Marienkirche (Bad Segeberg)
The Marienkirche in Bad Segeberg's city center is the oldest three-aisled vaulted basilica of the brick Romanesque style in northern Elbe and was the architectural model for the younger cathedrals in Lübeck and Ratzeburg . Today it is the church of the Evangelical Lutheran Parish Segeberg.
Prehistory and construction
In the course of the incorporation of Slavic - pagan areas east of the Limes Saxoniae into the Christian Holy Roman Empire , the first Augustinian monks founded a monastery in the wasteland east of the Trave after 1136 at the behest of the missionary Vicelin and erected the first simple monastery buildings on the Kalkberg under the protection of the early Siegesburg . During Slavic raids, these previous buildings of the Marienkirche went up again in flames, while the Augustinians fled to Wippenthorp and then settled in Högersdorf on the safe west bank of the Trave.
Following the appointment of the limestone mountain settlement in 1156 to the bishop's residence and the return of the canons of Högersdorf the foundation stone of a huge three-nave cross basilica with adjoining monastery buildings was held to 1156/57. Natural wood, plaster, clay and water deposits made it possible to build in innovative brick construction in the late Romanesque style. A 1192 from Emperor Heinrich VI. The certificate issued documents the ongoing construction project for the first time. 1199 the church was in a document from Pope Innocent III. "Eccl. S. Maria "called, which indicates a consecration that has taken place in the meantime . After around 60 years of construction, all the facilities necessary for the canons' services had been built by around 1216: a transept with two eastern side apses , an eastern choir with the main apse and three bays above the western main nave. Ornamental decorations on the capitals only seem to have been carved out of large blocks of plaster when they were installed, and in some cases remained incomplete.
The later addition to the church building with a tower and a wide portal in the west of the building is dated to the second quarter of the 13th century. The St. The monastery church consecrated to Mary is one of the oldest church buildings in northern Elbe and at the same time the first church in the region with a vault .
The monastery church of the late Middle Ages
The collegiate church of St. Marien was the focus of other (monastery) buildings belonging to the monastery, of which only two engravings from the 16th century testify today: To the north was the circumferential cloister with the monastery chapter , refectory , cemetery chapel , Necessarium and the "residential tower" the Canons at; the abbey stood on the northwest corner . Other buildings were in the surrounding area (bakery, granary, barn and home of the lay brothers as well as the St. Juergens hospital and bailiwick houses ); the cemetery, on the other hand, was south of the church. In the northern transept, in the St. Antonius choir, there was an altar for the founder of monasticism, St. Antonius. Presumably it was not until the Gothic period that the cruciform floor plan of the Romanesque basilica was changed by shortening the north transept to the width of the side aisle and adding another column in the line of the main nave. The church's furnishings in the late Middle Ages also included the bronze baptism of the Bremen foundry Ghert Klinghe in 1447 and the late Gothic crucifix in the eastern arch of the crossing.
Since the 13th century the church canons and pen used according to the rules of the Augustinian Order, thus possessed the right of free Propst - and Vogt election and joined with the liturgical service both pastoral care and mission as well as hospital care and poor relief. In a school of the church, priests were also trained for the Livonia mission; the most famous student was the first bishop of Livonia , Meinhard von Segeberg (1130 / 1140–1196).
Since the 1470s, during the tenure of Segeberger Prior Albert Wiltink von Bocholt (1471–1472) as part of the Windesheim reforms, the collegiate church was separated from the parish church by the extension of a 22 meter long east choir with 3/8 end. Presumably to develop the roof structure over the east choir, the church was also given a stair tower in the outer southeast corner, the remains of which were found in 1883. The completion of the huge east choir made it possible for the Canons of Windesheim to adhere to a more regular daily routine according to the Windesheim regulations, such as B. to work towards the undisturbed observance of the Liturgy of the Hours in the now separated “monk's chair”. The altarpiece for the new east choir was probably created in a Lübeck workshop, which was completed between 1510 and 1520.
After a lightning strike in the church tower in 1500, the spire with the belfry and the false ceilings may have been rebuilt. Today the tower height measures 68.4 meters (= 109.54 meters above sea level).
The Marienkirche since the Reformation
The first Protestant pastors preached to a Lutheran congregation in Segeberg's Marienkirche as early as the 1520s. The epitaph for Gerhard Walstorp , which Heinrich Rantzau had his maternal grandfather placed on the west wall of the second pillar southwest of the crossing in 1562 , also dates from this time .
Until the canons' monastery was finally abolished in 1564 and the monastery buildings were taken over by the royal governor Heinrich Rantzau, the interior of the church remained in two separate areas - for the remaining canons (in the Gothic east choir) and the Lutheran parish (in the west nave) . The east choir, which had not been used since 1564, was no longer maintained and, after the altar had been converted into the antechamber in 1573, was separated with a gate and left to further decay. In 1612, the Segeberg bailiff Markwart von Pentz and his wife Anna Katharina, née von Thienen created a lavishly decorated pulpit in the style of the late Renaissance , which probably had its original place on the north, central pillar of the main nave and thus in the middle of the community. (During the major renovation of the church in the 19th century, the pulpit broke in 1863/64 and was then stripped of layers of paint by the Kiel sculptor Eduard Lürssen , restored and reassembled in a different way and was now placed in its new place on the north-eastern pillar of the main nave, on which it to this day.)
While the monastery extensions were demolished between 1620 and 1630, except for the abbey and a southern section of the cloister branch - in future used as a crypt for aristocratic burials - the dilapidated monks' choir was only resigned between 1654 and 1657. The opening that was created in the east wall was closed with the existing field stones and granite blocks from the foundations of the former east choir, which are still visible today.
By the middle of the 16th century at the latest, the first organ existed in St. Mary's Church, as demonstrated by repair expenses from 1547 and 1549. During a renovation of the dilapidated and disfigured interior in 1684, a new organ was installed in the Marienkirche.
18th century conversions
The earliest evidence of the existence of a church bell dates back to 1731, when the 1,300 kilogram bronze bell (tone d ') was installed.
Despite constant repairs, the Marienkirche was considered to be considerably ruined in the middle of the 18th century. Nevertheless, two wooden galleries were built into both transepts inside in 1758. While repairs were in progress, new damage kept appearing: A heavily overhanging south gable of the transept with an inclination of the nave walls outwards and the tower to the west as well as damage to the roof structure. Following the recommendation of the state master builder Johann Gottfried Rosenberg in 1760, the southern transept was demolished and replaced by an extension of the outer aisle wall.
The baroque redesign of the church from 1761 to 1764 was particularly profound : the church was given a centrally placed Baroque vestibule on the south wall as the future main entrance. The appearance changed in a particularly lasting way through the conversion of the previous collar beam roof over the central nave, which was pulled down over the side aisles in 1762 with extended towed roofs and thereby gave up the freely visible upper facade windows . At the end of this renovation, the church received a mechanical clockwork with weight trains in the tower and dials in three directions - but still without a striking mechanism.
When the north aisle wall proved to be dilapidated in 1830 and had to be rebuilt, the vault of the north aisle was also demolished and replaced by a flat beamed ceiling. On the roof structure, evasive walls and settlements in the vault cap, which had already collapsed in the east area of the south aisle, new damage appeared. In 1845, the baroque gable above the “student door” in the south aisle was first demolished.
Neo-Romanesque reconstruction (1863–1867)
Under the Schleswig-Holstein building inspector Hermann Georg Krüger , repair plans with a new Romanesque redesign were drawn up from 1862 onwards . In the summer of 1863, work began with the addition of regularly spaced buttresses on the side aisles, with the uncovering of window openings, the reconstruction of a southern arm of the transept, the flooring in the newly constructed southern arm of the transept with Weser sandstone slabs, with the removal of the medieval roof structure and the younger ones Tied roofs over the aisles, and - when the upper clad windows are uncovered - with a return to the basilica shape. The reinstallation of six new groin vaults in the north aisle as well as the re-facing of all outer walls and most of the inner walls as well as the redesign of all windows took place. The previous wooden shingles on the main roof and the aisle roofs were replaced with slate panels. Belt arches , vault caps and stucco elements were given safety devices. In the spring of 1864, old additions to the tower were demolished and new side houses with pillars and vaults were added. From 1865 a north transept was built on the old foundations, while the previous shear off from the crossing area with the pillar and the two arches was broken off. In 1865 the church tower also received a new clockwork with new dials and an hour strike, the bell of which sat under a small protective roof in the tower spire facing south. The north-eastern crypt also underwent fundamental changes in 1865: the irregularly distributed buttresses were demolished and replaced by six new ones, while the upper floor was removed to the level of the vault and the remaining outer walls were re-paneled. Instead of the old large window openings, the crypt was given new-Romanesque, smaller windows. Inside the church, vestibules were built into the main entrances; as well as new, higher floor coverings, new chairs - some with the heads of the Kiel sculptor Adolph Müllenhoff on the cheeks - and two wooden galleries in each of the two transverse arms. At the end of the redesign, the Marienkirche received a new organ with a neo-Gothic organ front from the Danish organ building workshop Marcussen & Søn / Apenrade in 1873 .
Repairs and remodeling (around 1900)
As early as 1881, new repairs were necessary on a number of sections of the church, such as the renewal of eight vaults along with belts and front arches as well as buttresses. In 1909 the entire tower vault even had to be broken out and replaced. The white paint on the interior wall that was applied in 1864 gave way to a brick-red paint job around the turn of the century and, in 1909, a decorative painting with accompanying lines, window frames and paintings. In the same year, the galleries from 1867 in the transept, except for the lower one in the south transept, were removed and the side rooms in the north transept were sheared off. In 1906, a new clockwork was again installed in the tower, which initially operated a permanently installed hour bell under the outer protective roof that was struck from the outside. When a second quarter-hour bell was added to the hour bell around 1922, the protective roof had to be widened accordingly.
Remodeling (until 1950s)
Since one of the two bronze bells in the tower of St. Mary's Church had to be handed in for armaments purposes during the First World War , the congregation was able to purchase a 3.5 ton cast iron bell called "Big Bertha" (tone h ') and a third one weighing 1,359 kilograms Steel bell (tone e ') only used a single church bell in 1927.
Before 1926, honor plaques with the names of those who died in the First World War were mounted on the wooden shear from 1909 in the north transept. In 1930 the central room in the basement of the tower was given a new, continuous design with oak planks. A copper covering of the tower roof, made for the first time in 1927, had to be removed again in 1944/45 for war purposes and replaced by wooden formwork with roofing felt. It was not until 1950 that a new roofing with slate curtain could be applied.
The Marcussen organ was first converted in 1937 by the Lübeck organ building company Emanuel Kemper & Sohn . Shortly after the end of the Second World War , the former crypt in the northeast of the church was redesigned; After removing the coffins, demolishing the built-in components and lowering the floor, as well as installing the original large windows, the room for a baptismal, wedding and devotional chapel, consecrated after 1960 to John the Baptist , with its own entrance from the north side, was created here.
Repairs and remodeling (since 1950s)
After renewed considerable damage to a number of construction sections, the first security work began on the south aisle, the tower and the crossing in October 1957. In a complex process, two Romanesque pillars and three columns with extreme inclination in the south aisle wall could be removed and rebuilt perpendicularly in the original replica with a reinforced concrete core. For this, the removal of the last gallery from the south transept from 1865 and the relocation of the Walstorp epitaph to the east wall of the south transept was inevitable. The tower and the nave were also secured against further deformation with 34 wall anchors and some of them were faced again. In the area of the former southern cemetery as well as in the church, the floor level was lowered to the original historical level and re-covered, whereby the exposed bases of pillars and columns had to be renovated. The partially newly bricked up portals were given a new design and new doors with vestibules. A new stalls with continuous rows of benches in the central nave replaced the stalls from 1866. While maintaining the white wall surface design from 1909, all the decorative lines, window frames and painted vault edges have now disappeared under a new coat of paint. Only after the re-consecration of the church in March 1959 was the installation of a new west gallery for the organ that had been rebuilt and moved to the west. In 1964, the mechanical clockwork was therefore replaced by an electric clock, which continued to function until a radio clock was installed in 2012.
Bells
When in 1964 the oak wooden bell cage from 1866 had to be replaced by a bell cage made of steel girders due to pest infestation, two new bronze bells were installed at the same time, one to replace the bell from 1927 that had since broken. Since then, the ringing of the Segeberg Marienkirche has consisted of the bronze bell from 1731 (which had to be handed in during the Second World War but returned undamaged), the "Große Bertha" from 1927 and the two new bronze bells from 1964 from the Rincker workshop (tone e ' and tone g '), which since the church renovation between 1957 and 1959 is no longer operated by hand, but via an electric drive from the nave.
|
No. |
material |
Foundry, casting location |
Casting year |
Weight (kg) |
Diameter (mm) |
Percussive ( HT - 1 / 16 ) |
Specialty |
inscription |
| 1 | Steel ( gray cast iron ) | Bell foundry family Schilling , Apolda | 1927 | 3,564 | 2.015 | h ° | This bell replaced a bronze bell drawn in during the First World War | 1917–1927 - We sacrificed you in iron time. You iron ones call us to eternity. The Segeberg parish in 1927.
Above: Man, hear what I'm saying, watch out for your days. |
| 2 | bronze | Lorenz Strahlborn , Lübeck | 1731 | approx. 1,300 | 1,330 | d ' | This bell had to be handed in during the Second World War, but could be retrieved from the bell cemetery in Hamburg after the war . | Mr. Ludwig Ottens, praepositus u. Mr. Johann Hinrich Hauptmann, compastor and deacon, Johann Berendt Wichmann and Mr. Johann Schultz, church jury.
I flowed through the fire by Laurenz Strahlborn in Lübeck cast Anno 1731 Gloria! After you came to power. Kö. Mayst. to Dennemarck Norway Christian VI in Ambte Segeberg were civil servants Mr. Anton Günther Hanneken Kön. Etats Raht and Ambtmann Mr. Johann Rudolf Nottelmann, King. Office manager. |
| 3 | bronze | Bell and art foundry Rincker , Sinn | 1964 | 1,090 | 1,220 | e ' | The previous bell made of steel (tone e 'Dm 1.48 m, 1.359 kg) was donated by Consul Otto Jürgens and had to be replaced in 1964 due to defects. | Home bell To his dear parents: Wulf Friedrich Ernst Jürgens-Segeberg and Katharina Dorothea Henriette, born. Frieze in gratitude donated by her son Otto in 1927 But the word of the Lord abides forever, Isa. 40.8. (Inscription taken from previous bell.) |
| 4th | bronze | Bell and art foundry Rincker , Sinn | 1964 | 700 | 1.007 | G' | In 1964, this bell supplemented the three-ring bell to a four-ring bell and has no predecessor. | Lord our ruler, how glorious is your name in all the earth, Ps. 8:10. |
Innovations in construction and furnishings (recent decades)
In 1969 the spire was roofed with sheet copper and in 1971/72 the slate hangings on the large church roof from 1864 were replaced by copper plates.
In 1976 and 1984 the organ underwent further modifications, which were carried out by the Hans- Detlef Kleuker workshop ( Brackwede ); the electrification that was carried out is now regarded as a change that is no longer up-to-date and has further reduced the value of the organ in terms of sound and usability. The church has been renovated again since 2010. The so-called “Küsterloge” in the north transept was removed and with the installation of a new heating system, the original central aisle of the stalls was restored. In addition, a restoration of the precious altarpiece was necessary in 2014. Further interior renovations (repair of cracks and plaster damage, renewal of the paint, improvement of the lighting) must be coordinated with the planned installation of a new organ.
inventory
The bronze funnel from 1447 cast by Ghert Klinghe is still in use today. The triumphal cross dates from around 1500. The magnificent reredos from around 1510/20 depicts the Passion of Jesus and the Easter event up to the Last Judgment. It probably comes from a Lübeck workshop and has similarities with carvings by Tilman Riemenschneider . Heinrich Rantzau, on the other hand, wrongly attributed the carving to Hans Brüggemann . In 1668, the Segeberg clerk Nicolaus Brüggemann and his wife Gese had the altar on the outside, the rear walls and the painting wings painted over with 32 baroque, Reformation theologically influenced slogans. The predella received an image of the Lord's Supper (now in the Johanneskapelle).
Since the renovation in the 1950s, the Segeberger plaster epitaph for Gerhard Walstorp has been hanging on the east wall of the south transept, set in 1562 by his grandson Heinrich Rantzau . On the west side of the same transept there is a panel from 1595 showing the murder of the count's son Adolf on the Siegesburg in 1315. The pulpit in the Renaissance style from 1612 is a foundation of Anna and Markwart von Pentz. The two brass chandeliers from 1754 and 1783 in the central nave were donated by Catharina Hedwig Stange, b. Schnack; the gravestone of her Jewish father Claus Schnack is preserved on the south front of the church.
Bronze funnel by Ghert Klinghe , 1447
Triumphal Cross from around 1500
Late Gothic carved altar
Epitaph for Gerhard Walstorp from Heinrich Rantzau set
Atonement for the murder of Count Adolf in 1315 in the Marienkirche with a picture of the Victory Castle on the Kalkberg of SO (right half of the picture) from 1595
Rear view of the pulpit; Helmet, spurs, command staff and plaque of the Markwart von Pentz
Epitaph for Diokon Laurentius (Lorenz) Hartung, with rich acanthus frame, from 1710 ff.
Candlesticks from 1754/1783
Coordinates: 53 ° 56 ′ 13.3 " N , 10 ° 18 ′ 38.2" E
literature
- Enno Bünz: Between Canon Reform and Reformation. Beginnings, heyday and decline of the Augustinian canons of Neumünster-Bordesholm and Segeberg (12th to 16th centuries). Paring 2012.
- Dietrich Ellger: Discoveries in the Johanniskapelle at St. Marien zu Segeberg. In: Local history yearbook for the Segeberg district. Vol. 6, Bad Segeberg 1960, pp. 67-70.
- Dietrich Ellger: Report on new results of the building research of the State Office for Monument Preservation, to the Marienkirche in Segeberg. In: Nordelbingen. Contributions to cultural history and local research. Volume 30, Heide in Holstein 1961, pp. 152-156.
- Dietrich Ellger: St. Marien zu Segeberg. (= Large architectural monuments. Issue 164). Berlin 1992.
- Peter Hirschfeld: Report of the State Monuments Office for Monument Preservation Schleswig-Holstein: Marienkirche zu Bad Segeberg. In: Nordelbingen. Contributions to local research in Schleswig-Holstein, Hamburg and Lübeck. Volume 28/29, Heide in Holstein 1960, pp. 287 ff.
- Carl Friedrich Jaeger: The restoration of St. Marien zu Segeberg 1957-1960. In: Local history yearbook for the Segeberg district. Vol. 5, Bad Segeberg 1959, pp. 81-101.
- Eberhard Schwarz (Ed.): Church in the Travebogen 1684–1984. Bad Segeberg 1984.
Web links
- Website of the Evangelical Lutheran Church Congregation Segeberg
- Website of the Friends of the Marienkirche
Individual evidence
- ^ Enno Bünz: Between Canon Reform and Reformation. Beginnings, heyday and decline of the Augustinian canons of Neumünster-Bordesholm and Segeberg (12th to 16th centuries) (= series of publications by the Academy of Augustinian Canons of Windesheim . 7), Augustiner-Chorherren-Verlag, Paring 2002, p. 50.
- ↑ The builder Prüss discovered the remains of a stair tower in 1883, after a letter to the provincial curator Haupt dated March 18, 1883, cf. Wolfgang Teuchert: The Gothic monastery choir of the Segeberg church. In: Nordelbingen. Contributions to art and cultural history. Volume 36, Heide i. H. 1967, p. 12.
- ^ Günther Gathemann: The reredos of the Marienkirche Bad Segeberg. Synopsis of the altar of the Segeberg Marienkirche. Self-published, Bad Segeberg 2017, p. 4 f.
- ↑ JC Hein: From Segeberg's past. Segeberg 1904, p. 49.
- ↑ Construction drawing, archive of the Segeberg parish, No. 656.
- ↑ Wolfgang Teuchert: The Gothic monastery choir of the Segeberg church. In: Nordelbingen. Contributions to art and cultural history. Volume 36, Heide i. H. 1967, pp. 7-14.
- ↑ On February 12, 1947, 37 coffins of members of the Holstein noble families von Bruckdorff, von Buchwald, von Greiffenwaldt, von Mardefeldt and von Wohnsfleth were removed from the crypt and buried under a stone slab on the north side of the church, cf. Hans Siemonsen: The Segeberg cemeteries. In: Contributions to local history. from the supplement to the Segeberger newspaper Heimat between the seas. Bad Segeberg 1955, p. 27 f.
- ↑ Otto Heidrich: Old and New Bells. In: Eberhard Schwarz (ed.): The Church in the Travebogen 1684–1984. Bad Segeberg 1984, pp. 57-62, here p. 60.