Marienkirche (Leipzig)
The Marienkirche Leipzig-Stötteritz is an Evangelical Lutheran sacred building in the Leipzig district of Stötteritz . It was built in 1702/03 as a single-nave hall church in the Baroque style, making it the oldest building in the district. Inside the listed church there is a triptych created around 1480 around Hans Pleydenwurff , which is considered the most important work of late Gothic panel painting in Leipzig.
location
Current situation and surrounding development
The Marienkirche is located in the Leipzig district of Stötteritz, which belongs to the south-east district . It is located there on the north side of a rectangular, tree-lined jewelry square , which is bordered by Oberdorfstrasse in the north, Dorstigstrasse in the east, Sommerfelder Strasse in the south and Lochmannstrasse in the west . The church building extends from east to west ( Ostung ), with the nave in the east, the tower and the entrance on the west side.
Immediately north of the church are the buildings of the former Stötteritz manor, lower part, with its baroque mansion , built between 1780 and 1790 , which today houses a residential facility for people with psychosocial impairments. The areas bordering the church square in the east, south and west are, however, built on with multi-storey apartment buildings from the late 19th and early 20th centuries.
Historical terrain situation
The church square to the south of the church served as a cemetery until 1872 . Its current form is the result of the urban redesign of the municipality of Stötteritz, which began in the last quarter of the 19th century. With the exception of the manor buildings in the north, the church was built on a largely natural site without any immediately adjacent buildings. Only Oberdorfstrasse acted as the residential street . After 1875, the development of tenement houses began with the construction of Dorstigstrasse to the east . Along the leading front of the tower and the main entrance Lochmann Street and the south to summer Straße however, emerged only after the demolition of the upper manor Stötteritz part related buildings in 1908. The on adjacent plots in block perimeter construction built houses were completed by the year 1913th
Building history
Demolition and rebuilding of the Stötteritz village church
The Marienkirche was built in 1702 and 1703 instead of a smaller medieval village church. Little is known about the previous building. Presumably it was a hall church , which also stretched in an east-west direction, but its dimensions were much smaller than those of the Marienkirche. Instead of a church tower, this building probably only had a roof turret . In 1702 the first church in Stötteritz was demolished. However, based on historical records that were found during renovation work in the tower knob, it is assumed that the current building has taken up part of the north wall of the previous building.
Two reasons were decisive for the construction of the new church: On the one hand, the church that had been in use until then had become dilapidated. Therefore, the bells, for example, had to be stored in the churchyard. On the other hand, the number of residents increased towards the end of the 17th century due to influx, which is documented by the construction of new houses along the Lange Reihe street around 1700. In this situation, the previous church building turned out to be too small, which is why the lords of the two Stötteritz manors initiated a new building. As the financing of the church building from local government funds and the funds of the landlords could not be saved alone, the population has been asked to support, of which a published in April 1702 broadsheet testifies:
“According to this, the church in Stötteritz must be rebuilt from the ground up out of urgent need and inevitably, but this cannot happen / because of lack of funds / without the help and contribution of Christian and good-natured people; As if all travelers passing by were hereby asked and asked: They want to show GOD a work of Christian love in honor of GOD / and, out of willing charity, give an aid and contribution to this church building / and put sticks into these sticks that are attached to the end. The Most High / as a reward and again a substitute wants and will also abundantly bless the giver again and receive good prosperity. Stötteritz / April 14, 1702. "
In view of the tight budget, the new church was initially only designed as a nave without a tower. The master builder of this construction phase is not known. However, the church could be ascribed to the Leipzig council cabinet maker Johann Christian Senckeisen , who is attested ten years later as the building director of the church tower. After completion of the building, the inauguration took place on the 3rd Advent in 1703 in the presence of the Leipzig superintendent Thomas Ittig (1643–1710).
Only a few years later the new church also turned out to be too small. That is why the lord of the manor Engelbert von der Burg († 1712) submitted a request for support for the construction of a church tower to the Saxon King Augustus the Strong in 1712 . He then had the felling of wood in the royal forests approved. The rock material necessary for the construction of the church tower was excavated from the fields south of the church. In addition, the construction work was made possible by withdrawals from the church property, donations from the landlords and manual services from the Stötteritz farmers. In 1713 the tower to the west of the nave was completed. From then on, it took up the church bells that were previously in the open air and expanded the number of available seats by 100. Simultaneously with the construction of the tower, prayer rooms were laid north and south of the altar place for the landlords and hereditary burial sites were created below the altar place .
Construction work in the 18th and 19th centuries
Repair work was carried out on St. Mary's Church as early as the 18th and 19th centuries. A renovation of the church interior in 1762 and the renewal of the tower in 1796 are documented. Another renovation of the interior followed in 1862 as well as the conversion of the northern sacristy , which from then on had its own external entrance. However, it was not until the last quarter of the 19th century that a series of renovation and repair measures began, which - with one interruption from 1930 to 1945 - lasted until 1968.
In 1883 the decision was made to rebuild the prayer room south of the altar place in the loft. To implement it, the Leipzig city planning officer Hugo Licht presented a draft in 1886, which was finally implemented. Instead of the previous southern extension, a new two-story building was built. Only then did the church get its cruciform floor plan, which still exists today. At the same time, the annex to the north of the altar area was modified to match the window arrangement, so that its external design was aligned with the southern annex.
After a large tower window was bricked up during an exterior renovation in 1890 and the southern extension was renovated in 1896, planning began in 1898 for a fundamental redesign of the interior of the church, which was prompted by the planned acquisition of a new organ. For this purpose, the architect Julius Zeißig , who was heavily involved in the construction of churches in Leipzig at the time, created the first drafts which the Leipzig architect Paul Lange (1853–1932) completed. As part of the redesign, the previously existing double galleries were demolished and a new three-sided gallery built. In addition, new stalls were purchased and changes were made to the two extensions. The rededication of the church was celebrated on February 10, 1899. A contemporary description described the new interior with the following words:
“Inside the church nothing reminds of the old house of God. The two galleries have been removed, the old organ that served the community for over 150 years, as well as the prayer chairs protruding into the altar space for the officials and the staff of the two manors have disappeared, as well as the tombs of the manors buried on the altar space. Only the altar, pulpit and baptismal font are evidence of an earlier time. ... Now there is only a spacious gallery around the ship. As a result, the lighting conditions have been significantly improved, which is particularly beneficial for the gem of our church, the approx. 400 year old, wonderfully well preserved altar painting. "
The Marienkirche in the 20th century
In 1906, the church council of the Stötteritz parish, which has been independent since 1887, decided to name the church the Marienkirche . In 1908 the church received a new interior painting. In the year of the incorporation of Stötteritz into Leipzig, 1910, the area surrounding the church was redesigned by the city of Leipzig into a decorative square. In 1922, electrical lighting was installed to replace the gas lamps that had been used up until then . Two years later the tower was repaired. In the course of 1928, the interior and exterior of the church were completely renovated and partially changed. After this work was completed, the side galleries were extended into the area of the earlier chapels. In addition, the symmetry of the east end of the church had been improved. For this purpose, a new inner wall was built on the northeast side and this part of the room was emphasized by colossal pilasters. Stairs were installed on the sides of the pulpit altar, which has been moved eastwards by one meter. In addition, a boiler room was installed under the altar space, which destroyed the manor lords' tombs that had previously been located here.
The Marienkirche did not survive the Second World War unscathed, but unlike in numerous other church buildings in the districts of Leipzig far from the city center, the damage that occurred was kept within manageable limits. On October 20, 1943, the Marienkirche was the first church building in Saxony to be damaged in an air raid on Leipzig . The church roof was covered by the pressure of detonations in the area; numerous windows were destroyed. The altarpiece, on the other hand, remained intact, as it had already been taken into “state custody” at the end of June or beginning of July 1943 and did not return from Grimma to Stötteritz until March 1946 . Because of the damage caused, the services had to be relocated to a hall in the rectory until the church was temporarily restored. The church suffered further damage in an air raid in late February 1945 and when Leipzig was taken by the US Army in April 1945.
As early as August 1945, the church council tried to remove the war damage. However, both raising the required capital and providing building materials proved extremely difficult. On November 3, 1945, the official approval for the most urgent renovation work was granted. They were then carried out by a Stötteritz company until 1948. As early as 1946, the church could be used again as a building for worship. After a tower repair in 1953 and a minor exterior renovation in 1961, major renovations were carried out in 1963 for the first time since the end of the war. Inside the church, they led to the removal of the one meter high wooden wall panels. In addition, the stairs to the galleries were made of Rochlitz porphyry tuff .
Overall, these maintenance measures, some of which were carried out with inferior or unsuitable material, could not prevent the state of the Marienkirche from deteriorating more and more. In the mid-1960s, the church roof was leaking, the spire was dilapidated and the exterior plaster was stained and gray. The war damage, which was only poorly repaired, also came to light again. The creeping decay was only stopped by a general overhaul in 1967/68, during which, in addition to securing the substance, the consistent application of monument preservation standards was in the foreground. Once again, difficulties arose in the procurement of building materials. The commitment of relevant construction companies also turned out to be difficult, so that the renovation measures - with the exception of the work on the church roof and the painting - were carried out by the community members on a voluntary basis. The most noticeable renovation measures concerned the exterior painting and the roof covering. Instead of the previous reddish colored exterior plaster, the surfaces are now yellow and the links are white. The roof of the nave was covered with slate instead of the tiles previously used . In addition, the tinted art glass windows used after the end of the war were removed and panes made of antique glass were inserted. Inside the church, a new grooved stucco ceiling was put in and a new color scheme was made. The galleries and the chairs were painted gray, the wall surfaces a white paint. The color scheme of the pulpit altar was also returned to its original state. After the repositioning of the tower knob had already been celebrated with a festive service on August 24, 1967, the church was rededicated on September 29, 1968 after the renovation work was completed.
The most recent changes so far were made during the 1990s. In 1991, sandstone slabs were laid in the corridor of the central nave and on the altar space , which led to an increase in the floor level. In 1995 the church received a new exterior plaster. In addition, the group of figures above the tower portal was restored.
architecture
General building description
The Marienkirche is a single-aisled hall church in the Baroque style. Its eastern part, closing on three sides, is slightly drawn in and set off from the rest of the nave by its own roof with a lower ridge. In front of the nave is the tower with the main entrance, the vestibule, the gallery staircase and the room for the organ at gallery height. This part of the church is connected to the parish room by a sweeping arched opening.
The architecturally strong tower front forms the artistic focus of the exterior building. The main entrance is flanked by two colossal pilasters that support a concave swinging round gable . The edges of the tower are designed with wide pilaster strips . From the side extensions, volute-shaped gable curves lead over to the tower rising in the middle. The effect of the entrance zone is further enhanced by a group of figures placed in a niche above the entrance door. An onion dome is placed on the tower, which is much flatter than the dome shape customary in Saxon baroque churches. It carries a lantern and an onion-shaped end with a gilded tower button , weather vane and star. The total height of the tower is given as 30 m.
In the eastern part of the church there are two-storey additions to the north and south of the altar space, which accommodate the sacristies on the ground floor and the galleries on the upper floor. The lighting of the interior of the church is primarily ensured by 15 arched windows of different heights, some of which are still rectangular windows.
On the eastern outer wall of the church there has been a simple memorial plaque since 1872 to the soldiers of the rural community of Stötteritz who died in the Franco-German War of 1870/71.
Group of figures above the tower portal
Above the main entrance to the church at the tower is a group of figures made of yellow Silesian sandstone , which depicts Jesus Christ standing in a blessing pose with an old man who has fallen down on the ground. It is located in a niche that was created after a tower window originally located at this point was closed as part of the exterior renovation in 1890.
In 1908, when the implementation of the plans for the layout of Lochmannstrasse , which ran directly in front of the church tower , began, the church council decided to decorate the niche with a figure. To justify the application for financial aid to the High Evangelical Lutheran State Consistory in Dresden, the church board stated in this context that “[a] there is no work of art in all of Stötteritz except for the altarpiece” , which is why the The board would be happy to "be able to offer our working residents, especially on the outside of the church, a work of art that would have a preaching effect in itself" . The state consistory accepted the board's request and took over half of the costs. The other half was taken over by the art fund of the Saxon Ministry of the Interior .
The consistory and the church council were of divided opinion about the design of the ensemble of figures. While the church council came out in favor of a motif in which Christ met a young man, the consistory advocated the topic of "Christ with an old man sinking down on a walking stick" . In the struggle for an appropriate design, the consistory finally prevailed in March 1910. Then the Dresden sculptor Oskar Rassau was commissioned to create a design, which was then carried out by the sculptor Adolf Schwarz from Dresden (1855-1913). The Leipzig architect Julius Zeißig directed the installation work on site . On the 3rd / 4th May 1911 the group of figures was placed in the niche above the portal. Above the group of figures there was initially an inscription made of copper letters, which reproduced the biblical quotation “Come to me, all who are troublesome and burdened” ( Mt 11:28 EU ). It was removed during the 20th century. The ensemble of figures was in poor condition at the beginning of the 1990s because restoration work was not carried out. In 1995, however, it was able to be refurbished in accordance with a listed building.
Description of the interior of the church
In the interior of the church, the basic design features from the construction period 1702/03 were largely retained. The room painted in white has a flat ceiling that is set off with a stucco valley . 16 gray-painted benches are arranged to the right and left of the central aisle. In the south, north and west the walls are surrounded by a gallery resting on pillars. Benches and galleries offer space for around 320 visitors. On the east side of the church there is a two-storey pulpit altar as well as the baptismal font and the lectern. The latter are movable, but are usually set up symmetrically.
Furnishing
Pulpit altar
At the eastern end of the nave there is a stately wooden pulpit altar , which was erected when the church was built in 1702/03. The color of the richly decorated altar was changed several times over the centuries and only returned to its original state with red, gray and black marbling, gilded ornaments and capitals and white, polished figures in the course of the church restoration in 1967/69.
Authorship
Although the builder of the altar cannot be proven with certainty, it is likely that it was designed by the Leipzig council carpenter Johann Christian Senckeisen . This is supported by the fact that Senckeisen, in a book he wrote, suggested an altar design in the event of the re-use of an existing painting that comes very close to that of the altar in St. Mary's Church. In addition, Senckeisen was the construction director during the construction of the tower, which suggests his previous responsibility for the construction of the church.
The name of the designer of the sculptural altar decoration is also not known. Today this is attributed to Johann Jakob Löbelt .
Building description
The altar has a two-storey facade that extends from the church floor almost to the ceiling. The basement is flanked by two Ionic columns resting on high pedestals . On the side there are richly carved and gilded pendants of pomegranates, wine, ears of wheat and flowers. The central element of the basement is a late Gothic triptych, in front of which is the wooden altar table that adjoins the rear wall of the altar. This is framed by carved and gilded acanthus tendrils. The defining elements on the upper floor of the altar are two Corinthian pilasters that support an entablature with a segmented arched gable . They frame the pulpit entrance and the pulpit parapet resting on a projecting cornice in the basement. The pulpit floor is also provided with plastic jewelry.
On the entablature of the basement above the left column there is a carved 1.45 m figure of the apostle Peter who, as typical attributes, holds a key and a book in his hands. The back of the book carried by Peter shows the inscription “S. Peter ” . On the front the Bible passage Mt 16 : 17-19 EU is reproduced: “And Jesus said: Blessed are you Simon Jonas son, for flesh and blood did not reveal this to you, but my Father in heaven. And I also tell you, You are Peter, and on this rock I will build my church and the gates of the hells shall not overwhelm it. I want to give you the keys of the kingdom of heaven. Everything you will bind on earth should also be bound in heaven, and everything you will loosen on earth should also be loß in heaven: In the Apostle: G ... Sanct. Matthäy cap 16. v. 17.18 "
On his right, above the right column of the basement, there is a 1.44 m high figure of the apostle Paul , who is also represented with his typical attributes - sword and book. The back of the book bears the (misleading) caption “S. Johanes ” , the front is designed with a biblical quote ( 1 Cor 1,3 EU ): “ In the first letter Sanct. Pauli to Phipp, Chapter V.2 Grace be with you and peace from God, I often remember you, which I always do in all my prayer with joy, about your fellowship in the Gospel from the first day on. And am in good confidence that he who has begun the good work in you will also carry it out bit on the day of Jesus Christ. "
On the upper floor of the altar, two 79 cm and 66 cm high putti sit on the corners of the cornice . In addition, I can find the colored coat of arms of the owners of the Stötteritz manor upper part, Rinck von Dorstig and Schmi (e) d von Schmiedefeld in the gable field .
Altarpiece
The altarpiece inserted in the basement of the pulpit altar is the most important piece of equipment in the church in terms of art history. It is characterized as very high quality and is considered the most important work of late Gothic panel painting in Leipzig. The central picture of the triptych depicts the crucifixion of Jesus, the left wing depicts his capture and the right wing depicts the resurrection. The backgrounds of the three paintings represent a uniform landscape, which, however, is determined by different lighting conditions. The impression that the images belong together is reinforced by a path running in the background, which leads the viewer from image to image, as it were.
Authorship and dating
The pictures belonging to the altar are not signed and do not show the year. Their origin is also not otherwise passed down. What is certain, however, is that the three paintings are by the same artist.
The question of the authorship of the Stötteritz altarpiece has been discussed since the end of the 19th century. The thesis, supported by Friedrich Winkler in 1939 and by Carl Willmann (Carl-Wilhelm Naumann) in 1951 , that the pictures come from around 1480 by a Nuremberg master who succeeded Hans Pleydenwurff , has been accepted to this day. There are several reasons for the thesis that the authorship of the altarpiece is in the Pleydenwurff area. In the Kupferstichkabinett of the Staatliche Museen zu Berlin, for example, there is a drawing from the Nuremberg area that is regarded as a draft for the altarpiece. In addition, the way the coffin is depicted on the right side wing is typical of the Nuremberg style in the second half of the 15th century. After all, it is not known that there was an altarpiece in the previous building of the Marienkirche. It is therefore assumed that the paintings were made with funds or at least through the intermediary of the owner of the upper part of the manor, Maria Magdalena Rinck b. Schmi (ed) were acquired by Schmi (e) defeld , who also sponsored the interior of the church in other ways. Her son Eucharius Gottlieb Rink was a law professor at the University of Altdorf near Nuremberg and could have purchased the altarpiece in Franconia.
In a study published in 1997, the thesis was finally put forward that the altarpiece was made by Wilhelm Pleydenwurff , Hans Pleydenwurff's son . This is supported by stylistic comparisons with other works by Wilhelm Pleydenwurff , particularly an altar in Würzburg .
Left wing image
The left panel of the triptych shows the imprisonment of Jesus in the Garden of Gethsemane at the foot of the Mount of Olives . The oil painting painted on wood is 1.26 m high and 45.5 cm wide. The center of the picture is dominated by the crouching figure of Jesus, who has folded his hands in prayer and is looking to the right at a rock. On the design drawing kept in the Berlin Kupferstichkabinett, a small goblet can be seen on the rock, giving the scenery described in Mk 14.36 EU an even more graphic form. In the foreground are three disciples of Jesus: Peter in a white robe, James in a red robe and John in a green robe. Peter carries a short sword in his right hand, with which, according to tradition, he cut off an ear shortly afterwards according to one of the captors ( Joh 12,10 EU ; Mk 14,47 EU ). The arrival of the temple guards is shown in the background. Of the well over ten captors, only two people can be fully seen; only the faces of five others are recognizable. The rest of the people are covered by a braided fence, so that their presence can only be guessed at from the spears towering behind the fence. The group of temple guards is led by the white robed Judas Iscariot , who points to Jesus with his left hand and in his right hand carries a bag of money that contains the reward of his betrayal ( Mt 26.15 EU ).
Central panel
The central representation of the triptych is the crucifixion of Jesus on the hill of Golgotha . On the 1.26 m high and 1.11 m wide central panel, the crucified figure depicted in the middle is flanked by two groups of people.
To the left of the cross are six grieving women, only some of whom can be clearly identified. The mother of Jesus, Mary , dressed in a black robe , forms the central figure of this group, which is made clear by a supporting hand and the turning of a head of the persons depicted next to her. Mary is held by John, dressed in a green cloak, who was the only one of the disciples who stood by Jesus at the moment of the crucifixion ( Jn 19 : 26-27 EU ). To the right of Mary stands Salome ( Mk 15.40 EU ), to the left of the Mother of God the mother of James the Little , Mary. Mary of Magdala crouches at the foot of the cross, clutching the trunk of the cross. The depiction of the headscarf, which is tied in a snail and is rarely seen in this form, is remarkable.
To the right of the cross is a group of nine men in medieval clothing. From this group, one person is particularly noticeable who, dressed in a splendid coat and a white turban, turns thoughtfully to the viewer. The other men are talking to each other and are visibly impressed by what is happening. For the majority of them there is no biblical example. The person standing immediately to the right of the cross, who is holding a bucket and a stick with a sponge attached, can be clearly identified. It is about the Roman soldier Stephaton , who held out a sponge soaked in vinegar to Jesus to drink ( Mt 27.48 EU ). The lance-bearer shown in the background is the Centurio Longinus , who is said to have thrust a spear into Jesus' side after his death ( Jn 19:34 EU ).
In the background of the picture Jesus' Way of the Cross from the medieval portrayed Jerusalem to the place of the skull is shown . The scene captures the moment when the farmer Simon of Cyrene , who happened to be present, was forced to carry the cross ( Mk 15.21 EU ). You can also see Saint Veronica, who according to legend has given Jesus a handkerchief . Finally, on a hill, John and some women are shown watching the Way of the Cross.
Right wing image
The resurrection of Jesus is shown on the 1.26 m high and 45.5 cm wide right wing painting. In the center of the picture, Jesus Christ emerges from a stone coffin. In his right hand he holds a crossbar made of rock crystal , at its upper part, the victory flag is attached. At Jesus' feet and to the right of him are two of the guards that Pilate had sent to guard the tomb and who, according to tradition, played dead out of fear ( Mt 28.4 EU ). In the middle background there are three women on their way to the tomb of Jesus who intended to anoint Jesus ( Mk 16.1 EU ). In addition, the right background shows Simon Peter in a rock cave, who wept there over the denial of Jesus ( Lk 22.62 EU ).
Backs of the wing paintings
The backs of the left and right wing paintings are also painted with scenes from the Bible. This fact indicates that the altar, according to its original purpose, should probably only show these sides and that the wings should only be opened on feast days. However, this provision seems to have been abandoned early on, as there are no visible traces of hinges . The representations on the back of the altarpieces are made in tempera by an unknown artist . In view of the clear discrepancies in style, it is certain that the pictures do not come from Pleydenwurff's surroundings .
The left back of the wing shows the apostles John and Paul . The Johannes depicted on the left wears a red robe that reaches to the floor and a turquoise headscarf. The head looking to the right is surrounded by a halo (nimbus). Immediately to the right of John is Paul, who is wearing a knee-length dark blue robe with red sleeves and a red cap. His head is also surrounded by a halo in the form of a circular disk. He points to Johannes with the index finger of his left hand. Parts of the legs and feet of the figure are only sketchy. The background and the surrounding landscape are only hinted at. Overall, this gives the impression that the picture is only a first draft.
The stoning of Stephen ( Acts 7.59 EU ) is shown on the right back of the wing . The lower right half of the picture is occupied by the kneeling figure of Stephen, who clad in a long blue robe has folded his hands in prayer. His gaze is directed to heaven, where Jesus Christ, depicted in red tones, looks out of a cloud opening at the earth and witnesses his first martyr . To the left of Stephanus one of his murderers is shown, who stretches his right arm up and starts throwing a large stone. He is dressed in a red shirt and wears a blue hat and brown leather boots. The background of the picture shows a green hilly landscape with a winding path and trees. In contrast to the left back picture, this background was designed with greater effort.
Organs
The organ of pork (1754)
Whether an organ sounded in Stötteritz's Marienkirche in the first decades of its existence can no longer be proven today. The oldest known mention of an organ comes from the year 1748 and thus dates 45 years after the inauguration of the church. In a note from the superintendent Salomo Deyling and the manor owner Cristiana Clare Glafey to the Leipzig consistory, there is talk of a positive that could not be used due to a defect.
In the same year, the Leipzig organ builder Johann Scheibe (around 1675–1748) presented two designs for a new organ. One of the suggestions was judged favorably by Johann Sebastian Bach , at the time Thomaskantor at the Thomaskirche in Leipzig . However, it was no longer implemented because Scheibe died in September 1748.
Then it took until October 1753 until the Leipzig university organ builder Johann Emanuel Schweinfleisch (1720–1771) was commissioned to build a new organ. The 450 thaler expensive new building was completed the following year and approved by the university music director Johann Gottlieb Börner . On October 27, 1754, the new organ was consecrated during a service. It was used for nearly 150 years. To this day only the gold-plated ornaments on the organ's prospectus have been preserved.
In 1890 the organ had the following disposition:
|
|
|||||||||||||||||||||||||||||
Müller's organ (1899)
A little over a decade after the Stötteritz parish had become independent, the decision to build a new organ was made in 1899. Nothing is known about the background to this decision. It can be assumed, however, that the single-manual organ from the middle of the 18th century did not seem to be able to cope with the church music needs of the beginning of the 20th century. On July 21, 1899, the contract for the manufacture and installation of the new organ was signed with the organ builder Georg Emil Müller (1857–1928) from Werdau . The instrument was finished in December 1899. The new organ had pneumatically operated cone chests , two manuals and 16 stops. She had the following disposition:
|
|
|
||||||||||||||||||||||||||||||||||||||
- Pairing :
- Playing aids :
During the First World War , the parish was forced to give up the tin pipes . It was only in 1927 that they could be replaced by less high-quality specimens. An electric blower was installed in 1920 .
The renovation by Michel (1930)
The organ, which has been installed since 1899, underwent a thorough renovation in 1930 by the Crimmitschau master organ builder Hans Michel . The wind chests were exchanged and two registers were enlarged. After the renovation, the organ had the following disposition:
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||
- Pairing :
- Playing aids :
As early as the end of the 1930s, the church council spoke out in favor of renewed renovation and some improvements. The necessary work should be carried out by the organ building company Schmeisser from Rochlitz . Since on November 19, 1942 the nationwide cessation of all work on organs was ordered, these reconstruction plans were no longer implemented. The organ was also damaged in the air raid on the night of October 20-21, 1943. The war damage was repaired in 1947 by the Dresden organ building company Jehmlich .
The renovation by Jehmlich (1953)
The organ builders of the Jehmlich company subjected the organ to a further general overhaul in 1953, during which primarily sound changes were made. According to the ideas of the church council, the previous soft, blurry, romantic sound of the organ should give way to brighter and sharper timbres. The following disposition was chosen for this:
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||
- Pairing :
- Playing aids :
The organ of the Marienkirche still sounds in this disposition today. The last repair work so far was carried out in 1980 by master organ builder Arwed Rietzsch from Rödlitz and in 2005 by master organ builder Gerd Bochmann from Kohren-Sahlis .
Baptismal font
To the left of the altar is the 142 cm high movable baptismal font , the basin of which, according to current research, was made at the time of the church building in 1702/03. The authorship of the baptismal font is not considered to be secured; It is occasionally attributed to Johann Jakob Löbelt , who also created the figures on the altar. The wood-covered pool has a diameter of 72 cm. It widens towards the top and has eight sides, each with a field framed with gold ornaments. On every second field there is a seated figure of one of the four evangelists with their symbol and a corresponding label.
The white carved wood lid decorated with gold was purchased after 1813. It represents a wreath of palm leaves swinging downwards, at the top of which there is an urn . The stone octagonal foot and the shaft of the baptismal font probably date from 1899.
painting
Inside the Marienkirche there are also four very high quality oil paintings from the 18th century, two of which are placed on the left and right above the gallery in the entrance area. They depict two manor owners and their wives.
The first painting probably shows Engelbert von der Burg († 1712), who was the owner of the lower part of the Stötteritz manor when the church was being built. The 86.6 cm high and 70.5 cm wide picture has the inscription "Hoyer p 1711" on the back and can therefore be unequivocally assigned to the Leipzig painter David Hoyer (1667–1720). The portrait is set in a gilded oval frame, which is decorated with ribbonwork and leaf tendrils at the top .
The second painting probably depicts Johanna Dorothea von der Burg , daughter of the theologian Johann Andreas Quenstedt , who had been married to Engelbert von der Burg since 1689 . The authorship of this 93.3 cm high and 76.5 cm wide bust has not been clarified beyond doubt. It could also be from David Hoyer . The painting is surrounded by a simple gilded frame of oval shape.
Another portrait shows a Stötteritz landlord who is not known by name. The 78.5 cm high and 66.3 cm wide picture by an unknown artist is dated to the middle of the 18th century. The gilded oval frame of the portrait is adorned with medallions and branches.
The authorship of the fourth painting, which shows an unknown landlady, is also unclear. The painting is 78.3 cm high and 63.5 cm wide and, like the picture of the unknown squire, was created in the middle of the 18th century. It is assumed that the portrayed is the wife of the unknown landlord. The framing of the picture is similar to that of the aforementioned painting.
Bells
In the year of its inauguration, St. Mary's Church had a ring consisting of several bells . Since the church had no tower in the first ten years of its existence, these bells were initially in the open air. Only after the completion of the church tower in 1713 were the bells installed inside. It is not known whether the bells were taken from the first church in Stötteritz, but it seems obvious. Because as early as 1734 a large and a medium bell were cast in Leipzig, which replaced two of the older bells. In 1745 a small bell was added. This ringing consisting of three bronze bells was replaced in 1908 by a new one, also consisting of three bronze bells.
During the official registration and categorization of all bronze bells of the German Reich , the ringing of the Marienkirche in 1917 was assigned to group A (casting date earlier than 1860), which resulted in the immediate confiscation of the large and medium bells for armament purposes. As a replacement, three steel bells cast in Bochum were purchased in 1922 , which still ring the bell in St. Mary's Church today. The small bell from 1908 was sold to Geyersdorf in 1923 . Today's bells have inscriptions from Paul's letter to the Romans ( Rom 12.12 EU ). The largest of the bells weighs 1,000 kg and bears the inscription “Be merry in hope” . The middle one has a weight of 550 kg and is marked with the inscription “Geduldig in Trübsal” . The smallest bell weighs 250 kg and bears the inscription “Hold on to prayer” .
Individual evidence
- ↑ The Marienkirche is a cultural monument within the meaning of § 2 paragraph 1 of the law for the protection and maintenance of cultural monuments in the Free State of Saxony (Saxon Monument Protection Act) of March 3, 1993, cf. Rüdiger / Nabert, Stötteritz , p. 48.
- ↑ Internet presence of the association for the reintegration of psychosocially damaged people eV
- ↑ Rüdiger / Nabert, Stötteritz , p. 21.
- ↑ a b c cf. Magirius / Fiedler, Sakralbauten , p. 989.
- ↑ See May, Leipziger Blätter 42 (2003), p. 49.
- ↑ a b c Rüdiger / Nabert, Stötteritz , p. 7.
- ↑ Magirius / Fiedler, Sacral Buildings , p. 990.
- ↑ See Magirius / Fiedler, Sakralbauten , p. 990 f.
- ↑ a b c Cf. Magirius / Fiedler, Sakralbauten , p. 992.
- ↑ More on this, Festschrift Marienkirche , p. 12.
- ↑ For more details on the Festschrift Marienkirche , p. 19.
- ↑ a b Festschrift Marienkirche , p. 16.
- ↑ See Festschrift Marienkirche , p. 17.
- ↑ Gurlitt, Bau- und Kunstdenkmäler , p. 119.
- ↑ a b cf. Magirius / Fiedler, Sakralbauten , p. 994.
- ↑ Festschrift Marienkirche , p. 27.
- ↑ Magirius / Fiedler, Sacral Buildings , p. 1002.
- ^ Dehio, Kunstdenkmäler , p. 612; differently Gurlitt, Bau- und Kunstdenkmäler , p. 119: "artistically insignificant work ... in a rough architecture".
- ↑ Magirius / Fiedler, Sacral Buildings , p. 995.
- ↑ See Senckeisen, Leipziger Architecture, Art and Seulen book , p. 26.
- ^ For the first time Asche, Sächsische Barockplastik , p. 128 f .; see. also Magirius / Fiedler, Sacral Buildings , p. 995.
- ↑ Magirius / Fiedler, Sacral Buildings , p. 995 f.
- ↑ a b Cf. Magirius / Fiedler, Sakralbauten , p. 996.
- ^ Dehio, Kunstdenkmäler , p. 612
- ↑ Magirius / Fiedler, Sakralbauten , p. 996; Pasch, Kirchen in Leipzig , p. 145. Similarly, Gurlitt, Bau- und Kunstdenkmäler , p. 119: “one of the most outstanding works in the administration”.
- ↑ a b c wishes, Marienkirche , p. 30.
- ↑ Winkler, Yearbook of the Prussian Art Collections 60 (1939), p. 212 ff.
- ↑ Willmann, Frankenspiegel 2 (1951), p. 62 ff.
- ↑ a b wishes, Marienkirche , p. 34.
- ↑ Magirius / Fiedler, Sakralbauten , p. 997 f .; Wishes, Marienkirche , p. 27.
- ↑ Anzelewsky, Anzeiger des Germanisches Nationalmuseums 1997, p. 7 ff.
- ^ Wishes, Marienkirche , p. 35.
- ↑ a b c cf. Magirius / Fiedler, Sakralbauten , p. 999.
- ↑ Wünsche, Marienkirche , p. 18. Magirius / Fiedler, Sakralbauten , p. 999: "Master unknown."
- ↑ Dehio, Kunstdenkmäler , p. 613. Differently in the evaluation Gurlitt, Bau- und Kunstdenkmäler , p. 120: “insignificant”.
- ↑ a b cf. Magirius / Fiedler, Sakralbauten , p. 1001.
- ↑ The p stands for Latin pinxit "[has] painted", see also Fecit .
- ↑ More on the bells of the first ringing, in particular the inscriptions, Sachsens Kirchen-Galerie , p. 136 and Gurlitt, Bau- und Kunstdenkmäler , p. 120.
- ↑ Magirius / Fiedler, Sacral Buildings , p. 1003.
- ^ Wishes, Marienkirche Stötteritz , p. 13.
literature
- Fedja Anzelewsky : The master of the Stötteritzer Altar and Wilhelm Pleydenwurff. In: Anzeiger des Germanisches Nationalmuseums 1997, p. 7 ff.
- Sigfried Asche: Saxon baroque sculpture from 1630 to the time of Permoser. Leipzig 1934.
- Robert Suckale : The Leipzig-Stötteritzer Triptych. The Passion Landscape, in: The renewal of the art of painting before Dürer, I, Petersberg 2009, p. 63 ff. ISBN 978-3-86568-130-0
- Georg Dehio u. a. (Ed.): Handbuch der Deutschen Kunstdenkmäler, Saxony: Volume II. Deutscher Kunstverlag, Munich 1998. ISBN 978-3422030480 .
- Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony. Volume 16: Amtshauptmannschaft Leipzig (Leipzig Land). Meinhold, Dresden 1894.
- Heinrich Magirius / Hanna-Lore Fiedler: The architectural and art monuments of Saxony. City of Leipzig. The sacred buildings. Deutscher Kunstverlag, Munich 1995. ISBN 3-422-00568-4 .
- Hartmut Mai: A monument to the Leipzig Baroque - 300 years of St. Mary's Church. In: Leipziger Blätter 42 (2003), p. 49 ff.
- Church council of the Evangelical Lutheran parish Marienkirche Leipzig-Stötteritz (publisher): 300 years Marienkirche Leipzig-Stötteritz . Leipzig 2003.
- Gerhart Pasch: Churches in Leipzig and the surrounding area. Schmidt-Römhild, Leipzig 1996. ISBN 3-7950-3903-7 .
- Bernd Rüdiger / Thomas Nabert: Stötteritz. A historical and urban study. Pro Leipzig, Leipzig 1996.
- Saxony's church gallery. Volume 9: The inspections: Leipzig and Grimma (keyword Stötteritz p. 135 f.). Hermann Schmidt, Dresden, 1844.
- Johann Christian Senckeisen: Leipzig Architecture, Art and Seulen book. Leipzig, 1707.
- Carl Willmann: an altarpiece discovered by Wolgemut. His way from Nuremberg to Leipzig. In: Frankenspiegel 2 (1951), p. 62 ff.
- Friedrich Winkler: A late Gothic altar design in the Kupferstichkabinett. In: Yearbook of the Prussian Art Collections 60 (1939), p. 212 ff.
- Frieder Wünsche: The Marienkirche Stötteritz . Edition Akanthus, Delitzsch 2003. ISBN 3-00-011972-8 .
Web links
Coordinates: 51 ° 19 ′ 16.6 ″ N , 12 ° 25 ′ 26.9 ″ E