, with the epitaph in memory of the junker Jørgen Skeel (1656–1695), then the richest nobleman in the country. At 35, he married 13-year-old Benedicte Margrethe Brockdorff from Holstein in 1691 . He died suddenly four years later. The young widow requested the king to erect an epitaph. The permit was granted on the condition that no damage would occur to the church building. The leading sculptor of the time, the Belgian Thomas Quellinus , was commissioned with the task . In 1691 he had built a burial chapel for Colonel Hans Friis at Hørning Church near the Clausholm manor . The burial chapel and the epitaph by Thomas Quellinus are among the finest works of European baroque art.
Benedicte Margrethe Brockdorff married Count Christian Ditlev Reventlow at the age of 22 in 1700 and moved with him to the Krenkerup manor on Lolland .
In the middle of the 18th century, the grandeur of Gammel Estrup faded. That also ended with the generosity towards the community. In 1921 the church was converted into a legal foundation . The antependium dates from 1963. It was drawn by the royal building inspector Leopold Teschl.
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Coordinates: 56 ° 26 ′ 1.8 ″ N , 10 ° 22 ′ 34 ″ E