St. Nikolai (Potsdam)
The Protestant Church of St. Nikolai , spelled St. Nikolaikirche or simply Nikolaikirche, is a listed sacred building on the Alter Markt in Potsdam . The central building, named after Saint Nicholas , in the classical style, was built between 1830 and 1837 according to plans by Karl Friedrich Schinkel. The tambour dome of the 77 meter high building, which towers far above the roofs of the city , was erected between 1843 and 1850. The construction management took over Ludwig Persius and from 1845 Friedrich August Stüler .
Towards the end of the Second World War , the sacred building was hit during an air raid on Potsdam and then badly damaged by Soviet artillery fire. After many years of reconstruction, the church of the Evangelical St. Nicholas Parish in Potsdam was consecrated again in 1981 and has been open to visitors every day since then. In addition to the church services, concerts are also held in the Nikolaikirche.
history
The previous buildings from the 13th to the beginning of the 17th century
Nothing is known about the first Potsdam church from the 13th century, which stood on the site of today's Nikolaikirche. A parish church in Potsdam is mentioned for the first time in the land book of Emperor Charles IV in 1375 with the name ecclesia parochalis . Its appearance is passed down from a simple drawing which shows that it was a Romanesque basilica with a transverse westwork , which was converted into a three-aisled Gothic hall church in the 14th century . The Catholic Church was a branch of the Propstei Spandau , which looked after its daughter church in Potsdam until the Reformation prevailed in 1539 under Elector Joachim II Hector in the Mark Brandenburg .
After the change of denomination, the sacred building was converted into a sermon hall with the installation of a pulpit. In 1563, a renaissance dome was added to the Romanesque tower. The first name of the church is documented in a document from 1602 in which it is called "St. Katharinenkirche", and Johann Gregor Memhardt showed it on the oldest view of Potsdam from 1672.
Previous building in the 18th century
Introduced by the Great Elector Friedrich Wilhelm and continued after 1701 by the first King of Prussia, Friedrich I , Potsdam developed into the second residence after Berlin. Major city expansions took place from 1715 after the entry into government of the soldier king Friedrich Wilhelm I through the influx of craftsmen, but above all through the relocation of the king's bodyguard to Potsdam.
The Katharinenkirche was too small for the ambitious residential and garrison town. It was demolished in 1721 to make way for a new baroque building. This was consecrated to Saint Nicholas at the request of Friedrich Wilhelm I. According to plans by the master builder Philipp Gerlach , the first central Potsdam building was built between 1721 and 1724 with a floor plan in the shape of a Greek cross and an 89.14 meter high bell tower on the north side. Inside, the vaulted transverse hall was surrounded by two-story galleries, which at that time became the hallmark of Protestant church building. The Catholic Church, except for the Jesuit churches , does not know the gallery in this form. The contemporary architectural historian Leonhard Christoph Sturm took the view in his book “Complete instructions to indicate all types of churches” that a large number of people [...] should hear and see the priest well. Since one cannot achieve this on earth, one must try to win the place above one another . According to this design principle, the soldier king had two other churches built next to St. Nikolai. Between 1726 and 1728 the Heiligengeistkirche with an 86 meter high tower and between 1730 and 1735 the Garrison Church with an 88.40 meter high tower.
Friedrich Wilhelm I, who did not care much about representation, strove for an economical, functional building method when expanding his garrison town. His son and successor Friedrich the Great wanted to beautify the outward appearance of Potsdam and had the façades of simple residential buildings screened, soon referred to by the residents as "little shirts" so that they sometimes got a palace-like appearance. For the old market , which was bordered by the church, the city palace , the town hall and town houses, Frederick II aimed for the character of an Italian piazza. The Nikolaikirche was given a new face to the south, on the market side. Based on drawings by Georg Wenzeslaus von Knobelsdorff , a scaled-down copy of the facade of Santa Maria Maggiore in Rome was built in front of the sacred building from 1752 to 1755 under the direction of master builders Jan Bouman and Carl Ludwig Hildebrandt (around 1720–1770) . In the style of the Roman late baroque, it was richly structured by columns and essays. The upper part of the central axis was decorated with a fresco by the painter Charles Amedée Philippe van Loo . Most of the sculptural work was done in the workshops of Johann Peter Benkert and Gottlieb Heymüller . Arched halls, in which market stalls were located, led around the nave.
During repair work on the tower, the Nikolaikirche burned out completely due to careless handling of soldering fire on September 3, 1795. In 1796 the ruins were removed and the stones were used, among other things, for the construction of the so-called " actor barracks ". Only the facade remained in place until 1811. After the destruction, the church services for the Nikolaigemeinde took place in the nearby Heiligengeistkirche, from 1806 in the garrison church and from 1810 again in the Heiligengeistkirche.
Adverse circumstances delay a new church building
Immediately after the fire, the successor and nephew of Frederick the Great, Friedrich Wilhelm II , who had been in power since 1786 , gave orders to draw up plans for a new building. The drafts of the master builder Michael Philipp Boumann from 1796 envisaged a church building with the inclusion of the late baroque façade. In the same year, Friedrich Gilly , a teacher and friend of Karl Friedrich Schinkel, created draft drawings of a building in a simple cubic form, the so-called revolutionary architecture , which his pupil later took up again. But the new building had to wait. With the death of Friedrich Wilhelm II in November 1797 and the death of the architects Gilly (1800) and Boumann (1803), the plans were initially forgotten.
Then the political and economic situation in Prussia changed during the war against Napoleon , so that major construction work became impossible. After the lost battles near Jena and Auerstedt on October 14, 1806, French troops entered Potsdam on October 24 and made the city the main cavalry depot for two years. A food store was set up in the Holy Spirit Church. In addition to feeding troops passing through, a few thousand French soldiers and their horses were in permanent quarters. In addition, a high war contribution had to be raised, which finally plunged the now completely impoverished city into a financial crisis. In 1811 the ruins of the baroque façade were torn down and a green area was created on the former site of the Nikolaikirche.
New construction of the Nikolaikirche
When economic stabilization became apparent in 1820, Friedrich Wilhelm III. as summus episcopus of the Protestant regional church after the urging of the St. Nikolai congregation for a new building of the city church. In 1826 the king commissioned the architect Karl Friedrich Schinkel with the planning, who then made various preliminary designs. In addition to sketches of some rectangular, three-aisled churches, he strove to build a domed structure with the ground plan of a Greek cross, thus taking up Gilly's design again. In addition, he let the impressions of his study trip to France and England, made in the same year, flow into the architectural design. The Panthéon in Paris designed by Jacques-Germain Soufflot and above all St Paul's Cathedral based on plans by the architect Sir Christopher Wren served as role models . Schinkel found a supporter for the dome construction in the heir to the throne, later Friedrich Wilhelm IV. , Who had already made similar sketches. The by Friedrich Wilhelm III. However, the approved funds were only sufficient for the construction of the substructure, so that instead of a central building with a dome, a basilica without a tower with a flat gable roof and a portico in front of the market side was built.
Construction work began in 1830 under the local direction of Schinkel's student Ludwig Persius . The foundation stone was laid on September 3 of the same year, exactly 35 years after the fire accident. Bricks from Königs Wusterhausen and building sand from Flottstelle near Caputh were delivered for the substructure . The stones of the four semicircular barrel vaults built in 1832 came from the brick factories in Petzow , Lehnin , Michelsdorf and Werder . The first repair work had to be carried out as early as March 1833. Due to the premature removal of the falsework under the 19-meter-wide barrel vault , the crowns of the vault had suddenly sunk by around 30 centimeters . Moreover, were the corners of the building [...] each to nine centimeters outwards given way, and there were strong vertical cracks in the walls. After the repair, work continued inside on the wooden flat dome. In 1834 the gable roof was covered with brick-like cast zinc plates from the Berlin foundry Moritz Geiß . In 1835, the gable fields were decorated with stucco reliefs, the roof figures and acroteries and the design of the simple interior followed. 1837 had once repairs are made because abplatzten by moisture in the masonry gilding and 1836 by Bernhard Wilhelm Rosendahl with (1804-1846) tempera created -Farben apse painting by molds had been damaged. Schinkel received no invitation to the solemn inauguration on September 17, 1837 by Bishop Daniel Amadeus Neander . The architect Gustav Emil Prüfer (1805–1861) reported in 1853 in the Zeitschrift für Bauwesen :
“Unfortunately, however, the building was in no way entirely satisfactory; least of all, this could be the case with regard to external architecture. Inside there was a great acoustical problem, in that on the lower reveal surfaces of the 4 barrel vaults, but mainly on the flat dome ceiling (calotte) made of wood above the central church space, the sound beams were propagated to such an extent that the clergyman at fast Speaking was difficult to understand. In addition, there was a slight settling of the vaults even after the building was completed, as a result of which the earlier cracks became noticeable again, and the plaster began to fall off in some places inside the vault. "
Schinkel's first draft is realized
Karl Friedrich Schinkel was no longer allowed to experience the realization of his idea of a dome building. He died after a stroke on October 9, 1841. The proponent of this building project, now King Friedrich Wilhelm IV., Had been in government since 1840. In a cabinet order of May 1, 1843, he ordered Schinkel's plan for a domed church to be implemented. The construction management was again taken over by Ludwig Persius, who transferred the local management to Gustav Emil Prüfer. The first gables were removed in August of the same year. The now no longer needed relief in the triangular gable, with the Ascension of Christ , then came to Trier to decorate the Constantine basilica . Although Schinkel had taken the thrust of the dome into account in his planning, Persius considered it necessary, for structural reasons, to reinforce the cubic substructure by adding tower-like additions to the corners, walling up the staircases and bell towers in the abutment pillars base by subsequent incorporation of anchors to provide duly protected against further movements, [...] new over the old vaults barrel vault and new Pendentifs perform as well as the old barrel vault by partial removal of the upper arch something to relieve [...]. In 1845 the drum was built under the supervision of the Potsdam master mason Ernst Petzholtz . The bricks and clinker came from the brickworks near Wildau , Rathenow and Joachimsthal , the sandstones from the quarries in Postelwitz and the lime from Rüdersdorf . To reduce the weight of the structure, Persius had light diatomite added to the bricks . As a result, he promised not only a weight-reducing, but also a sound-absorbing effect. In addition, he planned a filigree rib construction made of cast iron for the outer dome, instead of the wooden construction designed by Schinkel.
Ludwig Persius did not see the completion of the dome either. After returning from a trip to Italy, he fell ill with typhus and died on July 12, 1845. Friedrich August Stüler had already taken over the construction management in June and supervised the work for five years until it was completed. In 1847 the dome was built, which, according to Persius' plans, should also be built with infusory stones. Apparently there was a change of plan under Stüler, because Gustav Emil Prüfer instead gives 16,890 pieces of the equally light potted stones in his material and cost list, which had already proven themselves in the Neues Museum . In 1848 the Berlin iron foundry Borsig installed the cast iron rib construction of the outer protective dome, which was mounted on rollers to compensate for movements caused by thermal expansion [...] . The Potsdam master plumbers Eduard Fischbach (1811–1877) and Friedrich Kahle (1809–1888) covered the dome with copper plates. After the interior design, the second solemn inauguration took place on March 24, 1850 by the superintendent Johann Jacob Ebert (1798-1853).
Another problem that could hardly be solved was the unsatisfactory acoustics in the church. In the opinion of the architect Prüfer , a significant improvement had occurred, but now it was mainly the lower reveal surfaces of the large barrel vaults […] that caused the propagation of the sound beams […]. For sound absorption , curtains were then put in place and floor mats were laid, and in 1882 a hemp net was pulled through the dome ring. Another sound-absorbing measure took place during the renovation of the church interior in 1912, when the Berlin sculptor Otto Lessing redesigned the vaulted arches and replaced the originally painted cassette fields with plastic cassettes with stucco rosettes . The medallions that Prüfer mentioned in his report in 1853 were preserved: The girders under the 4 large barrel vaults contain 4 · 7 = 28 half-length portraits, which depict the most famous martyrs, church fathers, church reformers and the 7 apocalyptic communities. The images created in fresco on a gold background are now painted over with a simple coffered pattern.
Destruction of the Nikolaikirche in 1945
During the air raid on Potsdam on the evening of April 14, 1945, British aircraft dropped explosive and incendiary bombs over the Potsdam city area. Although a large part of the old town was in ruins, the church remained unscathed except for slight damage. It was not until the last days of April that it was ruined by Soviet artillery fire during the fighting for Potsdam . The dome collapsed and the entrance portico on the Alter Markt broke. Inside, the organ loft with the Sauer organ collapsed, the apse was severely cracked, parts of the furnishings burned and the largest bell smashed. Only the altar and pulpit remained undamaged. On April 30, 1945, the Red Army occupied Potsdam.
reconstruction
Until the church was rebuilt, services were held temporarily in the Christ Church on Behlertstraße and from 1946 in the nearby Nikolaisaal on Wilhelm-Staab-Straße. The building from 1909 was the community center of St. Nikolai for decades and served as a "replacement church" until 1981 after the war damage was repaired. In 1984 the Nikolaisaal became municipal property.
After only makeshift security measures had been carried out on the church after 1945 to prevent the risk of collapse and the ingress of rainwater, the parish council decided in 1948 to restore the dome and the outer facade. The work was carried out in several stages. The first construction phase began in 1955 with the erection of a 47-ton steel structure for the outer dome. In 1958 the wooden cladding and the copper outer skin were installed. After installing the new lantern and putting on the ball and cross, the dome work ended on August 28, 1962. During this work, members of the church council put a cassette with documents into the ball, as the public announced on August 1, 2006. These documents describe the persecution and illegal arrest of church members by the state authorities in the former GDR .
In the second construction phase, from 1968 to 1977, the destruction of the outer facade and the reconstruction of the column portico on the old market took place. During the second construction phase, the interior of the church was also restored from 1975 onwards. There were some changes to the painting of the walls and structural changes, which meant that spaces could be created for the diverse tasks in the parish. After excavation work, basement rooms for technical and sanitary systems, a youth room and a tea kitchen were created. In the church, the galleries, supported on Corinthian columns, were moved two meters into the interior space, and exhibition, consultation and office rooms were set up below them. Dark tinted glass panes behind the gallery columns separate the rooms from the sermon room. Due to this structural change, the plan of the Greek cross is no longer recognizable inside. A significant reduction in over-acoustics was achieved by a fan-shaped glass wall in the entrance area and cassette panels in the drum and on the side vaults. The solemn consecration took place on May 2, 1981, 36 years after the destruction, at which Bishop Albrecht Schönherr gave the ceremonial address. Renewed renovation work on the outer shell, which began in 2002 and had to be suspended from 2004 to 2006 for financial reasons, was completed in 2010.
Evangelical St. Nikolai parish in Potsdam
Today's “Evangelical St. Nikolai Parish Potsdam” was re-established on January 1, 1983 as a public corporation . It united the parishes of St. Nikolai, Heiligengeist and Teltower Vorstadt (Resurrection Community ), who have shared the house of God since 1981, because their church, or parish hall, was destroyed in 1945.
In August 2009 another merger took place with the parish of the residential area "Zentrum-Ost", which had previously consisted of around 480 parishioners. According to this, the St. Nikolai parish comprised a total of around 2700 members (as of 2009).
Architecture and equipment
Exterior design
The church, built in the classical style, is a central building with an apse facing north . The substructure has a square floor plan of 30 × 30 and a height of 27 meters up to the main cornice. 45 meter high towers are added to the corners as buttresses . They are crowned by 2.80 meter high angel statues by the sculptor August Kiß . Three of the four corner towers carry the bells behind arched openings on the top floor. In the fourth, the north-east tower, a staircase leads to a viewing platform around the drum . The ashlar plaster attached to the outer walls simulates masonry made of natural stones with its differently colored sandstone tones.
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The cubic building are on the south side a column portico in front and a staircase. Six fluted Corinthian columns support the tympanum under the gable roof. The relief by August Kiß in the triangular gable field, which was destroyed in 1945 and shows motifs from the Sermon on the Mount , is a reconstruction completed in 2018 by the Potsdam sculptor Rudolf Böhm based on old measurement images. The portico covers the entrance area. Two smaller wooden doors flank a tall double door in the middle. As originally in the gable field, words from the Sermon on the Mount can also be found on the three-part votive tablet below the main cornice. Four semi-sculptural angel figures by the sculptor Ludwig Wilhelm Wichmann separate the briefs: “Blessed are those who suffer because they should be comforted. Blessed are those who hunger and thirst for righteousness, for they should be satisfied ”-“ See, I am with you every day until the end of the world. Our walk is in heaven. From then on we also wait for the Savior Jesus Christ the Lord ”-“ Blessed are the merciful, for they will receive mercy. Blessed are the pure of heart, for they will see God ”. In the west and east facades, five high lattice windows and one large, brightly glazed semicircular window each are embedded, the upper lattices of which are decorated with semi-plastic angel figures.
The mighty drum dome rises on a round, stepped roof on the cube-shaped substructure. The cylindrical drum has a height of 22.5 meters and is surrounded by twenty-eight, 10 meter high Corinthian columns, which carry an attic decorated with palmettes . In the lower drum area, fourteen high lattice windows let daylight into the sermon room. The window niches above the parapet, alternating with Ionic pilasters , are merely blind windows . The double-skinned dome rises on the drum. It has a diameter of 24 meters and a height of 13 meters. The outer decorative dome is divided into segments and covered with copper plates. Three circumferential rows of round windows, so-called ox eyes , between 28 ribs that are also visible from the outside, illuminate the space between the inner and outer dome. A 14.5 meter high lantern with a crowning spherical cross forms the end of the building . The total height of the church building up to the cross is 77 meters.
Interior design
Since the renovation in the 1970s, the visitor first enters an anteroom which, like the organ gallery above, extends over the entire width of the south side. A glass wall separates the entrance area from the sermon room, which is equipped with dark wooden benches and under the drum dome fills the center of the building. The exhibition, consultation and office rooms, which were also separated by glazing after the redesign, are housed under the galleries on the west and east sides. The curtains for sound absorption , which were attached between the pillars until they were destroyed in 1945 , were remade in 2017. The choir, raised by eight steps, with pulpit, organ and baptismal font, and the adjoining semicircular apse with the altar ciborium , are on the north side.
Drum dome
The prophets of the Old Testament are depicted in medallions in the four spherical triangles, the pendentives , which form the transition between the square base and the cylindrical drum . Under the direction of Peter von Cornelius, Eduard Holbein painted the prophet Isaiah , Karl Stürmer the Jeremiah , Gustav Eich the Ezekiel and Hermann Theodor Schultz (1816–1862) the Daniel on a gold background .
The interior has a height of 52 meters up to the apex of the brick inner dome. The connection to personalities from the Old Testament is retained in the drum. The figural design of the fourteen niches , designed as aedicules above the high lattice windows, was carried out by students of the sculptors Christian Daniel Rauch and Johann Gottfried Schadow . When the dome collapsed in 1945, the sculptures Noah , Mose , David , Solomon and John the Baptist were partially badly damaged. The dome, which is kept simple today, was painted three-dimensionally until its destruction with a circumferential band of clouds and 28 larger-than-life angels, above which the dove hovered in the top of the dome. The stucco parapet in the lower drum area, behind which a gallery runs, has been restored since 1981.
Apse and choir
The original painting of the apse was based on a design made by Karl Friedrich Schinkel in 1829 and frescoed by Bernhard Wilhelm Rosendahl in 1836 . On gold shiny base located Schinkel the twelve apostles with their attributes in the lower half-round and upward, in the upper semicircle, which also with their attributes shown evangelist Markus with lion, John with an eagle, Matthew with winged humans and Luke with a bull. On the highest level, in the semi-dome, which was whitewashed colorless after 1945, Jesus Christ sat on the heavenly throne, above which the dove floated as a symbol of the Holy Spirit . Angels stood on a ribbon of clouds on both sides, carrying palm and cross as symbols of peace and redemption. In the course of the dome construction, the apse painting was partially restored differently from the original. Through changes in the face of Christ […] and the addition of palm trees between the evangelists, an archaic aspect came into the representation. Several Berlin artists carried out this work according to instructions from Friedrich August Stüler, and under the direction of the painter Peter von Cornelius . Until 1945 stood above the evangelist in the upper semicircle, the verse translated by Martin Luther from the Gospel of John : “So God loved the world that he gave his only begotten Son, so that all who believe in him would not be lost, but the eternal Have life ”. Today the lettering in capitals in the dome from the Revelation of John is missing : “I am Alpha and Omega , the beginning and the end, says the Lord God, who is and who was and who is to come Almighty ".
The altar ciborium, raised by three steps, which interrupts the view of the mural, was not included in Schinkel's planning and was only added later at the request of Friedrich Wilhelm IV. Only the altar table made of dark Bohemian marble and the baptismal font from the same stone to the left with Luther's translation from the Gospel of Mark : “Whoever believes and is baptized will be saved; but whoever does not believe will be condemned ”. In 1849 Friedrich August Stüler added a marble stand cross by Christian Friedrich Tieck and a ciborium to the altar table . He designed a structure of four white Venetian marble columns with gilded Corinthian capitals , which support a canopy designed as a gable roof. The ornamental roof is crowned by a cross and the gable is decorated with the Christ monogram . The architrave is surrounded by a frieze with ornamental decorations and gilded angel heads protruding semi-plastic from medallions. The decoration with angels is an often occurring design element in St. Nikolai, which can be found both on the exterior and in the entire church space on the pulpit, the choir screens , gallery parapets and on the capitals of the columns and pilasters.
For the pulpit designed by Schinkel in the right-hand choir, the sculptor August Kiß created the relief pictures made of cast zinc with scenes from the Sermon on the Mount . On the front is depicted Jesus Christ preaching to people. The reliefs on the sides show him in the garden of Gethsemane before the arrest and the resurrection . The scenes are flanked at the corners by angel figures. The sound cover , which is drawn noticeably far into the room, was not planned by Schinkel in this length and was only lengthened at a later time, among other things in 1912 as part of the interior restoration, in order to reduce the excessive acoustics in the church.
Organs
The Potsdam organ builder Gottlieb Heise was commissioned to build an organ for the church building that was newly built during the Schinkel period . In 1837 he set up a two-manual work with 26 registers on the south-facing gallery , the prospectus of which formed round pipe towers.
In 1908 the Wilhelm Sauer company from Frankfurt (Oder) enlarged the instrument. Using the historical prospectus, she built a three-manual work with 49 registers and chromatic carillon on pneumatic cone chests . The south pore has been empty since the destruction of the Sauer organ at the end of the Second World War.
Choir organ
As a replacement for the Sauer organ, a small mechanical organ with six manual registers and an attached pedal from VEB Potsdamer Schuke Orgelbau was added to the left choir room in 1978 . Since 2005 there is an organ with 21 stops on two manuals and a pedal. The 1,600 or so pipes come largely from an instrument from 1954 that the Karl Schuke Berlin organ building workshop made for the Trinity Church in Essen- Altenessen, North Rhine- Westphalia, which was demolished in 2005 . The Orgelbau Kreienbrink company from Georgsmarienhütte converted the organ for the Nikolaikirche and installed it in a new, six and a half meter high organ case. A sliding and roller system in the front part allows the instrument to be pulled out for maintenance purposes.
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- Normal coupling : II / I, I / P, II / P
Main organ
In 2017, the Kreienbrink organ building company built a new, large organ on the southern pore, the pipework of which was largely derived from an instrument that Kreienbrink built in 1971 for the Königsmünster Abbey in Meschede . The organ consecration took place on September 23, 2017. The abrasive loading -instrument has 55 registers on three manuals and pedals as well as mechanical Spieltrakturen and electrical Registertrakturen. In addition to the swell (third manual), the upper part (second manual) will also be swellable.
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- Coupling: II / I, III / I, III / II, I / P, II / P, III / P; Sub-octave coupling
- Playing aids: electronic setting system , midi interfaces, crescendo roller
- Remarks
Bells
In the formerly towerless basilica, three fixed, flat bowl bells were installed in the bellhouses above the portico, which a movable clapper made to ring. The bronze bells were made in 1836 by the Berlin bell founder Ernst Ludwig Wilhelm Thiele (active around 1803–1839). Only when the four corner towers were added did the church receive swinging bronze bells of 32, 17, just under 10 and 4 hundredweight in 1849, which came from the Berlin workshop of master bell founder Johann Carl Hackenschmidt (1778–1858). During the First World War, three of them were melted down for military armor in 1917 and replaced by cast steel bells from the Bochum Association in 1922 .
When the church building was destroyed in April 1945, only the two bells in the north towers with the inscriptions “This is a delicious thing, thank the Lord” and “Pray without ceasing” remained undamaged. In 1984 the missing bell in the south-west tower could be replaced by a bronze bell cast in 1950 by the bell foundry in Apolda "Franz Schilling Sons" for the tower stump of the garrison church. Its inscription read: “It should receive the groaning of hearts from the need of our people and the whole world to make it known before God and men. Lord, have mercy on us ”.
In the course of the renovation work carried out between 2002 and 2010, the church received new bells again. With financial help from the “Prussian Cultural Heritage Foundation”, they were exchanged for four new bronze bells from the Eifeler bell foundry in Brockscheid and built into the wooden belfry in March 2010.
| No. | Surname | Casting year | Foundry, casting location | Weight (kg) | Nominal | tower | inscription |
|---|---|---|---|---|---|---|---|
| 1 | Thanks bell | 2010 | Eifeler bell foundry, Brockscheid |
1,700 | d 1 | NW | Give thanks to the Lord for he is kind |
| 2 | Our Father Bell | 1,100 | f 1 | SW | Forgive us our debts | ||
| 3 | Prayer bell | 760 | g 1 | SO | Pray without ceasing | ||
| 4th | Praise bell | 590 | a 1 | SW | Praise the lord |
literature
- Dietmar Beuchel, Ursula Treichel: St. Nikolai in Potsdam (= DKV art guide. No. 424/9). 3rd, completely revised edition. Deutscher Kunstverlag, Munich / Berlin undated [1999].
- Rudolf Böhm , Susanne Weichenhan (texts), Martin Kunze (photos): Blessed are ... The tympanum relief on St. Nikolai in Potsdam. History - reconstruction - message. Ev. St. Nikolai parish Potsdam, Potsdam 2018, DNB 1170416330 .
- Parish Council of the Ev. St. Nikolaikirchengemeinde Potsdam (Ed.): St. Nikolai Potsdam. 150 years under the dome. UNZE, Teltow 2000.
- Board of Trustees of the Nikolaikirche (Ed.): St. Nikolai Potsdam. A review on the occasion of the re-inauguration in 1981. Kreutzmann, Leipzig 1989.
- F. Wilhelm Riehl: The St. Nikolai Church in Potsdam, its history and current form. With a floor plan of the church. Potsdam 1850.
- Waltraud Volk: Potsdam. Historic streets and squares today. 2nd, heavily edited edition. Verlag für Bauwesen, Berlin / Munich 1993, ISBN 3-345-00488-7 , p. 118 ff.
- Dehio Brandenburg, 2012, last update on April 11, 2018, p. 822 ff. ( Deutsche-digitale-bibliothek.de )
- Construction journal: Atlas for the construction journal. Vol. III, Ernst & Korn, Berlin 1853, plates 1 ff. ( Urn : nbn: de: kobv: 109-opus-86730 , PDF at the Central and State Library Berlin , accessed on May 2, 2019).
- Construction journal. Book I and II, Vol. III., Ernst & Korn, Berlin 1853, Col. 3-18.
Web links
- Entry in the monument database of the State of Brandenburg
- Potsdam center
- St. Nikolai parish Potsdam
- Organ of the Nikolaikirche Potsdam
Individual evidence
- ↑ So on the website of the parish and in other publications.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 4.
- ↑ See Volk: Potsdam. Historic streets and squares today, p. 118.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 5.
- ^ Friedrich Mielke: Potsdam architecture. Frankfurt a. M./Berlin/Wien 1981, p. 368, cf. Construction journal. Booklet I and II, vol. III, Berlin 1853, column 3. Waltraud Volk gives the height of the bell tower as "almost 85 m", cf. People: Potsdam. Historic streets and squares today. Berlin / Munich 1993, p. 118.
- ^ People: Potsdam. Historic streets and squares today, p. 118.
- ^ People: Potsdam. Historic streets and squares today, p. 35, cf. Sturm: Complete instruction to address all types of churches well. Augsburg 1718.
- ^ Friedrich Mielke: Potsdam architecture. Frankfurt a. M./Berlin/Wien 1981, p. 363, cf. Armin Hanson: Preservation of monuments and cityscape in Potsdam 1918–1945. Berlin 2011, p. 265.
- ^ Friedrich Mielke: Potsdam architecture. Frankfurt a. M./Berlin/Wien 1981, p. 365, cf. Dieter Bingen, Hans-Martin Hinz: The razing: Destruction and reconstruction of historical buildings in Germany and Poland. Wiesbaden 2005, p. 152.
- ^ People: Potsdam. Historic streets and squares today, p. 118 f.
- ^ People: Potsdam. Historic streets and squares today, p. 119.
- ↑ a b Gebhard Falk: Chronicle of the St. Nikolaikirche in Potsdam and its community. In: Parish Council: St. Nikolai Potsdam. 150 years under the dome, p. 25.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 7.
- ^ Andreas Kitschke: Nikolaikirche in Potsdam. In: Foundation Prussian Palaces and Gardens Berlin-Brandenburg: Ludwig Persius. Architect of the king. Architecture under Friedrich Wilhelm IV. Potsdam 2003, p. 110. Cf. Gustav Emil Prüfer: Mittheilungen about the construction of the St. Nicolai Church in Potsdam. In: Journal of Construction. Book I and II, Vol. III, Berlin 1853, Col. 6-8.
- ↑ Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 25 f.
- ↑ Examiner. In: Journal of Construction. Book I and II, Vol. III, Berlin 1853, Col. 9.
- ↑ Examiner. In: Journal of Construction. Book I and II, vol. III, Berlin 1853, col. 8.
- ↑ Examiner. In: Journal of Construction. Book I and II, Vol. III, Berlin 1853, Col. 10.
- ↑ a b c d Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 27.
- ↑ Examiner. In: Journal of Construction. Book I and II, Vol. III, Berlin 1853, Col. 3 ff., Here: Col. 14, Item 13. See Werner Lorenz: Of many difficulties to do justice to a historical construction. Notes on recent remarks about the protective dome of St. Nikolai. In: SPSG : Jahrbuch 5 (2003), Berlin 2005, p. 129 f.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 33 (there with the note: after Andreas Kitschke, 1981).
- ↑ Examiner. In: Journal of Construction. Book I and II, vol. III, Berlin 1853, col. 12 f.
- ↑ a b Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 32.
- ↑ Examiner. In: Journal of Construction. Book I and II, Vol. III, Berlin 1853, Col. 12.
- ↑ Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 35.
- ↑ a b Falk. In: St. Nikolai Potsdam. 150 Years Under the Dome, p. 44.
- ↑ Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 40.
- ↑ Guido Berg: List of those arrested in the cupola cross. In: PNN . August 24, 2006, accessed May 15, 2016 .
- ↑ See Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 40 ff. Cf. Beuchel, Treichel: St. Nikolai in Potsdam, p. 7 f.
- ↑ a b Andreas Kitschke: The churches of the Potsdam cultural landscape. Lukas, Berlin 2017, p. 158.
- ↑ Evangelical Church in Potsdam: Fusion of the parishes in the center east and St. Nikolai. Archived from the original on July 31, 2012 ; Retrieved May 2, 2019 (originally accessed November 7, 2011).
- ↑ Dimensions in part from Beuchel, Treichel: St. Nikolai in Potsdam, p. 31 ff. (There with the note: after Andreas Kitschke, 1981).
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 15 ff.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 32.
- ↑ Johannes the Baptist (Christian Friedrich Tieck), Elia (Carl Friedrich Müller), Solomon (Heinrich Begas), David (Wilhelm Rudolf Henkelmann, called Rudolf Piehl), Samuel (CF Müller), Gideon (Adolph Bräunlich), Josua (R. Piehl), Abel (Karl Stürmer), Henoch (Karl Heinrich Möller), Noah (CH Möller), Abraham (Fr. Tieck), Isaak (K. Stürmer), Jakob (H. Begas), Mose (Fr. Tieck). See St. Nikolai Potsdam. 150 years under the dome, p. 19.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 10.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 13.
- ↑ Hartmut Mai: The Nikolaikirche in Potsdam. In: Foundation Prussian Palaces and Gardens Berlin-Potsdam: Yearbook 1995/1996. 2000, p. 58.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 23.
- ↑ See photo of the chancel after the restoration in 1912. In: St. Nikolai Potsdam. 150 years under the dome, p. 30.
- ↑ Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 27. Beuchel, Treichel: St. Nikolai in Potsdam, p. 23, date the construction of the altar ciborium to the year 1850.
- ↑ Beuchel, Treichel: St. Nikolai in Potsdam, p. 23 ff.
- ↑ Kreienbrink Orgelmanufaktur: Disposition , accessed on September 7, 2015.
- ↑ Kreienbrink Orgelmanufaktur: New building of the large organ in the St. Nikolaikirche Potsdam , cf. Nikolaiorgel. Disposition. In: nikolaiorgel.de. Music to St. Nikolai Potsdam e. V., 2016, archived from the original on January 30, 2016 ; accessed on May 2, 2019 .
- ↑ Falk. In: St. Nikolai Potsdam. 150 years under the dome, p. 45.
Coordinates: 52 ° 23 '46.7 " N , 13 ° 3' 38.9" E