Lobenfeld monastery church

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Lobenfeld Monastery Church, view from the northwest

The monastery church in Lobenfeld, a district of Lobbach in the Rhein-Neckar district in northern Baden-Württemberg , dates back to the 12th century and was the church of the Lobenfeld monastery, which was abolished in 1560 . The church is one of the most important Hohenstaufen buildings in Baden-Württemberg and is one of the few remaining Romanesque buildings in the Kraichgau . The nave of the church was used secularly from the early 19th century and was not restored as part of the church until 1997.

history

After the Lobenfeld Monastery was founded by Augustinian canons before 1150, the choir and the transept of the monastery church were built around 1170/80 . The monastery church is located in a spur on a small plateau and is oriented approximately to the east. During the construction, consideration was given to the conditions of the terrain as well as to an older building in the south-east, evidenced by remains of foundations, possibly the first enclosure building. The west wall of the southern transept of the monastery church shows that a three-aisled building was to be attached here. After the monastery was taken over by the Cistercian order in the 13th century , a simple late Gothic nave was added, giving the church a cross-shaped floor plan. The monastery buildings connected to the south, in the north of the church there was a burial place.

Until the completion of the nave, liturgical services only took place in the eastern part of the church. Since in the 13th century there was presumably a men's and a women's convent at the same time, the conditions here were probably cramped; at the beginning, side altars were dispensed with in order to meet the needs of the convents and also to accommodate graves within the church. Altar foundations in the church are not proven. After the construction of the nave, the nunnery moved into the loft-like nuns' choir , and there was now more space in the east to set up altars. A painted retable from the early 14th century has been preserved on the east wall of the north arm of the transept , which was soon replaced by a standing altar. Remains of a pre-Reformation stone altar were excavated in the nave.

The church shared the fate of the monastery, which was abolished in 1560. Just as the monastery buildings were rededicated as administrative buildings for the Schaffnei and tenants' apartments, the church was also prepared for the requirements of the Reformed local community. The sacred use was soon limited to the east building, so the nave was separated from the east building by a half-timbered wall at the latest towards the end of the 17th century. The church suffered in the times of need of the 17th century and saw Jesuits and Sabbatars come and go, which also led to some damage to the structure.

When the church was split up in the Electoral Palatinate in 1705 , the church came to the Protestant community, while the rest of the monastery went to the Catholic Schaffnerei. From 1707 to 1800 the Protestant community had no pastor of its own, but was parish in Epfenbach , whose pastor held the services in the Lobenfeld monastery church. The church music was provided by the Lobenfeld schoolmaster, who lived in the Reformed schoolhouse east of the church, which no longer exists today. In 1773 a new organ was procured, for which a new organ gallery was built in the western arch.

In 1808, in exchange for a field, the Catholics acquired the nave, which was then called a ruin, which was then separated from the rest of the church by a massive wall and used as a barn . For this purpose, intermediate floors were inserted and the windows changed several times. In the second half of the 19th century, large window openings were broken into the side walls so that the nave could be used as a tobacco shed , most of the remains of the old windowing were lost.

After the reform of the order of worship in the 1850s, consideration was given to how the east building could be redesigned so that all worshipers could see the altar and pastor. After long deliberations, the decision was made to place the altar on the wall facing the nave. In 1862 the floors of the transept in the east building were raised to the level of the choir. The old door in the south transept became unusable, which is why a new portal was broken into the east choir wall. During this construction work, the paintings in the choir were discovered and uncovered, some of them were lost again at the portal opening. Instead of the old gallery from 1773, which had to give way to the altar, a gallery was moved into the north transept, the parapet of which was adorned with round arches. In addition, the church received a roof turret in 1873 , which was renewed in 1898 and again in 1933.

In the late 19th century the church was equipped with a wooden pulpit on a stone base with a sound cover on the western crossing pillar, a wooden altar block and a so-called parish chair on a stone base integrated into the lining of the western wall . In 1910/11 the wall paintings on the east wall of the north arm, which had been discovered and exposed some time before, were preserved. At the same time, the masonry in the choir area was also dried out, without paying much attention to the paintings in the choir, so that they were badly damaged.

In 1961/62 the roof and the facade of the long house, which was still used for agriculture, were repaired. In an effort to give the dilapidated part of the building a more or less sacred appearance, they wanted to reconstruct the only remnants of the windows on the west and north sides of the church, but hardly any attention was paid to the structural findings.

In 1963/64 the church in the east building was renovated. The pulpit and parsonage were removed without replacement, instead of the wooden altar, the church was given a stone altar table, the old dark stalls were replaced by new light ones, and the gallery parapet was glazed. In the 1970s, a sacristy was added to the corner of the south transverse arm and the nave .

In 1979 the community acquired the nave and considered converting it to a multi-purpose hall in order to create a building in Lobenfeld that was equivalent to the citizens' hall built in Waldwimmersbach at the time. The construction plans progressed to the construction stage, but were then not carried out; the political community built the current Maienbachhalle instead. On the initiative of Dr. Norbert Fritz and, through Gerhard Weiser , the evangelical parish acquired the nave in 1984.

This renovated the nave from 1995 to 1997, making the church fully usable again. All new fixtures in the nave were removed, but the multiple traces of alteration on the walls of the nave were preserved, partly under Plexiglas cladding, and the open wooden structure of the roof structure was retained. For the winter months, a glazed winter church was installed in the rear area of ​​the nave, on which there is also a generous gallery used for events. The sacristy extension on the south wall of the nave was modernized and added storage and office space.

The church still belongs to the Protestant parish in Lobbach, the maintenance of the building is the responsibility of the Evangelical Foundation Care Schönau . In 2004, the Spiritual Center Klosterkirche Lobenfeld was launched, which today offers retreats and meditation days, concerts, exhibitions and advanced training for volunteers.

description

architecture

Romanesque east building

Ground plan of the monastery church from 1912, the nave was then used as a barn
View from the east with the portal that was broken into in 1862
View from the nave through the crossing to the choir arm

The structure of the monastery church consists of a Romanesque east building consisting of a transept and choir as well as a single-nave Gothic nave built on to the west . The east-facing choir and the transverse arms are each designed as square rooms spanned by a powerfully dimensioned cross-ribbed vault, the base area of ​​which, each about 6 × 6 meters, corresponds to the square crossing . The components have a uniform height and are structured in the same way inside and outside. The north arm, the base area of the Südarms and all pilaster strips and window frames are made of a generously sized sandstone - cuboid factory built, while the remaining parts of Roman structural body of smaller irregular Haust a bricked up and predominantly with lime mortar are jointed.

All edges of the building in the east have corner pilaster strips , each of which sits on the stepped plinth that surrounds the entire east section and carries a round arch frieze under a profiled eaves cornice . On the east side of the transverse arms, the pilaster strips only protrude halfway out of the facade, resulting in a storey-like structure. Each side of the wall of the choir and cross arms has a high Romanesque arched window, the three windows of the choir wing are slightly larger than those of the cross arms and the east window in the choir is particularly large. The choir windows have multi-stepped, profiled walls on the outside, while the window walls of the transverse arms are smooth. Inside, only the wall of the choir east window is profiled

Fighter zone on one of the pillars of the east building

All corners inside the Romanesque building, with the exception of the southwest corner of the southern transverse arm, which was designed differently because of the former cloister portal, have a uniform three-part service system . Two rectangular pillars flank a round three-quarter pillar that carries the vault rib, while the rectangular pillars each open into the shield arches of the vault. The services each rest on an Attic base with corner leaves on plinths . Due to the different heights of the plinths, a uniform plinth design is achieved in the entire Romanesque building despite the choir, which was originally raised by around 70 cm. The combat zone is also designed at the same height as a richly ornamented ribbon of capitals with variously varied capitals.

The massive crossing suggests that a crossing tower was intended for the church.

The original access to the church was in the west wall of the southern transverse arm, where the cloister of the monastery was connected. When the floor of the church was brought to a uniform level in 1862, this portal lost its function. The walls of the portal were broken off and walled up. These garments are now, remodeled to form a window, in the west wall of the north arm. In 1862 a door was broken into the east wall of the choir as a new entrance to the church, which meant that it had to lose its original function; the altar has since been placed in the crossing.

Another portal from the construction period and now walled up in the east wall of the southern cross arm, which served as the main entrance for the community until 1862, could have been the entrance to a sacristy ; Findings of the masonry, however, leave strong doubts as to whether such a sacristy extension ever existed. There is uncertainty about other historical approaches to the church.

The original arrangement of the altarpieces and the convent is also unclear. A main altar in the choir can certainly be assumed, but the architecture of the transept does not allow any conclusions to be drawn about the side altars that were built at the time. Presumably, side altars were initially dispensed with because of the initially limited space. One can only speculate about the location of the convent, especially since it must be assumed that it will be used by both a men's and a women's convent in the early 13th century. The canons were safely seated in the once elevated choir. There are no indications of an old gallery or a section of the interior of the church, only the two former portals in the south arm of the transept could - provided that the sacristy was never added - give indications of different approaches for men and women; its furnishings were probably always improvised as long as the church was not yet completed. The seat of the convent is mostly located in the southern arm.

The Romanesque east building shows parallels both in structure and in some architectural details to the east building of Worms Cathedral and also to the Cistercian church of Maulbronn Monastery , which was consecrated in 1178 and which is also architecturally dependent on Worms Cathedral. For this reason, the Romanesque eastern building of the Lobenfeld monastery church is dated to around 1170/80. Because the inside of the masonry is homogeneous, the construction time is assumed to be short. The early use of diamond star ribbons is particularly noticeable in architectural ornamentation, which is usually only used in the early 13th century. Perhaps that is why one could also date buildings with comparable ornamentation earlier, above all the towers of the Groß-Comburg near Schwäbisch Hall. Further ornamental correspondences exist u. a. with the Church of St. Michael in Schwäbisch Hall, the former Canons' Church in Fritzlar and the former Benedictine Church in Seebach .

The relocation of the convent to the nave, which was probably also equipped with a gallery , led to a conversion of the eastern building in the 14th century. In the north arm of the transept, which was probably also used for burials, an altar was set up during the Gothic period and wall paintings were attached. After the convent was moved to the nave, it is conceivable that this area, with its own entrance from the north side, was also used for the services of the residents of the village of Lobenfeld, whose original parish church was at the Biddersbacher Hof.

Gothic nave

Interior view of the restored nave
The north wall reveals the window situation, which has changed many times

The rectangular nave with a length of a little more than 18 meters is younger than the eastern components. Masonry approaches such as the fighter approach in the south wall of the nave and remains of the foundation show that originally a three-aisled nave was planned, the construction of which was probably started on the south side. However, the three-aisled building seems to have been rejected and today's single-nave nave was built on its own foundations. The north wall of the nave is aligned with the end of the north-western crossing pillar, the south wall jumps out a little over the south-western one.

The nave is dated differently, essentially earlier as research advances. Oechelhäuser dated it to the 15th century in 1913. Dietrich Lutz, who headed the excavations in Lobenfeld in 1984, moved the building of the nave back to the middle or second half of the 14th century. Hans-Hermann Reck, who carried out a building survey in 1995, spoke out in favor of the time around 1300. Klaus Gereon Beuckers even thought that it could be built around the middle of the 13th century due to structural similarities with the monastery church of the Gnadental monastery .

The decision against the three-aisled and a single-nave nave should not be seen as a stopgap solution, it adheres to the typical structural scheme of Cistercian churches of the 13th and 14th centuries, which included a deep gallery as a nuns' choir in the nave . The originally very high windows that were able to illuminate this gallery are suitable for such a use, whereas the substructures of such galleries in Cistercian convents were quite dark and possibly served as crypts for burials or were reserved for laypersons . In Lobenfeld, the door in the north wall facing away from the enclosure speaks for such a lay use. The gallery may initially have been accessible via a raised access with a stair spindle in the east area of ​​the south wall.

The nave was probably spanned by a flat ceiling and probably separated from the east building by a rood screen, which, however, was probably torn down in the 18th century at the latest and of which no traces have been preserved.

At the time of the introduction of the Bursfeld reform in the middle of the 15th century, the nave was rebuilt. The access to the gallery was now probably directly from a west wing of the monastery. The substructure of the gallery was also changed by drawing in walls and was therefore partially windowless, so that it could be used as a storage room. Due to the later interventions in the masonry, it is very difficult to determine the original position of the windows and how they have changed in the various construction phases today. On the south wall in particular, there is little of the original structure, but the better preserved north side can provide more information.

In the course of agricultural use, the nave was rebuilt many times. At times it had no roof, then it was covered again. It was completely gutted , intermediate floors were put in, all old windows walled up and new ones broken in. For use as a tobacco shed , particularly large window openings were created in the side walls, whereby the old windowing was then almost completely lost. The nave was later used as a sheepfold and hayloft. In 1961/62 the exterior of the nave was repaired again and reconstructed ogival Gothic window openings, which, however, do not necessarily correspond to the building findings of the time.

In 1983, the Karlsruhe State Monuments Office examined the floor of the nave archaeologically. Such an examination of the walls, which was also intended, did not take place.

During the renovation between 1995 and 1997, the partition wall to the nave and its more recent fixtures were removed, but the multiple traces of modifications were left on the nave walls and some of them were preserved under Plexiglas cladding. The roof structure is still an open wooden structure. For the winter months, a glazed winter church was installed in the rear area of ​​the nave, which at the same time supports a spacious gallery used for events.

Murals

Adam and Eve, detail from the north wall of the choir

Wall paintings from different epochs have been preserved on the Romanesque east building of the church . Most of the paintings in the choir date from the 13th century and show an extraordinary pictorial program through the combination of prophets , Old and New Testament scenes, legends of saints and busts of saints. In addition, the remains of a recent painting of a former sacrament house have been preserved. The paintings in the choir were exposed in 1862. The north arm of the transept bears a fragment of a painted reredos on the east wall , a depiction of martyrdom and a larger than life-size Christophorus from the 14th century, on the west wall a legend of saints from the 16th century. These paintings were preserved in 1910/11. The south arm of the transept has recently been plastered; no wall paintings are to be expected here. It is assumed that the vaulted ceiling was originally painted, but there are no findings on this.

Wall paintings in the choir

The three walls of the choir have a uniform Romanesque painting. On the south and north walls of the choir there is a framed sequence of eight scenes, each arranged in two rows of four pictures each. The scenes are in the frame and labeled with banners. A frieze with busts of saints runs beneath the image sequence fields, and a painted row of teeth frieze divides the window area above the image sequence fields. Next to the windows there are larger-than-life prophets with banners. Ornamental borders surround the painted wall zones and flow into medallions with busts above the windows. On the east wall of the choir, this scheme was slightly modified because of the larger window. In the window area, the arrangement of borders, prophets and medallions corresponds to the other two walls; in its base area, into which a door was subsequently broken into in 1862 and where the paintings are only visible in fragments, borders and friezes seem to have been dispensed with and only a simply framed sequence of scenes was depicted.

Painting of the former sacrament house on the north wall of the choir

On the north wall of the choir, the borders and frames in particular have been preserved, while the scenes in the sequence, most of the frieze of saints and the prophet to the left of the window are largely lost. A large flaw in the middle, where only the frames were added, is due to an earlier break in the window. The fragmentary upper right field of the sequence of images shows Adam and Eve , above a medallion with a half-length portrait of a woman and the inscription Adolescencia . In the upper left picture you can see the claws of a falling figure, according to Joseph Sauer it should be the rest of a representation of the angel's fall . The pictorial program on the north wall could therefore have consisted of recovery scenes. The prophet to the right of the window is wearing a turban and is standing on a stool; only fragments of his banner have survived. Two figures of the saint frieze have survived, each with clubs in hand, possibly the apostles Judas Thaddäus and Simon ; Martyrdom with clubs can also be found on the south wall.

On the lower left of the north wall of the choir there are paintings from around 1500 that once framed a sacrament house with ornaments and figures. The approach of his later heeled console can still be seen in the middle of the ornamental tendril painting. Four people are shown below. The person on the left, slightly larger and provided with a banner, is a cleric and probably the founder according to their clothing , while the remaining three people represent the biblical scene of Mannalese . An angel was depicted on both sides of the tabernacle, of which only the left one has survived. On the far left there is also a large piece of pseudo-architecture that further expands the already heavily structured pillars.

Choir south wall
Detail from the saint frieze on the south wall of the choir

The painting on the south wall of the choir is best preserved, but many of the inscriptions are no longer legible, so that the scenes can only be partially interpreted. The eight-part sequence of images probably shows scenes from the lives of various saints. The upper right picture shows two full-length figures, of which the right one is attacked by a demon and begs help from an emergency helper depicted in a semicircle as a chest figure in the upper left . In the second picture in the top row from the right, a saint is shown flanked by two standing and one kneeling person. The third picture from the right of the top row shows three figures behind a table, the middle figure with a nimbus and gesture of blessing . The top left picture again shows a scene at a table with food. It is conceivable that the top row depicts Christ's work as a high priest, but the sequence of scenes is also understood as a consequence of the life of Saint Martin (banquet with Emperor Maximus in Trier, Martin as a priest, transfer of the bones to Tours). The lower row of images shows on the right two figures of saints being struck down by men with clubs, while a devil figure is striking a sanctuary from a pillar with a pickaxe. This scene can be interpreted as the martyrdom of the apostle Jude Thaddeus. To the left of this is a depiction of Daniel in the lions' den, to whom two only fragmentarily preserved figures (presumably Habakkuk and an angel) face above a gallery. The third picture from the right in the bottom row shows three figures with long banners. The meaning of the scene was probably only revealed through the banners that are no longer legible today, it could be a scene with Job . The lower left picture shows a large flaw. You can still see a woman offering a child. Due to the Eucharistic theme of the series of images, the scene is interpreted as the handover of Samuel to the temple. The frieze of saints below the sequence of images shows five holy virgins with palm branches on the left, and on the right seven other saints with various symbols of dignity. Four of the virgins are inscribed later in the frame above. According to their attributes, the male saints include a pope with miter and codex, a bishop, an abbot and an emperor with a scepter and orb. The figure on the far right could be of the Christ type.

On the east wall of the choir , essentially only the gable section with borders, prophets and medallions has survived, while the base area only suggests the division of a sequence of scenes. Since the rest of the pictorial program in the choir is based on the Eucharist and eschatology , as far as it can still be interpreted , the motifs on the east wall could have consisted of Passion or Judgment scenes. Church-like architecture can be seen above the prophet next to the east window of the choir. The better preserved prophet to the left of the window shows numerous stylistic relationships with the depiction of Paul on the inside of the left wing of an altar from the Worms Cathedral around 1260 (today in the Hessian State Museum in Darmstadt).

Wall paintings in the north transept

Frescoes on the east wall of the northern transverse arm: below the altarpiece, above the martyrdom of the 10,000 with Deesis
Detail from the Martyrdom of the 10,000

On the east wall of the north arm , the remainder of a Gothic retable has been preserved in the right base area , above it a representation of the martyrdom of the 10,000 , crowned by a representation of Deesis . The left half of the wall is occupied by a large depiction of Christophorus , which covers the left wing of the wall retable.

The reredos are badly damaged in the middle, only a small, deep-seated nimbus can be seen, which suggests that the Madonna and Child may be depicted. The assistant figures are Peter with a key and Paul with a sword on the right . The right side wing shows a blond youth in a red robe, following the usual iconography it is probably the Evangelist John . According to stylistic criteria, the retable is dated to around 1330–40. It was probably replaced by a standing altar soon after it was built, which is why it is partly overpainted with the only slightly more recent other paintings on this wall.

The larger than life representation of Christophorus is partly covered by the gallery, which was moved in at a time when the mural was not yet exposed. The robe of Christophorus has a peculiar disc pattern, which corresponds to the robe pattern of the also early Gothic figure of Christophorus in Bonn Minster .

Simultaneously with Christophorus, the depiction with the martyrdom of the ten thousand seems to have been created. Martyrs in thorn bushes are depicted in two picture zones arranged one above the other, each with a figure with a crown pointing to them. In the upper zone, a tormentor drives the members of the martyrs into the thorns with a hammer. Stylistically, the representation corresponds to a representation of the same motif in Alsheim , which is dated to around 1350 and on which the martyrs also appear nailed to the trees. On the right above the martyrdom scene, Christ is enthroned as judge of the world, while Mary and Johannes Baptist kneel to his side as intercessors for humanity. To the left of it two angels carry up the souls of the confessors. There are very different opinions about the dating of the partly heavily painted over depictions of Christophorus, Martyrium and Deesis. More recent research dates it to the second half of the 14th century.

The remainder of a large, only fragmentary mural is on the west wall of the north arm . Based on the surviving fragments and some remains of inscriptions, it is assumed that it depicts the martyrdom of St. Reineldis or a depiction of the Ursula legend from the first half of the 16th century.

Choir stalls

In the monastery church remains of medieval choir stalls made of coniferous wood have been preserved, probably larch from the area around the monastery. Divided into four benches with three seats each, the historic stalls now form the first rows of seats in the area of ​​the crossing. The rows of banks have been shortened and used to be indefinitely longer. The structure of the stalls corresponds to the scheme that has been common since the high Middle Ages, as can already be found in the stalls from 1228 in Xanten. The production of the Lobenfeld stalls most likely coincides with the completion of the nave in the 14th century, originally the benches were probably placed on the gallery in the nave along the side walls. The seats can be folded up so that one could adopt all the postures (sitting, standing, kneeling) required during the service within the rows of chairs. The Accoudoir rests on the dividing cheeks with spiral-shaped profiled hand knobs and the rear wall of the chairs and jumps out on the cheeks in order to provide an armrest when standing. Based on the existing traces , the undersides of the seats once had misericords , which were probably removed after the monastery was closed. The seating is relatively simple, but the misericords could still have been used as decorative elements and were considered unsuitable after the Reformation.

Grave slabs

There are four historical tombstones in the monastery church. Three of the grave slabs are from the time of the monastery, the fourth grave slab is that of a monastery conductor from the time of the Thirty Years' War. The grave slabs are placed in the southern cross arm and, apart from very few stonemason's marks, represent the only stones with inscriptions within the otherwise inscription-free monastery church.

The grave slab of Abbess Agnes was found in 1963/64 in the floor of the northern transverse arm. The 198 cm long, 75 cm wide and 15 to 20 cm deep plate is only machined on the top, the sides and bottom are only roughly hewn. The top is framed all around with an approximately 5 cm wide round bar and inscribed in the longitudinal direction with the inscription O · PIE · MEMOR · DNA · AGNES · ABBA . The inscription can be read as Obiit pie memorie domina Agnes abbatissa (“Mrs. Agnes, the abbess, died in pious memory”). An abbot's staff is carved under the inscription. The slim proportioned letters stand at the transition from Romanesque to Gothic capitals . The representation of an abbot's staff in original size is documented many times in the late 12th century. a. on tombstones of Abbots Ebirhardus († around 1173) and Konradus († 1178) of the Alpirsbach monastery . In terms of dimensions, design and typeface, however, there is the greatest correspondence with the grave slab of Chancellor Diether von Katzenelnbogen († 1191) found in Schönau in 1992 , on which the same rather rare preceding O (biit) abbreviation can also be found. The Lobenfelder grave slab is therefore dated to around 1200. But the assumption of an abbess von Lobenfeld around 1200 contradicts the traditional opinion that a women's convent did not move into the monastery until the middle of the 13th century.

Grave slab of Adelheid von Waltdorf

The grave slab of Adelheid von Waltdorf was also recovered from the northern transverse arm in 1963/64. Its height is 224 cm, its width 107 cm. The inscription on the plate beginning at the top left and running around the frame is made in Gothic capitals and reads ANNO · DNI · M / · CCC · L · VII · II · K · OCTOBR / IS · O · ADE / LHEIDIS · DE WALTDORF + (“ In the year of the Lord 1337 on the 2nd day before the calendar of October [September 30th] Adelheidis von Waltdorf died ”). In the middle a relief-like four-part coat of arms is carved out, which shows a five-petalled rose in the heraldic upper left and lower right field. The von Waltdorf family was a lower nobility with its headquarters in Walldorf . Since the small Cistercian convents were not allowed to open to the burial of lay people and usually only grave slabs of abbesses were preserved there, the deceased may have been abbess of the monastery despite the missing title.

The grave slab of Dither advocatus is only present in two fragments, which until 1997 served to surround a flower bed in the outside area, were treated separately from older research, but then recognized as belonging together parts of a grave slab sawed apart in the middle and to the others Grave slabs were added in the south arm. The larger section represents the right side of the grave slab and has been preserved at its full height of 222.5 cm and a width of 50 cm. The smaller section formed the left half, but is trimmed at the top and bottom by about 30 cm each. The essential parts of the inscription in Gothic minuscule , namely the name of the deceased and the date of death, have been preserved, so that the complete circumferential inscription on the tablet can be reconstructed. It says that an advocatus dither on the fourth day before the Ides of February [10. February] 1379, died on the day of the Virgin Scholastica and is buried here. The administrator of the monastery business is probably dubbed advocatus . The comparatively early use of the Gothic minuscule can be found in the Schönau monastery in the grave slab for Eberhard Schenk von Erbach († 1373) and his wife Elisabeth von Katzenelnbogen († 1391). The grave slab of Dither, who died in 1379, is one of the earliest examples of the use of the Gothic minuscule in the Heidelberg area.

The grave slab of Paulus Mauer in the west wall of the southern cross arm dates from 1625, is 182 cm high and 98 cm wide. The plate has an inscription that is continued in the lower part of the central section in a carved cartridge with a scroll frame. The inscription reads: “ Anno Domini. 1625. January 24th fell asleep in God the honor vnnd wolachtbar Paulus Mauer von München Schaffner alhie zu Lobenfeldt to whom the almighty God ine sampt wanted to grant all dead a happy resurrection. The Son of man will come in the glory of his father with his angels, and then he will repay someone according to his works. Math am 16. “In the upper part of the middle field there was most likely a three-dimensional family crest, which, like the protruding parts of the cartridge frame, was knocked off at some point to create a level floor, especially since the plate was once laid in the floor. The place of origin Munich and the year of death 1625 are striking . The identical grave slab of Georg Jung († 1623), presumably by the same master, was once in the municipal collections in Mannheim, but was destroyed in the Second World War. It is very likely that Paulus Mauer and Georg Jung were two Bavarian officials who were transferred to the Electoral Palatinate in the course of the re-Catholicization in the Thirty Years' War after the surrender of Mannheim and Heidelberg in 1622.

Dickel organ (1773)

The organ of the church was made in 1773 by Johann Heinrich Dickel in Mosbach. No documents have been handed down to purchase the organ. An inscription on the wind chest says: Johann Heinrich Dickel organ maker in Moßbach made this work again in 1773 on March 22nd . Organ builder Dickel was the cousin of the Heidelberg organ builder Johann Christian Wiegleb , who made organs for Epfenbach and Daisbach in 1772 . In Lobenfeld, which was part of Epfenbach in the 19th century, the desire for a dignified church service arose after the new Epfenbach organ. The driving forces behind the procurement of the organ are the Heiliger conductors and the Hunzinger teachers. A new organ gallery was built in the church for the organ. In 1849 the organ was repaired by Franz Nikolaus Geiß from Zeutern. In 1862/63, the Durlach organ building company Louis Voit modified the instrument on the side. Further repairs took place in 1866, 1899 and 1906. In 1935 the organ was no longer playable. In 1955 only the case and the wind chest were left. The organ builder Josef Göbel from Leichlingen made the organ playable again in 1958. In 1974, Richard Rensch from Lauffen carried out a renovation of the organ in accordance with the requirements of historical monuments , where the organ has been maintained ever since.

The restoration of the organ was celebrated in Lobenfeld in 1958 with a festival service and a concert. The then Lobenfelder and Waldwimmersbacher pastor Hans Martin Schäfer (1929–1977), who had also been a lecturer in music history at the University of Music in Heidelberg since 1954, was active as an organist . This concert established the series of events Music in the Monastery Church , which after Schäfer's death in 1977 was initially continued by the organist Gudrun Bechtel and her husband, the school dean and later prelate Bernhard Bechtel, and since 1981 by the councilor and honorary citizen of Lobbach, Doris Ebert. Between 1981 and 2008 alone, around 100 concerts were held in the monastery church.

Individual evidence

  1. ↑ Ebert 2008, pp. 4–10.
  2. ↑ a b Ebert / Beuckers 2001, p. 156.
  3. ↑ Ebert / Beuckers 2001, pp. 288–295.
  4. ↑ Katharina Laier-Beifuss in Ebert / Beuckers 2001, pp. 294/295.
  5. ^ Hans Huth: The repair of the former monastery church in Lobenfeld (Heidelberg district) , in: News sheet of the preservation of monuments in Baden-Württemberg 8 , 1965, pp. 56-58.
  6. ↑ Hans-Hermann Reck in Ebert / Beuckers 2001, p. 297.
  7. ↑ Ebert / Beuckers 2001, p. 160.
  8. ↑ Ebert / Beuckers 2001, p. 295.
  9. ↑ Josef Kast and Günter Schuler: Klosterkirche - the nave and the history of the Lobbach community , in 25 Years Lobbach , 2000, p. 88.
  10. ↑ Ebert / Beuckers 2001, p. 70.
  11. ↑ Ebert / Beuckers 2001, pp. 80/81.
  12. ↑ Ebert / Beuckers 2001, pp. 70/71.
  13. ↑ Ebert / Beuckers 2001, p. 71.
  14. ↑ Ebert / Beuckers 2001, p. 73.
  15. ↑ Ebert / Beuckers 2001, pp. 73-75.
  16. ↑ Ebert / Beuckers 2001, pp. 77-78.
  17. ↑ Ebert / Beuckers 2001, pp. 149–154.
  18. ↑ Ebert / Beuckers 2001, pp. 93–111.
  19. ↑ Ebert / Beuckers 2001, pp. 111–125.
  20. ↑ Ebert / Beuckers 2001, pp. 153–155.
  21. ↑ a b Hans-Hermann Reck in Ebert / Beuckers 2001, p. 298.
  22. ↑ Beuckers 2002, on the history of research p. 167/168, on the dating by Beuckers p. 174/175.
  23. ↑ Beuckers 2002, pp. 164/165.
  24. ↑ Angela Driver: The women monasteries in Franconia , in: Wolfgang Brückner (Hrsg.): Cistercians in Franconia. The old diocese of Würzburg and its former cisterns , Würzburg 1991, pp. 99–130 (quoted from Beuckers 2002).
  25. ↑ Beuckers 2002, pp. 171/172.
  26. ↑ a b Beuckers 2002, p. 174.
  27. ↑ Ebert / Beuckers 2001, p. 154.
  28. ↑ Hans-Hermann Reck in Ebert / Beuckers 2001, pp. 298/299.
  29. ↑ Hans-Hermann Reck in Ebert / Beuckers 2001, pp. 297/298.
  30. ↑ Gabriela Nutz in Ebert / Beuckers 2001, pp. 223/224.
  31. ^ Joseph Sauer: The paintings in the monastery church in Lobenfeld . In: Die Kunstdenkmäler des Amtsbezirks Heidelberg (Heidelberg District) , Tübingen 1913, p. 562.
  32. ↑ Gabriela Nutz in Ebert / Beuckers 2001, p. 246.
  33. ↑ a b Gabriela Nutz in Ebert / Beuckers 2001, p. 250.
  34. ↑ Gabriela Nutz in Ebert / Beuckers 2001, pp. 257/258.
  35. ↑ a b Gabriela Nutz in Ebert / Beuckers 2001, p. 246/247.
  36. ↑ a b c Doris Ebert in Guide to the Lobenfeld Monastery Church, Lobbach 2011.
  37. ↑ Licht 2007, pp. 139f.
  38. ↑ Gabriela Nutz in Ebert / Beuckers 2001, p. 259.
  39. ↑ Gabriela Nutz in Ebert / Beuckers 2001, p. 242.
  40. ↑ Gabriela Nutz in Ebert / Beuckers 2001, p. 251.
  41. ↑ Gabriela Nutz in Ebert / Beuckers 2001, pp. 252/253.
  42. ↑ Gabriela Nutz in Ebert / Beuckers 2001, pp. 252-256.
  43. ↑ Gabriela Nutz in Ebert / Beuckers 2001, p. 257.
  44. ^ Eva-Maria Günther in Ebert / Beuckers 2001, pp. 261–267.
  45. ↑ Anneliese Seeliger-Zeiss in Ebert / Beuckert 2001, pp. 270–277.
  46. ^ Doris Ebert: Adelheid von Walldorf. A marginal note on the Goethe year , in: Kraichgau 16, 1999, pp. 411–416.
  47. ↑ Anneliese Seeliger-Zeiss in Ebert / Beuckert 2001, pp. 277–279.
  48. ↑ Anneliese Seeliger-Zeiss in Ebert / Beuckert 2001, pp. 279–281.
  49. ↑ H. Drös: Two Mannheim gravestones from the years 1621 and 1623 , in: Mannheimer Geschichtsblätter 23 , 1922, Sp. 201–203 with illus.
  50. ↑ Anneliese Seeliger-Zeiss in Ebert / Beuckert 2001, pp. 281–282.
  51. ↑ Ebert 2008, pp. 9/10.
  52. ↑ Ebert 2008, pp. 4-6.
  53. ↑ Martin Kares: Johann Heinrich Dickel's organ in the former monastery church in Lobenfeld , in Ebert / Beuckers 2001, p. 283/284.
  54. ↑ Letter from the organ expert Dr. Walter Leib to the Oberkirchenrat, quoted from Martin Kares in Ebert / Beuckers 2001, p. 283.
  55. ↑ Ebert 2008, p. 15.
  56. ↑ Ebert 2008, pp. 15-19.

literature

  • Adolf von Oechelhäuser: The art monuments of the Heidelberg district (Heidelberg district) , (= The art monuments of the Grand Duchy of Baden, 8.2). Tübingen 1913, 542-570. Inside: Josef Sauer: The paintings in the monastery church in Lobenfeld.
  • Irmgard Poplutz: An art-historical consideration of the monastery church in Lobenfeld as a Romanesque monument. Approval work for the first service examination for teaching at elementary schools. Heidelberg 1957.
  • Katharina Laier-Beifuss: The monastery church to Lobenfeld - investigations into the building history and the attempt of the stylistic and chronological classification . Typewritten master's thesis, Heidelberg 1983.
  • Dietrich Lutz: The former monastery church in Lobenfeld , Lobbach community, Rhein-Neckar district. In: Archaeological excavations in Baden-Württemberg 1983 . Stuttgart 1984, 224-227.
  • Dietrich Lutz: excavations and considerations for the repair of the former monastery church Lobenfeld . In: Denkmalpflege in Baden-Württemberg Vol. 13 (1984), pp. 10–15; in: Kraichgau , Vol. 9 (1985), pp. 206-212.
  • Mayor's Office Lobbach (ed.): 25 years Lobbach 1975–2000, community with heart , Lobbach 2000, p. 90.
  • Doris Ebert and Klaus Gereon Beuckers: Kloster Sankt Maria zu Lobenfeld . Imhof, Petersberg 2001, ISBN 3-935590-20-2 .
  • Klaus Gereon Beuckers : On the art-historical position of the new Gothic nave building by the Cistercian women at the Lobenfeld monastery church . In: Kraichgau. Contributions to landscape and local history research 17/2001 (2002).
  • Gabriela Nutz: The medieval wall paintings of the former Lobenfeld monastery church. Iconography, program and stylistic position of the Romanesque choir paintings and the Gothic murals . Imhof, Petersberg 2002. ISBN 3-935590-73-3 .
  • Doris Ebert: The Dickel organ (1773) in the former monastery church Lobenfeld and 50 years of music in the monastery church , Lobenfeld 2008.
  • Tino Licht: The pious sufferer. To a scene in the Lobenfeld monastery church . In: Kraichgau , Vol. 20 (2007), pp. 139-143.

Web links

Commons : Klosterkirche Lobenfeld  - Collection of pictures, videos and audio files

Coordinates: 49 ° 21 '1.3 "  N , 8 ° 52' 2.2"  E