Martinskirche Gladenbach

from Wikipedia, the free encyclopedia
Church from the south

The Evangelical-Lutheran Martinskirche in Gladenbach in the Marburg-Biedenkopf district ( Hesse ) is a listed church building. The three-aisled pillar basilica was built in the 13th century at the latest and the late Gothic choir with five-eighth end and roof turrets from 1509.

history

Gothic east end

The church was built in the 12th or 13th century and was first mentioned in a document in 1248. In medieval times, a large parish belonged to it . a. the parish of Hartenrod, separated in the middle of the 14th century . The Lords of Eppstein held the right of patronage until 1316 , then the Knights of Bicken , who also provided priests. In 1700 the patronage was sold to the Landgrave of Hessen-Darmstadt .

The church was dedicated to St. Martin , the Merovingian-Franconian national saint, consecrated. From an ecclesiastical perspective, the independent parish belonged to the Archdiaconate of St. Stephen in the Archdiocese of Mainz at the end of the Middle Ages . It was the seat of an archpriest ( sedes ) and the sending court in the Amöneburg deanery. In the 15th century, 20 parishes belonged to Gladenbach.

From 1509 the church received an eastern choir closure in the Gothic style . Probably in this course the eastern apses of the long aisles were removed and the originally flat-roofed nave vaulted. The four eastern central aisle arcades were replaced by two pointed arches.

With the introduction of the Reformation , Gladenbach changed to the Evangelical Lutheran creed in 1527. Theophil Crato (Krafft) worked here as a Protestant pastor. From 1606 to 1624 the congregation accepted the Reformed creed, only to finally return to the Lutheran creed.

After the First World War, the interior was renovated, in which the organ was moved from the choir to the west gallery and the choir galleries were removed. In 1933 the Romanesque font in the parish garden was rediscovered and placed in the choir. The weathercock was renewed in 1949, and a fundamental interior renovation was carried out in 1953/1954. The narrow three-sided, two-storey galleries were removed and replaced by today's west gallery, and the vaulted paintings were exposed. In 2008 the choir was redesigned, the benches removed and the tombstones moved.

architecture

Layout
North side
Ribbed vault of the central nave

The east-facing , white plastered pillar basilica is built on a slight hill in the old town center. The herringbone bond under the plaster indicates that the church had its origins in the 12th century as a Romanesque pillar basilica. The surrounding cemetery area was used until 1808.

The gable roof of the central nave has five small dormers in the south and three in the north . Another dormer is located above the eastern choir wall and on the eastern side of the western roof tower. An arched window is let into the arched west portal. The four- bay nave has small arched windows from the Romanesque period in the upper aisle , some of which are bricked up due to the overlapping with the later central nave arcades . Two have been preserved on the north side of the choir square and five each on the long sides of the central nave. Inside, only the western arched arcade dates from the Romanesque period, the two eastern arcades from the Gothic period are pointed arched. The central nave pillars are very wide. The vault of the central nave with grooved ribs painted red ashlars is decorated in the lower area with late Gothic tendril paintings and around the keystone with flame ornaments. The baroque stucco rosettes, which show scrollwork ornaments with a pelican and a stork, were installed in 1686. In the west, the church has a completely slated, square roof tower from late medieval times, which houses a triple bell. A four-sided pointed helmet rises above the cube-shaped bell chamber with four arched sound openings on each side, which is crowned by a gold-plated tower button, a wrought-iron cross and a gold-plated weathercock.

The side aisles have pent roofs and are flat on the inside. The south aisle ends at the choir square, while the north aisle extends to the center of the choir square. The eastern part is separated and serves as a sacristy. The south aisle has only one buttress in the very west , the north aisle is supported by three buttresses tapering at an angle and slate at the top. The aisles are each three (later enlarged) arched window jamb exposed from red sandstone and are windowless in the West. A simple round arched south portal opens up the church through the south aisle.

The Gothic east choir has a yoke and a five-eighth end with a ribbed vault . It is marked on the outside with the years 1509 and 1709. The ribs rest on consoles, the north of which bears a coat of arms showing the chalice and the host. Inside, a pointed triumphal arch with red square painting and bevel on the west side opens the choir to the central nave. The two keystones are surrounded with flame ornaments. The choir is two steps higher than the central nave. The four two-part choir windows with flat pointed arches and sloping walls have late Gothic tracery . Tracery and frame are made of red sandstone. The outer walls of the choir are structured by two surrounding, red cornices , which stand out from the white external plaster. A cornice is attached to the base and another below the choir window.

A small, six-sided, completely slated roof turret with square sound holes, which dates from the late medieval period, is attached to the choir square. It is covered by a cantilevered, six-sided pointed helmet, which has the same crowning of the tower as the western roof turret. Erhardt Klonk designed the four colorful, figurative lead glass windows in the choir between 1954 and 1956 based on the three articles of the creed . They show the story of creation, the story of Jesus, the revelation of John and the emergence of the church. In the small, arched east window in the sacristy, the story of St. Martin depicted in the window above the rectangular east entrance of the south aisle the expulsion from paradise and Christ as the victor over the dragon. The east portal has a simple sandstone frame, the lintel of which bears the dates "1717–1921".

Furnishing

View into the choir room
Romanesque font under the choir arch

The west gallery in the central nave, curved at the sides, has coffered panels and is the location of the organ. A modern wooden wall with glass windows has been inserted below the gallery, which separates the entrance area and serves as a vestibule. The floor of the church is covered with red sandstone slabs.

The Romanesque, cup-shaped baptismal font on the southern choir arch has a round arch frieze and a dew band . Like the block altar, which is covered by a roughly hewn sandstone slab, it dates from the time the church was built. The wooden crucifix of the three-nail type on the altar dates from the early 18th century.

A small rectangular wall tabernacle to the right of the pulpit comes from the late Gothic period (probably from 1509). It has a profiled sandstone wall and is crowned by a pointed arch cover with fish bubble tracery. The cornice has two coats of arms. Remains of old inscriptions have been preserved in the choir. A field of inscriptions in a cartouche is painted over the pulpit, the Latin text of which is no longer completely preserved. Remains of two further cartouche fields with Latin inscriptions can be seen above the font.

The wood-sighted, polygonal pulpit from 1668 on the north choir arch is richly designed in the late Renaissance style and has engraved tin inlays and applied flat ornaments. The pulpit fields are structured by free pillars. The sound cover with volute crown bears the tetragram YHWH in Hebrew letters on the underside in a ray of sunshine .

A large mural from the middle of the 18th century next to the pulpit on the eastern wall of the north aisle shows Christ on the cross and another figure (possibly Peter or John the Baptist ), next to it Moses with the exaltation of the brazen serpent , which according to Jn 3,14– 15  LUT is typologically interpreted on the crucified. The upper end is the Hebrew tetragram. Remains of paintings from the 16th century depicting Absalom and a woman at the fountain are preserved north of the gallery . The oil painting on the south wall from 1923 is by Karl Lenz from Erdhausen and shows the Good Samaritan picking up an injured man to put him on his own horse. There is also a small drawing of the Gladenbach church before the Gothic renovation.

A colored succinct epitaph for bailiff George Keipp (1604-1678) and his two wives Johana Dorothea Fabriti (1608-1668) and Anna Margretha Seiler (1604-1672) is situated in the southeast corner of the choir. The red sandstone tablet is flanked on the sides by pilasters with volutes and crowned by a curved headboard showing the coats of arms of the deceased. Six and a half tombstones date from the 16th to 18th centuries. Century and were created for the pastors Johann Georg Buff (1773), Heinrich Christoph Dornseiff and (Johann Caspar?) Werner, two for rentmeister families and two for the family von und zu Dernbach (unfortunately they were disposed of!); two gray flank the west portal inside, four and a half made of red sandstone are set up north of the church.

  • Pulpit from 1668, on the right the wall tabernacle

  • Block altar with crucifix from the beginning of the 18th century.

  • Mural next to the pulpit from the 18th century.

  • Painting remains from the 16th century above the north gallery

organ

Schöler organ

The first used organ was taken over from the Wetzlar Cathedral in 1656 when a new organ was purchased there. In 1708 Gladenbach received a new organ, which was expanded by two stops in 1719. Johann Christian Rindt repaired the instrument in 1736. The third organ was built in the years 1789–1797 and was built for 2000 guilders as the last work by Johann Wilhelm Schöler . His son Christian Ernst Schöler worked on the work , who completed it after his father's death. The instrument had 18 registers distributed on a manual and a pedal and was very similar to the Schöler organ built previously in Klingelbach (also I / P / 18). The prospectus has nine axes. Two narrow harp fields nestle against the central round tower. They are flanked by a low pointed tower and a flat field. A rectangular field of medium height forms the conclusion, which is crowned by a vase. The upper cornice is profiled several times, the lower one profiled in the same way, but continuous. The pipe fields close at the top with openwork, gilded veil boards , gilded carving in plait style forms the side wings and crowns the low pipe fields.

After various work in the 19th century, the organ was moved from the choir to the west gallery in 1921 by organ builder Heinrich Eichhorn from Weilmünster. The pedal keyboard was expanded in 1953/1954 and a new magazine blower was installed. When the organ was renovated in 1964–1967, which cost 72,000 DM, Oberlinger followed the original plan, but built a Pommer 16 ′ and a Waldflute 2 ′ into the main work and increased the number of mixed voices . The side-playing system was converted into a frontal one and an additional echo work with eight voices was added, based on the Stumm organ in Mühlheim an der Eis (1738). Since the renovation, the organ has the following disposition:

I main work C – f 3
Pommer 16 ′
Principal 8th'
Hollow pipe 8th'
Quintatön 8th'
Salicional 8th'
octave 4 ′
flute 4 ′
Fifth 2 2 ⁄ 3  ′
Super octave 2 ′
Forest flute 2 ′
third 1 3 ⁄ 5  ′
Cornett IV D 4 ′
Mixture IV
Cymbel III
Trumpet B / D 8th'
Tremulant
II Echowerk C – f 3
Gedackt B / D 8th'
Gamba D 8th'
Reed flute 4 ′
Principal 2 ′
Salicional 2 ′ / 4 ′
Fifth 1 1 ⁄ 3  ′ / 2 2 ⁄ 3  ′
Scharff IV
Krummhorn B 8th'
Trumpet D. 8th'
Tremulant
Pedal C – f 1
Sub-bass 16 ′
Octave bass 8th'
Principal flute 4 ′
Octave 2 ′
trombone 16 ′

Peal

Bells are mentioned for the first time in an inventory from 1720. In addition to the Our Father's bell in the small tower, Pastor Anthonio Daniele Stockhausen (1713–1737) reported a four-bell ringing. Only the largest bell bore an inscription: “My name is Maria, I expelled all bese veterans. Lucas, Marcos, Mateos, Joannes Anno DM Milletimus quingentesimo vicesimo secundo ". So it was consecrated to Mary and cast in 1522. The four-ring bell was supposed to be renewed in 1866, because the Marienglocke had been cracked and "the ringing was extremely pathetic". Georg Hamm from Kaiserslautern cast a new triple bell on the tones e ', g' and b 'in 1867. A handwritten note from 1911 provides the inscriptions with Bible words from Lk 2,14  LUT , Heb 13,8  LUT and Ps 150,6  LUT . All bells also read: "Cast for the parish of Gladenbach by Georg Hamm, Kaiserslautern 1867". After the little bell cracked, it was replaced by Rincker in 1911 . In 1917 the two large bronze bells and the Lord's Prayer bell were delivered for armament purposes. The Rincker company replaced them with steel bells in 1920; the remaining bronze bell was taken in payment. In 1975 a steel bell cage was installed.

No.
  		Casting year
  		Foundry, casting location Diameter
(mm) 		Mass
(kg) 		Chime
  		inscription
 
1 1920 Rincker , Sinn 1230 796 g 1 " Stand firm in the storm of time "
2 1920 Rincker, Sinn 1030 446 g sharp 1 " Blessed be your suffering "
3 1920 Rincker, Sinn 930 332 h 1 " Think about eternity "

literature

  • Rudolf Acker: From seven centuries of Gladenbach history. Self-published by the municipality, Gladenbach 1937.
  • Günter E. Th. Bezzenberger: Worth seeing churches in the church areas of Hesse and Nassau and Kurhessen-Waldeck, including the Rhine-Hessian church districts of Wetzlar and Braunfels. Evangelischer Presseverband, Kassel 1987, pp. 73-74.
  • Dieter Blume, Jürgen Runzheimer : Gladenbach and Blankenstein Castle . Ed .: Kur- und Verkehrsgesellschaft. W. Hitzeroth Verlag, Marburg 1987, ISBN 3-925944-15-X , p. 185-210 .
  • Georg Dehio : Handbook of German art monuments , Hessen I. Administrative districts of Giessen and Kassel. Edited by Folkhard Cremer, Tobias Michael Wolf and others. Deutscher Kunstverlag, Munich a. a. 2008, ISBN 978-3-422-03092-3 , p. 325.
  • Bernhard Dreier: The bells of the Protestant church Gladenbach. In: Hinterland history sheets. Vol. 55, No. 4, December 1976, pp. 45-46.
  • Hans Feldtkeller (arrangement): The architectural and art monuments of the Biedenkopf district. Eduard Roether, Darmstadt 1958. pp. 24-26.
  • Karl Huth : Gladenbach. A city through the centuries . Ed .: Magistrate of the City of Gladenbach. Magistrate of the City of Gladenbach, Gladenbach 1974, DNB  790637227 , p. 202-218 .
  • Ferdinand Luthmer (edit.): The architectural and art monuments of the districts of Biedenkopf, Dill, Oberwesterwald and Westerburg. Heinrich Keller, Frankfurt am Main 1910, pp. 31-35 ( online ).
  • Frank W. Rudolph: Evangelical churches in the dean's office Gladenbach. Deutscher Kunstverlag, Berlin / Munich 2010, ISBN 978-3-422-02288-1 , pp. 38–39.

Web links

Commons : Martinskirche Gladenbach  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Rudolph: Evangelical churches in the dean's office in Gladenbach. 2010, p. 38.
  2. ^ Huth: Gladenbach. 1974, p. 205.
  3. ↑ Acker: From seven centuries of Gladenbach history. 1937, pp. 25-26.
  4. ↑ Blume, Runzheimer: Gladenbach and Blankenstein Castle. 1987, p. 185.
  5. ↑ a b c d Acker: From seven centuries of Gladenbach history. 1937, p. 26.
  6. ↑ Feldtkeller (arrangement): The architectural and art monuments of the Biedenkopf district. 1958, p. 24.
  7. ↑ a b Dehio: Handbuch der Deutschen Kunstdenkmäler, Hessen I. 2008, p. 325.
  8. ↑ Gladenbach. Historical local dictionary for Hessen. In: Landesgeschichtliches Informationssystem Hessen (LAGIS). Hessian State Office for Historical Cultural Studies (HLGL), accessed on July 31, 2015 .
  9. ↑ Acker: From seven centuries of Gladenbach history. 1937, p. 28.
  10. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, pp. 34-35 ( online ).
  11. ↑ Feldtkeller (arrangement): The architectural and art monuments of the Biedenkopf district. 1958, p. 25.
  12. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, p. 32 ( online ).
  13. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, p. 35 ( online ).
  14. ↑ Luthmer: The architectural and art monuments of the Biedenkopf, Dill, Oberwesterwald and Westerburg districts. 1910, p. 34 ( online ).
  15. ↑ a b Huth: Gladenbach. 1974, p. 202.
  16. ^ Bezzenberger: churches worth seeing. 1987, p. 74.
  17. ↑ a b c Rudolph: Evangelical churches in the dean's office in Gladenbach. 2010, p. 39.
  18. ↑ Acker: From seven centuries of Gladenbach history. 1937, p. 27.
  19. ↑ Feldtkeller (arrangement): The architectural and art monuments of the Biedenkopf district. 1958, p. 26.
  20. ^ Bezzenberger: churches worth seeing. 1987, p. 73.
  21. ^ Franz Bösken: Sources and research on the organ history of the Middle Rhine. Vol. 2: The area of ​​the former administrative district Wiesbaden (=  contributions to the Middle Rhine music history 7.1 . Part 1 (A – K)). Schott, Mainz 1975, ISBN 3-7957-1307-2 , p. 370-374 .
  22. ^ Organ in Gladenbach , accessed on July 27, 2015.
  23. ↑ Dreier: The bells of the Protestant church Gladenbach. 1976, p. 45.
  24. ↑ Dreier: The bells of the Protestant church Gladenbach. 1976, p. 46.

Coordinates: 50 ° 46 '5.24 "  N , 8 ° 34' 59.61"  O