Saardom

Tower facade, in front of it a statue of St. Odilia on Weinlingplatz by Lothar Meßner, 1981

Transept

Trier, Porta Nigra, apse, model for the transept of the Saardome

The Saardom is the parish church of the parish Holy Sacrament in Dillingen / Saar . The full title of the church is Ecclesia Parochialis Catholica Sacratissimi Sacramenti Dioecesis Treverensis , "Catholic Parish Church for the Most Holy Sacrament in the Diocese of Trier", Catholic Parish Church Holy Sacrament for short .

The so-called because of its historicizing and architectural guidance on medieval Kathedraltypus Saardom applies in addition to the St. Johann Michael Church , of St. Ingbert Joseph's Church and the Malstatter Joseph's Church , the largest religious building of the Saarland . The Saardom is the most important church building of the end of historicism on the Saar and due to the use of numerous medieval architectural quotes, it is an outstanding example of historicist "educational architecture".

The Martinskirche in Saaralben , which was built shortly before the construction of the Dillinger Saardome, is popularly referred to as the "Saar Cathedral" (Cathédrale de la Sarre) to distinguish it. The parish belongs to the parish community of the Holy Sacrament, St. Johann in Dillingen, St. Josef in Diefflen , St. Maximin in Leases , and Maria Trost on the Pachten Heide. The church is assigned to the diocese of Trier . Patronium day is the solemn festival of Corpus Christi .

architecture

Dimensions

The Saardom has the following dimensions:

External length (with vestibule): 62.30 m
largest outside width in the transept area: 33.50 m
outer tower facade width: 23.50 m
Height of the crossing tower: 33.00 m
Tower height of the eastern portal tower with tower cross: 48.50 m
Tower height of the western portal tower with tower cross: 50.00 m
Inner width of the central nave: 10 m
Interior height of the aisles: 6 m
Interior height of the central nave: 15 m
Interior height of the dome: 27 m
Interior height of the Marien and Christ the King chapels: 8 m
Interior height of the choir aisle: 7.40 m
Inter-column width of the arcades between the central and side aisles: 3.50 m
Inter-column width of the arcades of the apse: 2 m

When comparing the Saardome with the largest churches in Saarland, the Michaelskirche in Saarbrücken- St. Johann measures 60 m in outer length and 34.60 m in greatest outer width. The Saardom and the Michaelskirche are exceeded in length by the neo-Gothic Josefskirche in Saarbrücken- Malstatt with 68 m outer length. The two towers of the Saardome are dominated by the towers of the St. Ingberter Josefskirche (73 m) and the St. Johanner Johanneskirche (74 m). Until it was destroyed in World War II, the Malstatter Josefsturm was the highest church tower in Saarland at 75 m.

role models

The church was built between 1910 and 1913 according to plans by the Trier church builder Peter Marx (1871-1958), mainly in the neo-Romanesque style , but in the eclectic style characteristic of historicism , especially in the design of the towers, echoes of Gothic models can be recognized (cf. . Bamberger and Naumburger cathedral towers, ultimately from the Cathedral Laon derived).

Bamberg Cathedral
Naumburg Cathedral
Laon, Notre Dame Cathedral
Metz, St. Stephen's Cathedral

Layout

The floor plan of the Saardome describes a Latin cross . The building consists of a nave with two aisles ( basilica ), transepts to the west and east, and an apse to the north with a chapel wreath . In the architectural oeuvre of the builder Peter Marx, the Saardom represents the most conservative late historical building in terms of style. In addition, the Saardom is the largest sacred building that Marx was able to realize. A certain architectural parallel position in terms of size, choice of material, construction period, neo-Romanesque style choice and medieval-French architectural quotations still occupies his Trier church of St. Martin .

Crossing tower

Preliminary draft for the Protestant city church of Metz , possible model for the crossing tower of the Saardome

The crossing is crowned by a crossing tower, which also characterizes the double-towered (asymmetrical) facade with its rose window . The octagonal crossing tower has a dwarf gallery , which can be found more often in the architectural space of the Rhineland. The lower part of the crossing tower of the Holy Sacrament is comparable to that of the Church of St. Apostles in Cologne (11th – 13th centuries).

In its complete design, the crossing tower of the Saardome corresponds almost completely to the planned crossing tower of the neo-Romanesque preliminary draft (Plan I) for the Protestant city church in Metz (today Temple Neuf), which the Metz city architect Conrad Wahn had designed in 1898/1899. However, after the personal intervention of Kaiser Wilhelm II in the planning , Wahn had to revise the original design considerably. In the process, the Metzer crossing tower was redesigned into the dominant structure with a shaping effect on the cityscape (implementation 1901–1904). Architect Marx modified the previous model of the Metz crossing tower for the Saardom so that stair towers were added to make the dome accessible.

Transepts and longship

Two-zone blind arcade structure of the apse of the Maria Laach Abbey Church , model of the internal structure of the Saardom transepts

The arms of the transepts and the choir also close on the outside with a dwarf gallery. The shape of the open arcade is one of the few articulating decorative elements in the clearly structured building structure. Likewise, the strong pilasters that mark the window axes of the central nave and side aisles and recur on the apse and transept arms. The outside of the transept is true to the detail of the Romanesque apse of St. Simeon's monastery at the Porta Nigra in Trier. The triangular shape of the Dillinger Saardome seems to be derived from the Cologne church of St. Maria im Kapitol (11th century). The inner wall structure of the two transepts of the Saardome, with its two-zone blind arcades, seems to be based strongly on the design of the outside of the apse of the Maria Laach Abbey Church .

Tower facade

Free tower bullets

The double-towered facade is based on late Romanesque, Gothic and historicist motifs. The left tower is larger than the right one. In this way, the architect Peter Marx tried to give the facade an appearance that had grown over centuries in the manner of a "historical time lapse", similar to a medieval cathedral, in which the sprawling construction period led to different shapes of the towers. The free projectiles of the towers taper towards the top. Round corner turrets with either open or blinded column arcades rise above it. The left tower ends with an octagonal helmet, which is enriched with gable dormers . The right tower has a small brick gable. The central front of the nave pushes in front of the towers and is accompanied by octagonal flank turrets that accommodate the tower stairs. The orientation towards historical style specifications takes on concrete forms with regard to the elaborate design of the upper tower floors. Clear references to the French sacred architecture of the Romanesque or early Gothic epoch, especially the cathedrals of Laon (1155–1235) and Reims (13th – 15th centuries) can be made. The spiers are equivalent to the crowning of the cathedral towers in Naumburg (13th century) and Bamberg (13th century). The late Romanesque crossing dome tower (Torre del Gallo) of the Catedral Vieja de Santa María del Asedio in Salamanca could be cited as an even earlier tower model within the Romanesque era for the tower design of the Saardome with gable dormers and corner turrets . It was started around 1150 and, with its narrow wall openings with stilted round arches, is an example of the richness of forms in the transition period from the Romanesque to the early Gothic. The bell tower of the Church of San Cataldo in Palermo , which was built in the Arab-Norman style at the beginning of the second half of the 12th century, could also be another example of the free projectiles of the Saardome .

Polygonal porch

Original portal vestibule of the church before it was destroyed in World War II and redesigned by Günther Maas

The polygonal vestibule of the Saardom, as well as the entire central front of the nave, transposed the neo-Gothic west portal (built 1900–1903) of the Metz Cathedral ( portico , tracery rose , gallery, central nave gable), which was built a few years earlier by the Metz cathedral master builder Paul Tornow on behalf of Kaiser Wilhelm II ) with the two Gothic cathedral towers rising behind them at the Saardom into neo-Romanic . The architect quotes the official Wilhelmine state architecture, because the Metz cathedral facade design had been personally checked and approved by Kaiser Wilhelm II.

Portal relief, The Adoration of the Lamb on the Book with the Seven Seals

The polygonal vestibule at the main portal of the Saardome is reminiscent of the rood screen of the Marienkirche (Gelnhausen) from the 13th century and bears great resemblance to the neo-Gothic vestibule on the front side of the Metz Cathedral (whereby Peter Marx transposed the neo-Gothic Tornow model in Metz back into Romanic) . The figurative sculptures in sandstone, both outside and inside, were carried out by the Trier workshop of the Belgian sculptor Gustave Arthure Sobry (German: Gustav Sobry) from Bruges . Sobry (* 1853) had made a name for himself after training as a sculptor at the Antwerp Academy and stations in Düsseldorf (1884), Linz (1885) and from 1887 again in Düsseldorf in the Diocese of Trier, when he was in the years 1896 to In 1906, as part of the historic cathedral renovation, all grave memorials, monuments and the stone pulpit in Trier Cathedral were thoroughly renovated and also directed the sculptural restoration work in Trier's Liebfrauenkirche and Gervasius Church (destroyed in World War II). After its partial destruction in the Second World War , the vestibule of the Saardome again has richly decorated pictures after its redesign (1946–1950) by the artist Günther Maas from Saarbrücken .

The crucifixion of Jesus shown above the middle arch is flanked by depictions of the triumphant Ecclesia and the blind synagogue (→ Ecclesia and synagogue ) as well as biblical persons (right: the four evangelists Mark , Matthew , Luke , John ; left: Moses , David , Isaiah , Jeremiah ).

According to a medieval interpretation, the Ecclesia represents the New Testament Gospel and the synagogue the Old Testament law . The pair of figures from Ecclesia and synagogue flank the depiction of Jesus on the cross in the central relief and that of the apocalyptic lamb in the arched field . The church portal is characterized iconographically as the door of heaven or salvation. With reference to the Jesus parable of the wise and foolish virgins ( Matthew 25 : 1–13 EU ), the two female figures are to be interpreted as "Brides of Christ". While the Ekklesia appears prepared for the heavenly wedding supper, the synagogue turns away in blind incomprehension. Even if blind to the Christian salvation event, according to the New Testament understanding the Messiah, who is true from a Christian perspective, will finally remove the veil from the eyes of the synagogue, the allegory of the people chosen by God ( Deut 7,6-9 EU ) in order to lead them to salvation as well ( Rom. 11 : 1-36 EU ).

Before the war-related destruction, the images of the vestibule on one side showed representatives of the Old Covenant: Aaron (as leader of the people of God and high priest ) and the Old Testament prophets Isaiah, Jeremiah, Ezekiel , Daniel (as herald of the promised Messiah):

According to the testimony of the Bible, Isaiah saw God in the holy of holies surrounded by six-winged seraphim who proclaim his holiness ( Isa . 6: 1-3 EU ). He prophesies the promise of the virgin birth of the Messiah ( Isa 7,14 EU ) as descendants of David and announces the atonement of the Messiah ( Isa 52,13-15 EU to Isa 53,1-12 EU ).

Jeremiah stands out especially through his teaching of the new covenant of peace and justice and announces the Messiah from the house of David ( Jer 23 : 1-8 EU ). In the passion of the life of Jeremiah and his submission to the service of God, the fate of Jesus Christ is prophesied for Christian theologians in the sense of the prefiguration theology ( Jer 11:19 EU ). The verse “All of you who are on the way, look and see if there is any pain like my pain that was done to me.” From the lamentations of Jeremiah ( Klgl 1.12 EU ) is traditionally used as a reference to suffering and seen the death of Jesus.

Ezekiel's vision of God with the Tetramorph (four-figure) ( Hes 1.4 to 28 EU ) was the author of the New Testament apocalypse taken. Ezekiel's announcement of the Messiah as "Good Shepherd" is by Christian theologians to Jesus interpreted through ( Ezek 34.1 to 31 EU ).

Daniel announced that the Messiah's kingdom would encompass all peoples and be without end. It is a kingdom of saints ( Dan 7.13-18 EU , Dan 3.33 EU , Dan 4.31 EU ).

According to biblical or legendary tradition, the Old Testament prophets Isaiah, Jeremiah, Ezekiel and Daniel shown each suffered persecution or martyrdom for spreading the message of God: Isaiah is said to have been sawed up by King Manasseh , Jeremiah was stoned, Ezekiel quartered and Daniel was thrown into a den of lions . Thus, in the sense of the theology of prefiguration, they also served as forerunners of the crucified Son of God within the relief composition.

The Old Testament prophets corresponded on the other hand with representatives of the New Covenant: Peter (as leader of the pilgrim church and as the first Pope) as well as the Western church fathers Ambrosius , Augustine , Hieronymus , Gregory the Great and the so-called "Apostle of the Germans", St. Boniface (as herald of Jesus Christ to the Gentiles).

When rebuilding the vestibule after the destruction of the Second World War, the sculptor Günter Maas modified the theological program according to the specifications of Pastor Josef Goergen (term of office 1946 to 1947). All representatives of the Old Testament high priesthood and the church were removed from the image program and replaced by the evangelists. Ezekiel and Daniel's characterizations of the good Messiah no longer fit into the new theological concept. Isaiah and Jeremiah are the only constants to the original pictorial program. The representations of Aaron, Ezekiel and Daniel were replaced by the reliefs of Moses and David. Their relation to the depicted central image of the crucifixion of Jesus can be interpreted as follows:

Moses: In the Mosaic statute of Passover ( Ex 12.43-49 EU ) it says about the preparation of the Passover lamb: “You shall not break a leg [ie any bone] on it [ie on the Passover lamb].” In the Christian tradition one interpreted the Passover meal as a reference to Christ as the new Passover lamb ( 1 Cor 5,7 EU ). The Gospel of John ( John 19.36 EU ) makes it clear that this verse found a literal fulfillment on the cross of Golgotha. When the soldiers came to the center of the cross to break Jesus' legs because it would make death faster, Jesus was already dead and they were not doing the planned action. Psalm 34 ( Ps 34.21 EU ) is also interpreted in the Christian tradition.

After leaving Egypt, Moses, the leader of the Israelites, erects a brazen serpent on a (cross) staff to escape God's punishment ( Num. 21 : 6-9 EU ). The healing of those who looked at the snake is counted among the salvific deeds of God (cf. Dtn 8,15 EU ). The wisdom literature says that God gave his people a “saving sign” ( Weish 16.5–11 EU ). The story of the serpent is taken up in the New Testament when Jesus speaks to Nicodemus and uses the story as an analogy ( Jn 3 : 14–15 EU ): “And as Moses exalted the serpent in the desert, so must the Son of Man exalted so that everyone who believes (in him) has eternal life in him. ”The healing that the Israelites found by looking at the snake is pictorial for the salvation that Jesus received through his death on the cross, thus also "Raised" hanging on a piece of wood. The believer is healed when he looks at the crucified Christ like the Israelites at the serpent.

David: In the Psalm ( Ps 22 EU ) - according to tradition, David is the creator of the David psalms - the suffering of the Messiah is described according to church tradition: the abandonment on the cross (v.2), the mockery and scorn of his enemies (v.7 –9), his death by crucifixion (v. 17) and the distribution of his clothes (v. 19).

In this regard, Manfred Kostka thinks that the new choice of the persons shown emphasizes the unity of the two wills more strongly than Gustav Sobry would have done in the first version of the reliefs. In the new conception of the canopy, the entire theological program is now related to the suffering of the Messiah. In keeping with the prefiguration theology, the representatives of the Old Testimony indicate in veiled form what the evangelists (revealing) proclaim.

In the tympanum of the main portal you can see the adoration of the Lamb as described in the Revelation of John ( Rev 5,6-14 EU ), who is just opening the book with the seven seals. This corresponds to the design of the door leaves underneath with the letters XP ( Christ monogram ) and the letters Alpha and Omega. Jesus Christ himself is to be presented to those who enter as the gate to the heavenly Jerusalem and as the door to eternal life.

Tower portals

Side portal relief, The Virgin Mary with the baby Jesus and Mary's life

Relief on the Josef portal

The two tower portals are also richly decorated with sculptures. In the west tower portal the Blessed Mother can be seen with the baby Jesus on her lap under a turret-adorned canopy with pillars entwined with panneaux - flanked by adoring angels with cross bars - as Sedes sapientiae . In the lintel below you can see the adoration of Jesus by the oriental sages (Mt 2,11) and the prophecy of the aged Simeon in the Jerusalem temple (Lk 2,27f.).

The design of the Dillinger Marientympanons is based on the tympanum of the right tower portal of the Notre-Dame Cathedral in Paris . Canon Stephan von Garlande had the individual elements of the arch field there in the years 1140 to 1145 for a Marian portal of the original Paris cathedral on 4th / 5th. Commissioned in the 19th century. The Garlandes portal was later built into the current Gothic cathedral, whereby the tympanum had to be adapted to the wide door by Gothicizing the Romanesque arch and adding an additional lintel. Here the story of the mother of Mary, St. Anna is presented, which gave the portal its name "Anne's portal". The upper part of the Paris tympanum depicts the enthroned Madonna with the baby Jesus. The original lintel below shows the childhood of Christ. Other models of the tympanum design of the Dillinger Marienportal with enthroned Madonna and Child could be the depictions of Mary of the right north portal of the cathedral of Reims or the right main portal of the cathedral of Chartres .

In the east tower portal of the Saardome, where the structure of the tympanum is also based on the Paris, Reimser and Chartres models, adoring, censer-wielding angels flank Saint Joseph with the baby Jesus on his lap in a canopy, which in Romanesque forms the dome of St. cited and thus distinguishes St. Joseph as the patron saint of the church. In the lintel, stylized lilies appear as symbols of Joseph's marital chastity.

Transept entrances

Via the two entrances to the transept, the person entering is again informed of the sanctity of the place. The following can be read above the east entrance: Vere non est hic aliud nisi domus Dei et porta coeli (“Truly, here is nothing other than the house of God and the gate of heaven”, Gen 28, 17b EU ).

Above the west entrance of the transept is written in stone: Quam dilecta tabernacula tua Domine virtutum (“How adorable is your home, Lord of Hosts”, Ps 84.2 EU ). Motifs from the industrial region of the Saar Valley enrich the sculptural jewelry.

Round arch niche of the tower facade

A deep, round arched niche (similar to the Aachen Imperial Cathedral ), which is pierced by a twelve-spoke rose window, extends above the vestibule . The wheel window seems to be modeled on an important model: its structure can be compared with that of the rose window above the west portal of Chartres Cathedral (1194–1260).

A gallery rises above the arched niche , which is continued in blind arches in the masonry of the stair tower . Overall, it can be stated that the exterior construction partly draws on the Rhenish late Romanesque , while the interior is based on the Romanesque of the Auvergne (barrel vaults, dome on pendentives , stilted arches) and is based on the architecture of the Romanesque St. Peter's Church in Merzig . The church has a total length (outside) of 61.5 m and the greatest external width in the area of the transepts of 33.5 m.

inner space

Entering through the main portal and inner vestibule, one arrives at the spacious church interior. The impression of space is also determined by the stately height of the central nave, which ends in a mighty barrel vault. The buttress arches supporting the vault are hidden under the slate roofs of the aisles. The double pillars of the nave are made of Schiffweiler sandstone. They are rounded towards the central nave and end in richly ornamented capitals, the figurative center of which is the Beatitudes ( Mt 5,3-12 EU ):

and display information about the image

Indoor panorama

Left row of arcades from the entrance to the apse:

those hungry and thirsty for justice ( hermit in a rock grotto)
those who suffer ( parable of the prodigal son , Lk 15.11–32 EU )
the meek (hermit with lambs)
which are persecuted for righteousness' sake (the stoning of St. Stephen , Acts 6 EU and Acts 7 EU )

Right row of arcades from the entrance to the apse:

the merciful ( The good Samaritan , Lk 10.25–37 EU )
the peacemakers (The reconciliation of Jacob and Esau , Gen 33 EU , designed as two reconciling knights)
who are poor before God (St. Francis of Assisi with the cross)
who are pure in heart ( Annunciation of the Lord , Lk 1.26-38 EU )

Plastic representations of animals, angels and plants adorn the corners of the capitals. The capitals have flat reliefs on the sides. All sculptural work on the capitals is by Gustav Sobry (Trier).

The figurative representations in the capitals of the choir show the seven sacraments . Six are represented in the capitals (baptism, confirmation, anointing of the sick, penance, ordination, marriage) and the seventh, the sacrament of the Eucharist , symbolized by the high altar or the celebration altar.

inside view

Small pillars that carry services rise above the capitals of the nave. These services go to the zone of the clerestory in transverse arches over the rhythm to the barrel vault. The barrel vault is lightened by stitch caps. A balustrade turns the upper storey into a narrow walkway.

Overall, the structure and design of the central nave walls are strikingly similar to those of the Sainte-Trinité monastery church in Caen (11th – 13th centuries, Normandy). The curvature of the aisles is done by cross ridges. The structure of the transept walls can be found in a very similar design in the Cologne churches of St. Aposteln and St. Maria im Kapitol. The semicircular transept also bears a resemblance to the St. Maria im Kapitol church in Cologne.

The choir area and apse are connected to the ambulatory by seven arches. In the longitudinal axis, the church closes in the ambulatory in a straight apex chapel, which is accompanied on the left and right by a semicircular radial chapel . This architectural motif can also be found in the Romanesque church of St-Austremoine d'Issoire (built around 1130–1150) in Issoire in the Auvergne . The structure and structure of the choir with arcades and gallery can also be found in a very similar form in the apse of the Notre-Dame-du-Port church in Clermont-Ferrand (12th century).

Stilted arches rest on the pillars of the apse. Above it, in the relief panels on the high wall of the choir, Jesus appears as a teacher who explains the gospel to his disciples.

On the choir capitals are smaller columns that merge into the ribs of the apse vault. The apse vault is illuminated by seven arched windows. In the transition to the transept, the ambulatory widens to form square chapels that are open to the transept and the choir. The transept arms each have five windows and are structured by blind arches on pillars and columns.

The octagonal crossing tower, which rises above the crossing and rests on pendentives, has a groin vault and is decorated with blind arches and biforias and balustrades. Rays falling through yellow-tinted windows fill them with warm, subdued light.

history

Chronological brief overview

1890–1907: first plans, under Pastor Johann Peter Hillen
1898: Dillinger Hüttenwerke donate the financial basis for the construction of a new church
1905: The municipality of Dillingen provides a building site in the "Nachtweide" area
1906: first building plan, under the architect Wilhelm Hector
1907: (November 17th) Pastor Mathias Joseph Prior founds a church building association
1908/1909: new building plan, by architect Peter Marx
1910: (August 21) Groundbreaking ceremony
1911: (May 28th) Laying of the foundation stone by Bishop Michael Felix Korum , award of the patronage of the Most Holy Sacrament
1913: (April 25th) Consecration, by Bishop Michael Felix Korum
1917: five bronze bells are melted down for war purposes
1924: Acquisition of four new cast steel bells
1944/1945: severe destruction from the effects of war
1946–1953: Reconstruction, under Pastor Josef Goergen and Pastor Alois Winkel
1968/1969: Redesign of the choir after the liturgical reform, under Pastor Arthur Nikolas
1973/1974: Interior renovation and purchase of an electronic organ, under Pastor Thomas Kopp
1984: Re-establishment of a church building association by Pastor Warnfried Bartmann
1985–1991: Renovation work on heating, roof and masonry, under Pastor Warnfried Bartmann
1992: Restoration of all altars and statues, under Pastor Warnfried Bartmann
1996: Acquisition of the pipe organ from Cologne's Gürzenich and its conversion and installation in the Saardom, under Pastor Warnfried Bartmann
2001–2002: Renovation of the east tower, under Pastor Ottmar Dillenburg
2003–2004: Interior renovation, under Pastor Ottmar Dillenburg
2005–2006: Exterior renovation, under Pastor Ottmar Dillenburg
2010: Anniversary "100 years of groundbreaking"
2011: Anniversary "100 years of laying the foundation stone"
2013: Anniversary "100 Years of Consecration"

Popular Missions

Popular missions to intensify the religious life of the parishioners took place in the Saardom in 1921, 1927, 1952, 1962 and 1987, according to the inscriptions on the mission cross under the gallery.

Planning

Draft by the architect Wilhelm Hector for the new building of the Saardome from 1906

Design drawing by Peter Marx, 1911

When, in the course of industrialization, the previous parish church of St. Johann had become too small for the immensely growing population, the construction of a new, larger parish church on what was then the northern edge of the city was planned. Pastor Johann Peter Hillen (1869–1907) commissioned the renowned architect Wilhelm Hector (1855–1918) with a design drawing for the new church to be built. Hector, who comes from the neighboring village of Roden, had already built numerous parish churches in the vicinity of Dillingen. In the course of his life he designed more than 50 churches or worked out plans for their expansion. In the context of the planning for the new Dillinger Church, numerous churches were built according to Hector's plans in the Dillinger area.

Hector planned a neo-Romanesque basilica for Dillingen with two pyramid-roofed towers, each with four dormers, and an octagonal crossing tower. The transept arms should be straight. The nave up to the crossing was planned to have three bays.

Despite Hector's great experience, Pastor Hillen's successor, Pastor Matthias Prior, withdrew the architect from the contract. Prior, who had previously been the secret secretary of the Bishop of Trier, made building the church his life's work. The new building of the Saardom that he initiated became his burial place in 1946.

After the founding of a church building association on November 17, 1907, Rev. Prior transferred the planning for the construction of a representative church in Dillingen in 1908 to the 37-year-old architect Peter Marx (1871–1958) from Trier. After working in Cologne, Brussels, Vienna, Italy, France, Great Britain, New York and Berlin, Marx founded an architecture office in Trier at the beginning of the 20th century. Since 1902 he had been planning the new construction of the parish church of St. Martin ( neo-baroque ) in nearby Itzbach (since 1936 Siersburg ), which was built at the same time as the Saardom.

Peter Marx's plans for the new church in Dillingen, like Hector's, were based on Romanesque forms. The draft drawings for the Saardom, which he published for the laying of the foundation stone on May 28, 1911, differ considerably from the architectural design of the Dillingen sacred building that was realized later. The asymmetrically structured towers on the three upper floors are octagonal in design and do not have pillar tabernacles at the corners based on the Laon pattern. The basement floors are still decorated with blind arches. The crossing tower does not yet have the later stepped taper. The chapel wreath and the vestibule do not exist. The stair towers do not flank the portal, but are built on the side of the towers. In addition, the rectory has neo-Romanesque shapes.

The Dillinger Hütte donated 30,000 marks as the foundation stock, and on April 6, 1905, the community provided the building site worth 48,000 marks in the “Auf die Nachtweide” district free of charge. Through collections in the parish and interest on the capital, the building fund rose to around 48,000 marks by 1907. Thanks to numerous donations from the church building association, members of the parish, the associations, business people, school children and other transfers from Dillinger Hütte and the Meguin machine factory, the amount of money rose to 100,000 marks.

The total cost up to 1925 was around 1,000,000 gold marks due to inflation .

construction

Laying of the foundation stone for the construction of the Saardome, 1911

On September 3, 1909, Peter Marx's construction plan was approved by the Episcopal Vicariate General in Trier and on July 2, 1910, approval was given by the Royal Prussian Ministry for Spiritual, Educational and Medicinal Matters in Berlin. The groundbreaking ceremony took place as part of a glamorous celebration with the parade of parishioners, clubs, school children, the music bands and the church choir on August 21, 1910.

clockwork

Transfer case of the clock

During the excavation work, layers of gravel were found at a shallow depth, which were then excavated and later processed in the concrete. The parish had appointed the site manager Fortein from Steinberg near Wadern as the site manager. The following companies were responsible for the work:

Earthworks and concrete work: Sohnius from Saarbrücken
Masonry work: JW Witt from Dillingen
Stone carving of the facade, the front, the towers, the interior of the church (with the exception of the columns): Gehl company from Fraulautern
Exterior work on the church (with the exception of the facade) and the pillars made of Schiffweiler sandstone: JW Witt from Dillingen
Drainage work: Janz from Dillingen
Plastering work: P. Kindt company from Dillingen
Carpentry work on the tall ships, the dome and the towers: JW Witt from Dillingen
Carpentry of the remaining parts: Marx company from Dillingen
Roofing work: Marx company from Dillingen
Plumbing work: Georg Klein company from Dillingen
Sculpture work inside and on the portals: Sobry from Trier
Exterior sculptures: Burt company from Metz
Floor covering made of artificial marble for the ship and Mettlach slabs for the choir area: Schwenk company from Ulm
Wooden floor in the church: Nilles father and son half each
Portal and doors: Nilles, Marx, Dietzsche, Späth from Dillingen
Church pews: Clemens from Friedrichsthal and Kolbet from Mettendorf in the Eifel
High altar, side altars and communion bench: Goldsmith Bernhard Witte from Aachen and the Wenzel Jina company from Koblenz
Organ: Klais company from Bonn
Tower clock: Weule company from Bockenem in Ambergau
Electric bell ringing: von Reppert's company from Cologne on the Rhine

On May 28, 1911, Bishop Michael Felix Korum laid the foundation stone. The foundation stone was specially obtained from the Domitilla catacombs in Rome. It was supposed to document that the faith of the first Christians and the faith of the Christians of the early 20th century were built on one and the same cornerstone, namely Jesus Christ . The Latin document that was issued on the occasion of the laying of the foundation stone is translated into German:

“In the name of the Most Holy Trinity ! In the year of salvation in 1911, when Pope Pius X, full of desire that everything be renewed in Christ, invited the faithful from a tender youth to the frequent reception of the Blessed Sacrament , when Wilhelm II. German Emperor, with wisdom and strength, his devotion to him People led the way of peace when Michael Felix Korum, by special divine grace, had held the ancient bishop's seat of Trier for almost thirty years, when von Schütz was district administrator of the Saarlouis district and Christian Kees was dean of the Lebach district, when Karl Wagner in the community of Dillingen, who donated the property to the building of the church, was mayor, as Doctor Matthias Prior, previously secret secretary of the Bishop of Trier for seven years, since the end of 1907 successor of the well-deserved dean Peter Hillen in the parish of Dillingen, together with the chaplains Matthias Diwo and Doctor Heinrich Laufen led the pastoral care in this large parish, as was on May 28th by the most honorable gentleman Bishop Michael Felix himself laid the foundation stone for this church, which is to bear the title 'Of the Most Holy Sacrament'.

It was designed by the architect Peter Marx from Trier and started on August 21, 1910. All the parishioners, repeatedly supported by the benevolent help of the Dillingen factories, contributed to this construction, the execution of which was entrusted to the contractor Josef W. Witt from Dillingen Generosity and unanimous zeal contributed their mites every month as a sign of their living faith and their love for the hidden God.

May the Lord God protect and happily finish what has been consecrated to Him today among us: a new tent of God among men. "

On the occasion of the laying of the foundation stone, a festival with a large procession was held again. Everyone present was allowed to give the building their blessing by striking the foundation stone with a hammer. Pastor Hillen also came to Dillingen for the celebration and Pastor Prior publicly made him promise to celebrate the first high mass in the completed church. But pastor Hillen died four weeks after the solemn act and was buried behind the old Johanneskirche.

After three years of construction, the new church on 23 February 1913 by Bishop Michael Felix Korum consecrated . The first mass began at 5 o'clock in the morning in the old Johanneskirche and at 7 o'clock the act of consecration began with the embedding of the relics in the altars and thanks to God that nobody was seriously harmed during the construction. The remaining work on the church dragged on for a long time. The first pews arrived in Dillingen at the end of May 1913. Much of the work was left idle during the First World War and was not completed until the 1920s.

The election of the patronage of the Ecclesia catholica Parochiali Sacratissimi Sacramenti Dioecesis Treverensis ("Catholic Parish Church of the Most Holy Sacrament in the Diocese of Trier") is to be seen against the background of Pope Pius X 's Eucharistic movement. The church is popularly known as the “Saardom”, but it is not a cathedral . The name “Dillinger Dom” is mentioned for the first time in a commemorative publication by Pastor Prior and taken up by District Administrator Hans Freiherr Schütz von Leerodt in a festive address. To distinguish it from the “Saardom”, the neo-Gothic Martinskirche Saaralben (built 1904–1907 by Johann Adam Rüppel ) is also called “Saar Cathedral” (“Cathédrale de la Sarre”).

Due to the further growth of the city, especially in the areas north of the new Saardome, the Johanneskirche in the south of the city (henceforth popularly called the old church ) became the seat of its own parish again.

Effects of war

First World War

During the First World War in 1917 four out of five bronze bells (approx. 10850000 kg) were melted down for armament purposes. In 1924 a replacement came in the form of four cast steel bells, which still ring today.

Second World War

The explosion of an ammunition train at the Dillingen train station caused by an air raid during the Second World War in 1944 caused severe damage. A German tank that had taken position between Saardom and the children's institution near the Lourdes grotto drew American fire, which caused additional damage to the church. Vaults had partially collapsed, stones broken out, windows shattered by blast waves. Grenades had torn large gaps in the entrance front. The vestibule with the figure frieze and the crowning crucifixion group, the large wheel window and the arcade above with the triangular gable at the end were shot to pieces.

Reconstruction and artistic design after the Second World War

Roof structure over the central nave vault

After the end of the fighting in March 1945, clean-up and repair work on the Saardom began immediately. The restoration was celebrated on Easter 1953.

Commissioned by Günter Maas

During the 1946/1947 tenure of Pastor Josef Goergen, the decision was made to entrust the overall artistic direction of the reconstruction to the sculptor and painter Günter Maas (1923-2010), who was born in Jünkerath (Eifel) . Maas had studied at the Academy of Fine Arts in Munich from 1941 until he was drafted into military service, and in 1947 he founded a studio ("Bauhütte Rotenbühl") in Saarbrücken am Stadtwald. With this name, Maas referred to the tradition of medieval construction huts. In the "Bauhütte Rotenbühl", not only sculptural work but also artistic glazing and interior fittings were made. Since in the first post-war years the "construction works Rotenbühl" was the only workshop in the Dillingen area that had a stove for burning glass paintings, one can assume that all of the Saardom's windows painted in the early post-war period were made here. In the Bauhütte, Maas also created the new reliefs and figurative consoles for the vestibule of the Saardom, which was destroyed in the war. The repair work on the masonry was carved by several stonecutters on site. A wooden barrack behind the church was available for the craftsmen for this purpose.

Sculpture by Günter Maas

Saardom, main portal with the relief Söller floor by Günter Maas

From 1947 to 1950 Maas worked on the destroyed entrance facade. In doing so, he changed and expanded the facade designed by Peter Marx. On the entrance canopy, Maas replaced the shot reliefs by Gustav Sobry with new creations. In addition, the roof of the vestibule was removed and the facade field below the rose window was redesigned.

Architect Marx and sculptor Sobry had arranged the decorative figures above the arcades of the vestibule in a frieze-like zone, which was bordered by a strong cornice resting on small pilasters and consoles and the slightly protruding pent roof of the vestibule. Above the central arch, the vestibule roof was cut over by a raised wall panel. A crucifixion group could be seen as a central relief on the raised wall panel, which ended with a triangular gable. Since the figures to the left and right of the main group looked compressed under the eaves with a rain gutter that was also attached, Maas removed the destroyed roof of the vestibule and designed the end as a Söller with parapet, a solution like the one on the west facade of the Aachen Cathedral or the Cathedral of Metz is to be found.

Maas shaped the cornice that had previously supported the figures into a continuous cornice. Instead of the frieze-like relief figures that were destroyed in the war, Maas created rectangular relief panels as the parapet panels of the Söller. The large central panel, which towers above all other reliefs, bears the crucifixion group. Maas framed it in a rectangular shape and gave it a straight end.

All of these changes led to a greater emphasis on the horizontal, which would have disturbed the vertical alignment of the entire facade. Because of this, Maas reduced the wall structure of the arched niche rising behind the Söller from three to two zones. The base field with a horizontal cornice, over which seven blind arches rose to the wheel window, was omitted, and the round arched tracery was brought down to the base of the Söller. A door in the middle arch enables access to the Söller above the vestibule.

Maas also differentiated his work from Sobry's original work in terms of design. While his figures were based on medieval Romanesque models and presented in frontal view, he depicted all figures - with the exception of the crucified Jesus - in side view. Maas used an expressive language of forms. The seated figures, aligned towards the crucified one, appear manneristically slim. Her oversized hands point to the figure of Jesus crucified.

With regard to the figure consoles for the end cornice of the vestibule, Maas oriented himself more closely to the sculptural work of his predecessor Sobry, but here too he added his own design note. The figure consoles represent working people. The second console from the right, which shows a now heavily weathered miner with a lamp in the form of a frog lamp , dates from the time the Saardom was built. Originally the figure was placed on the far right. Maas now created similarly designed consoles with crouching figures doing various jobs.

During the reconstruction work on the exterior of the Saardom, Günter Maas did not go down the path of a faithful reconstruction of what had been destroyed in the war. Instead, the structure of the facade, which the architect Peter Marx had composed from various architectural epochs, regional styles and simulated construction phases, was further developed through the changes to the building structure and figures, and a further, this time actual historical construction phase, the post-war period, was added.

Entrance doors by Konny Schmitz

The design for the three new entrance doors was also entrusted to someone at the beginning of his career, Konny (Konrad) Schmitz from Dillingen. Between 1946 and 1950 he studied with Egon Eiermann at the Technical University of Karlsruhe . He then worked in an architecture firm in Saarbrücken and from 1952 to 1953 worked with Georges-Henri Pingusson on the construction of the French embassy in Saarland . His designs also include the listed Dillinger Church of Maria Trost and the Dieffler cemetery hall, which is also listed .

The copper-clad oak doors that were built in 1952/1953 are cautiously modern and adapted to the neo-Romanesque design of the vestibule.

Stained glass

With regard to the patronage, Pastor Matthias Prior had thematically adapted the original windows to the sacrament of the Eucharist:

Main choir

(Binsfeld glass studio, Trier)

Middle window: Jesus Christ founds the sacrament of the Eucharist
Side window (motifs are understood as the Old Testament announcement of the Eucharist): Sacrifice of Melchizedek, Manna miracle, Paschalamm, Moses knocks water out of the rock, the prophet Elijah is strengthened with bread, the prophet Malachi praises the divine food offering (Malachi 1:11), the two scouts with the heavy grape
Ambulatory: Annunciation of the Lord, birth of Christ, crucifixion of Christ

Odilienkapelle (left) on Dieffler Straße Dillingen, chapel of the old Dillinger Hüttenkrankenhaus (right)

Chapel window (Glasatelier Voege, Mannheim)

Chapel window (right): The effect of the sacrifice on the poor souls
Chapel window (left): St. Odilia as patron saint (no Eucharistic reference). The chapel was set up as a replacement for the old Odilienkapelle on Dieffler Strasse, which was demolished at the beginning of the 20th century.

Transept windows

(Martin Glass Studio, Wiesbaden)

Christ reveals himself to the Emmaus disciples breaking bread

Jesus prophesies to give the Samaritan woman the water of life

The Evangelist John refers to the Eucharist

John the Baptist (old parish saint Dillingens) has the Lamb of God out

Saint Juliana of Liège as the founder of the Feast of Corpus Christi and the sacraments processions
Saint Gertrud von Helfta , a mystic
Saint Cyril of Jerusalem as defender of the thesis of the presence of Christ in the sacrament of the altar
Saint Alfons Maria of Liguori who particularly recommended eternal adoration
Saint Thomas Aquinas as the poet of the Eucharistic hymns Lauda Sion and Tantum ergo
The Spanish Franciscan brother Paschalis Baylon as protagonist of the Eucharistic Adoration, the Pope Leo XIII. in 1897 appointed patron of all Eucharistic associations and brotherhoods.

Longship window

(Glasatelier Voege, Mannheim)

East side aisle:

Saint Stanislaus Kostka , to whom an angel in danger of death brought communion
Saint Barbara with the chalice as patroness of the dying
The Lamb of God, whose blood flows into the chalice
Saint Clare of Assisi , who put the Saracens to flight with the monstrance
Saint Niklaus von Flüe , who lived only on communion for over 20 years
Fish and bread as Eucharistic symbols

West aisle:

St. Tarzisius as a young martyr for the sacrament of the altar (foundation window of the Dillingen schoolchildren and first communicators)
Saint Joseph as the patron saint for a good death
The kneeling stag thirsting for the spring as a symbol of the desire for the Eucharist
Saint Catherine of Siena , who for many years lived on receiving communion alone
St. Werner von Oberwesel as a young martyr for the sacrament of the altar
The pelican that tears its chest to breastfeed its young with heart and soul as a symbol of Christ and the Eucharist

Rose window

King David with the harp surrounded by angels making music (Glasatelier Binsfeld, Trier)

Dome from below

Two-storey dome drum with circulation and balconies

Dome window

Adoring angels (Glasatelier Martin, Wiesbaden)

Baptistery

Ornaments (Glasatelier Martin, Wiesbaden)

Sacred Heart Chapel

Ornaments (Glasatelier Martin, Wiesbaden)

Elevated nave windows, tower windows, sacristy windows

(Angel-Farkas glass studio, Saarbrücken): Ornaments

New glazing after the Second World War

Due to the destruction by blast waves in the Second World War, all the windows of the Saardome had to be fitted with new panes of glass. A list of materials that were needed for reconstruction, drawn up shortly after the end of the war, lists 320 m² of antique glass. During the repairs, the high-bay windows were neutrally glazed with light panes (Obergaden, restored in 1997; Vierungsturm; transept, renewed in 1973). The wheel window of the entrance front as well as the windows of the aisles, the baptistery, the Joseph chapel and the choir were glazed with colored glass by different artists.

Wheel window by Günter Maas

Günter Maas was responsible for the glazing of the large wheel window on the southern entrance facade. The colored glass painting catches the southern light and illuminates the organ gallery behind the pipe prospect. It represents:

St. Cecilia with a portative organ as the patroness of church music surrounded by angels with wind and string instruments
the twelve signs of the zodiac in the tracery

Window by Albert Feld

The lead glazing of the ten windows of the aisles - five on each side - was designed by Albert Feld (1916–2010), the chaplain to the Holy Sacrament at the time, in 1947/1948. All these windows are based on a uniform structure. In the surface, which is mainly composed of colorless, rectangular panes, a narrow frame made of delicate colored, strap-shaped glasses is inscribed, which traces the arched shape of the window and surrounds a simple cross in the upper third.

In the center of each window, above the horizontal, dark line of the wind iron, there is the portrait of parishioners, the bread and chalice , palla and paten , censer and candles, organ and model of the Saardom, scroll Et verbum caro factum est (“And the word became flesh ”) and hold the heart of Jesus in his hands. The individual images are worked out in an almost photorealistic style. All portrayed are oriented towards a center, the choir with the altar. The hands are shown disproportionately large in order to increase the effect of hand posture and gestures. Inscriptions below the tapers name donors or the names of those who fell, whose memory the window is dedicated to, or formulate a confession. The dead of the community belong to the community of the church and are thus symbolically included in the celebration of the Eucharist of the community.

Albert Feld also presumably created the non-image, light glazing of the windows in the upper aisle and the transepts. The two windows of the chapels that connect to the north of the transept are framed in a similar way. The lead glass window of the baptistery shows the outpouring of the Holy Spirit, surrounded on the left and right by burning baptismal candles. In the Joseph Chapel, a white lily stands in the center as a symbol of chastity, surrounded by the carpenter's tools, saw and ax, attributes of St. Joseph. All in all, Albert Feld's glass pictures show the self-taught nature's amateurism. Nevertheless, the "donor windows" of the side aisles are of particular value in their importance as a testimony to the urgent immediate post-war era.

Hildegard Immisch's window

The children's nurse, painter, glass painter, art therapist and non-fiction author Hildegard Immisch (1920–2003) designed the lower row of the windows in the choir between 1950–1953. The artist from Saarbrücken mainly used strong colors for the windows of the chapels and the ambulatory: dark red, yellow, blue and purple that shine in sunlight, combined with more delicate tones such as green, turquoise or light pastel colors:

Central window: the most holy trinity as ruler over space.
Flanking window: wine jug and bowl for the body and blood of Christ, the symbol of the fish next to a bread bowl, anchor and ears of wheat, sword and laurel branches, fire bowl, globe, pelican, sacrificial lamb, winepress

Window by György Lehoczky

György Lehoczky (1901–1979) was the oldest and most experienced of the artists who were commissioned between 1946 and 1953 to restore the sculptures that had been destroyed in the war. Born in Hungary, after completing private training in painting and studying architecture, he ran his own architectural office in Budapest until he left his home country in 1945 for fear of communist rule. In 1947 he came to Saarland and designed numerous church windows. When the Saardom was being repaired, he was commissioned to create the glass pictures for the five arched windows on the high wall of the choir, which he carried out between 1950 and 1953.

Middle window: Above the lettering "Eucharistia" the depiction of chalice and host , surrounded by ears of wheat and vines, singing and music-making angels floating next to and above. In the lower part of the window run men and women crowd together, sunk together in adoration of the Holy of Holies.

flanking windows:

In the left window: The evangelist Matthew with the evangelist symbol of the winged being
In the neighboring window, the winged lion symbolizes the evangelist Mark, who, pen in hand, sits at the desk and listens to the apostle Peter.
The third evangelist window shows the evangelist Luke with a winged bull and the apostle Paul, whom Luke accompanied on two mission trips and during his stay in Rome, as figures sitting bent over a table. While Luke is writing in a book with his quill, Paul is sitting in front of himself with folded hands.
The fourth and last window in this row shows the evangelist John, depicted in his youth, with a colorful eagle at his feet. Next to him is Prochorus, one of the seven deacons of the early Christian community in Jerusalem, who also served John as secretary. Prochorus, who is holding a book, others are at his feet, looks up at the great figure of John. Johannes looks into the distance with dark eyes and frozen, almost threatening facial features. The eagle, book and quill are added to it as iconographic attributes.

With this, Lehoczky draws a link with the prophets of the Old Testament on the first Evangelist window. The city in the background depicts Jerusalem . The hill of Golgotha rises in cold fields of color with an eclipsing sun above a building with a green dome and a church with red roofs, marked as a synagogue by the Star of David and the Mosaic Tables of the Law. Against a pale background, the black silhouette of three crosses with the hll. Maria and Johannes.

Lehoczky also created the five-part blue-ground post-war glazing in the sacristy of the Saardome. In the central window Jesus Christ is shown surrounded by adoring angels, as he presents himself in the Eucharistic figures. The pictures flanking the central picture show on the left the pastor of Ars , placing children under the protection of the holy Philomena , whom he greatly admires , and on the right Pope Pius X , who calls children to hymn in church and to adore the Eucharistic Savior. The stained glass window addresses the papal recommendation of Pius X to receive communion as daily as possible as well as his lowering of the minimum age for receiving holy communion in the decree Quam singulari in 1910. The two outer glass pictures show angels making music.

Furnishing

Organ loft

The gallery above the main entrance is supported by six octagonal columns with capitals in rich relief (plants, animals, people with musical instruments). The vault of the gallery floor is a groin vault. On the balustrade of the gallery are the reliefs of King David with the harp as a psalmist and Saint Cecilia with a portative .

Tower chapels

Pietà in the left tower chapel
Crucifixion group in the right tower chapel
Tower chapel, statue of St. Paulinus of Nola

Under the gallery opens the porch, which is pierced by three round arches and vaulted with groin vaults. The two tower chapels are located here.

In the east are the life-size figures of a crucifixion group (John and Mary from the old St. John's Church, probably around 1600, the cross dates from the 19th century). The cross bears the dates of the community missions in 1921, 1926, 1952, 1962 and 1987. Pastor Matthias Prior wanted to be buried here, but this was not possible due to the damage to the tower foundations.
The western tower chapel houses a nearly life-size Pietà by the Trier-based sculptor Karl Frank (1868–1942). Frank came to Trier towards the end of the 1880s, where he initially worked in the workshop of another sculptor. In 1897 he set up his own business by founding the “Atelier for Church Art Karl Frank”. Up until the First World War he produced a large number of mainly neo-Gothic and neo-Romanesque church furnishings of a high technical and artistic level. After production came to a standstill during the war, Frank's sculpture workshop was no longer able to build on the pre-war conditions, probably also because a disdain for historicist styles began to spread in the Catholic Church. The Pietà des Saardomes is a foundation of the Dillinger Mothers' Association from 1914 in memory of the local sons who were killed in the wars. The inscription on the base reads "O all of you who pass by the way, pay attention and see whether a pain is like my pain" and comes from the Lamentations of Jeremiah , in which he describes the destruction of Jerusalem and the temple in 586 BC. Sings about. ( Klgl 1.12 EU ). The inscription is surrounded by ornamental fields with the Eucharistic symbols of bread and wine.
Another chapel is located in the entrance area of the west tower. It is dedicated to St. Anthony of Padua . The statue of the saint comes from the Baroque and is one of the most precious pieces of equipment. It was restored in 1952 and is a gift from Pastor Alois Winkel to the parish.
A statue of St. Paulinus von Nola has been on display in the eastern tower entrance since 1992 . It is a copy of the statue of the patron saint of the Sicilian city of Sutera in the province of Caltanissetta from the Church of San Paolino on Monte San Paolino. The statue was donated by Italian emigrants from the Sutera region who had found a new home in Dillingen. The sculpture was carved by the picture carver workshop Giuseppe Stuflesser in Ortisei in Val Gardena . In an annual pageant, the statue is carried on shoulders by the parish of St. Maximin as far as the Saardom.

Way of the Cross

The way of the cross , cast in bronze , was created in 1962/1963 by the sculptor Max Schauer (1903–1977) from Oberammergau . The station images are similar to the Stations of the Cross created shortly afterwards by Schauer on the pilgrimage to the Apollinaris Church on the Appolinarisberg near Remagen . In addition, Schauer created numerous others in Germany, for example for Deggingen near Göppingen , for Augsburg and for the Munich church Sankt Josef in Maxvorstadt . He also supplied Stations of the Cross for churches in America. He had the bronze work based on his models cast in a bronze workshop in Upper Bavaria. From 1930 onwards, Max Schauer ran the Oberammergau wood carving company founded by his father Sebastian Schauer in 1898. At first he still worked conventionally naturalistic, in the 1960s his style turned into the impulsive-expressive. Originally there were large-format paintings of the Stations of the Cross in the historicist style on the walls of the nave in the Saardom.

Transept chapels

Joseph Chapel

Chapel of the right transept: Josefskapelle. The wooden altar structure of the Johann Mettler sculptor's workshop in Morbach in the Hunsrück has the entwined tendril-like letters "SJ" for "Sankt Josef" on the door of the tabernacle shrine. Above it rises a seated figure of St. Joseph, who is taught by the baby Jesus. The left relief field depicts the flight to Egypt ( Mt 2,13–15 EU ) and the right relief field shows the Holy Family at work. Above each there are angels with banners. The banner of the angel on the left with the Latin text Ecce angelus Domini apparuit in somnis Ioseph (“See, the angel of the Lord appeared to Joseph in a dream”; from Mt 2.13 EU ) relates to the flight to Egypt. The Latin inscription on the right banner reads: Et erat subditus illis (“And he was obedient to them”), from Lk 2.51 EU . It refers to the fact that Jesus Christ was obedient not only to God, but also to his mother and his earthly foster father, Joseph. The altar is made entirely of gold, silver, and bronze.

Chapel of the left transept: Baptistery. The remarkable destroyed marble baptismal font from 1913 from the Jina workshop in Koblenz in a transition style from Art Nouveau and Art Deco was replaced in 1986 by a neo-Gothic basin. Today's basin from 1911 comes from the Church of St. Marien in Hühnerfeld and was used there as a flower pot for many years.

Right transept

St. Odilia, copy of the original, which is now in the Dillinger Odilienschule
Original of the statue of Odile in the Odile School
St. Lucia

In the niches of the conical wall of the transept arm, there are the figures of three holy virgins on sandstone consoles newly made in the 1980s : Between the hll. Odilia and Lucia , the first patron saints of Dillingen, is the crowned Mother of God. The colored figure of the Madonna and Child - possibly a work of the sculptor family Guldner (Peter, Johannes, Adam, Christian and Georg) from Berus - is dated as well as that of St. Lucia in the 18th century. Both were probably once in the old Lucien chapel in Dillingen, which was demolished at the beginning of the 20th century. At the statue of St. Odilia is a replica of the 1980s, because the baroque original has been a donation from the parish in the Dillinger Odilienschule since 1961.

Left transept

Left transept with grave of Matthias Prior
Pietà from the 17th century
Mary icon

Grave of Mathias Prior: The grave of the builder of the Saardome was made in 1950 from deep black Black-Swedish stone in the shape of a tumba with a high wall cross facing the altar .
Entrance tympanum: Depiction of Jesus as the Good Shepherd in front of the landscape of Lake Genesareth (sculptor Sobry, Trier)
Pietà: The figure of Mary, probably from the 17th century, was restored in 1954 and a body of Christ was added. In front of the statue is the memorial book of the parish Holy Sacrament in a wrought-iron display case.
Table: The table to the right of the Pietà was made from the brass doors of the old communion bench . Two deer drinking from a spring are shown according to Psalm 42: 2: "As the deer cries for fresh water, so my soul, God, cries to you".
At the arched passage to the left aisle there is the monochrome icon copy of the miraculous image of Our Lady of Perpetual Help .

Side chapels

West side chapel: Lady Chapel

Saardom, Marien Altar
Saardom, painting "Marienschule"
St. Remigius, Bonn, Annen Altar as a model for the Dillinger Marienschule (left)
Dillinger triptych

The altar, donated by the Dillinger Marian Congregation for Virgins, consists of sandstone with three decorative fields in the base of the altar, separated by pillars and double arcades (from left to right: a gold medallion surrounded by vegetal ornaments with intertwined letters that form the word "Ave" Latin cross made of different types of marble, a gold medallion surrounded by vegetal ornaments with intertwined letters that form the word "Maria").

In the antependium of the wooden altar structure, in the middle part of the base (tabernacle shrine) is the chest relief of St. Aloisius looking at a cross. At the turn of the 20th century, due to popular piety at the time, other virtues came to the fore in addition to the saint's penitential zeal. The virtue of chastity and his devotion to the Virgin Mary were particularly emphasized, because the saint had already taken the vow of eternal virginity at the age of ten.

In the flanking fields, which are adorned with gold-colored ornaments, there are central medallions with symbols of the Virgin Mary from the Lauretanian litany . The central statue of the altar structure is a crescent moon Madonna . The silver- and gold-colored statue stands on a hemisphere with a crescent moon, graciously spreads its arms and tramples the paradise snake with its foot. Her head is surrounded by a wreath of 12 stars. The design of the statue is also based on the figure of Mary on the Miraculous Medal . The statue was taken over by the Dillinger Johanneskirche in the Saardom. The sculptor of the statue, which can be stylistically assigned to the 19th century, is unknown. The other carvings of the Marien Altar, like the Sacred Heart Altar and the Joseph Altar, were made by the Johann Mettler sculpture workshop in Morbach in the Hunsrück , which was founded in 1866 . The art objects delivered by Mettler far beyond the Hunsrück brought Morbach the name "Oberammergau des Hunsrück". After the Saar area was separated from the German Reich by the Versailles Treaty in 1920 , Mettler worked for the Saarland church equipment needs with his own workshop in St. Wendel and was strongly supported by the Saarland politician and member of the Saar government commission Bartholomäus Koßmann .

The statue of the Virgin Mary on the altar is flanked by triangular arcades with roses and lilies as symbols of sinlessness and virginity. In the gilded wooden mosaic, the inscription of the miraculous medal can be read in capital letters: "O Mary, received without sin, pray for us who take refuge in you."

Above the altar there is a painting of St. Anne in a round arch niche , who teaches the child Mary to read , here with the book Isaiah 7:14 (“His name will be his Immanuel”). Under the oil painting it is written in golden capital letters : Holy Mother Anna, pray for us! The picture by the Trier painter Johannes Bruch dates from 1921. The picture of the Marienschule is largely taken over from the Marienschule at the Anne Altar of the Remigius Church in Bonn in the style of the late Nazarene of the Düsseldorf School of Painting . The creator of the original from 1882 was the Darmstadt painter Karl Müller .

Every year after Christmas, the Dillinger triptych is exhibited at the Marien Altar .

Dillinger triptych

The triptych from the early 16th century from the former furnishings of the chapel in Dillingen Castle is often attributed to the Dutch master Lucas van Leyden . Stylistic comparisons, on the other hand, make an origin from the workshop of Pieter Coecke van Aelst seem plausible. The theme of the altarpiece is an Adoration of the Three Kings. The work was restored in the early 1960s.

Eastern side chapel: Sacred Heart Chapel / Christ the King Chapel

Sacred Heart Altar
Baptism of Jesus
Alexander Andrejewitsch Ivanov, The Revelation of Christ to Man, (oil on canvas, 1837-1857)

The lower part of the altar structure donated by the Gergen-Becker family in Dillingen (donation inscription in the wooden structure, bottom left) consists of sandstone with six rectangular fields separated by pillars.

In the antependium of the wooden altar structure of the Johann Mettler sculptor's workshop, in the middle part of the base (tabernacle shrine) is the chest relief of St. Margareta Maria Alacoque . The relief of the saints is surrounded by the inscription "Everything for Jesus". There are three arcade arches in each of the flanking fields.

The central statue of the altar structure, which was made by the Mettler sculptor's workshop, is a seated figure of the crowned Christ on a throne, who, bending down pityingly, spreads his arms. Christ is depicted as a royal high priest with a bleeding heart and a thorn-wound heart . The design of the statue is related to the feast of Christ the King , which was held on the occasion of the Holy Year 1925 for the 1600th anniversary of the Council of Nicaea in 325 by Pope Pius XI. with his encyclical Quas primas of December 11, 1925 was used. The repeat inscription on the hem of the cloak of the Jesus figure reads: "On his garment and on his hip he bears the name: 'King of kings and Lord of lords'." (Rev 19:16)

The statue is flanked by adoring angels. In the gilded wooden mosaic there is the inscription in capital letters "Come to me all you who are troublesome and burdensome, and I will refresh you" (Mt 11, 28). Above the altar hangs a painting by the Trier painter Johannes Bruch from 1921 in a round arch niche. It depicts the baptism of Jesus by Johannes on the Jordan and thus refers to the mother church of the Saardome, St. Johann. Under the oil painting it is written in golden capital letters: “See the Lamb of God, who takes away the sin of the world!” (Jn 1:29).

In his painting, the Trier painter Johannes Bruch compresses motifs from the painting The Revelation of Christ to the People by Alexander Andrejewitsch Ivanov in Moscow's Tretyakov Gallery .

Altar area

In accordance with the provisions of the Second Vatican Council , the choir room was redesigned and expanded so that it extends to the crossing today. It is raised over five steps and separated from the ambulatory with the side chapels by barriers from the sculpture workshop of Curt and Wenzel Jina from Koblenz (1913). The stone barriers consist of marble columns with bronze capitals and brass bases. The figurative and ornamental metalwork are all based on Maasland art from the Romanesque period.

Celebration altar

The new celebration altar from 1969 was erected almost exactly under the triumphal arch of the apse area by the stone carving studio Göllner from Saarbrücken using parts of the old high altar. The cafeteria plate is made of light marble with strong edge profiles. It rests on a central block, which is flanked left and right by marble columns with bronze capitals and brass bases of the broken pulpit. The front side of the celebration altar contains a communion relief made of cream-colored marble in the middle. This relief was previously seen in the substructure of the old high altar.

Stand cross

Neo-Romanesque cross in the apse

Behind the altar is a neo-Romanesque lecture cross in the form of a four-nail crucifix. It was made of stainless steel and brass by goldsmith Johann Jakob Marquenie in 1913 . The carrying rod ends in a gold-colored leaf capital that carries a sphere as a symbol of the universe. The applied ribbon structure of the ball evokes associations with an imperial orb . The side arms and the upper end of the cross are shaped as pressed ovals, each adorned with four blood-red, spherically cut stones in a hollow setting. The point of intersection of the four ends of the bar is surrounded by a gold ring. The body of the crucified Christ depicted as crowned Christ the King is made of gilded copper .

Ambo

Ambo, formerly a pulpit

The former pulpit from the Jina sculpture workshop in Koblenz (1913) originally stood on the southwestern crossing pillar. With the post-conciliar redesign of the sanctuary, it came to its present location. The pillars of the pulpit basket now form the flanking canteen columns of the celebration altar. The pulpit is made of different colored marble types (white, red, yellow, gray) and colored sandstone and contains four bronze drifts in arched fields (from left to right: Christ calls the first disciples, Christ sends out the disciples, Christ hands the bandage over to Peter - and force of ransom, the wondrous fish haul). The pulpit has a rich vegetal ornamentation.

Prayer desk, table for gifts, gospel cabinet

In 1984, four engraved neo-Romanesque brass plates of the old high altar were inserted into newly made furnishings (prayer desk, table for gifts, gospel cabinet). The brass plates show Jesus and the apostle John on the prayer stand, the apostle and Trier diocese patron Matthias and the sacrifice of Isaac on the table for gifts, and John the Baptist on the gospel showcase.

Sediles

The neo-Gothic throne-like seat of the celebrant made of oak is a gift from Trier Bishop Michael Felix Korum to his former secretary and first pastor of the Saardome, Matthias Prior. The seat was supplemented by two smaller sedilies in the 1990s by the Dillingen master carpenter Lothar Seiwert .

High altar in the choir chapel

Neo-Romanesque high altar in its original position

Sacrament chapel, today's installation of the converted high altar

In the middle chapel, the old high altar, which originally stood in the semicircular arcade of the apse, was rebuilt slightly changed as part of the renovation work in accordance with the provisions of the Second Vatican Council .

The high altar has a base made of light marble in various shades of gray and is decorated with eight red marble columns with brass bases and bronze capitals. A neo-Romanesque altar structure made of gold-plated brass rises on the 3 m wide cafeteria , which was made in 1918 in the goldsmith's workshop August Witte under the direction of his son Bernhard Witte in Aachen . The structure of the altar, with its enamel work and its decorative stones, is largely based on the shapes of the Verdun Altar in Klosterneuburg Abbey and the Epiphany shrine in Cologne Cathedral , which Nikolaus von Verdun made in the 12th century. The Aachen Karlsschrein , built at the turn of the 12th and 13th centuries, could also have served as a source of inspiration. Overall, it is based on the Maasland art of the Romanesque.

Two cherubim with outstretched wings are applied to the centrally positioned tabernacle doors, holding the Greek letters alpha and omega in their hands under a large blind arch as a symbol of the mystical presence of Christ. A richly decorated two-story canopy rises above the tabernacle , with a magnificent neo-Romanesque altar cross with the symbols of the evangelists at the ends of the beams in the lower canopy . The vault of the lower canopy with its square floor plan is supported at the corners by four black quadruple pillars. They support four pointed three-pass arches above which eyelashes rise. The peaks of the eyelash are adorned with rock crystal ball knobs. In the center of the four intersecting gable roofs rises an octagonal canopy placed over a corner. The octagonal dome has a cross at its top, the center of which is surrounded by a stone ring.

The tabernacle is surrounded on both sides by two-part blind arcades. In the blind arcades there are chased and silver-plated bronze reliefs: (from left to right) the sacrifice of Melchizedek , the miracle at the wedding at Cana with the conversion of water into wine, the miraculous multiplication of bread and the salvation of the Israelites through the sight of the brazen serpent . The scenes are to be understood as Old and New Testament prefigurations of the Eucharist.

The blind arcades are bordered on the outside by two double-storey canopies with pointed three-pass arches, each of which contains seraphim with banderoles in their hands. The banderole of the left seraph contains the inscription: Adorent eum omnes angeli Dei (“All angels of God should prostrate themselves before him”, ( Hebr 1,6 EU )) The banderole of the right seraph is missing. The structure and design of the flank canopies resemble the central double canopy above the tabernacle. However, they are made smaller, positioned lower and the three-pass arches are only supported by simple black pillars. Floral ornamental grids run over a bolstered cornice over the blind arcades. From these roof ridges rise, held by dog-like mythical creatures with vegetable tails as guardian figures , three candlestick holders.

Two bronze medallions create the connection between the old high altar and the new. Each positioned in the middle of the substructure, they are related to one another:

Front high altar: Noah's dove with the olive branch as a symbol of God's reconciliation with man
Back of the celebration altar: the fish as a symbol of the Eucharist

The original altar stipes of the high altar were adorned in the center with the Last Supper relief now attached to the front of the people's altar. The relief was originally flanked by the two medallions of the dove (left) and the fish (right) as a symbol of the old and the new covenant.

High altar
Tabernacle doors
Cross canopy
Angel canopy
Relief gallery with pre-figurations of the Eucharist
Relief gallery with pre-figurations of the Eucharist
Cross canopy
Dove relief on the altar stipes
Candlestick gallery
Candlestick holder
Enamel ornament

Ambulatory chapels

Chapel (to the right of the central ambulatory chapel): Armeseelenkapelle, today with the statue of St. Aloysius of Gonzaga
Chapel (left of the central ambulatory chapel): Odilienkapelle (local patroness Dillingens), today with the statue of St. Theresa of the Child Jesus.

The two statues that were originally attached to the pillars of the triumphal arch were donated in the 1920s. The altars are from 1913.

Cornerstone

Memorial stone from 2011

The cornerstone of the church can be found between the Marienkapelle and the sacristy door. It was laid on May 28, 1911 by the Trier bishop Michael Felix Korum and comes from the Domitilla catacombs in Rome. The inscription reads: Lapis primarius positus die DIE XXVIII MAII MDCCCCCXI ex coemeterio SS Nerei Achillei et Domitillae ("Foundation stone, laid on May 28, 1911 from the cemetery of Saints Nereus, Achilles and Domitilla").

To mark the 100th anniversary of the laying of the foundation stone, a memorial stone was placed in the wall to the left of the main portal on May 21, 2011. The inscription reads: In memoriam natalis centesimi lapidis primarii positi XXI MAII MMXI (“in memory of the 100th anniversary of the laying of the foundation stone on May 21, 2011”). The different dates May 21 and May 28, 1911 as the day of the laying of the foundation stone have the following reason: On May 21, the Church announced the laying of the foundation stone for May 28, 1911.

Vasa Sacra

Neo-Romanesque disc monstrance in front of the open tabernacle, height approx. 1 m

The Saardom has rich neo-Romanesque furnishings from Vasa Sacra from the time it was built. The one meter high neo-Romanesque discs monstrance made of gold and enamel work is richly decorated with precious stones and pearls. Since monstrances only emerged with the introduction of the feast of the bodily presence of Christ in the Eucharist in 1264 by Pope Urban IV's bull Transiturus de hoc mundo , there are no examples of these liturgical vessels from the Romanesque artistic era. As a result, neo-Romanesque monstrances could only be based on designs from later artistic epochs. So they borrowed form from baroque sun monstrances and combined their structure with the rich fund of Romanesque ornamental forms of architecture, sculpture, painting and goldsmithing of this era. The Saardom monstrance is inspired by Romanesque disc crosses such as those preserved in the Hildesheim Cathedral Treasury . The inscription of the host insert Ecce panis angelorum factus cibus viatorum comes from the Corpus Christi sequence of St. Thomas Aquinas . The artistically perforated disc around the host insert shows scenes from the Old Testament clockwise, which are understood as references to transubstantiation :

The sacrifice of Abraham : In the sacrifice of his son Isaac, which was commissioned by God to Abraham, the human sacrifice is exchanged for the animal sacrifice. The attempted sacrifice of Isaac is understood as a symbol of the crucifixion of Christ , since the early church saw Isaac as the prototype of Jesus and interpreted the attempted act of sacrifice of Isaac as an anticipation of the sacrificial death on the cross ( Gen 22.1–19 EU ). Both Isaac and Jesus are closely related: Both are the only ("only begotten") son bearers of the promise. Both are sacrificed, whereby Isaac's incomplete sacrifice is already a fully valid sacrifice. Both carry their “wood” to the sacrificial altar themselves. Both happen on a mountain and are God's revelation to people.
The rain of the Manna stills the hunger of the Israelites while crossing the desert, Ex 16 EU (The "heavenly bread" as an anticipation of the Eucharist)
The first Passover meal before the Exodus from Egypt, Ex 12.1–20 EU (The sacrificed lamb as an anticipation of Jesus' sacrifice on the cross)
The Priest-King of Salem, Melchizedek , gives Abraham bread and wine (the substitution of the animal sacrifice by the vegetable sacrifice as an anticipation of the Eucharistic figures instead of the bloody temple sacrifice), Gen 14.17-19 EU

The Old Testament scenes are each surrounded by angels making music. At the foot of the monstrance are the Sacred Heart of Jesus, the Virgin and Mother of God, Saint Joseph, as well as apostles and other saints. The knob on the shaft shows the four evangelists .

The back of the monstrance is richly chased . The monstrance was made in 1913 by the renowned Düsseldorf goldsmith Heinrich Joseph Wilms. Goldsmith Wilms had had a workshop in Düsseldorf since 1889, and from 1902 to 1909 he produced in collaboration with the goldsmith Clemens Münster. Similar neo-Romanesque disc monstrances (e.g. gold-plated, chased, cast, engraved, niello , enamel , glass stones, precious stones) were created by Wilms for the parishes of St. Ludgerus in Essen - Werden , St. Maria Rosenkranz in Düsseldorf- Wersten and St. Nikolaus in Wipperfürth . The monstrance was donated by a number of Dillinger families.

The corresponding neo-Romanesque chalice shows the four evangelists as enamel work in the foot area. It was created in 1913 by the Trier golf forge workshop Brems-Varain, which was founded in 1845 .

Organs

First organ

Gürzenich organ
Cologne, Gürzenich, opening on October 2, 1955, view of today's Saardom organ in its original structure
Cologne, inauguration of the Gürzenich organ by Federal Chancellor Konrad Adenauer

The first organ of the Dillinger Saardom was created in 1914 by the Johannes Klais Orgelbau company . The instrument had 46 registers on three manuals and a pedal . It was arranged in the German-Romantic style and in this respect had a lot in common with the former town hall organ of the town of Viersen . The nine-part organ case was designed in the neo-Romanesque style and resembled the organ in Groß St. Arnold (Arnoldsweiler) . The crowning of the two large housing towers was based on the architectural design of the octocon (crossing tower ) of the Saardome and the sound was shaped by the late romantic style epoch of organ building. At that time this instrument was one of the largest organs in the Diocese of Trier and was highly valued by experts for its sound. In the years 1901 to 1908, Klais had made two neo-Romanesque organ prospectuses for the Trier cathedral choir in a similar manner, based on the design by master builder Wilhelm Schmitz . Here, too, the housing towers were designed as architectural domed towers and connected to one another by neo-Romanesque arched galleries. Since there were no large organ systems in the Middle Ages at the time of the Romanesque period, the design of the neo-Romanesque organ prospectuses was based on Romanesque shrines and altarpieces or on Romanesque sacred architecture. Due to the fact that the term of office of the builder of the Saardom, Mathias Prior, as secret secretary of the Trier bishop falls in the time of the great re-Romanization phase of the Trier cathedral by the cathedral builder Schmitz, the motif of the prospectus of the Saardom organ is influenced by the two neo-Romanesque Trier cathedral organs imaginable.

The first organ of the Saardome had pneumatic cone chests , four fixed (for piano, mezzoforte, forte and tutti) and three free combinations, a crescendo roller and twelve paddocks (II / I, III / I, III / II, Sub III / I, Sub II / I, Super III / I, Super II / I, III / P, II / P, I / P, Super III / P, general coupling , idling coupling I. Manual, high pressure tuning off, octave coupling off).

The disposition from 1914 was:

I Hauptwerk C – g ³
1.	Drone	16 ′
2.	Principal	8th'
3.	Fugara	8th'
4th	Amorosa	8th'
5.	Dulciana	8th'
6th	Big dumped	8th'
7th	Octave	4 ′
8th.	Reed flute	4 ′
9.	Octavine	2 ′
10.	Mixture V
11.	Cornet III-IV
12.	Trumpet	8th'

II Positive C-g ³
13.	Violin principal	16 ′
14th	Dolce	8th'
15th	Unda maris	8th'
16.	Flûte harmonique	8th'
17th	Dumped	8th'
18th	Flûte octaviante	4 ′
19th	Fifth	2 ² ⁄ ₃  ′
20th	Piccolo	2 ′
21st	Clarinet	8th'

III Swell C – g ³
22nd	Lovely Gedackt	16 ′
23.	Principal	8th'
24.	Viola d'amour	8th'
25th	Quintatön	8th'
26th	Vox coelestis	8th'
27.	Drone	8th'
28.	Praestant	4 ′
29	Cremona	4 ′
30th	Flauto travers	4 ′
31.	Flautino	2 ′
32.	Harm. Aetherea IV
33.	Sesquialter II
34.	HD Sologamba	8th'
35.	HD tibia	8th'
36.	HD Tuba mirabilis	8th'

Pedal C – f ¹
37.	Principal	16 ′
38.	Violon	16 ′
39.	Sub bass	16 ′
40.	Echo bass	16 ′
41.	Quintbass	10 ² ⁄ ₃  ′
42.	Praestant	8th'
43.	violoncello	8th'
44.	Octave	4 ′
45.	trombone	16 ′

The organ was 80% destroyed on August 27, 1944 by an attack by a Republic P-47 Thunderbolt squadron of the 394th US Fighter Group on Dillingen and the explosion of an ammunition train in Dillingen station. After the end of the war, the instrument was makeshiftly rebuilt by the organ builder Reimsbach from Wallerfangen, without the neo-Romanesque architecture of the old case. This provisional arrangement was in service until 1974, when an electronic organ with several loudspeaker boxes was installed behind the organ front, but the defects (rapid wear and tear of the electronic parts and accumulated malfunctions) soon became apparent and the construction of a new organ had to be planned.

Gürzenich organ

Mobile console of the Gürzenich organ in the Saardom

Warnfried Bartmann, pastor of the parish church from 1983 to 1997, founded an organ building association on April 26, 1994 in order to pay for the high costs of purchasing a new organ. In 1986 the Cologne Gürzenich Orchestra moved to the newly built Cologne Philharmonic , so that the Gürzenich organ, created in the post-war period, remained increasingly unused and was then put up for sale.

The Gürzenich organ from the Johannes Klais Orgelbau company from Bonn was acquired in 1996 by the Holy Sacrament parish among 12 competitors and installed by the Hugo Mayer Orgelbau company from Heusweiler in the Saardom on the organ and singing gallery of the nave. This was only possible thanks to the excellent condition of the organ. The new eleven-part prospectus is based on the neo-Romanesque structure of the first Saardom organ in an abstract way. In 2006 the instrument was re-voiced in parts and a register (Bombarde 32 ') was added by Thomas B. Gaida ( Wemmetsweiler ). The organ currently has 57 registers with over 4300 pipes on cone chests. As a special feature, a 25-tone chime cast from brass tubes was installed as a remote control in the crossing tower as an effect register in the Saardom . The action of the instrument is electric. The acoustics of the organ could be improved compared to the original installation location by means of reed stops that are a little French. The total weight of the organ is approx. 16 tons , which are supported by a steel frame behind the organ case. On Palm Sunday , March 30, 1996, the organ consecration took place with the first performance by the organist Andreas Rothkopf from Dillingen . The disposition is as follows:

I Hauptwerk C – g ³
1.	Drone	16 ′
2.	Principal	8th'
3.	Roughly covered	8th'
4th	Gemshorn	8th'
5.	octave	4 ′
6th	recorder	4 ′
7th	Nasat	2 ² ⁄ ₃  ′
8th.	octave	2 ′
9.	Sesquialtera II	2 ² ⁄ ₃  ′
10.	Mixture VI – VIII	2 ′
11.	Sharp IV	1'
12.	Trumpet	16 ′
13.	Trumpet	8th'
14th	Trumpet	4 ′

II upper structure C – g ³
15th	Reed flute	8th'
16.	Quintadena	8th'
17th	Salicional	8th'
18th	Principal	4 ′
19th	Small set	4 ′
20th	Octave	2 ′
21st	Forest flute	2 ′
22nd	Chamois fifth	1 ¹ ⁄ ₃  ′
23.	Sif flute	1'
24.	Third sept	1 ¹ ⁄ ₇  ′ + ⁴ ⁄ ₅ ′
25th	Sharp V – VI	1'
26th	Zimbel II
27.	Wooden dulcian	16 ′
28.	Krummhorn	8th'
	Tremulant
	Tubular bells

III Swell C – g ³
29	Covered	16 ′
30th	Principal	8th'
31.	English viol	8th'
32.	Beat	8th'
33.	Flute (overblowing from c ⁰ )	8th'
34.	Octave	4 ′
35.	Fifth	2 ² ⁄ ₃  ′
36.	Pointed flute	2 ′
37.	Third flute	1 ³ ⁄ ₅  ′
38.	Mixture IV-VI	1 ¹ ⁄ ₃  ′
39.	Basson	16 ′
40.	oboe	8th'
41.	Trompette harmonique	8th'
42.	Clairon	4 ′
	Tremulant

Pedal C – f ¹
43.	Stand (Ext. No. 45)	32 ′
44.	Principal	16 ′
45.	Sub-bass	16 ′
46.	Covered (= No. 29)	16 ′
47.	Octave	8th'
48.	Covered	8th'
49.	Octave	4 ′
50.	flute	4 ′
51.	Night horn	2 ′
52.	Backset IV – V	2 ² ⁄ ₃  ′
53.	Mixture V-VI	2 ′
54.	Bombarde (Ext. No. 55)	32 ′
55.	trombone	16 ′
56.	Metal dulcian	16 ′
57.	Trumpet	8th'
58.	shawm	4 ′

Coupling (electrical): II / I, III / I, III / II, I / P, II / P, III / P, Super I / P
Playing aids : 2048-fold typesetting system , sequencer, floppy disk drive , crescendo roller , tutti

Bells

On February 23, 1913, the bells were consecrated by Pastor Mathias Prior. The five bells (bronze mixture: one part copper / 20 parts tin) were cast by the Otto bell foundry in Hemelingen near Bremen:

Most Holy Sacrament: 93 quintals
St. Josef: 57 quintals
St. Maria: 40 quintals
St. John: 28 quintals
St. Odilia: 23 quintals

The sixth bell of 16 hundredweight that was supplied, St. Donatus (patron of the neighboring community of Dillingen, Roden ), was added to the bell of the old Johanneskirche. She and her three hundred pound predecessor were rung every day at 10 p.m. to get the inn-goers to go home. That is why it was popularly called the “rag bell”.

When setting the tone, care was taken to ensure that the bells of the Saardome were in harmony with those of the neighboring Evangelical Church in Dillingen .

In the fourth year of the First World War, the bells had to be handed in for war purposes by order of the Supreme Army Command on April 1, 1917, in autumn 1917 for a fee of 2 marks per kilo of metal.

In 1924 it was possible to purchase a 4-part cast steel bell (85-40 hundredweight / name according to size: St. Joseph, Blessed Sacrament, St. Mary, St. John) from the Bochum Association at enormous financial expense . There was no money available for higher quality bronze bells. The tone sequence b - d - f - g is taken from the beginning tones of the Marian antiphon of the Salve Regina . The bells cost 363,140 Reichsmarks . The largest bell, the Joseph bell, hangs alone in the east tower because of its large swing when it rings. The other three bells are in the west tower. The total weight of the four bells is 10,850 kg.

The bells were actually supposed to be delivered as early as 1923, but their arrival in Dillingen was delayed by a whole year due to the Allied invasion of the Ruhr area . After the arrival of the bells at the Dillingen train station , the bell carriages were pulled on ropes by young people from Dillingen to the Saardom and consecrated on May 25, 1925. The largest bell (St. Josef, 4250 kg, east tower) is only rung on public holidays and when a parishioner dies.

The bells were extensively renovated in 2013, which lasted from the first Advent until mid-December. The newly installed clappers were forged and their weight distributed differently in order to achieve a softer sound and to reduce the swing of the bells. This should also reduce the load on the bell cage. The renovation costs amounted to around 60,000 euros.

No.	Nominal	Casting year	Bell caster
1	b ⁰	1924	Bochum Association
2	d ¹	1924	Bochum Association
3	f ¹	1924	Bochum Association
4th	g ¹	1924	Bochum Association

Nativity scene

Saardom, nativity scene in the right transept

The first nativity figurines of the Saardome were purchased in the 1920s. The first figures were made of plaster. The nativity scene has been set up in the Joseph Chapel since then. During the tenure of Pastor Josef Goergen in 1946/1947, natural wood-carved figures were obtained from the mission house in St. Wendel. Pastor Alois Winkel began in the early 1950s to build a new, larger nativity scene with donations from Dillingen business people on the basis of the pre-war crib equipment that had been preserved. In addition to the plaster figures donated in 1953, there were wood-carved sheep and camels by the Dillingen sculptor Nikolaus Theobald (1874–1957). Theobald, who as a stone sculptor had created the small-scale sculptures of the main portal, carved the Advent scene of the Annunciation of the Lord with the figures of the Archangel Gabriel and the Virgin Mary in the size of 1.10 meters in addition to the crib .

In 1957 and 1958, more wooden dressing figures (Holy Family and eight shepherds and the Three Magi ) of 40 cm in size were ordered in the South Tyrolean Val Gardena and made by the carver Vincenz Malsinger from Ortisei . The existing plaster crib figures were now used as dressing figures. The background of the crib and the background image of the Annunciation scene were painted by Heinrich Faißt, a painter from Dillingen. The nativity scene, bordered by a birch wood fence, was now 2.50 meters long.

Over the next three decades, parts of the crib were destroyed or stolen. In 1987, the previous nativity scene by salt-glaze ceramic figures was from the Kannenbaeckerland replaced, the pastor Warnfried Bartmann when he moved to Dillingen from his Neuwieder had been given to community-bye.

From 1990 the old nativity figures of the Saardome were reactivated by the initiative of Pastor Warnfried Bartmann and parish member Erwin Ney. The holy grave of Holy Week was transformed into a birth cave. Further figures were made in 1990 at the Otto Comploy wood carving workshop in Ortisei in Val Gardena by the carvers Albert Moroder and Heinrich Kostner, and the old figures from the 1950s were recast. The background image was created by Parwin Aschrafi, a parish member of Dillingen. The sculptor workshops Lang from Oberammergau , Anri from Val Gardena, and Johann Perathoner, Heinrich Demetz and Albert Moroder from Ortisei made additional figures in 1991. Monika Bieniossek painted a new background picture. Pupils from the Odilienschule in Dillingen were involved in the setting work. The current Saardome nativity scene consists of 90 figures and additional small parts and gifts. The plaster figures of the Holy Family from the 1920s were donated to the Croatian parish of Jelsa in 1994 .

Rectory

Peter Marx built the rectory at the same time as the Saardom in the style of so-called reform architecture . With this, Marx began to turn away from historicism , but initially remained largely faithful to traditional building materials and construction methods. Because of the recourse to regional traditions, a large part of the buildings attributed to reform architecture can also be described with the term Heimatschutzarchitektur , also known as Heimatschutzarchitektur , which has long been known . For example, Marx also uses baroque forms from the Saar region at the parsonage of the Saardome, such as the slate-covered mansard hipped roof , plastered facades and sandstone walls, and uses local materials such as the Mettlacher slabs when laying the floors. The basic architectural cubature of the rectory is based in an abstract way on baroque buildings in the vicinity of Dillingen such as the aristocratic residence de Bely in Düren (Saar) , Buseck Castle in Eppelborn (district Bubach-Calmesweiler), Fremersdorf Castle , the Hilbringer Schlösschen, the main building of Münchweiler Castle or the Öttinger Schlösschen in Wadern .

The parish and youth home in the Dr. Prior-Straße opposite the rectory was designed by the Dillingen architect Konrad Schmitz in the 1950s as a flat-roofed three-wing complex that surrounds an inner courtyard. In the left wing of the building there was a hall with a stage, the glass front of which opened onto the inner courtyard. The middle, lower part of the building formed the foyer, the right wing accommodated lecture and catering rooms, kitchen, sanitary facilities and overnight accommodation. The facades of the two side wings face the Dr. Prior-Straße clad with reddish sandstone and thus refer to the sandstone construction of the Saardome. Since spring 2014, a day care home (St. Franziskus day care, in the left wing of the building) and a cross-generational meeting place (in the right wing of the building) run by the Marienhaus Society have been set up in the building.

Chaplain

Pastor of the Holy Sacrament

Mathias Joseph Prior : 1913–1946 / previously pastor of the Church of St. Johann in Dillingen
Josef Goergen: 1946–1947
Alois Winkel: 1947-1959
Arthur Nikolas: 1959-1970
Thomas Kopp: 1970–1983
Warnfried Bartmann: 1983–1997
Ottmar Dillenburg : 1998-2005
Gerhard Jacob: since 2006
Patrik Schmidt: since 2012

On January 1st, 2011 the pastoral care district “Parish Community Dillingen” (Holy Sacrament / St. Josef / Maria Trost / St. Maximin) was founded.

Cooperators of the Holy Sacrament

Rainer Matthias Müller: 2003–2009
Peter Jackl: since 2011

Vicars of the Holy Sacrament

Michael Rams: 1988-1991
Heinz Haser: 1991–1995
Andreas Bronder: 1995–1998
Jörg Dunsbach: 1998-2001
Wolfgang Breininger: 2001-2003
Carsten Peil: 2005-2008

Chaplains of the Holy Sacrament

Surname	from	to
Peter Hennes	1914	1915
August Zeuner	1914	1919
Peter Braun	1914	1915
Johann Lenz	1915	1917
Jakob Wallenborn	1915	1918
Jakob Arnez	1917	1921
Kornelius Vogt	1917	1919
Albert Bernardi	1919	1920
Richard Harig	1920	1921
Josef Jungbluth	1921	1926

Surname	from	to
Philipp Mueller	1921	1925
Paul Ludwig	1922	1925
Bernard Edel	1925	1931
Leonard Koos	1925	1927
Friederich Schneider	1927	1931
Friederich Busch	1929	1933
Jakob Massing	1931	1936
Johann Bach	1931	1936
Alois Hansen	1933	1935
Matthias Kolligs	1936	1939

Surname	from	to
Peter Mauer	1936	1943
Josef Breul	1939	1941
Peter Deschang	1941	1947
Dominik Johnen	1943	1946
Albert Field	1947	1950
Günther Backes	1950	1953
Otto Faber	1953	1957
Johannes Himmrich	1957	1961
Johannes Knauf	1961	1964
Johannes Rochwalski	1964	1967

Surname	from	to
Gotthard Friday	1967	1971
Gerd Braun	1971	1974
Helmut Gammel	1974	1976
Winfried Kollig	1977	1980
Manfred Theses	1980	1983
Heinrich Ant	1983	1985
Wolfgang Hermann	1985	1988
Martin Laskewicz	2008	2010

Deacons of the Holy Sacrament

Werner Wertgen: 1985
Jörg Meyrer: 1987
Hatto Ehrhardt: 1988
Stefan Feldhausen: 1989
Guido Lacher: 1990
Marius Merkelbach: 1991
Christoph Eckert: 1992
Klemens Mohr: 1993
Joachim Wagner: 1994
Frank Klupsch: 1995
Volker Malburg: 1996

Primitives of the Holy Sacrament

Wilhelm Wein: 1913
Heinrich Hoffmann: 1918
Adolf Hoffmann: 1921
Johann Scholt: 1925
Wilhelm Schulte: 1928
Paul Fechler: 1931
Josef Zadow: 1933
Josef Gärtner: 1936
Alfons Gärtner: 1936
Ernst Zech: 1938
Josef Avril: 1938
Ludwig Zimmermann: 1948
Toni Loyo: 1950
Herbert Mussler: 1956
Hermann Burger: 1961
Wolfgang Gottstein: 1962
Klaus Konstroffer: 1967
Manfred Vogt: 1968
Manfred Kostka: 1991
Thomas Semel: 1996

literature

H. Brunner, H. Caspary, A. v. Reitzenstein, F. Stich: Rhineland-Palatinate / Saarland, art monuments and museums. Reclam's Art Guide Germany, Vol. 6, 8th edition, Stuttgart 1990, p. 91.

HP Buchleitner: Cultural Reconstruction in Saarland 1945–1955 - A text and picture work. Volume 1. Saarbrücken 1955, pp. 62, 65.

Georg Dehio : Handbook of the German art monuments - Rhineland-Palatinate / Saarland. 2nd edition, Munich / Berlin 1984, p. 213.

Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 .

Jens Fachbach, Georg Schelbert, Mario Simmer: On the 50th anniversary of the death of the architect Peter Marx. In: Neues Trierisches Jahrbuch, 48, 2008, pp. 257–264.

Handbook of the Diocese of Trier. 20th edition Trier 1952, p. 279.

Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012.

Catholic Parish Office Holy Sacrament Dillingen (Ed.): Holy Sacrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the Catholic parish church Holy Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963.

Manfred Kostka: Catholic parish church Holy Sacrament Saardom Dillingen / Saar. Dillingen / Saar 1987.

Manfred Kostka: Peter Marx, a Trier church builder between historicism and modernity. Scientific work on obtaining a diploma in theology at the Trier Theological Faculty, Trier 1989.

Manfred Kostka: Catholic parish church of the Holy Sacrament "Saardom". 2nd enlarged and improved edition. Dillingen / Saar 1997.

Art association Dillingen in the old castle, Dillingen / Saar (Ed.): Art guide Dillingen / Saar. Dillingen / Saar 1999, pp. 18-19.

Aloys Lehnert: History of the city of Dillingen / Saar. Dillingen / Saar 1968.

Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland , Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 .

Erwin Ney: The nativity scene in the Saardom Holy Sacrament Dillingen / Saar - yesterday and today. Edited by the Parish Office of the Holy Sacrament, Dillingen, Saarlouis o. J. (1999).

Matthias Prior: The new church in Dillingen / Saar, its preparation and completion. Trier 1913.

Franz Ronig: The 19th century church building in the Diocese of Trier. In: Art of the 19th Century in the Rhineland , Volume 1. Düsseldorf 1980, ISBN 3-590-30251-8 , p. 263 f.

L. Sudbrack et al. A. Jakob (Ed.): The Catholic Saarland, home and church. Saarbrücken 1954–1956, II / III, 1954, p. 27 f.

Walter Zimmermann (arr.): The art monuments of the Ottweiler and Saarlouis districts. 2nd edition Saarbrücken 1976, p. 176 f.

1000 years of the parish of Dillingen, 75 years of Saardom Holy Sacrament. In: Saarbrücker Zeitung , No. 304, Saarlouis edition, December 31, 1988.

Günter Maas - the facade of the Saar Cathedral is completed, Günter Maas created the high reliefs on the Church of the Holy Sacrament in Dillingen. In: Saarbrücker Zeitung, July 1953.

Web links

Commons : Saardom - collection of images

Literature about the Saardom in the Saarland Bibliography

Individual evidence

^ Jo Enzweiler (ed.): Art in public space: Saarland, Volume 3, Saarlouis district after 1945, essays and inventory. Saarbrücken 2009.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 90.

↑ see dimensions of the construction plans

↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt. Geistkirch-Verlag, Saarbrücken 2010, p. 25.

↑ Sandra Ost: MARX, Peter. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 25, Bautz, Nordhausen 2005, ISBN 3-88309-332-7 , Sp. 917-920. ( Article / beginning of article in Internet archive )

^ Niels Wilcken: Architecture in the border area, the public building industry in Alsace-Lorraine (1871-1918) (= publications of the Institute for Regional Studies in Saarland , Volume 38). Edited by Wolfgang Haubrichs , Hans-Walter Herrmann , Heinz Quasten, Volume 38. Blieskastel 2000, pp. 266–272, p. 268, Fig. 249.

^ Archives municipales de Metz, collection of plans, 9 Fi 598.

↑ From the building history of the new Protestant church in Metz. In: Strasbourg Post of May 18, 1904.

^ Wilfried Koch: Architectural Style. 24th, revised edition. Gütersloh / Munich 2003, pp. 128–129.

^ Francois Souchal: The high Middle Ages. Baden-Baden 1968, p. 170.

↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland. Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , pp. 122-124.

^ Niels Wilcken: Architecture in the border area, the public building industry in Alsace-Lorraine 1871-1918 (= publications of the Institute for Regional Studies in Saarland , Volume 38). Saarbrücken 2000, pp. 311-317.

↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland , Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , p. 123.

↑ Jörg Schmitz: The renovation and late historical redesign of the Trier Cathedral during the time in office of master builder Wilhelm Schmitz. In: The Trier Cathedral in Transition - The Renovations of the 20th Century. Accompanying volume for the exhibition of the same name in the Museum am Dom Trier, November 8, 2014 to April 26, 2015. Edited by Markus Groß-Morgen. Trier 2014, pp. 13–31, here p. 28.

↑ Stefan Heinz: Gustave Arthure Sobry and the renovation of the Greiffenklau tomb, On the trail of a Belgian sculptor in Trier. In: Neues Trierisches Jahrbuch 48 , 2008, pp. 133–146.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Art site of the Saardom: the Catholic parish church Holy Sacrament in Dillingen / Saar. (Kunstlexikon Saar series, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 .

↑ see also: ( Dtn 28,10 EU ), ( Dtn 32,9–12 EU ), ( Dtn 33,29 EU ), ( Joh 4,22 EU )

^ Manfred Kostka: Saardom Dillingen. 2nd, enlarged and improved edition. Dillingen / Saar 1997., pp. 9-10.

^ Jean-Marie Pérouse de Montelos: Paris, art metropolis and city of culture. P. 48.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 118.

↑ * Parish Church of St. Leodegar, Düppenweiler, neo-Gothic, 1897–1900

Parish church of St. Andreas and Assumption of Mary, Beckingen-Reimsbach, neo-Gothic, 1898–1901
Parish church St. Josef u. St. Wendelinus, Diefflen, 1899–1900 (destroyed in the war)
Parish Church of the Assumption of Mary, Geislautern-Völklingen, neo-Gothic, 1906–1907
Parish Church of the Visitation of the Virgin Mary, Heusweiler, neo-Gothic, 1898 Extension of the building designed by Carl Friedrich Müller in 1862/1863
Mountain chapel To the Seven Sorrows of Mary (pilgrimage church), Illingen, neo-Gothic, 1901
Parish Church of St. Michael, Merchweiler-Wemmetsweiler, neo-Gothic, 1898/1899
Parish church Herz Jesu, Neunkirchen-Münchwies, 1906
Parish Church of St. Agatha, Kleinblittersdorf, neo-Romanesque, 1906–1908
Parish Church of the Heart of Jesus, Köllerbach, neo-Gothic, 1896–1899
Parish church of the Assumption of Mary, Marpingen, nave neo-Gothic, tower neo-Romanesque, 1902/1903
Parish church Herz Jesu, Merzig-Besseringen, neo-Gothic, 1906–1909
Parish church of St. Peter in the Chains, Merzig-Hilhaben, neo-Gothic 1890/1891
Parish Church of St. Maximin, Leases; 1891/1892
Parish church of St. Sebastian, Püttlingen, neo-Romanesque based on the model of the Maria Laach abbey church (hence the nickname "Köllertaler Dom"), 1907–1909
Church of St. Johannes Baptista in Saarbrücken-Altenkessel, neo-Gothic 1902/1903
Parish Church of St. Michael, Saarbrücken-Gersweiler, 1888/1889
Parish Church of St. Josef, Saarlouis-Fraulautern, 1886–1895
Parish Church of St. Josef, Völklingen-Wehrden, 1897–1899
Parish church Herz Jesu, Wadern-Kostenbach, 1887–1889
Parish Church of St. Martin (only nave), Wadern-Wadrill, 1888
Parish church of St. Gangolf, Wadgassen-Differten, neo-Gothic 1891–1893

^ Draft printed in: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 84.

↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland , Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , pp. 338–339, 576–577.

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17th 1963. Dillingen 1963, S. 14 f .

^ ^A ^b Manfred Kostka, Warnfried Bartmann: Saardom Dillingen . Ed .: Parish Office Hl. Sacrament, Dillingen. Dillingen 1997.

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 16 f .

↑ ^a ^b Catholic Parish Office Hl. Sacrament Dillingen (ed.): Hl. Sacrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the Catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 18th

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Ed.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 20.

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Ed.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 21.

^ ^A ^b Matthias Prior: The new church in Dillingen / Saar, its preparation and completion. Trier 1913.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013, Dillingen 2012, pp. 87–88.

↑ Ring on YouTube .

↑ Barbara Schwarz: War Diary . Ed .: Dillinger history workshop. Dillingen 1995.

↑ [1] , accessed April 26, 2015.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the Catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 , p. 29.

↑ Günter Maas - Making painting audible too. In: Kölner Stadt-Anzeiger , April 12, 2010; online , accessed April 26, 2015.

^ Institute for Current Art in Saarland, Archive, Dossier 3156.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the Catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 , pp. 29-34.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the Catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 , p. 54.

^ Institute for Current Art in Saarland, Archive, Dossier 9021.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the Catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 , p. 35.

↑ Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Saardom art location: the Catholic parish church Holy Sacrament in Dillingen / Saar (series Kunstlexikon Saar, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 , pp. 45-49.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013, Dillingen 2012, pp. 102-104.

^ Manfred Kostka: Saardom Dillingen. 2nd, enlarged and improved edition. Dillingen / Saar 1997, p. 17.

↑ Entry on Karl Frank in the Rhineland-Palatinate personal database , accessed on March 19, 2017 .

↑ Erwin Ney: The Christmas crib in the Saardom Holy Sacrament Dillingen / Saar - yesterday and today. Edited by the parish office of the Holy Sacrament, Dillingen, Saarlouis o. J. (1999), p. 55.

↑ Hildegard Ginzler: Apollinarisberg in Remagen, Oberammergau artist Max Schauer renewed the first stations of the cross 50 years ago. In: General-Anzeiger Bonn, March 30, 2013.

^ Fred Oberhauser: The Saarland, art, culture and history in the triangle between Blies, Saar u. Moselle. Cologne 1992, p. 184.

^ Hermann Catrein: The sculpture and joinery Johann Mettler. In: Hermann Bohn, Fritz Schellack, Berthold Staudt: Ortschronik Morbach: 1278–2013, a lively, ambitious village and its people on a journey through time. Idar-Oberstein 2013, pp. 480-484.

↑ Werner Zimmer: The Saarland sculptor Ernst Hoffmann (1905–1942) - forgotten and rediscovered. Norderstedt 2010, pp. 16-17.

↑ Article about Mettler: [2] , accessed on April 17, 2015.

↑ cf. Manfred Kostka: Construction and description of the Church of the Holy Sacrament. In: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, pp. 83–116, here pp. 110–111, illustration on p. 110.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 128.

↑ Martina Junghans: Sacred art treasures in the pastoral field, A valuable monstrance in St. Nicholas. In: Katholische Kirchengemeinde, Wipperfürth pastoral care area, May 5, 2013, 6th year, serial no. 63, pp. 34–35.

↑ Klaus Napp: Monstrances. In: Wir, the community magazine of the pastoral care unit Düsseldorfer Rheinbogen, issue 6, 2012, 1, p. 34.

↑ Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 130.

↑ ^a ^b ^c ^d ^e Pfarramt Hl. Sacrament (Ed.): Church leader Saardom Dillingen. 2nd edition, 1997, p. 29

^ Dismantling during the Trier cathedral renovation in 1969; replaced by the current swallow's nest organ in the nave

↑ Jörg Schmitz: The renovation and late historical redesign of the Trier Cathedral during the time in office of master builder Wilhelm Schmitz. In: The Trier Cathedral in Transition - The Renovations of the 20th Century. Accompanying volume for the exhibition of the same name in the Museum am Dom Trier, November 8, 2014 to April 26, 2015. Edited by Markus Groß-Morgen. Trier 2014, pp. 13–31, here pp. 24–26.

↑ Armin Lamar: The organs in the Dillinger Saardom. In: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013 - Dillingen 2012, pp. 157–166, here pp. 157 f.

↑ ^a ^b Bernhard H. Bonkhoff: Historical Organs in Saarland. Schnell + Steiner, Regensburg 2015, p. 204.

↑ Armin Lamar: The organs in the Dillinger Saardom. In: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, pp. 157–166.

↑ ^a ^b ^c Parish Office of the Holy Sacrament (ed.): Church leader Saardom Dillingen. 2nd edition, 1997, p. 30

↑ The organ on OrganIndex

^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, especially pp. 222, 352, 519 .

↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, especially pp. 15, 82, 315, 483 , urn : nbn: nl: ui: 22-2066 / 204770 (PhD thesis at Radboud Universiteit Nijmegen).

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Ed.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 41 f .

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 22.

↑ Johannes A. Bodwing: Saardom bells are being renovated - repair work in Dillingen costs around 60,000 euros - donations are welcome. In: Saarbrücker Zeitung from June 20, 2013, accessed on June 10, 2017.

↑ Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 42.

↑ Johannes A. Bodwing: The bells of the Saardom are ringing again - extensive renovation of the heavy bells of the parish church Heilig Sacrament in Dillingen. In: Saarbrücker Zeitung of December 23, 2013, accessed on June 10, 2017.

↑ Erwin Ney: The Christmas crib in the Saardom Holy Sacrament Dillingen / Saar - yesterday and today. Edited by the Parish Office Hl. Sacrament, Dillingen, Saarlouis o. J. (1999), pp. 36–57.

↑ Eckart Sander: The most beautiful palaces and castles in Saarland , Wartberg-Verlag, Gudensberg-Gleichen 1999, ISBN 3-86134-507-2 .

↑ Hans Peter Buchleitner: Cultural Reconstruction in Saarland, Text and Image, Volume II, additions to the church structure in Saarbrücken and in the parishes of both Christian denominations in the Saarlouis and Merzig-Wadern districts. Saarbrücken 1959, p. 29.

↑ Saarbrücker Zeitung of August 31, 2016, [3] , accessed on July 12, 2017.

^ All personal data according to: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013, Dillingen 2012, pp. 119–122.

↑ German priest killed by barons on spiegel.de, April 12, 2007, accessed on June 10, 2017

49.356388888889 6.7261111111111Coordinates: 49 ° 21 '23 " N , 6 ° 43' 34" E

[1] Jo Enzweiler (ed.): Art in public space: Saarland, Volume 3, Saarlouis district after 1945, essays and inventory. Saarbrücken 2009.

[2] Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 90.

[3] see dimensions of the construction plans

[4] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt. Geistkirch-Verlag, Saarbrücken 2010, p. 25.

[5] Sandra Ost: MARX, Peter. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 25, Bautz, Nordhausen 2005, ISBN 3-88309-332-7 , Sp. 917-920. ( Article / beginning of article in Internet archive )

[6] Niels Wilcken: Architecture in the border area, the public building industry in Alsace-Lorraine (1871-1918) (= publications of the Institute for Regional Studies in Saarland , Volume 38). Edited by Wolfgang Haubrichs , Hans-Walter Herrmann , Heinz Quasten, Volume 38. Blieskastel 2000, pp. 266–272, p. 268, Fig. 249.

[7] Archives municipales de Metz, collection of plans, 9 Fi 598.

[8] From the building history of the new Protestant church in Metz. In: Strasbourg Post of May 18, 1904.

[9] Wilfried Koch: Architectural Style. 24th, revised edition. Gütersloh / Munich 2003, pp. 128–129.

[10] Francois Souchal: The high Middle Ages. Baden-Baden 1968, p. 170.

[11] Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland. Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , pp. 122-124.

[12] Niels Wilcken: Architecture in the border area, the public building industry in Alsace-Lorraine 1871-1918 (= publications of the Institute for Regional Studies in Saarland , Volume 38). Saarbrücken 2000, pp. 311-317.

[13] Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland , Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , p. 123.

[14] Jörg Schmitz: The renovation and late historical redesign of the Trier Cathedral during the time in office of master builder Wilhelm Schmitz. In: The Trier Cathedral in Transition - The Renovations of the 20th Century. Accompanying volume for the exhibition of the same name in the Museum am Dom Trier, November 8, 2014 to April 26, 2015. Edited by Markus Groß-Morgen. Trier 2014, pp. 13–31, here p. 28.

[15] Stefan Heinz: Gustave Arthure Sobry and the renovation of the Greiffenklau tomb, On the trail of a Belgian sculptor in Trier. In: Neues Trierisches Jahrbuch 48 , 2008, pp. 133–146.

[16] Oranna Dimmig, Michaela Mazurkiewicz-Wonn: Art site of the Saardom: the Catholic parish church Holy Sacrament in Dillingen / Saar. (Kunstlexikon Saar series, publisher Jo Enzweiler). Saarbrücken 2012, ISBN 978-3-938070-71-0 .

[17] see also: ( Dtn 28,10 EU ), ( Dtn 32,9–12 EU ), ( Dtn 33,29 EU ), ( Joh 4,22 EU )

[18] Manfred Kostka: Saardom Dillingen. 2nd, enlarged and improved edition. Dillingen / Saar 1997., pp. 9-10.

[19] Jean-Marie Pérouse de Montelos: Paris, art metropolis and city of culture. P. 48.

[20] Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 118.

[21] * Parish Church of St. Leodegar, Düppenweiler, neo-Gothic, 1897–1900

Parish church of St. Andreas and Assumption of Mary, Beckingen-Reimsbach, neo-Gothic, 1898–1901

Parish church St. Josef u. St. Wendelinus, Diefflen, 1899–1900 (destroyed in the war)

Parish Church of the Assumption of Mary, Geislautern-Völklingen, neo-Gothic, 1906–1907

Parish Church of the Visitation of the Virgin Mary, Heusweiler, neo-Gothic, 1898 Extension of the building designed by Carl Friedrich Müller in 1862/1863

Mountain chapel To the Seven Sorrows of Mary (pilgrimage church), Illingen, neo-Gothic, 1901

Parish Church of St. Michael, Merchweiler-Wemmetsweiler, neo-Gothic, 1898/1899

Parish church Herz Jesu, Neunkirchen-Münchwies, 1906

Parish Church of St. Agatha, Kleinblittersdorf, neo-Romanesque, 1906–1908

Parish Church of the Heart of Jesus, Köllerbach, neo-Gothic, 1896–1899

Parish church of the Assumption of Mary, Marpingen, nave neo-Gothic, tower neo-Romanesque, 1902/1903

Parish church Herz Jesu, Merzig-Besseringen, neo-Gothic, 1906–1909

Parish church of St. Peter in the Chains, Merzig-Hilhaben, neo-Gothic 1890/1891

Parish Church of St. Maximin, Leases; 1891/1892

Parish church of St. Sebastian, Püttlingen, neo-Romanesque based on the model of the Maria Laach abbey church (hence the nickname "Köllertaler Dom"), 1907–1909

Church of St. Johannes Baptista in Saarbrücken-Altenkessel, neo-Gothic 1902/1903

Parish Church of St. Michael, Saarbrücken-Gersweiler, 1888/1889

Parish Church of St. Josef, Saarlouis-Fraulautern, 1886–1895

Parish Church of St. Josef, Völklingen-Wehrden, 1897–1899

Parish church Herz Jesu, Wadern-Kostenbach, 1887–1889

Parish Church of St. Martin (only nave), Wadern-Wadrill, 1888

Parish church of St. Gangolf, Wadgassen-Differten, neo-Gothic 1891–1893

[22] Parish church of St. Andreas and Assumption of Mary, Beckingen-Reimsbach, neo-Gothic, 1898–1901

[23] Parish church St. Josef u. St. Wendelinus, Diefflen, 1899–1900 (destroyed in the war)

[24] Parish Church of the Assumption of Mary, Geislautern-Völklingen, neo-Gothic, 1906–1907

[25] Parish Church of the Visitation of the Virgin Mary, Heusweiler, neo-Gothic, 1898 Extension of the building designed by Carl Friedrich Müller in 1862/1863

[26] Mountain chapel To the Seven Sorrows of Mary (pilgrimage church), Illingen, neo-Gothic, 1901

[27] Parish Church of St. Michael, Merchweiler-Wemmetsweiler, neo-Gothic, 1898/1899

[28] Parish church Herz Jesu, Neunkirchen-Münchwies, 1906

[29] Parish Church of St. Agatha, Kleinblittersdorf, neo-Romanesque, 1906–1908

[30] Parish Church of the Heart of Jesus, Köllerbach, neo-Gothic, 1896–1899

[31] Parish church of the Assumption of Mary, Marpingen, nave neo-Gothic, tower neo-Romanesque, 1902/1903

[32] Parish church Herz Jesu, Merzig-Besseringen, neo-Gothic, 1906–1909

[33] Parish church of St. Peter in the Chains, Merzig-Hilhaben, neo-Gothic 1890/1891

[34] Parish Church of St. Maximin, Leases; 1891/1892

[35] Parish church of St. Sebastian, Püttlingen, neo-Romanesque based on the model of the Maria Laach abbey church (hence the nickname "Köllertaler Dom"), 1907–1909

[36] Church of St. Johannes Baptista in Saarbrücken-Altenkessel, neo-Gothic 1902/1903

[37] Parish Church of St. Michael, Saarbrücken-Gersweiler, 1888/1889

[38] Parish Church of St. Josef, Saarlouis-Fraulautern, 1886–1895

[39] Parish Church of St. Josef, Völklingen-Wehrden, 1897–1899

[40] Parish church Herz Jesu, Wadern-Kostenbach, 1887–1889

[41] Parish Church of St. Martin (only nave), Wadern-Wadrill, 1888

[42] Parish church of St. Gangolf, Wadgassen-Differten, neo-Gothic 1891–1893

[22] Draft printed in: Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013. Dillingen 2012, p. 84.

[23] Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (= publications of the Institute for Regional Studies in Saarland , Volume 40). Saarbrücken 2002, ISBN 3-923877-40-4 , pp. 338–339, 576–577.

[24] Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17th 1963. Dillingen 1963, S. 14 f .

[Bartmann-25] A ^b Manfred Kostka, Warnfried Bartmann: Saardom Dillingen . Ed .: Parish Office Hl. Sacrament, Dillingen. Dillingen 1997.

[26] Kath. Pfarramt Hl. Sacrament Dillingen (Hrsg.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 16 f .

[Kath_1963-27] Catholic Parish Office Hl. Sacrament Dillingen (ed.): Hl. Sacrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the Catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 18th

[28] Kath. Pfarramt Hl. Sacrament Dillingen (Ed.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 20.

[29] Kath. Pfarramt Hl. Sacrament Dillingen (Ed.): Hl. Sakrament Dillingen / Saar, church chronicle on the occasion of the 50th anniversary of the consecration of the catholic parish church Hl. Sacrament Dillingen / Saar on November 17, 1963. Dillingen 1963, p. 21.

[Matthias_Prior_1913-30] A ^b Matthias Prior: The new church in Dillingen / Saar, its preparation and completion. Trier 1913.

[31] Katholisches Bildungswerk Dillingen-Nalbach e. V. (Ed.): 100 years of Saardom, Holy Sacrament Dillingen, 1000 years of the parish of Dillingen. Festschrift for the anniversary of the church consecration on April 25, 2013, Dillingen 2012, pp. 87–88.

[32] Ring on YouTube .

[33] Barbara Schwarz: War Diary . Ed .: Dillinger history workshop. Dillingen 1995.

[34] [1] , accessed April 26, 2015.