Annunciation (Heldenbergen)

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Church from the southeast
Interior with a view of the altars

The Catholic Church of the Annunciation in Heldenbergen , a district of Nidderau in the Main-Kinzig district in Hesse , is a listed hall church from the Baroque era . The building, erected in the years 1751–1754, with a hooded roof turret and drawn -in five-eighth head, has a rich church interior .

history

A predecessor church is presumed to be from the year 839 or around 1100, but is not documented. There was evidence of a pleban in 1192 and a pastor in 1231 when the Limburg monastery transferred the church to the Mainz cathedral chapter . 1380 oaks belonged to the parish of Heldenbergen . It is possible that Klein-Karben was parish off as a branch in Heldenbergen. In the medieval church, the two altars were dedicated to St. Alban and the Ten Thousand Martyrs . The patronage of Mary is attested for 1468.

In the late Middle Ages, Heldenbergen was subordinate to the Deanery Roßdorf in the Archdeaconate of St. Maria ad Gradus in Mainz . In the course of the Reformation , when the church belonged to the immediate imperial burgraviate Friedberg , evangelical movements can be identified from around 1520, but they did not lead to a change of confession. The church belonged to the Mainz cathedral chapter and Kurmainz opposed the introduction of the Reformation. Heldenbergen's position between the Protestant Friedberg and the Catholic Mainz led to constant conflicts, but for a period of 65 years also to a mixed form of worship. In 1587 a Lutheran school was opened on site. The children learned the Lutheran catechism. The Lutheran cantor had Luther songs sung and the Catholic pastor baptized, married and buried Lutheran Christians. During the Thirty Years' War the community became temporarily Lutheran, only to become Catholic again in 1636.

The medieval church was replaced in the middle of the 18th century. Master builders from Tyrol began building the church in 1751, which was consecrated in March 1754 by the Mainz auxiliary bishop Christoph Nebel . The main altar, the side altars and the pulpit were taken over from Gernsheim , where a new church was being built at the same time. The organ, for which the hero citizens had also tried, remained in Gernsheim.

The congregation carried out a renovation of the church in 1862/1863 and purchased a new organ. In 1890, the Stations of the Cross were added to the furnishings, and in 1900 Pastor Thoebes donated the two stained glass windows in the choir; Thoebes was murdered in the parsonage on the night of November 11th to 12th, 1904. In 1902 a sacristy was added on the eastern south side . As a result, the wooden partitions with doors behind the altar that separated a sacristy area were removed. In 1909 the community bought a new organ. Eugen Brentano donated the window on the north side in 1914. A bell by Johann Peter Bach und Sohn from Windecken from 1778 and one by Johann Georg and Jakob Bach from 1812 and a small one from Johann Georg Barthels from Frankfurt from 1707 were delivered in 1917 for armament purposes. The bells newly cast by Störmer from Erfurt in 1923 were returned in 1941, except for one, and replaced in 1950 by the Grüninger foundry from Neu-Ulm (three pieces). The ringing has the tone sequence g 1 b 1 c 2 es 2 (ideal quartet).

In the first half of the 20th century, the west gallery was moved forward and the central aisle was covered with new panels. In 1957, the renovation of the outer walls and drainage measures followed. The liturgical reform decided by the Second Vatican Council led to the removal of the communion bench between the choir and aisle, in the place of which a front altar was erected. In 1988 an external renovation followed. The weathercock was overhauled and re-gilded and the outside staircase leading to the organ gallery was removed. The crucifixion group, which was attached to the north wall of the cemetery, was given a new place inside the church to protect it from the weather. In 1991/1992 the baroque altars were restored.

architecture

The north window from 1914 shows the meeting between Maria and Elisabeth.
View from the west

The yellow plastered hall building, which is not exactly easted , but slightly north-northeast oriented, is erected in an exposed, elevated position on a Kirchberg in the old town center. Only the corner blocks of the quarry stone masonry, the frames of the windows and portals as well as the surrounding plinth stones made of red sandstone are left out of the plaster. The five-eighth choir that has been drawn in is connected to the nave by two sloping walls. Four large arched windows on both long sides provide the interior with light. The west side has no windows, apart from a very small round window below the crooked roof. In addition to the sacristy door, the church is accessed through high rectangular portals with a profiled sandstone frame in the west and south. The west portal is decorated by a triangular blown gable with a niche in which the figure of the Mother of God with the baby Jesus is placed in her arms. Until the beginning of the 19th century, the surrounding area was used as a cemetery.

The gable roof is equipped with small dormers on each side, it is hipped above the choir. In the west there is an eight-sided, completely slated roof turret. It develops from a cube-shaped shaft, the two upper floors of which are tapered. Round-arched sound openings for the bells are embedded on four sides. On the first floor, the four white dials of the tower clock are attached above the sound openings in each direction. A tower knob, a wrought iron cross and a gilded weathercock crown the Welsche Dome .

The gable, two-storey sacristy extension is covered by a slated gable roof, the ridge of which extends to the eaves of the church roof. A sandstone cross is placed on the chimney end. The sacristy is lit on the south side below through two elliptical windows and above through two arched windows. A small round blind window is set into the gable triangle. To the west the stairwell jumps back a little with a high rectangular door under a canopy.

Double grave stone for Johann von Stockheim zu Helhaben and Gertrud von Bellersheim

The former cemetery area ("church square") is enclosed by a stone retaining wall that was built around 1820. The churchyard has sculptural figure decorations and numerous old tombstones from the 16th to 18th centuries. Century. On the north wall of the cemetery is the double tombstone of a knight in full armor and his wife in a pleated robe. It shows a life-size couple, flanked by two pilasters with four coats of arms each, which allow identification despite the lack of an inscription: It is the Friedberger Burgmeister Johann von Stockheim zu Helhaben (Heldenbergen) († 1541) and his wife Gertrud von Bellersheim ( † 1533). The two upper coats of arms denote the grandfathers and the two lower coats of arms the grandmothers. The church entrance, which is marked with the year 1753, is crowned by the apostle figures of Peter and Paul made of yellow sandstone. They are casts of the originals that are exhibited in the Windecker Heimatmuseum. The ornate wrought iron cemetery doors also date from the mid-18th century. The sandstone figure of Gottfried von Cappenberg is placed on the southern wall . A large Pietà from the second half of the 18th century is made from red Main sandstone in the middle of the churchyard. A female figure of unknown identity and origin is incorporated as a half-relief in the northeastern cemetery wall. A small Pietà in a niche to the left of the staircase in the south-eastern cemetery wall probably dates from the 13th century. In the southwest corner of the wall, in a niche, there is the praying Christ on the Mount of Olives, who looks at an angel figure. These are Spolia , the original location of which is unknown.

Interior

Gothic crucifixion group
West gallery
Main altar from 1719/1754

The interior is closed off by a mirror ceiling, which is decorated with stucco ornaments (circles, semicircles and quatrefoils ). The central aisle is covered with ornamented panels that match the color of the church furnishings. The brightly painted glass windows in the style of historicism , designed by the Heidelberg glass painter Beiler, show the proclamation scene and the Christmas crib (1900) in the choir . On the stained glass window from 1914 on the north long side of the ship Maria and Elisabeth are shown.

The oldest piece of inventory that was taken over from the previous church is a Gothic forked cross made of sandstone, which is designed as a tree of life , in a niche in the north long wall, where a confessional used to be set up. The three-part crucifixion group from the 14th century shows a nearly seated Christ with long hair and without a beard, whose ribs stand out strongly. The branch-shaped cross arms of the cross are arched like two arcades . A late Gothic baptismal font is set up in front of the rectory. The two grisaille panes in the skylight of the main entrance are copies of the late Gothic original, which are exhibited in the Mainz Diocesan Museum. They show Mary as the patron saint of the church and St. Nicholas with three golden apples.

The wooden, red-brown marbled main altar on the east choir wall and the two side altars on the east wall of the church in front of the choir dominate the interior. They were taken over from Gernsheim , but the framing was revised in the Rococo style and received a new image program. The superstructure of the altars was created by Johann Läufer in 1717, the plastic jewelry by the Mainz court sculptor Franz Matthias Hiernle in 1719. The middle niche in the main altar is framed by rocailles and an open gold-silver curtain over two small white angels. A large white crucifix indicates that the main altar is dedicated to the Holy Cross . The niche with the cross was designed for Heldenbergen and replaces a painting of Maria Magdalena , which the Worms painter Martin Rosner created. The altar is flanked by two free pillars each ending in gilded volute capitals. On the far left stands Peter with a key and outstretched hand, on the right the Apostle Paul with the sword. White angels, some of which are gilded, sit on the curved, blown gables . In the upper end there is a three-pass God the Father who looks down on Christ. A golden cross of rays crowns the main altar. A silver dove symbolizing the Holy Spirit completes the Trinity . The cafeteria is two steps higher and bears the Christ monogram IHS on the front . On the tabernacle, the Lamb of God rests on the book with the seven seals between two little angels. The figures of Mary and Mary Magdalene are placed in the side niches below.

The side altars are dedicated to Mary and Joseph, which are depicted as white sculptures on a pedestal in a niche in front of a torn curtain. A crescent moon Madonna can be seen on the left, flanked by the smaller figures of St. Barbara with a chalice and host and St. John Nepomuk with a biretta and choir shirt . The figure of Joseph in the right altar was made as a copy in the 19th century. As a sign of his purity, Joseph wears a long lily staff. The figures of John the Baptist with the Lamb of God and the victory flag and St. Margaret are assigned to him. The intricate names MARIA and JOSEPH can be read on the altarpieces. The original paintings of the Nativity scene and St. Josef were replaced for Heldenbergen. Both altars were initially walled up in 1712 and were given walnut veneer superstructures in 1717–1719. The original painted altarpieces are attached to the long sides of the church. The larger paintings by an unknown Worms painter, presumably also Rosner, show the Assumption of the Virgin Mary and St. Joseph, the smaller the Son of God and the Holy Spirit.

Baroque pulpit on the south wall of the choir

The baroque pulpit made of red-brown-marbled painted wood also dates from the beginning of the 18th century and consists of the pulpit staircase, the pulpit cage and the sound cover. Like the pulpit, the steep staircase is structured by gold-plated half-columns. The pulpit fields are decorated with four white sculptures of the evangelists with their evangelist symbols. The sound cover is richly profiled and decorated with gold-plated tassels . A gilded dove is attached to the underside, and at the top volutes run out into a console on which Christ is depicted as the Good Shepherd, carrying two lambs on his shoulders.

The baroque baptismal font is shaped like a cup made of gray marble. Next to the southern side entrance is the baroque confessional , which is attributed to the workshop of the Aschaffenburg carpenter Anton Grimm. Another is set up next to the west portal. In the choir, the two epitaphs made of black marble with white limestone attachments are reminiscent of pastors Anton Haber († 1753) and Anton Friedrich Haber († 1759), and a grave monument made of red sandstone on the north wall under the gallery is reminiscent of Pastor Franz Anton Külsheimer († 1811) and next to it two black marble epitaphs to Magdalena Josepha von Weichs († 1766) and to Johann Philipp Carl VII. von Hattstein († 1762).

The west gallery, which is drawn in up to half of the nave, serves as the installation site for the organ. It rests on six slender, cast iron, fluted columns with volute capitals. The panels of the gallery parapet show in the center of paintings by an unknown master Christ as Pantocrator , who is surrounded by the twelve apostles . Below the gallery are the 14 stations of the Way of the Cross from 1890 in the Nazarene style . The holzsichtige pews has curved cheeks.

organ

The Körfer organ from 1909

In 1754, the parish of Heldenbergen asked the Gernsheim parish for its organ , which, however, was installed in the new Gernsheim church in 1755. It is not known whether this organ, which was sold again in 1764, made it to Heldenbergen. There is evidence of an organ in 1790 and 1841. An instrument created in 1863 by an unknown organ builder had 19 stops on two manuals and a pedal . It was replaced in 1909 by Michael Körfer (1868–1950) from Gau-Algesheim . The prospect pipes were delivered in 1917 for armament purposes and later replaced by zinc pipes. The company Förster & Nicolaus Orgelbau carried out a major repair in 1983 and a comprehensive restoration in 1996, adding two missing registers. The two-manual organ with pneumatic cone shutters behind a neo-baroque front is stylistically a work of late Romanticism with eleven fundamental voices in the 8-foot position ("equallage"), which enable smooth sound dynamics. It has a total of 19 registers and has the following disposition :

I Manual C – f 3
Bourdon 16 ′
Principal 8th'
Slack major 8th'
Covered 8th'
Viol 8th'
Aeoline 8th'
octave 4 ′
Reed flute 4 ′
Cornett IV 4 ′
Mixture IV 2 2 ⁄ 3 
Trumpet 8th'
II Manual C – f 3
Flute principal 8th'
Lovely covered 8th'
Salicional 8th'
Dolce 8th'
flute 4 ′
Pedal C – d 1
Sub bass 16 ′
Violon bass 16 ′
violoncello 8th'
  • Coupling : II / I, I / II Super, I / II Sub, I / P, II / P
  • Playing aids : 1 free combination, 4 fixed combinations (p, mf, f, ff), release, pedal switching, calcant whistle

literature

  • Rudolf Adamy: Art monuments in the Grand Duchy of Hesse. Province of Upper Hesse. Friedberg district. Arnold Bergstraesser, Darmstadt 1895, p. 132 ( online ).
  • Max Aschkewitz: Pastor history of the Hanau district ("Hanauer Union") until 1968. Volume 2 (= publications of the Historical Commission for Hesse. Vol. 33). Elwert, Marburg 1984, ISBN 3-7708-0788-X , pp. 171-173.
  • Robert Bastian; Helmut Brück (Red.): 250 years of the Catholic Church of the Annunciation (= Heldenbergen. Look into the times. Issue 7). History Association Heldenbergen eV, Heldenbergen 2005.
  • Wilhelm Hans Braun: The crucifixion group and the double tombstone at the church of Nidderau 1 (Heldenbergen). In: Wetterau history sheets. Vol. 21, 1972, pp. 39-43.
  • Georg Dehio : Handbook of German art monuments , Hessen I: Administrative districts of Giessen and Kassel. Edited by Folkhard Cremer and others. Deutscher Kunstverlag, Munich / Berlin 2008, ISBN 978-3-422-03092-3 , p. 431.
  • Wilhelm Diehl : Pastor and schoolmaster book for the Hesse-Darmstadt sovereign lands. (Hassia sacra; 4). Self-published, Darmstadt 1930, p. 256, 281–282.
  • Sigrid Duchhardt-Bösken : On the furnishing of the parish church in Heldenbergen. In: Joachim Glatz (Ed.) Art and Culture on the Middle Rhine. Festschrift for Fritz Arens on his 70th birthday. Werner, Worms 1982, ISBN 3-88462-016-9 , pp. 132-137.
  • Eckhard Nordhofen: The stones speak - history of the Catholic Church of Heldenbergen since the Reformation. In: Chronicle Committee Heldenbergen; City of Nidderau (Ed.): Chronicle Heldenbergen (= Nidderauer Hefte. Volume 5). City of Nidderau, Nidderau 1989, ISBN 3-9801873-4-9 , pp. 119-163.

Web links

Commons : Annunciation  - collection of images, videos and audio files

Individual evidence

  1. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 6.
  2. ↑ Nordhofen: The stones speak. 1989, p. 134.
  3. ↑ a b Gerhard Kleinfeldt, Hans Weirich: The medieval church organization in the Upper Hesse-Nassau area (= writings of the Institute for historical regional studies of Hesse and Nassau 16 ). Elwert, Marburg 1937, reprint 1984, p. 39.
  4. ↑ a b c Adamy: Art monuments in the Grand Duchy of Hesse. 1895, p. 132 ( online , accessed October 30, 2017).
  5. ↑ a b Heldenbergen. Historical local dictionary for Hessen. In: Landesgeschichtliches Informationssystem Hessen (LAGIS). Hessian State Office for Historical Cultural Studies (HLGL), accessed on October 30, 2017 .
  6. ↑ a b c d e f g Homepage of the parish , accessed on October 30, 2017.
  7. ↑ Duchhardt-Bösken: To the equipment of the parish church in Heldenbergen. 1982, p. 134.
  8. ↑ Nordhofen: The stones speak. 1989, p. 144.
  9. ↑ Nordhofen: The stones speak. 1989, pp. 145-148.
  10. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 40.
  11. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 26.
  12. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 28.
  13. ↑ a b c Dehio: Handbuch der Deutschen Kunstdenkmäler, Hessen I. 2008, p. 431.
  14. ↑ a b Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 14.
  15. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 12.
  16. ↑ Nordhofen: The stones speak. 1989, p. 130.
  17. ↑ See Braun: The Crucifixion Group and the Double Tombstone. 1972, pp. 40–43, on the individual coats of arms.
  18. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 8.
  19. ↑ Nordhofen: The stones speak. 1989, p. 131.
  20. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 38.
  21. ↑ Braun: The crucifixion group and the double tombstone. 1972, p. 39.
  22. ↑ a b Duchhardt-Bösken: To the equipment of the parish church in Heldenbergen. 1982, p. 132.
  23. ^ Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 15.
  24. ↑ a b Nordhofen: The stones speak. 1989, p. 124.
  25. ↑ a b Bastian: 250 years of the Catholic Church of the Annunciation. 2005, p. 23.
  26. ^ Franz Bösken, Hermann Fischer : Sources and research on the organ history of the Middle Rhine (=  contributions to the Middle Rhine music history . Volume 29.1 ). tape 3 : Former province of Upper Hesse. Part 1: A-L . Schott, Mainz 1988, ISBN 3-7957-1330-7 , p. 455-456 .
  27. ^ Organ in Heldenbergen , accessed on October 30, 2017.

Coordinates: 50 ° 14 '15 "  N , 8 ° 51' 50.43"  E