Uetersen monastery church

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The church from the northeast

The so-called Klosterkirche (construction: 1747-1749) in Uetersen in Schleswig-Holstein is in the range of noble ladies pin , a former Zisterzienserinnen convent , Kloster Uetersen . At the time of construction, the monastery had already been converted into a noble women's monastery. So it is not actually a monastery church.

history

The predecessor of the church at the monastery was the old monastery church, which was built around 1239/40 and was demolished in 1738 due to dilapidation. The foundation wall of the old church is still preserved as a retaining wall to the monastery cemetery, its bell is still on display in today's church. The new church was built by master builder Jasper Carstens from Jersbek and state master builder OJ Müller from Copenhagen in 1748 and 1749. The Uetersen provost Benedikt von Ahlefeldt suggested the construction of the church and supported it financially. Citizens of Uetersen and march farmers, who were members of the community, paid part of the construction costs by buying pews.

construction

Bells of the monastery church in spring 2011
The church from the northwest
Relief above the north portal by Carl Ulrich Jemmerich
View to the east: pulpit altar

The church at the monastery is a late baroque brick building . Together with the Rellinger Church and the Holy Spirit Church in Barmstedt , the Uetersen church is one of the most significant baroque sacred buildings in the Pinneberg district . It is a hall church of nine axes längsrechteckigem floor plan. The entire church building rests on granite ashlar pedestals that were extracted from a megalithic grave. The relatively small tower, half integrated into the nave, stands on the east side behind the choir. This is a specialty, the towers of other churches in the region are almost always in the west. In the east there is a roof turret, a peculiarity of the Cistercian churches that has been retained here.

The nave is unusually large and spacious and testifies to the client's need for representation. Large arched windows and pilasters structure the outer walls. The slate-covered mansard roof also contains mansard windows, so the interior is quite bright.

The old main portal is on the north side. It is vaulted with a sandstone relief. A vase with seahorse-like handles stands between two winged, naked putti. The mirror monogram "F5" is reminiscent of the sovereign King Friedrich V of Denmark . He had given his approval for the building. The following text from Genesis 28:17 appears on both sides

How holy is this place!

There is nothing here but God's house

and here is the gate of heaven

inner space

A circumferential gallery resting on wooden pillars separates the surrounding area from the interior. On the gallery you can see two opposite loges of the same type, each crowned by a richly decorated vase. A box bears the coat of arms of the Reventlows. Originally the box for the conventual women was located on the west gallery; today it is the choir gallery. The interior of the church is covered by a wooden hollow vault plastered from below. It shows a large ceiling fresco by Giovanni Battista Innocenzo Colombo .

Furnishing

  • Pulpit altar
    The large altar dates from the time the church was built. It is a pulpit altar, which means that the pulpit is integrated into the altarpiece, in this case also the organ. The altar was created by the Hamburg sculptor Johann Georg Engert, who also created the altars of the Altona main church and St. George's church in Hamburg. The design comes from the master builder Otto Johann Müller. It was painted and gilded by the painter Johann Herbst . The pulpit clock from the 16th century was destroyed in 1984.
  • The altar relief with the Lord's Supper is from the old church. It was donated by Captain Georg Wibers in 1691. The frame is younger, it was created in 1749.
  • The baroque organ was built by Johann Dietrich Busch in 1749 . Some pipes and also the wood material from the organ of the old church have been reused. In 1978 an extensive restoration was carried out by the Rud company. from Beckerath from Hamburg.
  • Ceiling fresco
    The “Glorification of the Trinity” fresco by the Swiss artist Giovanni Battista Innocenzo Colombo dates from 1749. It is the most important work of its kind in Schleswig-Holstein. The artist depicts the Trinity by showing the open sky. The illusion of space and breadth is created by lighting effects and shortening the perspective. The dove in the center is the symbol of the Holy Spirit . Its radiance shines on God the Father and his Son. The scene is framed by angels making music and jubilating. In some places the painting bursts the frame, angels and clouds swell over the stucco.
Late Gothic crucifix
Baroque crucifix
  • Crucifixes
  • A late Gothic crucifix from the 15th century hangs on the column to the right of the altar. It was previously used as a presentation cross in processions. The paintings on the end panels are baroque.
  • A baroque crucifix from 1716 hangs on the south wall of the gallery. The body and scroll are gold-plated, and angel heads are attached to the ends of the cross. It is already mentioned in the records of the old church as the “great gilded crucifix”. It was donated by Countess Anna Emerentia von Reventlow, prioress of the Uetersen monastery from 1713 to 1753.
  • Baptism
    The basin of the wooden baptism from around 1700 is carried by three dolphins. They are considered an early Christian symbol of the saving Christ. The hand-driven brass baptismal bowl shows the following engraving: "JEMVS Anno 1700". Presumably it was donated by the maid Elsalbe Maria von Schacken.
  • Chandelier from 1663
    The chandelier made of wrought iron and cut sheet iron is a donation from Prioress Margaretha von Ahlefeldt . It has two wreaths of light and shows marine animals as symbols of life-giving baptism. At the top it is completed by three half eagles and a crown.
  • God
    's box The sacrificial box, so-called
    God 's box, is carried by a sculpture of poor Lazarus . The dates 1646 and 1674 are written on the iron fittings. A similar figure can also be found in the church of Seester .
  • Bell of the old monastery
    church The bell of the former monastery church is on display in the anteroom of the church. It bears decorative friezes and an inscription. It was then cast by JABieber in Hamburg in 1742. The clapper and suspension are lost.

Grave slabs

The following grave slabs are located behind the altar of the church:

  • 1. Henning von Qualen (1703–1785), Lord President of Altona and provost of Uetersen
  • 2. Katharina von Reventlow (1713–1781), professor of the Uetersen monastery
  • 3. Marie Antoinette von Ahlefeldt (1711–1764), German Countess and Prioress of the Uetersen Monastery
  • 4. Magdalena Lucretia von Zepelin ( also: Zepelinen ) (1701–1760)
  • 5. Margaretha Hedwig von Buchwald (1710–1769), prioress of the Uetersen monastery

Other grave slabs in the center aisle are:

  • 1. Elisabeth Johanna Meyer (1731–1772), born in Hamburg and Adolph Meyer (* 1700), born in Leipzig, master's degree and pastor from Hamburg (double grave)
  • 2. Matthias Bunde Faber († September 20, 1773), valet. In 1813, three older coffins, whose burial chambers had fallen into disrepair, were buried in this grave, among them Margaretha von Ahlefeldt (1613–1681), German benefactress and prioress of the Uetersen monastery.

North, south and east of the church are the following grave slabs:

  • 1. Nönchen (hereditary funeral of the Nöchen family in Glinde)
  • 1. Hinrich Hauschilt (1661–1726), married to Catrin Tode in 1680
  • 2. Joachim Tantau (1725–1778), married to Abelona Schipmann (1741–1821)
  • 3. Claus Siepke († 1663)
  • 4. Jacob Lienau (1781-1827)

Maintenance work on the church

  • 1888
    New painting of the interior under the direction of the decorative painter Adolf Möller
  • 1933
    Painting of the interior walls and repairs to the ceiling painting by Otto Thämer
  • 1962/63
    restoration of the interior under the direction of the architect Dr. Rehder from Nienstedten and the restorer B. Mannewitz from Bad Oldesloe.
  • 1998
    Comprehensive restoration in several construction phases under the direction of the architect K. Gelhaar from Kaltenkirchen.
  • 2010
    restoration of the ceiling painting. The church is closed for 1 year.

literature

  • Johann Friedrich Camerer : Historisch-Politische Nachrichten II , 1758, page 262 u. 355-400
  • Wilhelm Ehlers: History and folklore of the Pinneberg district , 1922, page 503
  • Hans Ferdinand Bubbe: Attempt of a chronicle of the city and the monastery Uetersen , Volume 1 & 2, 1932-1938
  • Theodor von Kobbe : The Swedes in the monastery at Uetersen , 1830
  • Elsa Plath-Langheinrich : When Goethe wrote to Uetersen , ISBN 3529026956
  • Johann Wolfgang von Goethe : Letters to Augusta Louise zu Stolberg-Stolberg
  • Goethe's letters in the Holstein monastery in Uetersen , ISBN 3529026824
  • Andreas Fründt: The Hochadeliche Closter zu Uetersen , 1986
  • Art-topography Schleswig-Holstein , edited in the State Office for Monument Preservation Schleswig-Holstein and in the Office for Monument Preservation of the Hanseatic City of Lübeck. Wachholtz, Neumünster 1982, ISBN 3-529-02627-1
  • Uwe Barghaan: CD-ROM Uetersen and Moorrege (1998)
  • Elsa Plath-Langheinrich: Uetersen Monastery in Holstein (With Cistercian nuns and noble nuns through eight centuries) , 2009

Footnotes

  1. Heimo Reinitzer : Tapetum Concordiae. Peter Heymans tapestry for Philip I of Pomerania and the tradition of the pulpits carried by Moses . De Gruyter, Berlin 2012. ISBN 978-3-11-027887-3 . P. 217.

Web links

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

Coordinates: 53 ° 40 ′ 54.3 "  N , 9 ° 39 ′ 23.2"  E