Ludwigskirche (Saarbrücken)

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The east facade of the Ludwigskirche, 2007
inner space

The Ludwigskirche in Saarbrücken district Alt-Saarbrücken is a Protestant church in the Baroque style . It is the symbol of the city and, along with the Dresden Frauenkirche and the Hamburg "Michel", is one of the most important Protestant baroque church buildings in Germany and is also one of the most famous transverse churches . The church is owned by the Evangelical Parish Alt-Saarbrücken of the Evangelical Church in the Rhineland . The church is named after its finisher, Prince Ludwig from Nassau-Saarbrücken .

history

Prince Wilhelm Heinrich of Nassau-Saarbrücken
Friedrich Joachim Stengel

Construction of the baroque sacred building

Wilhelm Heinrich , Prince of Nassau and Count of Saarbrücken , in his capacity as "Summus episcopus" , ordered the Evangelical Lutheran Church of his territory to build a Lutheran church in the capital city of Saarbrücken on October 21, 1761 . So far, the Gothic castle church in the old Renaissance castle was used as a court chapel and burial church, which was also used in the newly built Saarbrücken Baroque castle . The building should lie in the middle of a new square to be built as a “ total work of art ” in the sense of a baroque place royale and serve for large representational purposes and as a new burial place. Friedrich Joachim Stengel provided the construction plans for the project and on June 4, 1762 the foundation stone for the new church was ceremonially laid. The Latin inscription on the cornerstone is translated into German:

“For posterity! When the number of Evangelical Lutheran citizens in the city of Saarbrücken had increased so much that the old church near the castle, which was built 300 years ago, could hardly contain it, the most illustrious prince and lord, Mr. Wilhelm Heinrich von Nassau, took care of it -Saarbrücken, the father of the fatherland, for the building of this new holy house of God for the glory of God TOM and for the public benefit of the evangelical community mainly at his expense. The foundation stone he ordered to be laid in the year of Christ 1762 on the 4th day of June. "

Stengel was actively supported in his work by the sculptor Jacques Gounin from Saint-Avold in Lorraine. Gounin made all models according to Stengel's specifications, enlarged his drawings to scale and was responsible for the work on the capitals and the window frames.

Side elevation of the Ludwigskirche for a planned redesign in the 19th century: note the missing amortissements above the portal, the one storey higher tower with additional figures and the Gothic balustrades (Saarbrücken city archive)
The tower facade of St. Pierre Cathedral in Rennes, completed in 1704, with striking parallels to the tower design of the Ludwigskirche

Friedrich Joachim Stengel based his church buildings on the broad hall forms of the architectural theorist Leonhard Christoph Sturm and modified them according to the respective requirements.

In 1761, the target for completion of the church was 1765. When the client, Count Wilhelm Heinrich, died in 1768, only the exterior of the church was largely complete. The tower was still under construction. After the death of Wilhelm Heinrich, the completion was dragged out under his son and successor Count Ludwig . The stucco work of the interior by the plasterer Wunnybaldt Wagner was not completed until 1772 . In 1773 Ludwig ordered the completion of the interior and the entire church as well as the construction of a burial tomb under the western arm. In the same year made Swiss plasterer Carlo Luca Pozzi ten caryatids - Hermen for the galleries in the interior, in 1774 the sculptor consummate Johann Philipp Mihm two caryatids-Hermen for supporting the north gallery. Mihm also created the amortization of the exterior based on the models made by Gounin. The Viennese sculptor Franziskus Binck was responsible for creating the cycle of statues on the exterior .

In the same year the organ's prospectus was installed, although it should have been completed in 1768. Cost estimates for the organ have been received from the manufacturers of the Stumm brothers from Sulzbach im Hunsrück (from June 12, 1762) and from Johann Andreas Silbermann from Strasbourg (from February 18, 1762). Since the cost estimate of the Silbermann manufactory was 25% higher than that of the Stumm brothers, they were awarded the contract and drafted the organ prospectus in 1763/1764.

Pulpit and church stalls were completed in 1774, the altar in 1775 , so that on August 25, the anniversary of the death of the French King Louis IX. (of the saint) (died on August 25, 1270 during the Seventh Crusade in Carthage ), the church was able to inaugurate with a solemn service and a cantata composed especially for the occasion .

The Latin inscriptions above the main portal read in German translation:

“Evangelical house of God, consecrated seat of the Holy Spirit , sublime working place of faith, hope and love. In public praise of God by Wilhelm Heinrich, Prince of Nassau, father of the Evangelical Lutheran community, generous, God-fearing, magnificently built in 1765. "

  • Inscription of Ludwig in the tympanum of the main portal:

"This monument of worship, begun by the father, was completed and delicately decorated inside and finally dedicated to the service, the son Ludwig, pupil and emulator of paternal virtue, Prince of Nassau, Count of Saarbrücken, in 1773 after the birth of Christ."

Since its inauguration, the church has been called the “Ludwigskirche” after its finisher, while the square surrounding it has been called Heinrichsplatz since 1763, after his father Wilhelm Heinrich. It was not until later that the square was renamed Ludwigsplatz in analogy to the church. In some foreign-language translations, the church is incorrectly named after Ludwig the Holy Eglise St. Louis or St. Louis church , although it is not customary to name Protestant churches after Catholic saints - at least for post-Reformation buildings.

Restoration work

State of the balustrade figures before the restoration in 1906

During the French Revolution , the Nassau-Saarbrückensche state coat of arms as well as the name and bust of Prince Wilhelm Heinrich on the amortissements were removed from the Ludwigskirche. The church was now called "New Church" again in relation to the Gothic castle church . Three tower bells were removed and brought to Metz . The lead linings in the gutter between the roof and the parapet and the downpipes were lost due to theft, which led to severe moisture damage to the masonry and the loss of the plaster and the white exterior paint.

By Napoleonic decree, the church became the responsibility of the community on May 5, 1806. In the same year, Mayor Johann Sebastian Bruch appointed 9 “good-thinking” Protestant overseers for the Ludwigskirche. These overseers should monitor the condition of the church, collect donations, and order repairs on behalf of the mayor.

In the years from 1885 to 1887, the 26 sex chairs in the church were removed and the transverse oval windows in the base zone, which had lit these formerly rentable “church boxes”, were walled up in order to better deal with the problem of drafts in the church. Central heating was also installed in the church at this time and the large stoves previously in the room were removed.

Under pastor Julius Ebeling, the first fundamental restoration of the building was carried out in the years 1906–1911 by the Prussian monument conservation department under the direction of Paul Clemen . As construction manager on site, Helmut Sachsenröder removed the gray-brown interior paint of the Ludwigskirche and the ornamental gilding that had been applied in the 19th century, and discovered Stengel's original color underneath. Sachsenröder's notes regarding the restoration measures were of great value for the reconstruction of the Ludwigskirche after the Second World War. On the exterior, Helmut Sachsenröder replaced the attic zone, 14 of the 28 statues in the roof region, 10 jewelry vases and the amortissements with copies. Sachsenröder repaired the structural damage caused by the ingress of moisture in the wake of the revolution by extensive renovation of the cornices and masonry. The site manager had the colorful window glazing from the 19th century removed and replaced with antique glazing with modest painting. The organ work was expanded and relocated by the Walcker company, while the old case was retained. Modern gas lanterns and a gas heater were installed.

Destruction in World War II

During the Second World War , during the devastating British bombing raid on Saarbrücken in the night of October 5th to 6th, 1944, high explosive and incendiary bombs destroyed the Ludwigskirche .

Reconstruction and restoration after the end of the Second World War

After the destruction, the community began to secure the ruin: rubble was cleared and damage to the masonry removed. In 1946 the order for the reconstruction was officially given by the municipality. In 1947 the building permit was available. The aim was to restore the church to its pre-war state, i.e. not in its original state at Stengels. The reconstruction of the Ludwigskirche began in the same year, but has not yet been completed. Under the direction of architect Rudolf Krüger, the restoration of the exterior in its old form began. The topping-out ceremony was celebrated on July 26, 1947. The roof of the church had been assembled from existing steel pipes. Krüger also renovated the entire church foundation in the years 1955–1957.

The design of the interior of the sacred building proved to be problematic. Krüger was of the opinion that a baroque “princely church” no longer fit into modern times and that a modern interior space is more appropriate to the needs of modern people than a “baroque ballroom”.

In 1952, the church architect Otto Bartning took the view, as an appraiser, “that the inside of the Ludwigskirche cannot be restored in the same form as it was built by Stengel, because a copy or duplicate is known to be a forgery. The Church must be renewed internally according to the needs of our time. "

As the first winner of an architecture competition announced in 1958, Rudolf Krüger began redesigning the interior in 1959. The ceiling of the church was decorated in the cross arms with flat diamond patterns and in the crossing with diamond blocks. Three modern steel galleries were supposed to replace the old Stengel galleries and a large organ in a free-standing box housing would have made the installation of the west gallery impossible.

After the modern ceiling was fully assembled and Krüger exhibited the designs for the organ and galleries in the church as models on a scale of 1: 1, massive objections arose from the State Conservator's Office under Martin Klewitz, the art historian Josef Adolf Schmoll , who was newly appointed to the Saarland University called Eisenwerth and the curator of the city of Saarbrücken, Dieter Heinz , who called for the interior of the Ludwigskirche to be restored to its original form. These objections were accompanied by expert opinions from art historians and monument preservationists, the protest of the politician Heinrich Schneider, and civic initiatives ("Association of Ludwig Church for the Protection of Saarland Cultural Monuments", founded in 1962), which decidedly rejected Rudolf Krüger's plans. Thereupon the work of Kruger was stopped. After about ten years of passionate controversy and the establishment of a working group in 1965 to find compromises, the Kruger ceiling was dismantled again and the restoration of Stengel's room concept began in 1966. The restoration of the interior without the galleries was largely completed on April 20, 1975. The measure included the design of sandstone floor slabs, the installation of underfloor heating, the new glazing of all windows, the new production of the wall cladding, the ceilings and the crossing vault in plaster stucco as well as the seating and lighting. In 1977 the Ludwig Church was included in the federal and state-sponsored program for future investments. With a twenty percent financial participation of the parish, 3 million DM were made available for the construction of the church. The construction management took over in 1979 Rudolf Krüger's son, Klaus Krüger.

By 1982 the galleries were built into the east and west arms of the church and the pulpit and organ front were reconstructed. After 1982 the pews were built into the west arm and a vestibule installed in the main entrance and in the east arm. Between 1985 and 1987, the walled-in transverse oval windows in the base zone were opened and re-glazed. Then the installation of the transept galleries and the reconstruction of the caryatid herms by restorer Karsten Püschner began.

The interior restoration was completed in 2009 with the restoration of the Fürstenstuhl (the princely stalls that were on the gallery opposite the organ). Now only 15 of the originally 28 balustrade figures, the (historically existing) gender chairs and the original color of the outer facade are missing.

From September 19, 2016 to August 29, 2017, the Ludwigskirche was closed for further restoration work. The work included a partial restoration of the roof and the gable windows, a reinforcement of the steel structure in the bell tower, the renewal of the bell technology, the renewal of the heating and acoustic system and a comprehensive renovation of the organ as well as the restoration of 8 of the 13 existing sandstone figures. Inside, the baroque structure of the room could be emphasized more clearly by rearranging benches; For the first time since 1944, benches were placed in the side galleries. Costs of 1.5 million euros were estimated for the measures, which could be raised from the federal program Baroque meets Modern . The Stengel plant from the 1950s and the Friedenskirche directly opposite, also built by Stengel, are also being renovated in the same project.

layout

Ludwigskirche and Ludwigsplatz (model in assumed color version)
Saarbrücken around 1770 - clearly recognizable the white tower of the Ludwigskirche

The floor plan corresponds roughly to a Greek cross ; the axes are 38.5 m and 34.2 m long and each 17 m wide. All dimensions of the church correspond to the circular geometry customary for architects at the time. All alignments of the building are given by a twelve-pointed star that is drawn in a circle. In the risalit inclines there are niches on the outside in which statues of the four evangelists were set up by Franziskus Binck. The stone balustrade was adorned with 28 figures, also by Binck, depicting apostles , prophets , biblical people and allegories of virtues . The amortissement of the state coat of arms on the main facade is flanked by the apostles Peter (left) and Paul (right). Clockwise the statue of Peter is followed by the following images:

In 1906, so many of these figures were so badly damaged by environmental influences and the effects of industrialization in the 19th century that half had to be replaced with copies. The night of bombing in 1944 added further heavy losses. Of the currently 13 figures, only one, namely the prophet Daniel, is from the 18th century. Some of the figures removed in 1906 survived in the magazine and were able to be set up in new locations in the late 20th century: The original Apostle Paul from 1775 is now in the fountain house in front of the Saarbrücken Castle, and the two allegories for "Faith" are in the foyer of the castle " and love".

The interior of the church is decorated with ornamental stucco ( cartouches , rocaille ). In all four arms of the cross there are galleries , each supported by two (south and north gallery ) or four (organ and princely gallery ) caryatids . The north gallery is supported by the allegories of hope and patience, the south pore by the allegories of prosperity and peace. The princely gallery is supported by four allegorical figures of the so-called secular and spiritual regiment (according to the Lutheran doctrine of the two kingdoms ) with the attributes scepter , bundle of rods , key and heart. The allegorical pillars of the organ gallery are the sacrament and the Annunciation in the first row (according to Article 7 of the Augsburg Confession of 1530, the "characteristics of the true Church"), in the second row vocal music and instrumental music.

The floor is made of sandstone . The nave and the side galleries were the place of the citizens of Saarbrücken, while gender boxes were laid out under the three galleries for the privileged families of the royal seat. The entrances to the boxes were decorated with the respective family coats of arms and separated from the rest of the church by a wall glazed with filigree muntins. These boxes could be heated in winter by small charcoal stoves. The royal box was also originally glazed.

The special thing about the interior design is, on the one hand, the overall widthwise arrangement of the whole church (one speaks of a "transverse church" or "broad hall church") and in turn the tiered arrangement of altar, pulpit and organ one above the other (a so-called " pulpit altar ") - an arrangement newly developed for Protestant churches, which Stengel had already implemented in other buildings in earlier years (e.g. Evangelical Church of Grävenwiesbach , Friedenskirche (Saarbrücken) ).

In order to document the equivalence of the preaching of the “pure Gospel” ( sola scriptura principle of Luther) and the Lord's Supper (Lutheran principles: solus Christ , sola fide , sola gratia ), one was created especially in Protestant churches in central and northern Germany Altar and pulpit existing design unit, into which the organ was sometimes integrated. The oldest example (1585–1590) is the pulpit altar in the castle chapel of Schmalkalden in Thuringia . The reliefs of the pulpit basket show the four evangelist symbols and in the center the command of the risen Christ to the 11 disciples (Matthew 28).

Stengel not only designed the overall plan of the church and the surrounding palaces, from the door handle to the entire complex, but also fitted the church and square into two large urban visual axes, one of which was that of the so-called "Old Church" in the St. Johann district through today's Wilhelm-Heinrich-Straße and the main portal up to the altar, is still recognizable today: the so-called "stem axis". The other showed over the exit, which today points to the Saarland State Chancellery, to the former princely pleasure palace on the Ludwigsberg , the so-called Ludwigspark .

  • West view

  • Interior of the Ludwigskirche, 2007 (still without the Princely Chair)

  • Princely chair

  • Central ceiling decoration: God symbol in radiant sun, 2007

  • The Ludwigskirche illuminated in Pentecostal red, 2009

  • Ludwigskirche in 1885, seen from the place of today's Saarland State Chancellery (painting by Nathanael Schmitt )

organ

Pulpit altar with organ

The Ludwigskirche was equipped with a three-manual organ until 1944 , which was built in the middle of the 18th century by the organ builder Stumm (Rhaunen-Sulzbach) with 37 registers . In the 19th century it was expanded by the Walcker company and moved to the organ gallery further back towards the tower. The present organ case is a reconstruction of this historical case . It was completed together with the organ work in 1982. The instrument comes from the organ builder Rudolf von Beckerath (Hamburg), the prospectus was made by the Swiss organ builder Kuhn. In 2017 the organ was extensively renovated, re-voiced and a new digital composer system with network connection was installed.

The organ has 47 registers on three manuals and a pedal . The action and coupling are mechanical.

I Hauptwerk C – g 3
01. Drone 16 ′
02. Principal 08th'
03. Pointed flute 08th'
04th Gamba 08th'
05. recorder 0 04 ′
06th octave 04 ′
07th Fifth 2 2 ⁄ 3  ′
08th. octave 02 ′
09. Mixture VI
10. bassoon 16 ′
11. Trumpet 08th'
II Swell C – g 3
12. Viol principal 08th'
13. Wooden flute 08th'
14th Gemshorn 08th'
15th Beat 08th'
16. octave 04 ′
17th Transverse flute 04 ′
18th Nasat 2 2 ⁄ 3  ′
19th Flat flute 02 ′
20th third 1 3 ⁄ 5  ′
21st Sif flute 01'
22nd Spicy Mix IV-VI 0
23. English horn 16 ′
24. Hautbois 08th'
25th Clairon 04 ′
Tremulant
III Oberwerk C – g 3
26th Wooden dacked 08th'
27. Quintadena 08th'
28. Principal 04 ′
29 Reed flute 04 ′
30th octave 02 ′
31. Fifth 1 1 ⁄ 3  ′
32. Sesquialtera II 0 2 2 ⁄ 3  ′
33. Zimbel III
34. Rankett 16 ′
35. Cromorne 08th'
Tremulant
Pedal C – f 1
36. Sub-bass 16 ′
37. Principal 16 ′
38. Fifth 10 2 ⁄ 3  ′
39. octave 08th'
40. Gemshorn 08th'
41. octave 04 ′
42. Night horn 02 ′
43. Rauschpfeife III 0
44. Mixture VI
45. trombone 16 ′
46. Trumpet 08th'
47. Trumpet 04 ′

Bells

After the bronze bells had to be delivered in the First World War , the presbytery decided after the end of the war to buy cheaper cast steel bells that were not endangered for future war purposes . In 1921, the cast steel company Bochumer Verein created a four-part bell that can still be heard today. The total gross weight of all bells is 7250 kg. In 2016 the bell chair was reinforced and the steel bells replaced by wooden ones; all bells also received new clappers. The electrics and the hammers of all bells were renewed so that the chiming of the hour can sound again.

No. Surname inscription Nominal Casting year Bell caster Weight
(kg) 		Diameter
(cm)
1 Christ bell "Come to me all" a 0 1921 Bochum Association 3300 198.8
2 Paul Bell "If God is for us, who can be against us" c 1 1921 Bochum Association 1900 167.3
3 Luther bell "A Mighty Fortress Is Our God" it 1 1921 Bochum Association 1200 143
4th Ernst Moritz Arndt bell "I know what I believe in" ges 1 1921 Bochum Association 850 126

Ludwigsplatz

Sketch of the originally planned development for Ludwigsplatz

The square surrounding the church, Ludwigsplatz, was an integral part of Stengel's overall concept from the start. The original plan envisaged an elongated rectangular square, on the long sides of which four differently designed types of aristocratic city palaces were to be placed and the front sides of which were to be closed off by two large public buildings. This concept was changed during the construction period so that the building closing off the square to the east (in which the Ludwigsgymnasium was housed) in favor of the line of sight to St. Johann (the so-called "stem axis", today marked by Wilhelm-Heinrich-Straße) was broken through and only the western building (the former orphanage , now the seat of the Saar College of Fine Arts ) remained intact. The remnants of the grammar school, i.e. the two broken parts in the east, which were badly damaged in the great bombing of 1944, were torn down in 1945, they stood roughly at the point that today makes up the upper plateau of the outside staircase. From the end of the war until 1980, the Palais Freithal housed the State Conservatory Office and the Museum of Prehistory and Early History . Of the palaces on the long sides, the four smallest buildings planned for the corners of the square, as well as the north-western building, were never built - which made it possible to have a street between the orphanage and the church that diminishes the impression of the square as it does in some cases existing trees. In contrast, the space that is now occupied by the State Chancellery was deliberately left empty by Stengel in order to create a second line of sight, namely up to the princely park on the Ludwigsberg. The intersection of the two lines of sight is exactly at the main altar of the church.

Postage stamps and coins

As early as the 1920s, the Saar League administration issued a series of stamps with the caryatids of the Ludwig Church. In 1965 the Ludwigskirche was shown in the stamp series Capitals of the States of the Federal Republic of Germany ; the same happened in 2007 on the occasion of the 50th anniversary of the state of Saarland. As a landmark of the state capital Saarbrücken, the Ludwigskirche was minted on the 2-euro commemorative coins in 2009 , as the Saarland held the rotation of the Federal Council that year .

literature

  • Thomas Bergholz: The Ludwig Church in Saarbrücken Art Guide with illustrations by Wolfgang Niesen, ed. from the Ev. Parish of Alt-Saarbrücken. Saarbrücken 2019
  • Georg Dehio : Handbook of the German art monuments. Rhineland-Palatinate, Saarland . Deutscher Kunstverlag, Munich 1984, pp. 889–892, ISBN 3-422-00382-7
  • Hans-Christoph Dittscheid, Klaus Güthlein (ed.): The Stengel family of architects. Friedrich Joachim (1694–1787), Johann Friedrich (Fjodor Fjodorowitsch, 1746–1830?), Balthasar Wilhelm (1784–1824) , Petersberg 2005, ISBN 3-937251-88-X
  • Wolfgang Götz: On the style history of the Ludwig Church in Saarbrücken, in: Saarheimat, Saarbrücken 1952.
  • Dieter Heinz : Ludwig Church in Saarbrücken . 2nd edition, Saarbrücken 1979, ISBN 3-477-00061-7
  • Horst Heydt: Ludwigskirche and Ludwigsplatz zu Alt-Saarbrücken . Saarbrücken 1991, ISBN 3-9802837-0-4
  • Horst Heydt (Ed.): Ludwigskirche 1775 . Festschrift, Saarbrücken 1980.
  • Horst Heydt, Görres-Buchhandlung (ed.): Ludwigskirche 1982. Documents, memories, studies . Saarbrücken 1982.
  • Horst Heydt (Ed.): The Ludwig Church in Saarbrücken . Merziger Druckerei & Verlag, Merzig 2008, 229 pp.
  • Martin Klewitz : On the problem of the Ludwig Church, in: 9th Report of the State Preservation of Monuments, Saarbrücken 1962.
  • Fritz Kloevekorn : History of the Evangelical Church Community Alt-Saarbrücken . Saarbrücken 1960.
  • Karl Lohmeyer: Friedrich Joachim Stengel, 1st edition, Saarbrücken 1911, Saarbrücken 1982.
  • Alfred Werner Maurer : The artistic u. Style-historical influence of the architectural theoretical writings of Nicolaus Goldmann and Leonhard Christoph Sturm on the buildings of FJ Stengel. Philologus Verlag Basel (CH), 2006.
  • Alfred Werner Maurer: Friedrich Joachim Stengel, his buildings and their relationship to architectural theory, Philologus-Documents Basel (CH) 2009, publisher, 2006.
  • Josef Adolf Schmoll called Eisenwerth: The Ludwig Church by FJ Stengel, Saarbrücken 1963.
  • Robert H. Schubart: Ludwigsplatz and Ludwigskirche in Saarbrücken 1762–1765 - 1775. Study on Idea and Shape , Saarbrücken 1967.
  • Robert H. Schubart: Ludwigskirche and Ludwigsplatz Saarbrücken . Saarbrücken 1983.
  • Robert H. Schubart: Ludwigsplatz and Ludwigskirche in Saarbrücken, in: 13th Report of the State Preservation of Monuments, Saarbrücken 1962.
  • Wilhelm Zilius: To the Ludwig Church, ed. from the historical association for the Saar region, Saarbrücken 1966.

Individual evidence

  1. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 56.
  2. ↑ Complete instructions to indicate all types of churches ... , Augsburg 1718, digitized version ( Memento of the original from December 14, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at diglit.ub.uni-heidelberg.de @1@ 2Template: Webachiv / IABot / diglit.ub.uni-heidelberg.de
  3. ^ Karl August Schleiden: Illustrated History of the City of Saarbrücken, Dillingen an der Saar 2009, pp. 98–99.
  4. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 58.
  5. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 56.
  6. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 3, p. 6.
  7. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 51.
  8. ↑ Ruth Bauer: The war of faith around the Ludwigskirche, other times, other tastes, how the buildings of the baroque architect Friedrich Joachim Stengel were changed over the centuries, in: Saargeschichten, magazine for regional culture and history, ed. from the historical association for the Saar region and the regional association of historical-cultural associations of the Saarland, 3/2012, pp. 16-23.
  9. ↑ Rudolf Krüger's estate in the Saarbrücken city archive, G 4592, G 3377, G 1842, G 60 No. 290.
  10. ^ The urban development of Saarbrücken , accessed on December 2, 2014.
  11. ↑ Ruth Bauer: The war of faith around the Ludwigskirche, other times, other tastes, how the buildings of the baroque architect Friedrich Joachim Stengel were changed over the centuries, in: Saargeschichten, magazine for regional culture and history, ed. from the historical association for the Saar region and the regional association of historical-cultural associations of the Saarland, 3/2012, pp. 16-23.
  12. ↑ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, pp. 51–55.
  13. ^ Hartwig Beseler, Niels Gutschow: War fates of German architecture, losses - damage - reconstruction, a documentation for the territory of the Federal Republic of Germany, Vol. II: Süd, Wiesbaden 2000, pp. 1064-1065.
  14. ^ Institute for contemporary art in Saarland, archive, holdings Saarbrücken, Ludwigskirche (Dossier K 498).
  15. ↑ Ludwigskirche will be closed for one year , report in the Saarbrücker Zeitung of May 13, 2016, accessed online on May 13, 2016
  16. ↑ SR documentation from January 13, 1988: The Ludwig Church in Saarbrücken, https://www.youtube.com/watch?v=7XVeCH7lbIo , accessed on February 11, 2020.
  17. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 38.
  18. ^ Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 15.
  19. ^ Karl August Schleiden: Illustrated history of the city of Saarbrücken. Dillingen an der Saar 2009, pp. 99-100.
  20. ^ Term from Ilse-Käthe Dött, based on: Robert H. Schubart and Horst Heydt: Ludwigskirche and Ludwigsplatz Saarbrücken, Saarbrücken 1988, p. 16.
  21. ^ Thomas Bergholz: The pulpit image of the Ludwig Church in Saarbrücken. In: Zeitschr. fd Gesch. the Saar area 2018
  22. ↑ The organ on OrganIndex
  23. ^ Frans-Josef Schumacher: Landesarchäologie Saar 2005-2009-Monument Preservation in Saarland 2 . Ed .: State Monument Office in the Ministry for the Environment, Energy and Transport, Saarbrücken. Saarbrücken 2010, ISBN 978-3-927856-12-7 .

Web links

Commons : Ludwigskirche (Saarbrücken)  - Collection of images, videos and audio files

Coordinates: 49 ° 13 ′ 58 ″  N , 6 ° 59 ′ 11 ″  E