Leonhardskirche (Frankfurt am Main)
The Leonhardskirche , after the main saint also Sankt Leonhard , is a Roman Catholic church in Frankfurt am Main . It was built in 1219 as a late Romanesque basilica and later rebuilt in a Gothic style. It was the only one of the nine Frankfurt donation churches to remain virtually undamaged during World War II. Today it is a branch church of the Frankfurt cathedral parish and serves the English-speaking Catholic community as a parish church .
The Leonhardskirche is located in the old town on the north bank of the Main , not far from the Eiserner Steg , the Carmelite monastery and the Roman .
meaning
Sankt Leonhard has a special meaning for the city of Frankfurt. It was the second collegiate church in the city after the Frankfurt Cathedral . In the document of August 15, 1219, with which the Staufer King Friedrich II donated the property to the town, the township is mentioned for the first time in its entirety and placed under royal protection. In addition, the citizens were given the very rare right at the time to appoint the priest . Its preserved late Romanesque parts are, after the Carolingian Justinuskirche in the Höchst district and the High Romanesque Saalhof chapel, the oldest in a church building in Frankfurt.
Until well beyond the Middle Ages, the church had another important function as a stopover and pilgrimage church on two important pilgrimage routes . One was the route to Jerusalem , which was particularly important at the time of the Crusades and the construction of the church , the other the historical Way of St. James , a pilgrim path that leads via the Church of the Holy Sepulcher in Saint-Léonard-de-Noblat, France, to Santiago de Compostela . The tympanum of the Roman pilgrim's gate from 1220 is a visible sign of this function .
A group of figures created by the Frankfurt artist Franziska Lenz-Gerharz on the Leonhardskirchplatz in front of the northern main portal facing away from the Main reminds of the fact that the Leonhardskirche was the stop on the Way of St. James, which has also led via Frankfurt since 2010 . The three hikers of the life-size bronze sculpture from 1990 are clearly recognizable as Jacob's pilgrims by the scallop emblem they wear .
history
From the Romanesque chapel to the collegiate church (1219–1317)
The building site donated by the later emperor in 1219 was very suitable for building a house of worship, which was still missing in the then loosely built-up Niederstadt. In the south it bordered on the Main , a busy trade route, the bank of which served as a residence for fishermen and boatmen, and towards the land at the southern end of the grain market , referred to in the deed of donation as "forum frumenti" , the lower part of which was later named Buchgasse accepted. The chapel, which was probably started immediately, was first dedicated to the Virgin Mary and St. George .
The former enjoyed increased popularity in the heyday of Minneging , the latter was one of the patron saints of the Crusaders . The saint, understood as a knightly martyr , also speaks for ministerial supporters who identify with him in the founding of the church. The west of the Römerberg sink located Carmelite hill on which after 1246 and the still existing monastery existed was in the 13th century, according to some historians, a "West End of the Middle Ages" , where high, chivalrous living Officials of the Staufer royal castle and the flourishing measurement business Benefiting Large merchants had settled.
Documented reports about the development of the chapel in the 13th century are few and far between. In 1259 a clergyman named Reinhold was mentioned for the first time as "Reinoldus cappellanus sancti Georgii" , 1275 was mentioned by a Peter as "rector capelle s. Georgii ” the speech. One can assume that only chaplains were active here in the early years , as several of them were mentioned in a document in 1310. In 1297 the sources report the chapel as "noviter exstructa" , what one has to imagine by this remains obscure, especially since the surviving Romanesque parts can be dated to the early 13th century without a doubt. In the same year, the first foundations of Frankfurt citizens for the church are documented.
With the approval of the Archbishop of Mainz , Peter von Aspelt , a collegiate monastery was established in 1317 from the three chaplains last active at the church and nine country pastors. The monastery thus initially had twelve canons and as many vicarages , at the head of which a Nikolaus von Wöllstadt is mentioned as the first dean and an Arnold Bumeyster as cantor . From then on, the city renounced the appointment of the clergyman, as the royal privilege of 1219 had allowed. Since the founding deed also mentions Nikolaus Rose as "scolasticus" , the establishment of a school probably coincided with the establishment of the monastery. From this point on, the chapel was no longer referred to as “capella” , but as “ecclesia” , ie church. However, it did not have a parish , as the parish rights in Frankfurt were reserved exclusively for the Bartholomäusstift .
Written evidence of the extent to which the fact that the land belonged to the Church of the city led to conflict has not survived. But they can be read from the charter of foundation, which emphatically emphasizes the independence of the monastery and does not consider the city council with any mention.
From the acquisition of the Leonhard relic to the end of the Gothic renovation (1317–1523)
Efforts were now made to acquire the relic of a saint, which was crowned with success in 1323. The doctor Heinrich von Wiener-Neustadt sent the arm of St. Leonhard , the patron saint of prisoners. This happened at the request of Abbot Moritz from the Schottenkloster in Vienna and the Mainz Presbyter Johannes , who was vicar at the Frankfurt Cathedral Monastery ; The transmission and accompanying letters have been preserved to this day. The saint gave the monastery and the church the name that is still valid today, even if it only finally became established in the early modern period. Maria and Georg appeared next to Leonhard in 1618 in the seal of the monastery.
The following years were overshadowed by the conflict between Emperor Ludwig IV and Pope Johannes XXII. The future emperor had in 1324 in the Sachsenhausen appeal to the claim pope to the approval rejected a royal choice after the pope previously declared him deposed and the excommunication had occupied. In this conflict, Frankfurt was loyal to the Kaiser, who had promoted it with numerous privileges. Therefore the Pope occupied the city with the interdict and forbade the clerics from any church official acts. In this conflict, the Leonhard Foundation stood strictly to the empire.
In the course of the 14th century, the art treasures housed by the church slowly increased through foundations, even though the Magdalen flood in 1342 caused great damage to all Frankfurt churches. In 1381, the papal legate Cardinal Pileus gave the monastery the special privilege of holding services in the choir of the church during all interdicts imposed on the city , but only with the doors closed, without bells ringing and excluding the banned .
At the end of the 14th century there was a bitter dispute with the city council about their plans to use the monastery to pay taxes in the future. In addition, the expansion of the city's defenses on the Main in the course of the second city expansion put pressure on the church: from 1388 to 1391, a massive defensive tower was built directly south of the church, which clearly towers above it and which soon became popularly known as the Leonhard Tower. The Leonhardsturm with the city gate of the same name to the Mainhafen is the actual reason for the compact shape of the church that can be seen today. In the centuries that followed, it could only grow in length, only in width.
The pen was unable to assert itself against the interests of the city in both conflicts. Taxation was regulated on August 25, 1407 by a treaty between the Archbishop of Mainz, Johann II of Nassau , and the council.
From 1425 a polygonal closed long choir was added in the east, which was probably designed according to a design by the cathedral builder Madern Gerthener .
Around 1450 a sacristy and a chapel on a circular floor plan were added to the new choir.
From around 1500 the Romanesque nave, which had been preserved until then, was replaced by a five-aisled hall church with surrounding galleries. Around 1507, two portals of the Romanesque church were added in the appropriate style and integrated into the new nave. The construction work, which, mainly due to recurring financial bottlenecks, lasted essentially until 1523, brought the church as far as possible the outer and inner shape that can still be seen today.
From the Reformation to Secularization (1523–1806)
The Reformation began in Frankfurt during the final phase of the Gothic renovation . From 1521 to 1528 the monastery was under the direction of the dean Johannes Indagine , who initially showed sympathy for the new teaching. In April 1521, on his trip to the Worms Reichstag , Martin Luther had quarters just a few meters from the Leonhardskirche in the Gasthaus Strauss in Buchgasse . Many of the Frankfurt patricians, who were already turned towards humanism , became supporters of Luther. In order to avoid a conflict with the emperor and the archbishop of Mainz, the council initially remained neutral, but in 1525, at the urging of the citizens, appointed the reformed preachers Dionysius Melander and Johann Bernhard . He also had inventories of many Frankfurt churches made, including St. Leonhard.
Under the influence of the radical preachers, there was an iconoclasm in St. Bartholomew's Church in early 1533 . On April 23, 1533, for reasons of state , the council suspended the Catholic mass until a future council , which in fact meant its abolition and an open break with the emperor and the archbishop. Only a few Catholic clergy and Old Believer citizens remained in the city . The city's accession to the Schmalkaldic League in 1536 further isolated the canons of St. Leonhard.
During the Narrow Kaldic War , the city confiscated parts of the church's treasury to finance its military obligations, and even the clergy were called in to provide military auxiliary services. At the end of 1546, the council realized that the city could not be defended militarily against the emperor and turned to diplomacy. On December 29, 1546, she opened her gates to the imperial troops and sacrificed her loyalty to the Lutheran covenant. In return, she secured the imperial privileges, which formed the basis for the city's prosperity and political importance.
Against the opposition of the Lutheran clergy and the majority of the citizens, the council pushed through the adoption of the Augsburg interim . The city remained Lutheran, but gave the collegiate and religious churches back to the Catholic Church. In 1548, the Catholic service was resumed in the Leonhardskirche, after evangelical preaching had been held there every two weeks on the instructions of the council since 1542.
In the Lutheran city, however, the monastery from then on lacked money and young people. The formerly flourishing Latin school with up to 80 students closed, the concluding vaulting of the main nave came to a standstill. The number of canons sank to a historical low of only three people by 1589, one of whom, according to documentary sources, was always bedridden and not very useful for choir singing and celebrations . Around 1600 the clergy had apparently sunk so much in their sense of duty that, according to contemporary reports, "those of other faiths mock that the Leonhard priests are completely indifferent to whether one or no one comes to church" .
The situation only improved again at the end of the 16th century. The Upper Hessian collegiate monastery of Saints Donatus , Nazarius and Martinus moved its headquarters from Obermockstadt to Frankfurt and was accepted there by the Leonhardsstift. From this point on, both monasteries alternately celebrated services in the church, but remained legally separate from each other. Nevertheless, the personnel worries in particular were permanently resolved. When Frankfurt was occupied by Swedish troops in the Thirty Years' War from 1631 to 1635, the council had to make the cathedral and the Church of Our Lady available to the Swedish King Gustav Adolf for Lutheran worship. Not insignificant parts of the church treasures were confiscated and generously given away to his followers. Only the Leonhardskirche remained reserved for Catholic worship and was largely spared from confiscation .
However, the monastery continued to have financial problems in the 17th century. Since the Leonhardskirche was located in the middle of the flourishing Frankfurt bookseller's quarter, the possibility of renting out rooms in the church as a storage facility for printed matter was used extensively, primarily for financial reasons. A contemporary description of this apparently rapidly prevalent practice can be found in a letter of complaint that a Catholic bookseller sent to the then Archbishop of Mainz in 1638 :
- “Above and below, on the rood screen and in the corridors, even on the altars of the chapels, all kinds of heretical books. The church is, as it were, an open pack and department store, especially during Mass, when almost everyone has a key to the church and lets them go in and out as they please. Even during St. At trade fairs, it happens more often that the heretics with books pass by, run up and come in almost mockingly without any respect. "
However, there is no evidence that such complaints have actually been remedied. The fact that the gothic main nave could only be vaulted in 1698, and yet only for 550 guilders, testifies to how much one was dependent on income such as renting.
As is typical of the time, the 18th century brought an increasing unification of offices in one person to the monastery, but also important canons of immigrant families from Catholic countries. In addition to the Martinengo or Brentano from Northern Italy, the dean Damian Friedrich Dumeiz from Malmedy should also be mentioned. The Italian families, many of whom had made great fortunes through the wine , silk and tobacco trade or as skillful bankers , are not only likely to have filled the pews in the St. Leonhard Church, but also participated in modernizing new furnishings. An inventory list from 1734 and pictures by the church painter Johann Ludwig Ernst Morgenstern from 1790 also reveal a baroque redesign, of which almost nothing has survived.
The end of Leonhard's foundation came after the French Revolution . Just a few weeks after the celebrations for the coronation of Emperor Franz II , French revolutionary troops occupied the city in October 1792. The chapter minutes of the Leonhard monastery were torn off immediately, but from the written documents of the monastery Obermockstadt, which still existed up to 1802, we can learn that St. Leonhard was profaned by 1793 and converted into a fruit store. The mentioned military equipment in the church as well as the felling of the trees in the churchyard give a rough picture of how little squeamish was dealt with the former church property in those years. The services were relocated to the imperial cathedral.
With the Reichsdeputationshauptschluss of Regensburg in 1803 came the legal end of all collegiate colleges. The city of Frankfurt managed to secure the church property for itself and to reject the interests of foreign princes. One of the most valuable of the pieces that came into municipal possession at the time is a Gutenberg Bible from the abbey library of around 140 volumes, which is in the holdings of the Johann Christian Senckenberg University Library . It was probably bought hot off the press at the Frankfurt Book Fair in the 1450s .
From the restoration under Dalberg to the end of the 19th century (1806–1899)
After the collapse of the Holy Roman Empire of the German Nation , South and West German princes founded the Rhine Confederation in 1806 . The prince-prince Karl Theodor von Dalberg came to the head of the alliance . The city lost its independence and was subordinate to a sovereign for the first time. In 1810 Frankfurt formally became the capital of the newly created Grand Duchy of Frankfurt . As the Grand Duke, the prince now moved into a permanent seat in the Palais Thurn und Taxis .
Dalberg was both a pious man and an Enlightenment child . He was not able to reverse the secularization of the church property of St. Leonhard, but advocated that it should only be used for pious or mild purposes. It was also only under his rule that all Christian denominations were legally equated. But he was powerless when, in the autumn of 1806, the church was once again used as a prisoner of war camp for Prussian soldiers. In these few months more damage is likely to have been done than in all of the preceding time, if one follows contemporary accounts:
"Today [...] 3200 men of the Prussian-Polish Legion arrived here who - as they are full of vermin and completely ragged - were not billeted, but were accommodated and provided with food and drink as follows: 600 men - Leonhardskirche [ ...] These people were extremely rude and unruly, and expressed their displeasure about such accommodation in the most threatening way [...] "
This is probably the main reason why there is practically nothing left of the mobile equipment at St. Leonhard from the pre-revolutionary period. But even among the city's citizens, quite a few saw the medieval building as an eyesore on the Mainkai , which received a representative classicist new development in those years . Well-to-do circles even approached Dalberg with the open request to be allowed to demolish the church together with St. Nikolai am Römerberg in order to build a new main gate or a stock exchange building.
The prince did not follow the citizens' request, but commissioned restoration work on the neglected and plundered building in 1808. It was u. a. the floor has been raised by 85 centimeters compared to the original level for flood protection reasons, which can still be seen best on the Roman pilgrim portal in the north aisle, which seems to have sunk into the ground. On January 15, 1809, the church, which had been repaired for over 11,000 guilders, was consecrated again by the last dean of the Obermockstadt Abbey. The furnishings of the church were considerably enriched in the following years with pieces from other profaned monasteries and churches in the city - above all Baroque works from the Carmelite and Dominican Church - as well as the classicist Leonhard Altar, personally donated by Dalberg in 1813.
In 1818, the Frankfurt pastor and historian Anton Kirchner also wrote about the Leonhardskirche in his work Views of Frankfurt am Main . He gave posterity a testimony to how divided the zeitgeist thought about the building:
“[...] Various changes have taken place in the interior of the Church in recent times. Already during the last war, when it served as a warehouse for a long time, many of the painted panes of Werth disappeared from it. The remnants were placed in some of the windows facing the high altar when the church was recently restored. The late Grand Duke [Dalberg] […] gave the […] altar painting here and had the church consecrated again. "
“If some of the old decorations are no longer to be found, the elaborate arching, the hollow bands of which come together in the middle to be held by a free-standing keystone, is still there. Only from the outside the church is nothing less than a model of some kind. For centuries it has been improved and soon deteriorated; and there are additions to it from every age. "
Despite the measures taken in 1809, the interior of the church was flooded again in the winter of 1845. The renovation was not carried out until the summer of 1851. A little later, in 1854 and 1855, some important citizens of the city, including such well-known as Sophie Schlosser , Antonie Brentano or her sister-in-law Bettine von Arnim, donated an altar for the newly restored church, the central picture of which was painted by the important Austrian artist Eduard Jakob von Steinle .
In 1881 a new interior renovation , determined by the spirit of historicism , began. However, less substance was lost than during the reconstruction of the cathedral after the fire of 1867. From today's perspective, the overpainting of many medieval wall paintings is most likely to be viewed critically . In addition to a new organ from 1867 and new bells from the 1880s, which added a number that were still preserved from the Middle Ages, the church finally received the three altars through purchase between 1860 and 1892, which can still be seen today in the main nave and choir are.
The 20th century and the present (1900 to today)
Structurally, St. Leonhard initially changed little in the 20th century. Until the middle of the 20th century a director worked within the cathedral parish, chaplains at the church included the later Limburg bishop Karl Klein and the auxiliary bishop Walter Kampe . In 1939 the church was raised to the status of a parish vicarie.
The Second World War, withstood St. Leonhard as the only endowment church with relatively lesser damage. Even during the heavy attacks in March 1944 , which destroyed the historic old town, the church was not hit directly by air mines or explosive bombs . The roof structure , which caught fire, was extinguished by two parishioners at the risk of their lives, so that only parts of the west gable collapsed. Its remains fell on the southern nave of the nave, which was vaulted only with a few ribs in 1698 for known reasons, which could not withstand the load and smashed the organ below and the stone altar donated in 1854/55. However, the important middle picture could be saved. From an art-historical point of view, the destruction of the roofs of the two Romanesque apse towers, which originated from the 13th century, and all the bells in them, besides those from the 19th century, also those from the 14th and 15th centuries, weighed heavier.
The damage to the external structure had already been repaired in 1946. Measured by the total degree of destruction, it is probably the best preserved building in the old town today. The historian Fried Lübbecke called St. Leonhard a time capsule , the last remaining building in which old Frankfurt was still alive.
In 1956, the church received new bells that matched the Frankfurt city bells, and two years later a replacement for the organ that had been destroyed in the war. On the occasion of the 750th anniversary celebration in August 1969, the interior was extensively renovated between 1960 and 1969, essentially removing the historical overpainting on the remains. After the Second Vatican Council there were changes to the furnishings during the work, as in all Catholic churches. As in the past, this was done comparatively moderately in St. Leonhard, the high choir was given a modern table altar, and a few historical pieces of equipment were removed or at least removed from the church. In contrast to the fact that the church owes its existence to Prince Primate Karl Theodor von Dalberg, the demolition of the classicist Leonhard Altar that he donated in 1984 is incomprehensible. The fragments can be seen today on the north wall of the Leonhard choir. After the completion of a modern glazing, extensive renovation work could begin at the end of 2005, during this work, which initially mainly concerned the outside area, the church could continue to be used until 2010.
Since 2011, the layers under the floor of the church - in the course of the interior renovation and the installation of underfloor heating until 2012 - have been thoroughly examined and removed, partially restored and should then be placed in the church or elsewhere for viewing. The year 2017 was targeted for completion of the work, but massive problems arose during the work. When building a concrete floor slab, the building sinking into the z. Sometimes quite soft subsoil (consisting of clay and deposits from the river) is supposed to prevent cracks in the walls and a partial subsidence of the north church compared to the rest of the building.
The reopening date was August 18, 2019. Georg Bätzing , the Bishop of Limburg, gave it back to the congregation and consecrated the new altar in a service on the 800th birthday of the church.
Spiritual life
Since 1995 Sankt Leonhard has been a branch church of the Frankfurt cathedral community. It also serves as the parish church for the English-speaking community in Frankfurt.
Since the beginning of the restoration of the interior of the St. Leonhard Church, originally planned for a period of 18 months, the services of the English-speaking congregation have been taking place in the Holy Cross Church of the Center for Christian Meditation and Spirituality of the Limburg Diocese in Frankfurt since May 7, 2011. Bornheim instead. This remains at home in the Holy Cross Church even after the work in St. Leonhard is finished. From 14 September 2019, however, there will again be an evening mass in English every Saturday at 6 p.m. in St. Leonhard.
The Tridentine Mass, which has taken place weekly since the mid-1990s (since the summer of 2007 on Sundays at 6 p.m.) in St. Leonhard, was relocated to the Teutonic Order Church in the course of the work .
architecture
Exterior
The Romanesque basilica
The late Romanesque original building consisted of a 25-meter-long and 16-meter-wide three-aisled basilica gallery with two apse towers around 30 meters high to the side of the then rectangular main choir . While the massive walls were largely built from quarry stone , red Main sandstone was used for almost all sculptural elements .
Apart from the towers, which have hardly changed to this day, only the structure of the pilaster strips on the lower half of the west side of the Romanesque substance has been preserved. In addition to the two portals that have remained inside the church to this day, there was probably also a third entrance, as well as arched windows, as investigations of the architectural parts under the plaster have shown at the end of the 19th century.
The two towers of St. Leonhard are round on the ground floor, but later become octagonal and were originally open to the church via round arches as side choirs. This could also be proven in the late 19th century by findings under the plaster. According to documents from the Leonhard Foundation, each tower also housed its own altars, which were demolished in 1508. The four upper floors of the towers are grouped into two in the outer structure, and like the lowest floor they are provided with pilaster strips and arched friezes , the windows have round-arched profiles. Only on the top floor there are coupled windows, the typical central columns show simple ornamentation in their capitals . The towers are crowned by octagonal gable helmets, the small windows of which have clover-leaf arch profiles . In their shape, the helmets represent a quote from the Jerusalem Church of the Holy Sepulcher . However, these were already lost to the model in the 19th century. There is an imperial eagle on the northern tip and a cross on the southern tip .
The Gothic extension
Externally, the Gothic extension from 1425 to 1523 changed relatively little of the original substance. The choir, completed in 1434, extends far beyond the Romanesque apse towers in the east. The rest of the 15th century was limited to the choir on the north side of the non-public sacristy and the adjoining, 1453 consecrated and after its founder Hans Bromm called Brommenchörlein grow. The stair tower on the outside of the sacristy may have been built around 1600 . The aforementioned three additions can be easily recognized from Alte Mainzer Gasse .
The appearance, which has remained almost unchanged to this day, resulted in the reconstruction of the main nave and the addition of two aisles and finally a chapel at each of their eastern ends in the early 16th century . Both Hans von Bingen and Philipp von Gmünd, who belongs to the Meisenheim School, can be considered as builders, both historically and stylistically . Both were active in Frankfurt in the first two decades of the 16th century, the only remaining documentary evidence from this time is a dispute with the first-mentioned master builder about a failed foundation .
Originally, the building was also accessible from the south and west through portals from the Gothic construction period, which, however , were walled up on the inside for flood protection reasons at the beginning of the 19th century. After the main wall , which was part of the city fortifications, was torn down in 1809, a lining wall was placed in front of the south side for the same reason . At the same time, the floor of the church was raised by almost a meter, a fact that still disturbs the proportions inside the church. A copy of a sandstone Madonna dated around 1395 can be seen above the west portal ; the original is in the Historical Museum . It is one of the oldest and best preserved Madonnas in Frankfurt and also the earliest evidence of the appearance of the soft style in the city's sculpture .
The street side of the north aisle was also only restored to the state it can be seen today in the 19th century. When looking at the outside, it quickly becomes apparent that two round arches originally located here were walled up later, so the aisle used to be an open vestibule. In the middle of these former arcades is a copy of a figure of St. Leonhard from the 16th century, the remainder of an outer pulpit can be seen. This was previously accessible via a corridor from the northern gallery . Not only were sermons given by her, but allegedly also city privileges such as B. read out the Golden Bull . The people could take a seat in the churchyard to the north of the church, which was cut down as early as 1800 but did not finally disappear until the late 19th century. Today only a few trees and the large, vacant space in front of the building remind of it.
Interior
Romanesque
From the Romanesque period, two portals with figuratively designed tympana have survived inside , which are now located within the north aisle due to the Gothic additions: in the west is the original main portal with a representation of the two cartridges , also known as the Engelbertus portal because of the inscription . The capitals and bulges are decorated with very high quality foliage, although only a small part of it has been completed. The pillars underneath have been completely replaced in the late Gothic period. The pictorial representation shows Christ as the central figure , holding an open book in which the words Pax vobis are written. Next to them are Mary and Peter as well as Johannes and Georg kneeling , they are also indicated by an inscription running in a semicircle: s. Johanes. e. Maria + Jesvs Naz. + s. Petrvs. + s. Goervs .
In the lower area an inscription with Engelbertvs f (ecit) possibly names the responsible stonemason . Since his activity extends before the start of municipal self-government, no written certificates have been received about it, and no further works have been received anywhere else. Nevertheless, Engelbertus received a fantasy statue in the so-called chapel of the Ratskeller at the end of the 19th century when the new town hall was being built . From today's point of view, this is just as unfounded as attempts to ascribe Engelbertus the status of master builder of the whole church. More recent literature suspects Engelbertvs f (ieri fecit) behind the inscription, i.e. more of a donor than an artist, but the signing of work pieces, at least in this way, was rather unusual in the Romanesque.
According to the artistic handwriting, however, the same stonemason also executed the smaller pilgrim portal that adjoins to the east in the direction of the tower and is now walled up . Its tympanum , closed with a cloverleaf arch, depicts, also here in a very pure Romanesque imagery, the standing Saint James with the pilgrim shell and two pilgrims adoring him . The drapery and arch of the portal show zigzag, nail head and pearl ribbons. In the lower area, which is far below the level of the Gothic floor and is therefore difficult to see, the vestments in the west end in a grimacing head , in the east in a stylized acanthus leaf . The capitals of the inner columns show simple rings, with a bead spanning between them without any ornament .
From the Romanesque era, only a small arched window with sloping walls has survived inside the church. Since it is located in the north wall of the choir and is walled up towards the sacristy, it is practically never visible to the public.
Gothic
The two yoke deep choir with a 3/6 end was probably for the most part still under construction supervision, but certainly based on a design by Madern Gerthener , who died in 1430 ; it was consecrated on August 22, 1434. It is covered with a rich star vault , which repeatedly shows the coat of arms of the important Frankfurt patrician family Holzhausen in its keystones . The choir is illuminated by five large windows with fish-bubble ornamentation , divided in the middle by a tracery frieze , which have three lanes at the end of the choir and four and two lanes on the south side. The also late Gothic sacristies and the stair tower north of the choir are no longer open to the public.
The three aisles of the nave have three bays, just like in the choir, star vaults dated 1518 were used in the central and north aisles, while the south is covered with simple triangular cross vaults without ribs. The naves are separated by octagonal pillars , the two aisles are connected by simple round arches. Above the arches, on the side facing the main nave, there is a beautifully crafted, all-round frieze with fish bubble tracery, which also serves as the parapet of the galleries above. The windows in the south, west and north walls are arranged in two rows one above the other and of different sizes, the only thing they have in common is the fish-bubble ornamentation.
The side aisles, each with four bays, built between 1507 and 1520 appear to be taken from a sample book of medieval church vaults, considering the variety of the ceilings seen here. Their keystones and knots are often adorned with the coats of arms of the Frankfurt families who acted as donors. a. the families Holzhausen , Lichtenstein , Bromm , Glauburg , Rohrbach , Melem , Weiß von Limpurg , Frosch , Völcker , Knoblauch , Hynsperg and Ergersheim .
A special feature is the vault in the northeast side aisle, where two rib systems are arranged one above the other. In their approaches, the vault ribs are also freely in the room. As with his parent house , the most magnificent secular building in the Gothic style in Frankfurt, the founder, Claus Stalburg , wanted to express his enormous wealth here in addition to his piety. In addition to the family coat of arms with three shells , another coat of arms in the crown of the vault with the inscription Clos Stalp indicates the creation of one with the year 1507.
Between 1508 and 1515, a Salvator Chapel by the architect Hans Baltz von Mertenstein was added at the end of the north aisle, directly on the north tower . Because of the hanging vault, which consists of arched ribs made of sandstone that cross freely in the room, the so-called Salvatorchörlein was one of the sights of the city of Frankfurt from the 17th century.
The hanging vault type has been known since the middle of the 14th century; the direct model was probably the one in the burial chapel of the castle church in Meisenheim , a work by Philipp von Gmünd , who worked in Frankfurt in 1505/10 . The colored figures, a Christ on the scourge pillar , a God the Father enthroned above in the tracery and the drop-shaped hanging coat of arms of the famous Frankfurt family Holzhausen are also a masterpiece of stonemasonry in red sandstone .
When the Leonhard Chapel , also known as the Leonhard Choir , was built at the end of the south aisle cannot be precisely determined today. Dendrochronological examinations of the roof structure indicate that its wood was felled around 1518, and the star vault below the keystones was vaulted after 1520. The basic shape of the chapel is rectangular and has a 3/8 end in the east. The three two-lane windows located here, as well as a three-lane in the south, again have fish bubble tracery.
Furnishing
Altars
There are currently three altars and fragments of two more in the Leonhardskirche. The fragments come from altars of the 19th century and are also the only ones that were created specifically for the church. The high altar and the two in the southern and northern nave are mostly works of art from the late Middle Ages from southern Germany. Nothing of the pre-revolutionary inventory has survived, although an inventory list from 1807 still named a total of 12 altars. The classicist pieces of equipment , referred to in inventory lists as mahogany tares from the time of the restoration under Dalberg, are no longer available, apart from those donated by the prince himself.
The high altar was added to the church as a foundation at the end of the 1850s, as was the newly made stone altar and was moved to its current location in 1866. The classicist Leonhard Altar by Dalberg had stood here since the beginning of the 19th century. The central shrine with figures of Saints Ulrich , Rupert von Salzburg , Valentin von Terni as well as Sebastian , Rochus , Barbara and Agnes is a Swabian work from the beginning of the 16th century.
The predelle painting below , which can be dated to the second half of the 15th century, also comes from the Swabian region . A restoration that was not carried out until 1969, which removed heavy overpainting, revealed its outstanding quality. The visibly cropped image shows the martyrdom of St. Ursula in several scenes . The rest of the altar is neo-Gothic work from the 19th century, with the exception of the crowning crucifixion scene. The three figures are probably the only remnants of a rood altar mentioned in 1523 . The combination of individual pieces of various origins with historicizing additions that can be seen here makes the altar a good example of the understanding of art in the 19th century.
In the north main nave, the Marien Altar has stood since 1890 , which the then parish priest Munzenberger had acquired for the church in the art trade. The carved central shrine is a Flemish work of art from the Antwerp area, dating from around 1480 . In masterfully carved miniatures, more than 80 figurative representations alone, the life of Mary is shown here. From bottom to top you can see: Joachim's sacrifice , the encounter under the golden gate , the holy clan with prophets, the birth of the Virgin, the passage to the temple, the adoration of the shepherds , the adoration of the kings , the death of the Virgin , the Assumption of the Virgin and finally the coronation of Mary .
In contrast, the insides of the wings painted by Friedrich Stummel and copied after Rogier van der Weyden , again with scenes from the life of Mary , are historical , but also very qualitative additions from the 1880s . On the outside there are depictions of saints made according to templates by Michael Wolgemut , such as Saint Dorothea , Katharina , Margareta , Barbara , John the Baptist and Nicholas . On the other hand, the preaching painting below with a representation of the Last Supper is of unknown provenance, but is really old, while neo-Gothic creations are the Altarmensa and the figure of St. Leonhard at the top .
At the place of the stone altar that was destroyed in the war, the cross altar has found a place in the south main nave , which was previously in the Salvator choir . Like the Marien Altar, it was acquired by the city pastor in the 1880s and has been in the church since 1892. The essential parts are dated around 1520 and definitely belong to Lower Saxony , possibly in the Hildesheim area . The carved center shrine shows a crucifixion scene in the middle, which is flanked by Saints Anna , Mauritius , Blaise and an abbot who cannot be clearly assigned, the twelve apostles on the inside of the wings . Besides the central image, only Blasius and Mauritius are original, the rest are additions from the 19th century. The Christ with the flag of victory crowning the altar, which does not belong to the original, is a work of the 18th century. More significant and important for the provenance is a painted scene of the Annunciation on the outside of the altar, which is attributed to the master of the Hildesheim Johannes Altar.
Although old, the two-part predella did not originally belong to the altar. The upper part with Christ and the twelve apostles is a fragment of the Sacred Heart Altarpiece of the Frankfurt Cathedral, dated 1505, from the Weckmann workshop in Ulm . The lower, also late medieval part, on the other hand, comes from Portugal and did not enter the church through the art trade until 1961. The only fragment of a medieval altar originally belonging to the church is the holy grave under the altar hall , which was rediscovered in 1927, but was only connected to the cross altar in the post-war period. It is flanked by two fantastic grave guard figures and bears the inscription In Pace f (actus) est loc (us) ei (us) et habitacio ei (us) in Syon .
The Marienaltar (also known as the stone altar ), which was donated to the church by Frankfurt citizens in the 1850s , is only preserved as a fragment . It was in the south aisle until the Second World War, when it collapsed in 1944 and was smashed to its centerpiece. The latter, a work by the Nazarene Eduard Jakob von Steinle , shows a Mother of God with a child and is exhibited today in the Salvatorchörlein. The huge neo-Gothic housing, which protruded far beyond the arcade arches of the nave galleries, was the work of the important historicist artist Vincenz Statz .
The only fragmentary state of the Leonhard Altar , which is located in the chapel of the same name at the end of the aisle on the Main side, is not a loss of the war, but the result of a decision made in 1984 that is difficult to understand today . The work, kept entirely in the style of classicism, was donated in 1813 by Prince-Primate Karl Theodor von Dalberg. The dominant central painting with a depiction of St. Leonhard freeing prisoners comes from the Munich court painter Joseph Karl Stieler . The coat of arms of the Grand Duchy of Frankfurt above is also preserved . However, a splendidly carved, wood-visible outer frame and the simple altar bar with the inscription Sancto Leonardo Carolus MDCCCXIII , which referred to the donor, were lost due to the demolition .
Further interior fittings
Gothic
The baptismal font that can be seen in the Salvatorchörlein is the oldest publicly visible piece of equipment that still belongs to the medieval original furnishings of the church. It is visibly dated to 1477 and was probably used as a holy water bowl , as baptisms have only been taking place in the church since 1939. The copper lid with enamel work is a contemporary addition by the Frankfurt artist Emil Huber from 1951.
The pulpit in the central nave is far more important and also originally belongs to the church . It comes from the last phase of the late Gothic renovation at the beginning of the 16th century. The work of art is made from a single piece of the red Main sandstone that is typical of Frankfurt , the goblet-shaped base and the parapet are richly decorated with varied fish-bubble tracery. A canopy that was only added in the 19th century and a staircase in neo-Gothic style were demolished at the end of the 1960s after the Second Vatican Council , and the latter was replaced by the unsuitable and awkward-looking solution that can still be seen today.
Visible from the same time, perhaps even by the same stonemason, the two spiral staircases to the west of the church come to the galleries. The staircases already integrated into the Gothic shell are faced with profiled sandstone steps. Remarkable are also the visible still marked by the Gothic art and metalwork of the banisters to be among the oldest and best preserved of its kind in Frankfurt today.
Not exactly dated, but also from the late Gothic period and belonging to the church, is a Corpus Christi right next to the northern staircase. He hung in the choir until the Revolution, as a picture from 1790 by Johann Ludwig Ernst Morgenstern shows. Today it is located on a neo-Gothic cross, which in turn is attached above a splendidly carved rococo seat from the 18th century .
Renaissance and Baroque
A South German Pietà dates from the 17th century and can be seen in the middle chapel niche of the south aisle. It also came as contained under it, in the style of pre-revolutionary classicism held cupboard until 1962 on the art market in the church. Next to the high altar are two early Baroque chandelier angels with an inscription dated 1614 and of Italian provenance. It is not known whether they came to St. Leonhard as a foundation from Frankfurters of Italian origin or through the art trade.
Two high-baroque holy water bowls were probably made around 1700, which belong to the few original inventory of the church from the baroque era and are visibly damaged from the revolutionary era. Only one of the bowls still has the original base with putti heads , the other received a replacement in the neo-Gothic style in the 19th century.
In contrast, two baroque confessionals in the north aisle, which the church received from the Carmelite Church in Frankfurt as part of the secularization, can be dated to the year 1708 . They show a structure of pilasters with Corinthian capitals from which flowers hang down; A putti's head is located between the acanthus decorations above the middle compartment, a typical cartouche can be seen on the right and left .
Another confessional below the western gallery also comes from the existing building of a former church in Frankfurt, namely the Capuchin Church. Here, too, there is a subdivision by four coiled columns with Corinthian capitals, the spiral being followed by a floral decoration. A putti's head above the middle compartment is adorned with garlands of flowers. Overall, the finer execution visibly shows the influence of the French Régence style. In a chapel niche directly opposite, you can see a crowned Immaculate who is still revered to this day . The very high quality work of art is attributed to a Mainz workshop from the 1st half of the 18th century and belongs to the original inventory of the church.
Due to an inscription, the rococo-style church stalls that fill the entire nave are dated to 1768 . A special feature is the minimal variation of the carved cheeks, so that each is a unique piece. It did not originally belong here, but was made at the time like the two confessionals for the Carmelite Church and, like these, only came to St. Leonhard on the way of secularization.
19th century and modern
The silver candlesticks and the cross of the high altar date from the time the church was rededicated under Prince-Primate Dalberg . Both are works from Augsburg in the style of the Empire . The choir stalls in front of it are a neo-Gothic creation from 1852. The two identical benches do not show any figurative representations, but the ornamentation of Gothic architecture in the form of quatrefoils , tracery and pinnacles .
Also in the neo-Gothic style, but not until the turn of the century, the two saints were created on the arched walls of the high choir. The one on the southern arch is a copy of the famous Hallgarten Madonna by the artist Adam Winter , on the northern one there is a figure of Joseph by the artist Josef Schnitzer .
Two other wood-faced carved figures by the sculptor Harold Winter from 1927 that can be seen in the church are characterized by Expressionism. One shows St. Anthony and is located directly next to or south of the Gothic cross altar, while the other is a heart -Jesus statue, which is attached to the pillar opposite or north of the pulpit in the main nave.
Stained glass window
Choir
General
The stained glass of the windows of the high choir is remarkable in that it is one of the most extensive collections of old church windows in Hesse , despite the eventful, hardly comprehensible history and the different provenance of the panes . In the 15th century, when the Gothic renovation of St. Leonhard was essentially complete, the entire church must be imagined as having colored windows. Its founders were the most important Frankfurt aristocratic families, who, on the other hand, acquired the right to set up altars at their window seat, to attach death shields and epitaphs or to hold masses for family members. This original reference is still shown today by the numerous vaulted keystones in the side aisles and the southwestern coat of arms window, which unites the alliance coat of arms of the nave glazing, which is otherwise no longer available.
The other four windows of the choir no longer show the original or complete picture cycles and some of them have been greatly expanded, especially in the 19th century. However, based on their dimensions, they can be clearly assigned exclusively to the choir, even if their arrangement is more or less disturbed. The largest part still comes from the time of the choir consecration in 1434, many other panes from the same century, especially a second glazing period in the 1490s. After the decay of stained glass in the early modern era in the 18th century, damage from hail was only repaired by an amateur, which can still be seen in places today.
After the period of secularization, in which some windows were lost due to sales, but also partly due to the church being used for purposes other than intended, the remains were rebuilt in the choir in 1808 and 1813. In 1851 a large part of the historical panes was returned from a donation by a private individual, and in 1898 a thorough restoration and historical additions were carried out. a. by the famous Frankfurt glass painter Alexander Linnemann . All windows survived the Second World War by outsourcing, from 1975 to 1981 a large-scale renovation and prophylactic protection against environmental influences took place.
description
The eight-line Catherine window, which opens the window of the choir to the left or to the north, is one of the oldest in the church and, according to art-historical features, was built before the choir was consecrated in 1434. Despite the fragmentary preserved individual scenes - a disc belonging to this section is in the Historical Museum - the original program can still be read, which exactly follows the life of St. Catherine in the Legenda aurea . This makes the window a rare example of an almost complete biography of these saints. In addition, the window contains two fragments of other panes: the bottom row shows the Adoration of the Magi , which originally belonged to the Mary window (see there), the middle field of the second row shows the installation of an unknown bishop and is today no longer assignable to any window. The tabernacle architecture on lines 5 to 8 above comes entirely from the 19th century.
On the right is the central, eleven-line choir window, also known as the Marien's window , above the high altar, which is the only one that has been preserved in its original location since the choir was consecrated in 1434 and consists almost entirely of medieval material. Only the architectural parts are additions from the 19th century. It depicts a crucifixion in white, flanked by rich Gothic architecture, above is a coronation of Mary , in which Mary can be seen to the left of God the Father and his Son or below the Holy Spirit in the form of a dove . The representation of the Virgin Mary refers to one of the two original main saints of the church. The lower part has been walled up or obstructed by the high altar since 1851, the panes that were once located here are distributed among other windows, although the original arrangement can be reconstructed.
The following St. George's window , essentially also from 1434, has been repaired heavily and often improperly over the centuries, as is still visible today due to incorrect proportions, especially in the area of the heads of the various saints. During the last repairs, Linnemann signed his work in the middle field of line 1 in 1898. Similar to the Katharinenfenster, the biography of a saint that can be seen here, here the eponymous Georg, is comparatively rare in church art. However, the sequence of scenes is disturbed, no longer complete and only deals with martyrdom and the events after his death (lines 1 to 4). The top floor contains crowning Gothic architecture, which, like almost everywhere, can be attributed to the 19th century.
It is now connected to the only four-lane window of the choir, known as the window of saints due to its numerous depictions of saints . A scene in line two with Joachim and Anna at the Golden Gate is visibly different from the other depictions in terms of style and iconography. It is probably the last remnant of a no longer preserved Annen window from the time of the choir consecration. The other scenes, u. a. the Adoration of the Magi , the four saints of the highest figurative representation, Katharina, Cäcilia , Dorothea and Margaretha as well as the crowning tabernacle architecture with music-making angels come from a second glazing period in the 1490s. The rest, with other depictions of saints and scenes from the life of Jesus, is a new creation from 1898.
The coat of arms window on the far right in the south wall that concludes the window sequence of the choir has only two panels. It seems a bit awkward when only donor coats of arms from the two glazing periods of the 15th century are brought together here without any additions. As a result, on the other hand, after the Mary's window, it is the one with the most medieval substance. Under an ornamental crown there are the marriage coats of arms of the families Monis / Commeter, Monis / Prusse, Blume / Lamm, Rohrbach / Holzhausen , Rohrbach / Werstadt, Rohrbach / Leidermann, Monis / Budelkiste, Holzhausen-Prusse / Marburg, Degen / Blume and Blume / Lamb. Using stylistic criteria, the original historical context of some panes of this window can still be approximately reconstructed.
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| Catherine window | Mary's window | George window | Holy Window | Coat of arms window |
Remaining windows
Outside the high choir, only one more figurative window can be seen, which is located in the south wall of the Leonhard choir. The unusual design of the pane by the glass artist Wilhelm Buschulte is a combination of glass paintings from the 17th to 19th centuries with different origins. Some elements of the disc are obviously glass artistic implementations of well-known prints, for example by Albrecht Dürer .
Between 1990 and 2003, modern panes were installed in the other windows of the church, which continue the historical development of window painting and glass art to the present day. Numerous Frankfurt citizens and institutions took part, which is noted by a small inscription on the panes. The abstract artistic design allows different interpretations, the colors of the glasses are held in a wide spectrum from yellow to green, blue, turquoise to salmon-red tones. As a special feature, the panes contain fully plastic elements in the form of glass balls, which lead to unusual optical effects when exposed to light.
The Alsdorf professor and glass painter Ludwig Schaffrath designed three windows that are in the east windows of the Leonhard choir.
Murals
From the painting of the plastered areas and vaults, more medieval substance has been preserved in St. Leonhard than in any other Frankfurt church. However, it has only been partially freed from the overpainting of the 19th century, which was often not based on secured remains, and has been preserved in accordance with the preservation of historical monuments.
A representation above the triumphal arch of the choir is best preserved . It shows Christ as the judge of the world , sitting with Maria and John on a rainbow , on the right the lily and the choir of the blessed, on the left the sword and the damned, underneath are the combined coats of arms of the Rorbach and Melem families . The picture was therefore a patrician donation from Bernhard Rohrbach and Ursula von Melem , who married in 1501 and thus allow conclusions to be drawn about the time it was created.
Also to be dated to the first half of the 16th century is a depiction on the north wall of the choir, taken back from the actual medieval remains, which shows the apostolic creed in banners . The twelve apostles are connected to these by tendrils on a tree , which were already influenced by the Renaissance , and Christ is enthroned above them. The overall picture is flanked on the right by a depiction of St. Leonhard above a donor's coat of arms that can no longer be deciphered. On the opposite south wall of the choir, a representation of Mary and John under the cross of Christ with two angels can be seen, which is still influenced by a restoration of the 19th century. Stylistically, however, it is so similar to the depiction of the Creed that it is definitely from the same period, possibly even by the same artist.
Much older, probably from around 1440, is a cycle of wall paintings below the windows in the end of the choir. On the north-eastern window plinth a popular representation of the immaculate conception in connection with the Annunciation can be seen: a “beam of annunciation” guided by the Holy Spirit in the form of a dove penetrates Mary's ear from God the Father . Opposite is a scene of Christ carrying the cross, followed to the right or to the west by a handkerchief of Veronica over the round base of a choir window in which the baptism of Christ is depicted.
The painting of the choir with a three-colored star pattern that can be seen today corresponds to the presumably first version of the 15th century and is covered by findings. In 1960/61 it replaced an incompletely secured version from the 16th and 19th centuries with tendril motifs. This probably second version, already under the influence of the Renaissance, was made by the painter Hans Dietz von Epstein and dates back to 1536. Remains of his ornamental painting can still be found in the vaults of the north aisle.
organ
The organ was manufactured in 1958 by the organ manufacturer EF Walcker & Cie. (Ludwigsburg) built. The instrument has 54 registers (approx. 4000 pipes ), divided into four manuals and pedal , with the swell located outside the main organ on the north side gallery. The playing and stop actions are electric.
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- Pair : II / I, III / I, IV / I, IV / III, I / P, II / P, III / P, IV / P
- Playing aids : Tutti, 64-fold setting system , crescendo roller , various shelves
Bells
The old stock
Up until the last major renovation of the church in the 19th century, the five medieval bells were still in the apse towers. The largest and most important, with a lower diameter of 124 cm, filled the entire bell base of the southern tower and bore an inscription in Gothic minuscule . In addition, the bell was decorated with figurative representations depicting saints and evangelist symbols . According to information from the city chronicler Achilles Augustus von Lersner , which can no longer be verified in the archives , it was cast in 1468 by Martin Moller from Salza in Thuringia .
Four more bells in the northern tower were older, namely partly from the 14th century. Although the smallest of them was cast in Dresden in 1883 , St. Leonhard had the best-preserved medieval furnishings with bells of all Frankfurt churches by the end of the 19th century. The resulting special monument protection status saved the bells from being transported to the bell cemetery during World War II . But precisely this was the doom of the valuable ensemble in March 1944, when the apse towers burned down during heavy air raids on Frankfurt, and the bells melted.
Refurbishment of the post-war period
The six-part bells of the parish and former collegiate church, which are still in the church today, were cast in 1956 by Friedrich Wilhelm Schilling (Heidelberg). The impact sounds are based on the concept of the Mainz music professor Paul Smets on the Frankfurt city bells tuned.
| No. | Surname |
Nominal (16th note) |
Weight (kg) |
Diameter (mm) |
inscription |
| 1 | Christ | f sharp 1 +1 | 890 | 1094 | PAX VOBIS ("Peace be upon you") |
| 2 | Maria | a 1 +2 | 603 | 953 | AVE MARIA ("Hail Mary") |
| 3 | John | h 1 ± 0 | 409 | 847 | DEUS CARITAS ("God is love") |
| 4th | Peter | cis 2 ± 0 | 290 | 753 | TV ES PETRVS ("You are Petrus") |
| 5 | Georgius | e 2 +2 | 249 | 704 | GEORGIVS GLORIOSVS CHRISTI ATHLETA ("Georg is victorious fighter for Christ") |
| 6th | Leonardus | f sharp 2 +4 | 178 | 629 | LEONARDVS PATRONVS ("Leonhard, Patron") |
literature
- Johann Friedrich Boehmer, Friedrich Lau: Document book of the imperial city Frankfurt. First volume 794-1314. J. Baer & Co, Frankfurt am Main 1901.
- Johann Friedrich Boehmer, Friedrich Lau: Document book of the imperial city Frankfurt. Second volume 1314-1340. J. Baer & Co, Frankfurt am Main 1905.
- Andrea Hampel: Excavations in St. Leonhard in Frankfurt's old town . In: State Office for Monument Preservation Hesse (ed.): Monument Preservation and Cultural History 3/2019, pp. 16–23.
- August Heuser: The crib of St. Leonhard, Frankfurt am Main. Kunstverlag Josef Fink, Lindenberg im Allgäu 2010, ISBN 978-3-89870-663-6 .
- Wolfgang Klötzer, Gottfried Frenzel, Ingeborg Limmer (Ill.): St. Leonhard in Frankfurt am Main. Karl Robert Langewiesche successor, Königstein im Taunus 1982.
- Matthias Theodor Kloft: St. Leonhard Frankfurt am Main. 4th edition. Schnell & Steiner Art Guide No. 2196, Regensburg, ISBN 3-7954-5944-3 .
- Achilles Augustus von Lersner: The widely-famous Freyen imperial, electoral and trade city of Franckfurt on Mayn Chronica […]. Self-published, Franckfurt am Mayn 1706.
- Elena Mittelfarwick called Osthues: The architectural version of the St. Leonhard Church in Frankfurt am Main . In: State Office for Monument Preservation Hesse (ed.): Monument Preservation and Cultural History 3/2019, pp. 24–30.
- Herbert Natale: The St. Leonhard Church in the mirror of Frankfurt's city and church history. In: Archive for Middle Rhine Church History. 18th year, Jaeger Druck GmbH, Speyer 1966.
- Wolf-Christian Setzepfandt : Architecture Guide Frankfurt am Main / Architectural Guide . 3. Edition. Dietrich Reimer Verlag, Berlin 2002, ISBN 3-496-01236-6 , p. 2 (German, English).
- Christiane Weber and Gesine Dietrich: From retable to collector's item and back again. The crucifixion retable from St. Leonhard in Frankfurt am Main . In: State Office for Monument Preservation Hesse (ed.): Monument Preservation and Cultural History 3/2019, pp. 31–38.
- Carl Wolff, Rudolf Jung: The architectural monuments of Frankfurt am Main - Volume 1, church buildings . Self-published / Völcker, Frankfurt am Main 1896.
Web links
- The Leonhard Church. altfrankfurt.com (accessed October 31, 2018)
- Kirchort St. Leonhard on the website of the Cathedral Parish St. Bartholomäus (accessed on October 31, 2018)
- Website of the English-speaking community in St. Leonhard (accessed October 31, 2018)
- State Office for Monument Preservation Hessen (Ed.): St. Leonhardskirche In: DenkXweb, online edition of cultural monuments in Hessen (accessed on October 31, 2018)
References and comments
- ↑ Boehmer, Lau 1901, p. 23 and 24, Document No. 47, August 15, 1219.
- ↑ Wolfgang Klötzer, Gottfried Frenzel, Ingeborg Limmer (Ill.): St. Leonhard in Frankfurt am Main . Karl Robert Langewiesche successor, Königstein im Taunus 1982, pp. 3–4.
- ↑ Boehmer, Lau 1901, p. 109, certificate no.225.
- ↑ Boehmer, Lau 1901, p. 175 and 176, documents no. 361 u. 362.
- ↑ Boehmer, Lau 1901, p. 483, certificate no.935.
- ↑ Boehmer, Lau 1905, pp. 74–76, documents no. 74 u. 75.
- ↑ a b Klötzer, p. 6.
- ↑ Boehmer, Lau 1905, p. 179 and 180, documents No. 222 and 223.
- ↑ Herbert Natale: The St. Leonhard Church in the mirror of the Frankfurt city and church history , in: Archive for Middle Rhine Church History . 18th year, Jaeger Druck GmbH, Speyer 1966, p. 12.
- ↑ Carl Wolff, Rudolf Jung: Die Baudenkmäler von Frankfurt am Main - Volume 1, Church buildings . Self-published / Völcker, Frankfurt am Main 1896, p. 5.
- ^ Certificate in the Institute for Urban History Frankfurt am Main, holdings of Holzhausen documents, call number 237.
- ↑ a b Ernst-Dietrich Haberland: Madern Gerthener “the city of Franckenfurd Werkmeister”. Builder and sculptor of the late Gothic . Verlag Josef Knecht, Frankfurt am Main 1992, p. 59; evidence of Gerthener's involvement can no longer be documented due to archival material destroyed in World War II. A comparison with the Katharinenkirche in Oppenheim, on which Gerthener's building activity is documented, leaves no doubt about his involvement in the construction of the choir of the Leonhardskirche.
- ↑ Natale, p. 15.
- ↑ Wolff, Jung, p. 8.
- ↑ a b Natale, p. 16.
- ↑ a b c d Wolff, Jung, p. 9.
- ↑ Natale, p. 17.
- ↑ Natale, p. 18.
- ↑ Natale, p. 19.
- ↑ Natale, p. 21; based on the diaries of the Frankfurt trader Samuel Gottlieb Finger from 1795 to 1818.
- ↑ Natale, p. 21; Accordingly, these efforts were also set out in a publication, which is very rare today, with the title Decisive proposal for the best of the plot and for the beautification of Frankfurt , which a Frankfurt trader addressed to Dalberg.
- ^ Matthias Theodor Kloft: St. Leonhard Frankfurt am Main . 4th edition. Schnell & Steiner Art Guide No. 2196, Regensburg, ISBN 3-7954-5944-3 , pp. 15-16.
- ↑ Wolff, Jung, pp. 29-32; here are extracts from a contemporary restoration report.
- ↑ Klötzer, p. 12.
- ^ Description of the war damage according to Natale, pp. 25–26 and Hartwig Beseler, Niels Gutschow: Kriegsschicksale Deutscher Architektur. Loss, damage, rebuilding. Volume II: Süd, Karl Wachholtz Verlag, Neumünster 1988, pp. 811-806.
- ↑ Kloft, p. 26 and 28.
- ↑ Kloft, p. 18.
- ↑ http://www.fnp.de/fnp/region/lokales/frankfurt/der-steinmann-aus-stleonhard_rmn01.c.9134253.de.html
- ↑ http://www.hr-online.de/website/fernsehen/sendung/index.jsp?rubrik=3056
- ↑ http://frankfurt.bistumlimburg.de/index.php?_1=318663&_0=15&sid=79fc2dfc32557e023beb63fcb5c55625
- ↑ St Leonhard's ( Memento from March 24, 2016 in the Internet Archive )
- ↑ Fight for the Leonhardskirche. In: FR Online. Frankfurter Rundschau , July 27, 2017, accessed on May 24, 2019 .
- ↑ Believers are allowed to go back to the ancient Leonhard Church in Frankfurt. In: FR Online. Frankfurter Rundschau , February 15, 2019, accessed on May 24, 2019 .
- ↑ Ceremonial reopening after eight years. In: Journal Frankfurt Online. Journal Frankfurt , August 13, 2019, accessed on March 15, 2020 .
- ^ St. Leonhard's - International English-Speaking Roman Catholic Church - Frankfurt am Main, Germany - Parish history. (No longer available online.) In: stleonhards.org. Archived from the original on September 7, 2011 ; Retrieved May 1, 2011 .
- ↑ St Leonhard's & St Mary's: International English-Speaking Roman Catholic Parishes Frankfurt am Main Area St Leonhard's & St Mary's. Diocese of Limburg , 2018, accessed on February 20, 2018 .
- ↑ Gernot Gottwals: Leonhardskirche is ceremoniously reopened . Refurbishment - After eight years, the work is complete - The bishop consecrates the new altar. In: Frankfurter Neue Presse . 13th August 2019.
- ↑ Pope's concerns implemented - Diocese of Limburg restructures the range of services in the extraordinary form of liturgy. In: Internet portal of the Diocese of Limburg. November 30, 2007, accessed May 1, 2011 .
- ↑ a b Unless explicitly stated otherwise, the remarks on the Kloft architecture and furnishings follow.
- ↑ a b Wolff, Jung, p. 10.
- ↑ a b Klötzer, p. 8.
- ↑ Wolff, Jung, pp. 5-6; Quote: “The emblem of this political [loyal to the emperor] attitude of the monastery is said to have been the old eagles, which […] were placed above the former pulpit on the north outside of the church. The last-mentioned eagle undoubtedly has a completely different meaning: it marks the place from which the sanctuaries of the church were shown to the people, the privileges of the city were read out, more important ordinances of the council were made known and also sermons were given [...] "
- ↑ See, for example, the remarks by Philipp Friedrich Gwinner: Art and Artists in Frankfurt am Main from the Thirteenth Century to the Opening of the Städel'schen Art Institute . Publisher by Joseph Baer, Frankfurt am Main 1862, p. 4.
- ↑ Klötzer, p. 9.
- ↑ Wolff, Jung, pp. 30–31.
- ↑ After Kloft and Klötzer: an Augsburg work from the second half of the 15th century.
- ↑ Klötzer, p. 43.
- ^ According to Kloft and Klötzer: 1515/20.
- ↑ Klötzer, pp. 49-50.
- ↑ The Latin words mean "In peace his place is prepared and his dwelling in Sion".
- ↑ According to Gottfried Frenzel (Klötzer, p. 66); Below a donor's coat of arms, stylistically perhaps that of the Holzhausen family (alliance coat of arms Holzhausen and Marburg (Sassen) and Prusse in the coat of arms window), above the Annunciation and Birth, followed by the depiction of the three wise men installed in the Catherine window today. This was followed by scenes from the childhood of Christ, which have been preserved in the four-lane window, albeit as total copies.
- ↑ After Gottfried Frenzel (in Klötzer, p. 79); Monis / Commeter (line 1 left), Monis / Prusse (line 1 right) and Monis / Budelkiste (line 4 left) are to be assigned to the Georgsfenster, Rohrbach / Holzhausen (line 2 right), Rohrbach / Werstadt (line 3 left) and Rohrbach / Leidermann (line 3 right) the bottom line of the window of saints in terms of dimensions and style.
- ^ Photo of Schaffrath's windows. ( Memento from April 26, 2008 in the Internet Archive )
- ↑ Wolff, Jung, p. 29.
- ↑ Klötzer, p. 38.
- ↑ Kloft, p. 28.
- ↑ Klötzer, p. 41.
- ↑ Klötzer, p. 46.
- ↑ Klötzer, p. 21.
- ^ Walther Karl Zülch: Frankfurter Künstler 1223–1700. Diesterweg, Frankfurt am Main 1935 ( publications of the Historical Commission of the City of Frankfurt am Main 10), pp. 323-324.
- ↑ To the organ ( page no longer available , search in web archives ).
- ↑ All information on the bells of the 19th century according to Wolff, Jung, p. 32.
- ↑ The inscription read: anno. dm. m ° cccc ° LXVIII °. Libera. nos. salva. nos. justifica nos. o. bta. trinitas .
- ↑ Achilles Augustus von Lersner: The widely-famous Freyen imperial, electoral and commercial city of Franckfurt am Main Chronica, or Ordinary Description of the City of Franckfurt Origin and recording […] . Self-published, Frankfurt am Main 1706, part I, p. 113.
Imperial Cathedral of St. Bartholomew | Old Nikolaikirche | Leonhardskirche | Carmelite Monastery | Paulskirche | Dominican monastery | Church of Our Lady | Katharinenkirche | Peterskirche | Dreikönigskirche | Teutonic Order Church
Former churches: All Saints Chapel | Antoniterkirche | Barefoot Church | German Reformed Church | French Reformed Church | Holy Spirit Church | Johanniterkirche | Weißfrauenkirche
Coordinates: 50 ° 6 ′ 31.9 " N , 8 ° 40 ′ 48.7" E
