Marienkirche (Pirna)

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Marienkirche Pirna

Built the early 16th century St. Mary's Church Pirna is the Evangelical Lutheran Home Church Pirna and one of the largest late-Gothic hall churches in Saxony . The listed church is located at Kirchplatz 14 in the old town .

Building history

View from Sonnenstein Castle over the old town, on the right the Marienkirche
View into the interior of the Marienkirche in Pirna to the east

Building

A previous building from the 13th century emerged in small remnants during earthworks in 1889/90 inside today's church.

The tower on the southwest corner was built between 1466 and 1479. Soon, however, its two upper floors had to be removed again and it was later given today's hood.

The late Gothic , three-aisled hall church was built from 1502 under the direction of foreman Peter Ulrich (called Peter von Pirna ). They started in the west and continued to use the older church in its eastern parts. In 1510 the roof was erected over three and a half bays in the west. The roof truss, which begins at the eaves cornice at a height of around 18 meters, rises to a height of 19.50 meters. It is self-supporting and, according to the construction drawing, loads on the side walls and the pillars. Immediately afterwards, the three western yokes probably received their stone vaults with the net figures.

Peter Ulrich died in 1513/14 and the foreman Markus Ribisch took over the construction. By changing the plan, the eastern yokes were shortened somewhat so that the foundations of the previous church could be integrated. Until 1523, the outer walls of the eastern parts were raised according to the new plan and stone made for the vaults. Ribisch probably designed the more complicated rib figures on curved ground plans. However, the eastern vault had not yet been built in when the funds for construction ran out in 1523.

It was not until 1537 that construction was continued and the roof structure was erected on the eastern yokes. This work, which presumably largely followed the old plans from around 1520, was directed by Wolf Blechschmidt . Now the missing pillars were bricked up and the vault in the east was also closed by 1544/45.

In 1570/71 stone galleries were designed on the west and north sides by the sculptor Christoph Kramer, a student of Hans Walther, with an extensive program of images.

Between 1888 and 1890, the interior of the church was given a uniform design by Friedrich Wilhelm Otto Dögel , completed by Theodor Quentin , who was instrumental in the preservation of monuments in Saxony. At that time, the southern gallery was also built and designed similar to the one from the Renaissance period on the west and north side. The last renovation was completed in 2005.

Vault and painting

Vaulted ceiling
The year 1546 and representation of the Last Judgment

The vault of the Pirna Hall Church with its three naves of equal height is supported by eight slender octagonal pillars. It shows daring in its eastern and playful elements as those in the room projecting helical ribs (loop ribs), shaving and two ribs Astrippen . The artistic fish-bladder vault is located above the choir . In the apse directly under the Astrippen there is a sandstone couple called "Wild Man and Wild Woman". Perhaps these peculiarities were designed by the then architect Markus Ribisch as early as 1520 and then added and installed later. They are not yet to be found in the three western yokes vaulted in by his predecessor. However, it is also possible that individual features such as the Astrippen and their figures were only made in the early 1540s.

The church was completed with this eastern vault in 1546. At 65 meters long and 35 meters wide, it is the third largest hall church in Saxony after the Peterskirche in Görlitz and the Annenkirche in Annaberg-Buchholz . The central nave is 17.80 m high, the side aisles only 20 cm lower.

Marienkirche Pirna. Fish bladder rib vault above the chancel
Marienkirche Pirna. Free-standing Astrippe in the vault

Since the introduction of the Reformation in Albertine Saxony in 1539, the parish of the Marienkirche has been Evangelical Lutheran. Since the vault was only completed afterwards, the first Protestant pastor Anton Lauterbach was able to play a key role in the design of the picture program for the painting. Martin Luther and Philipp Melanchthon are shown as Evangelists Luke and Mark. The vault paintings attributed to the biblical scenes with Latin explanations under the Jobst Dorndorff , but probably executed by several painters in 1546, are said to have served as a template for illustrations of Martin Luther's translation of the Bible printed in Wittenberg in 1532 . There are also depictions of seven virtues and boys. The latter are partly integrated into the ornamentation, partly they belong in mythological scenes with mythical creatures such as centaurs . Out of these scenes stand out two images in which armed boys fight against storks. Storks rarely appear as symbols. In parallel to wolves with mitres , which are also shown , stealing sheep from the flock of believers, as they are found in leaflets from the Reformation period as a representation of the endangerment of the evangelical believers by the papacy, the storks can possibly be used as symbols for other opponents of the Lutheran Reformation, the Anabaptists embodied by Nikolaus Storch . Wall paintings from the time of origin, which mocked the indulgence trade of the Pirna native Johann Tetzel , were removed during the renovation in 1708 and have not been preserved. The extensive vault paintings have been repaired and changed slightly during various renovations, but have largely been preserved true to the original.

Furnishing

Pirna Marienkirche. Pulpit from around 1520. The sculpture is attributed to Franz Maidburg
Gallery relief on the north side from 1570/71 by Christoph Kramer
Marienkirche Pirna, altar from 1609/12

The pulpit was built around 1520, the reliefs of which are attributed to the Freiberg sculptor Franz Maidburg . It originally stood on the third pillar on the south side from the west and was moved in the 19th century. In 1576 it received its cover from Christoph Kramer.

In 1561 the baptismal font was set up with 26 small children's figures on one foot. Only the foot still dates from this time and was probably created by Christoph Kramer from Dresden. In 1889/90 the cup was created with depictions of the Flood , the procession through the Red Sea , Jesus' baptism by John the Baptist and the washing of feet in the (neo) Renaissance style. The four scenes symbolize the forgiveness of sins and rebirth through baptism .

The elaborate Renaissance - sandstone altar designed from 1609 to 1612, the brothers Michael Schwenke and David Schwenke . The reliefs show scenes from the Old and New Testament, in the middle the resurrection of Christ.

Tower and bells

The 60 meter high tower is older than the current hall church. It was added to the previous building in 1466–1479. Due to changes in the plan, parts of the tower that should actually be visible from the outside are located within the current church. A tower window in the stairwell to the left of the organ allows a view from inside the tower stairwell into the church. The multi-storey roof structure is crowned by a baroque tower dome. Since 1994 it has again housed the only seven-part bell in the Saxon regional church . Until the early 20th century, the bell ringer / tower keeper lived above the bells . a. had to ring the bells. His meager living quarters can still be viewed today.

  • Main portal of the Marienkirche

  • Altar from 1609/12

  • Figures of children at the foot of the baptismal font from 1561

  • Wood chip rib

builder

organ

Organ of the Marienkirche

The organ of the Marienkirche was built in 1842 by Friedrich Nikolaus Jahn (Dresden). The instrument initially had 44  stops on two manuals and a pedal . Between 1889 and 1891 the instrument was overhauled by Julius Jahn and received a new organ case. In the 1920s Johannes Jahn built a third manual, expanded the disposition to 56 registers and equipped the instrument with pneumatic tone and register action. From 1978 to 1979 the instrument was overhauled by the organ building company Herman Eule (Bautzen), whereby the sound actions were again created as mechanical actions and a new console was built. In the course of a general overhaul in 2005, the instrument was cleaned, the slider chests were renewed and new prospect pipes made of tin .

I main work C – a 3
1. Principal 16 ′ J
2. octave 8th'
3. Gemshorn 8th' J
4th Reed flute 8th' J
5. Quintatön 8th'
6th octave 4 ′
7th Pointed flute 4 ′
8th. Forest flute 2 ′ J
9. Larigot 1 1 ⁄ 3  ′
10. Rauschwerk II
11. Hornwerk II – V
12. Sesquialter I – II J
13. Mixture IV-V
14th Tonus fabri II
15th bassoon 16 ′
16. Trumpet 8th'
II Oberwerk C – a 3
17th Quintad 16 ′ J
18th Principal 8th'
19th Dumped 8th' J
20th Dolce 8th'
21st octave 4 ′ J
22nd Reed flute 4 ′ J
23. Nasard 2 2 ⁄ 3  ′
24. octave 2 ′
25th Gemshorn 2 ′ J
26th Third rep. 1 3 ⁄ 5  ′
27. Flagolet 1'
28. Scharff IV
29 Kl. Zimbel IV
30th Krummhorn 8th'
III Swell C – a 3
31. Silent 16 ′
32. Metal flute 8th'
33. Willow flute 8th'
34. Unda maris 8th'
35. Principal 4 ′
36. Coupling flute 4 ′
37. Wicker game 4 ′
38. recorder 2 ′
39. Terzian II
40. Prinz mix IV – V
41. Carillon Cymbal IV
42. Cap rack 16 ′
43. Rohrschalmei 8th'
Pedal C – f 1
44. Pedestal 32 ′ J
45. Principal 16 ′ J
46. Sub-bass 16 ′ J
47. Octave bass 8th' J
48. Dumped 8th' J
49. octave 4 ′ J
50. Night horn 2 ′
51. Back set III
52. Choral Mix IV
53. trombone 16 ′
54. Trumpet 8th'
55. Clarine 4 ′
  • Coupling : II / I, III / I, III / II, I / P, II / P, III / P
  • annotation
J = historical register from Friedrich Nikolaus Jahn from 1842

literature

  • Ulrike Gohla: The vault paintings of the town church St. Marien in Pirna. A cycle of pictures from the Reformation period in Saxony. Kiel 2009
  • Reinhold Hofmann: History of the town church in Pirna. Festschrift for the dedication of the church on October 27, 1890 . Verlag Eberlein, Pirna 1890. ( digitized version )
  • Ernst-Heinz Lemper: Evangelical town church St. Marien Pirna. Series Das christliche Denkmal Vol. 25, Verlag Schnell & Steiner, Munich 1991.
  • Fritz Löffler: The town church of St. Marien zu Pirna . Berlin 1966.
  • Kuratorium Altstadt e. V. (Hrsg.): Pirnaer Hefte - contributions to town and regional history, building history and monument preservation. Volume 4, Pirna 2002.
  • Albrecht Sturm (Ed.): The town church of St. Marien zu Pirna , Pirna 2005, ISBN 3-00-016905-9 .
  • Albrecht Sturm: City Church St. Marien Pirna. Schnell & Steiner, Regensburg 2009. ISBN 978-3-7954-5661-0

Web links

Commons : Marienkirche (Pirna)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ List of cultural monuments of the city of Pirna, September 2013
  2. ↑ Albrecht Sturm (Ed.): The town church of St. Marien zu Pirna , Pirna 2005, pp. 30–31.
  3. ^ Albrecht Sturm (ed.): The town church of St. Marien zu Pirna , Pirna 2005, p. 34/35.
  4. ^ Thomas Eising: Church roofs in Thuringia and southern Saxony-Anhalt; Dendrochronology, rafting, construction. Workbook of the Thuringian State Office for Monument Preservation and Archeology, 2004. ISBN 978-3-937940-46-5 . P. 94 ff
  5. ↑ The names of the painters are not included in the corresponding city accounts. Only the commissioning of Jobst Dorndorff to paint the baptismal font in 1561 is documented (Ulrike Gohla: Die Gewölbemalereien der Stadtkirche St. Marien in Pirna. Pp. 20–21).
  6. ↑ Ulrike Gohla: The vault paintings of the St. Marien town church in Pirna ; P. 143
  7. ^ Katja Margarethe Mieth: The pulpit and the work of Franz Maidburg in Pirna. In: STURM, ALBRECHT (ed.): The town church of St. Marien zu Pirna. Pirna 2005, pp. 134-139.
  8. ^ Albrecht Sturm (ed.): The town church of St. Marien zu Pirna , Pirna 2005, p. 34/35.

Coordinates: 50 ° 57 ′ 44 ″  N , 13 ° 56 ′ 37 ″  E