Neo-Gothic St. Ludwig Church (Saarlouis)

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St. Ludwig (Saarlouis), facade plan of the neo-Gothic tower facade by Vincenz Statz, tower height: 51 m
St. Ludwig (Saarlouis), exterior view of the baroque church, (archive of the Institute for Contemporary Art in Saarland)
St. Ludwig (Saarlouis), interior of the baroque church, (archive of the Institute for Current Art in Saarland)

The neo-Gothic church of St. Ludwig and St. Peter and Paul was the successor to the baroque town church of Saarlouis and the predecessor of today's Catholic church of the same name on the Great Market in Saarlouis . The parish was founded in 1685 in connection with the construction of the Saarlouis fortress. The building of the Catholic Church took place in connection with the construction of the Saarlouis fortress by the French King Louis XIV and is also to be seen in connection with the recatholization measures of Louis XIV in the wake of the reunion policy on the central Saar in the second half of the 17th century . The formerly baroque building has undergone numerous redesigns in the course of its history. In the 19th century, the baroque building was replaced by a new neo-Gothic building in two stages. Its nave was replaced in the 20th century by a concrete building in the style of brutalism . The tower front has been preserved from the neo-Gothic building to this day.

Construction of a neo-Gothic nave

Carl Friedrich Müller (1833–1889), master builder of the Saarlouis district, architect of the neo-Gothic nave of St. Ludwig, photo from 1870

Since the original Baroque church, like the entire fortress, was built on poorly solid ground, static defects arose in the 19th century . The heavy oak beams of the ceiling pushed the outer walls of the nave apart, so that numerous supports had to be used for emergency safety. Dechant Franz Hecking campaigned for the signatures of the citizens of Saarlouis for a completely new construction of the building including the demolition of the attached houses and argued with structural, architectural, artistic and patriotic reasons by calling the previous baroque building a “sad symbol of bad taste” and a “shameful monument “, But could not prevail in the royal Prussian district government. The not endangered tower facade from the 17th century with the attached houses had to be preserved for cost reasons. The city also advocated keeping the tower, as the city treasury is in a tense position due to the construction of a community school and the installation of gas lanterns. From May 26, 1864, only the nave and the choir were demolished in agreement with the Saarlouis city council. When the Altar of Our Lady was demolished, a brass capsule was found that contained the deed of consecration from 1687. Two identical certificates were then found in the altar stone of the marble high altar and in the altar stone of the Mother of God altar. The lead plate that certified the laying of the foundation stone was found under the high altar. In the years 1865 to 1866, the architect Carl Friedrich Müller (1833–1889) built a neo-Gothic three-aisled stepped hall with narrower aisles on the old, baroque foundations after approval by the episcopal and royal Prussian authorities. The building was expanded to include a sweeping, slightly lower transept and ended on the outside in a long choir with a two-lane tracery window, which just ended in the central nave. The side aisles closed at a 45 ° angle. The pillars and buttresses of the construction were supposed to distribute the pressure of the vault better and prevent the outer walls from drifting apart.

During the construction period up to May 1866, the service was first held in the hospital cellars of Barracks IV, then, after the outbreak of the German-German War, in the hospital chapel, as the hospital cellar was needed for the wounded. The plans for Müller's new building no longer exist.

Carl Friedrich Müller built or expanded 20 churches in the area of ​​today's Saarland in the years 1861–1889 and was a staunch advocate of neo-Gothic, which his teacher Georg Gottlob Ungewitter had taught him from 1850 to 1853 at the higher trade school in Kassel . Ungewitter was one of the defining representatives of the revival of Gothic forms in Germany ( neo-Gothic or neo-Gothic) and thus played an important role in historicist architecture , especially in church construction. Müller's sacred architecture, which is stormy, is characterized by clear, raised forms. Due to the financial circumstances of his communities, Müller had to make compromises with regard to the height of the nave and the tower in terms of ideal Gothic dimensions. In order to ensure better involvement of the congregation in the liturgical process, Müller preferred three-aisled stepped halls with round pillars for his church buildings, which soften the rigid aisles within the church and visually expand it. Its mostly retracted apses often have five-eighth closures . He divides the outer walls into yoke sections with the help of buttresses. The yokes close at the top with ribbed vaults. From the first free floor, his church towers are often retracted in the floor plan. Müller usually conceals this transition with corner pegs. The slender wooden spiers that merge into the octagon are slated. Its pointed arch windows are usually two-lane. The facades are designed strictly symmetrical. With regard to the formal language of the architectural details, Müller is more oriented towards the early Gothic. The church building St. Ludwig in Saarlouis has a special position in Müller's oeuvre in terms of choir design. The apse has an inner gallery, the pointed arches are lancet-shaped, and the vaulted areas are very steep. This design of the pointed arches shows similarities in terms of height expansion with the arcades of the late Gothic apse design of the Metz Cathedral , which was completed at the turn of the 15th and 16th centuries. However, the implemented overall concepts of the stepped hall with access in Saarlouis and the basilical structure with arcade zone, triforium and upper aisle in Metz are different. In the area of ​​the altar, the set columns form a five-eighth gap that is not visible from the outside.

While the first Holy Mass had already been celebrated at the Ludwigsfest in 1866, the consecration of the new Müller nave was celebrated on September 22, 1867 with a solemn exterior illumination of the church at the city's expense. Trier Bishop Matthias Eberhard , who carried out the consecration, signed the following certificate of consecration:

"Anno Domni (sic!) MDCCCLXVII die vigesima secunda mensis septembris Ego Joannes Matthias Eberhard, Episcopus hucusque Paneadensis ip inf., Nunc per Ssmum Patrem Pium PS IX translatus ad Sedem Treviren., Consecravi Ecclesiam et altare hoc in honorem Sancti Regis, et Reliquias Sanctorum Martyrum Modesti, Catharinae et de societate Stae Ursulae in eo inclusi, et singulis Christifidelibus hodie unum annum et in die anniversario consecrationis hujusmodi ipsam visitantibus quadraginta dies de vera indulgentia in forma Ecclesiae consueta cocoa.

(German translation: In the year of the Lord 1867 on the twenty-second day of September I, Matthias Eberhard, previous Bishop of Banyas , now through the Holy Father Pius IX. Transferred this church and this altar to the honor of the saint Ludwig, the Confessor and King, consecrated, and in it I have included relics of the holy martyrs Modestus, Katharina and the followers of Saint Ursula and today I give a year of true indulgences to every single Christian and I give the visitors to the church on the anniversary of the consecration forty days of true indulgence in the ordinary way of the Church. "

The foundation stone of the baroque church and the heart capsule of the Marquis de Choisy were embedded under the steps of the high altar on October 11, 1866 in a solemn ceremony in the presence of representatives of state and ecclesiastical authorities, the church council and the building commission. A metal plaque was also attached to commemorate the event.

The new nave cost around 24,000 thalers. The Prussian King Wilhelm I had promised a so-called gift of grace of 4,000 thalers on the condition that the Catholic military members of the fortress town could use the building as a garrison church free of charge. Since the city council only wanted to accept an unconditional gift of grace from the king, the royal promise lapsed. The church was rented out as a Catholic garrison church. In 1885, for example, the annual rent was 500 marks.

Compared to the baroque church building, the installation of columns in the neo-Gothic church meant that seats were lost. All baroque furnishings from the previous building were now felt to be no longer in keeping with the style and they were removed. Only the two oil paintings by Louis XIV and the gilded altar predella, which were temporarily stored in the attic of the rectory (today Dechant-Unkel-Platz behind the church), have survived. The two stone facade figures of the apostles Peter and Paul were placed in the front gardens of the sacristies.

The neo-Gothic interior was made possible by private and municipal donors. Prelate Subtil in particular pursued this task with great determination. In 1900 the rosary secrets were painted on the choir walls. The left transept was decorated with depictions of the death of St. Joseph. The representation of the marriage of Mary and Joseph was placed in the right transept.

Construction of a neo-Gothic tower front

St. Ludwig (Saarlouis), fire of the baroque church tower in 1880, (Saarlouis City Archives)
St. Ludwig (Saarlouis), Baroque church tower after the fire of 1880, (Saarlouis City Archives)
St. Ludwig (Saarlouis), Marian inscription in the tower vestibule
St. Ludwig (Saarlouis), construction of the neo-Gothic tower, (Saarlouis City Archives)
St. Ludwig (Saarlouis), portal zone
Vincenz Statz (born April 9, 1819 in Cologne; † August 21, 1898 there), architect of the neo-Gothic tower front of St. Ludwig

The wooden and slated parts of the baroque tower facade caught fire on the evening of August 7th, 1880 due to the nightly illumination with candles or fireworks on the occasion of the celebration of the 200th anniversary of the foundation of the fortress. The slated wooden tower hood burned down completely. The bells melted during the fire or fell into the stone tower shaft when the wooden bell chamber collapsed, although the fire departments of Saarlouis, Dillingen and Fraulautern undertook intensive extinguishing work . During the fire, the two houses Mayer and Baltzer, which were attached to the front of the church tower, were also destroyed down to the outer walls. The church roof of the new neo-Gothic building was also burning, but the stone vault prevented the flames from spreading into the nave.

In view of the severe devastation, also for reasons of purity of style, the decision was made to completely demolish the baroque facade and built a neo-Gothic tower facade corresponding to the style of the neo-Gothic nave by the Cologne architect Vincenz Statz , an influential representative of neo-Gothic in the Rhineland. In 1841, Statz joined the cathedral construction works at Cologne Cathedral , where he worked as a foreman from 1845. At the same time as Friedrich von Schmidt , the later builder of the neo-Gothic Vienna City Hall , he was called in by the cathedral builder Ernst Friedrich Zwirner to work on the plans for the expansion of the cathedral. Statz had been working on the neo-Gothic church expansion of the old parish church of St. John and Paul in Beckingen near Saarlouis since 1856 , for which the local pastor Franz Xaver Leidinger (1810–1890) with the mediation of the Trier bishop Wilhelm Arnoldi and Cologne Vicar General Johann Anton Friedrich Baudri had commissioned. After the decision was made to build a completely new parish church in Beckingen and the railway construction manager R. Vogdt had drawn up the relevant construction plans (later continued by Carl Friedrich Müller) free of charge, the commissioning of Statz was dropped.

The contractor März from Saarbrücken was engaged as the construction manager of the Statzschen plans in Saarlouis. The foundation stone was laid on April 6, 1884. The construction costs amounted to about 160,000 marks . In addition, the insurance paid 37,000 marks, the parish members donated 33,000 marks. Through levies, they raised 90,000 marks with 30-year interest and amortization . The baroque houses that had flanked the original tower facade were retained and renovated in the neo-Gothic facade.

The Saarlouis Choral Society, founded in 1858, was able to finance a new bell, the Joseph Bell, in 1885 with the proceeds from concerts. The bell was supplemented by further donations to include the Ludwig, Petrus and Marienbells. In an article in the liberal Kölnische Zeitung of August 30, 1885, those responsible in the parish and the city administration were accused of anti-Prussian and pro-French tendencies in relation to the bell consecration ceremony on August 23, 1885, since the city had also asked for donations in France through French-language appeals. In addition, the thesis was put forward in the press that Saarlouis emerged as a city and fortress from a French convict colony, whereupon the city council felt compelled to vehemently oppose this accusation in an extraordinary session.

The bells of 1885 later fell victim to the smelting action at the end of the First World War . It was only in 1923 that new bells could be purchased. The Saarlouis schoolchildren donated the Joseph bell, the male parishioners the Petrus bell (13 quintals ), the Virgin Association the Marienglocke (19 quintals) and Prelate Alexander Subtil the Ludwig bell (47 quintals).

Soon after its completion in 1885, cracks appeared on the tower facade, so that the Saarbrücken building councilor Neufang had to initiate restoration measures. The building contractor Mertz from Saarbrücken, who had carried out the masonry work on the tower, then poured the masonry with liquid cement to stabilize the interior.

The two-storey facade is divided into an arcade zone and a window zone. In the four-story, hexagonal steeple with its rises crab decorated helmet up to the top of the finial m at a height of 51st The two houses flanking the facade were taken over from the previous building. They are surmounted by two stair towers with a square floor plan.

St. Ludwig (Saarlouis), tower portal decorated with eyelashes with the apocalyptic lamb in the tympanum

The entrance hall is divided into three large sections. The tower entrance is as central, richly structured with tracery, wimpergbekrönter main entrance to the church with a relief weinrankengeschmücktem tympanum decorated. In the center of the tympanum, the triumphant apocalyptic lamb of God appears in a stylized wreath of clouds with the victory flag on the book with the seven seals ( Rev 5,1  EU ). The constellation of the Lamb with the vine branches refers to the word of Jesus in the Gospel of John ( Joh 15,5  EU ): “I am the vine, you are the branches. Whoever remains in me and I in him brings rich fruit. ”In addition, the constellation of the lamb in the arched field and the portal can be brought into connection with another passage in the Gospel of John:“ I am the door; whoever enters through me will be saved ”( Jn 10.9  EU ).

St. Ludwig (Saarlouis), side portals of the market front, neo-Gothic capital with sheet masks

The tower entrance is flanked by double pointed arches on central columns with sheet mask capitals , which open to the former neo-Gothic aisles. The end wall of the nave recedes behind this vestibule concept. The front of the vestibule is connected to the nave by the sloping walls of the hexagonal tower surrounded by buttresses . While the tower basement is part of the three-part vestibule, the design of the first tower floor connects with the nave facade. The two two-lane pointed arched windows with quatrefoil at the top correspond formally to the tower window on the first floor on the same level. All three windows are the same height as the pointed arches of the sloping tower walls. The nave facade is completed on the first floor with a tracery parapet. In the middle of the second floor of the tower there is a two-lane window that ends with a straight line, above which the tower clock is attached. As on the first floor of the tower, the sloping walls are structured with pointed arches. The hexagonal, crab-studded pointed helmet rises steeply above the neo-Gothic, lancet-like sound openings behind a tracery parapet.

The stone spire of St. Ludwig arouses associations with the stone spire of the main architectural work of Statz, the Cathedral of Mary of the Conception in Linz . The tracery gallery of the crossing tower and the portal tympanum of St. Ludwig show design parallels to the Aachen St. Mary's Church, which was replaced by a new building in 1980/1981 and which Vinzenz Statz had built between 1859 and 1863. Statz also uses the motif of the facade tower on a polygonal floor plan with a pointed helmet for his churches in Braunsrath and Bernshausen . The execution of the helmet in stone, which is almost unique in the neo-Gothic architectural history of the Saarland, could be traced back to the negative experience with the fire of the former wooden baroque tower hood.

The regular hexagonal floor plan of the Saarlouis tower is unusual in the church building by the architect Vinzenz Statz. If he designed polygon towers, they were usually designed octagonal. This conception was not possible in Saarlouis because the Müller church building was already there and the line of alignment to the Großer Markt had to be maintained. A tower of adequate height had to be built in a small space. On an octagonal floor plan, this would have had to be made excessively slim, which would have been detrimental to a balanced facade design and the stability of the bell cage. A certain architectural parallel to the hexagonal Saarlouis tower is the steeple of the Viennese parish church St. Othmar unter den Weißgerbern , which was also built in the neo-Gothic style between 1866 and 1873 according to the plans of Vincenz Statz's colleague, Friedrich von Schmidt . In addition, with regard to the hexagonal tower shape of St. Ludwig, a reminiscence of the hexagonality of the Vauban fortress layout of Saarlouis is conceivable.

The two stair towers of St. Ludwigs in Saarlouis stand on the site of the earlier baroque tower flank hoods. On the upper floor they develop from a square to an octagon and close with stone helmets. It is interesting to note that the frontal silhouettes of St. Ludwig and the church ensemble of the Basilica of the Virgin Mary (built 1866–1871, architect Hippolyte Durand, 1801–1882) and the upstream Rosary Basilica (built 1883–1889, architect Leopold Hardy, 1829 –1894) in Lourdes , which was completed around the same time as the Saarlouis tower front. Another parallel with regard to the triple constellation of a pointed central tower and accompanying stair towers is offered by the Paris Sainte-Chapelle of Louis IX, although here the central tower is shaped as a roof turret.

The arched walls of the vestibule of St. Ludwig, finely profiled with throat and bulge, the rich tracery forms of the parapets, the crabs on the Wimperg and on the central tower spire, as well as the finials of the three spire spiers all cite the High Gothic canon of forms.

Above the entrance portal, the tower hall has intertwined letters in a round medallion that result in the word "Maria". Underneath there is a band of inscriptions with the Latin words: "SANCTA MARIA DEI GENETRIX INVIOLATA IANUA COELI GLORIOSA AVE" (German translation: "Holy Mary, undamaged Theotokos, glorious gate of heaven, be greeted"). Some letters of the inscription are highlighted in color and, interpreted as Roman numerals, result in the year 1883, the year the foundation stone of the neo-Gothic tower was laid.

On the occasion of the 300th anniversary of the founding of the city of Saarlouis in 1980, damage to the tower facade that had been caused by the US artillery bombardment of the Second World War was repaired. The entire facade was cleaned, damaged sandstones were replaced.

Plans to build a branch church

In 1889 the fortress status of Saarlouis was given up and the city could now expand unhindered beyond the former fortress belt. Shortly afterwards, plans began to build a new Protestant church in Saarlouis , which could then be implemented in the years 1904 to 1906 in the form of the Neo-Renaissance and with its Lutheran oaks drawn from acorns of the Wittenberg Lutheran oak, a clear sign of Protestantism with Prussian characteristics in the traditionally Catholic Saarlouis continued.

In 1897 the parish of St. Ludwig bought one hectare of building land from the city of Saarlouis on Ludwigstrasse near the garden rows. It was assumed that the city would expand in the following years, especially in this area, and that the construction of an additional parish church would be necessary. If this development did not come about at this point, they wanted to use the building site as an exchange object for a more suitable building site for a second Catholic church.

However, there was no subsequent construction of an additional Catholic church in the planned area.

Construction work in the neo-Gothic church in the 20th century

St. Ludwig (Saarlouis), side altarpiece "Mary with the Child Jesus", altar shrine lost, Marmon sculptor's workshop (Sigmaringen)
St. Ludwig (Saarlouis), side altar painting "The Holy Family", altar shrine lost, Marmon sculptor's workshop (Sigmaringen)
St. Ludwig (Saarlouis), altar wing with the depiction of the death of St. Joseph and the marriage of Joseph and Mary, Marmon sculptor's workshop (Sigmaringen)
St. Ludwig (Saarlouis), altar wing from the side altar of the neo-Gothic church with the Annunciation scene and the Pietà, Marmon sculptor's workshop (Sigmaringen)

In 1909, after a competition to design a new high altar, the artist Hans Steinlein from Eltville was commissioned. In addition, Steinlein made other figures for the Saarlouis church. In the 1920s, Carl Philipp Schilling and his nephew Franz Schilling repainted the interior of the church. The Atelier Schilling ( Freiburg im Breisgau ) renewed the painting of the church in 1937. During the tenure of Pastor Heinrich Unkel, a thorough renovation of the neo-Gothic sacred building was started in 1936. A heating system was installed and the neo-Gothic window glazing was replaced by lighter windows from the Trier company Binsfeld. The neo-Gothic ornamental painting was also removed and the interior of the church was painted lighter.

During the redesign, the previous side altars were removed and replaced in 1937 by new, small neo-Gothic altars (Joseph's altar, St. Mary's altar) from the Marmon art workshop in Sigmaringen . The Trier General Vicariate said regarding the drafts:

"With regard to the stylistic design of the side altars, we must reject the attempt to work in any medieval style as hopeless."

Despite the negative attitude from Trier, the altars were made in Sigmaringen and set up in Saarlouis. The individual parts of the Marmon altars are still in the church. The context of the structure was lost due to the current list.

The partial seating in the church has been completely replaced by pews by the Mettler company in Morbach . The pulpit , which was previously attached to a pillar in the middle of the nave, was moved to the pillar of the nave closest to the altar in order to make the preacher more visible and audible. The bell has been changed. The organ was expanded from 25 to 44 registers by the Trier organ building companies Sebaldt and Brand. The renovation was completed in 1937.

Nazi era and World War II

St. Ludwig (Saarlouis), Votive Christ, donated on the occasion of the surviving first evacuation of the city of Saarlouis in World War II

The anti-church measures of the Nazi regime began immediately after the referendum on January 13, 1935 in the Saar area . On the part of the new rulers first protest was loud against the newly attached to the new stained glass windows and on the high altar by Hans Steinlein Greek Christ monograms ( ☧ ) that as a rival to the ubiquitous signs swastika was understood. Finally, the windows were broken with stones by NSDAP members. After lengthy negotiations with Gauleiter Josef Bürckel , the damage was repaired at party expense.

The large market in front of the church was completely covered with large-format concrete slabs in 1937 by the construction company Kronenberger from Beaumarais. On December 18, 1936, the Saarlouis city council decided unanimously to give it the new name Adolf-Hitler-Platz . On January 13, 1936, the first anniversary of the Saar referendum in 1935, the name of the city of Saarlouis was changed to Saarlautern.

The Catholic club house was confiscated by NSDAP organs and the Catholic clubs were suppressed. As a result of the abolition of the Catholic denominational schools by the so-called "German Community School" in 1937/1938, the bells in St. Ludwig, as everywhere in the Diocese of Trier, were not rung on Easter Sunday 1938 on the instructions of the Trier Bishop Franz Rudolf Bornewasser . The clergy of St. Ludwig were denied access to school buildings, so that the parish offered pastoral lessons in the afternoon for the school youth.

The popular mission in November 1937 by three Jesuit fathers was disrupted by the NSDAP by putting up signs with the inscription " Foot and Mouth Disease " on the church.

The evacuation of the parish of St. Ludwig took place with the outbreak of the Second World War in September 1939. Rescue locations were various cities and communities in Central Germany, for example. B. Meiningen in the south of Thuringia . The Saarlouis parish clergy were evacuated to Bad Langensalza , Mühlhausen / Thuringia and Dessau . Dechant Heinrich Unkel brought the baroque, gilded Last Supper relief to Münstermaifeld in 1939 for security reasons in the vaulted tower of the collegiate church of St. Martin and St. Severus .

It was not until 1940 that the Saarlouisers returned to the depopulated city after the end of the French campaign . The parsonage was confiscated at the beginning of the war by the meteorological station of the artillery, then by the Association of German Girls and was only returned to the parish after grueling negotiations. On the occasion of the happy homecoming, a wooden figure of Christ was donated as a votive offering in 1940 and created by the sculptor Wilhelm Tophinke , who worked in Koblenz and was trained at the Wiedenbrück school . The figure was erected in 1941.

In the following period the parish was forbidden to ring the bells, the Corpus Christi processions were hindered or forbidden, the parsonage was searched, and services after nightly air raids were prohibited. Further measures were a ban on church flags and a ban on reading out lists of fallen soldiers in church services, which was accompanied by agitation against Pastor Unkel in the press under the catchphrase of an attempt to destroy military strength.

The city's artillery bombardment began on the night of November 29, 1944. The church windows were destroyed and a side aisle was hit by a shell. During the period of fire by the US artillery, most of the city's population fled. At the end of the war, the groin vault over the gallery collapsed. The organ was completely destroyed. The high altar had suffered considerable damage and the sacristy was no longer usable.

Repair of war damage

In the middle of the reconstruction phase, a devastating flood in the last days of December 1947 flooded the already hard hit city. The numerous rubble of bridges that had been blown up by German troops in the last days of the war to impede the advancing Allied troops caused rivers throughout the region to overflow with power. On the night of December 29, 1947, the waters of the Saar flowed into the interior of the church with such rapidity that despite the courageous efforts of parishioners, many of the church's furnishings could no longer be recovered. The tide did not give way until New Year's Eve and left a thick layer of mud in the church, which had to be removed from the church by the use of fire engines.

The Atelier Schilling ( Freiburg im Breisgau ), which had already painted the church in the 1920s and 1930s, also renewed the painting of the church at the end of the 1940s.

The two oil paintings by Dupuy that Louis XIV had given the parish were cut up during the Second World War and were restored by Ernst Sonnet from Güdingen . The golden altar predella was used as an antependium of the neo-Gothic high altar.

It was not until 1957 that a new organ with 45 registers could be installed in the renovated church. A new, now electrically operated tower clock was acquired through a donation from the city, the maintenance of which was the responsibility of the parish from that point on. The church tower clock had previously been in the possession of the civil parish and was also serviced by it.

In 1958, the baroque Last Supper relief that was brought to Münstermaifeld in World War II was restored. It was put back in the church during a ceremony on the eve of the feast of Corpus Christi.

literature

  • Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985.
  • Catholic parish office of St. Ludwig in Saarlouis (ed.): St. Ludwig - Saarlouis . Erolzheim 1960.
  • Kristine Marschall: Sacred buildings of classicism and historicism in Saarland ( publications by the Institute for Regional Studies in Saarland , vol. 40), Saarbrücken 2002. pp. 328–329, 567.
  • Franz Ronig: The church building of the 19th century in the diocese of Trier . In: Eduard Trier, Willy Weyres (ed.): Art of the 19th century in the Rhineland in five volumes . Vol. 1, Architektur I (Kultusbauten), Düsseldorf 1980, pp. 195–268, here: pp. 238–240.
  • Jörg Sonnet: 330 years of the parish church of St. Ludwig Saarlouis (1685–2015) . In: Our home. Bulletin of the Saarlouis district for culture and landscape , volume 40, issue 1, 2015, pp. 28–34.
  • Dieter Zell: St. Ludwig, Guide and History , ed. from the parish of St. Ludwig, o.O. 1990.

Individual evidence

  1. ↑ Josef Niessen: On the history of the church in the middle Saar , in: Saar Atlas , edited and edited on behalf of the Saar Research Association by Hermann Overbeck and Georg Wilhelm Sante, in conjunction with Hermann Aubin, Otto Maull and Franz Steinbach, Gotha 1934, p 49–54, here p. 52.
  2. ↑ Saarlouiser Journal , No. 187 (1864); Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. von der Kreisstadt Saarlouis, o. O. 1980, pp. 2-3; Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 1, pp. 95-96.
  3. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension to include a second part by Heinrich Unkel in 1952, extension to include a third part by Marga Blasius in 1985, Part I, pp. 96-97.
  4. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art , catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980, ed. from the district town of Saarlouis, undated 1980; 3.
  5. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, a second part was added by Heinrich Unkel in 1952, a third part was added by Marga Blasius in 1985, pp. 98-99.
  6. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, a second part was added by Heinrich Unkel in 1952, a third part was added by Marga Blasius in 1985, Part I, pp. 97-98.
  7. ^ Catholic parish office of St. Ludwig in Saarlouis (ed.): St. Ludwig - Saarlouis , Erolzheim 1960, pp. 5–6; Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, p. 96; Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 3.
  8. ↑ Rosemarie Haine-Maas: Saarlouis once and now, A foray through Saarlouis and its history , Dillingen 1992, p. 166.
  9. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 3.
  10. ↑ Roman Fixemer: On the history of the new Gothic church in Beckingen, A processing of the handwritten records of Pastors Franz Xaver Leidinger and Matthias Flesch on the building history of the Catholic parish church Beckingen St. Johannes and Paulus from 1855 to 1924 , commented, supplemented and continued until Years 2007, ed. from the Catholic parish Beckingen St. Johannes and Paulus, Merzig 2008, p. 27ff.
  11. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension to include a second part by Heinrich Unkel in 1952, extension to include a third part by Marga Blasius in 1985, part I, pp. 107-108.
  12. ↑ Catholic Parish Office St. Ludwig in Saarlouis (ed.): St. Ludwig - Saarlouis , Erolzheim 1960, pp. 5-6.
  13. ^ Rudolf Saam: The master builder Carl Friedrich Müller and his activity in the Saarlouis district . In: Heimatkundliches Jahrbuch des Landkreis Saarlouis , Saarlouis 1981, pp. 23–25, here p. 24.
  14. ↑ Josef Mischo: "See, I am with you every day", The parish church St. Ludwig - Saarlouis and its stained glass windows by Ernst Alt, thoughts on a work of art of our time . Saarlouis-Lisdorf 1993, p. 20.
  15. ↑ franziska-aachen.de accessed on August 25, 2015.
  16. ↑ Exception z. B. Stumm's Chapel in Neunkirchen (Saar)
  17. ↑ Kristine Marschall: Sacral Buildings of Classicism and Historicism in Saarland ( publications by the Institute for Regional Studies in Saarland , vol. 40), Saarbrücken 2002. pp. 328–329, 567, here p. 328.
  18. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by a second part by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 3, p. 27.
  19. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 1, p. 113.
  20. ↑ Paulinus No. 48 (1937); Catholic Parish Office St. Ludwig in Saarlouis (Ed.): St. Ludwig - Saarlouis , Erolzheim 1960, pp. 5–6; Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, p. 96; Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 3.
  21. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 19.
  22. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 2, pp. 4–16; Catholic Parish Office St. Ludwig in Saarlouis (Ed.): St. Ludwig - Saarlouis , Erolzheim 1960, pp. 14-15.
  23. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 2, p. 6.
  24. ↑ Hans-Jörg Schu: The large market in Saarlouis . Saarbrücken 1986, pp. 20-21, pp. 30-31.
  25. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 2, p. 3.
  26. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 2, p. 6.
  27. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 11.
  28. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, extension to include a second part by Heinrich Unkel in 1952, extension to include a third part by Marga Blasius in 1985, part 2, pp. 7–8.
  29. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 4.
  30. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 4.
  31. ↑ St. Ludwig's Catholic Parish Office in Saarlouis (ed.): St. Ludwig - Saarlouis , Erolzheim 1960, pp. 14–29; Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 2, pp. 12-16.
  32. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 11.

Coordinates: 49 ° 18 ′ 57.8 "  N , 6 ° 45 ′ 5.4"  E