Salvatorkirche (pumpkin)
The Salvatorkirche is a post-Gothic hall church in the village of Kürbitz , a district of the municipality of Weischlitz in the Vogtlandkreis in Saxony . The imposing sacred building belongs to the parish of Kürbitz in the Plauen church district of the Evangelical Lutheran regional church of Saxony . Visible from afar, it shapes the townscape of Kürbitz. It contains an exceptionally rich interior and is one of the most important architectural monuments in the region.
History and architecture
The first church on site was a building of the Teutonic Order dedicated to the apostles Peter and Paul and was mentioned as early as 1126. In the years from 1624 to 1626 the manor owner von Kürbitz, Urban Caspar von Feilitzsch , had a three-aisled hall church built with a recessed polygonal choir to the north and a mighty south tower. The extensive restorations in 1880, 1953 and 1967, as well as the object-related protective measures and repairs that followed later, contributed significantly to maintaining the building in the condition it is in today.
The baroque gothic, plastered quarry stone building is an approximately square hall with a choir in the width of the central nave and five-eighth end and shows window fronts on two floors. The windows, decorated with simple tracery, are arranged in two rows one above the other, the lower ones in gothic pointed arches, the upper ones like the choir windows with round arches. The church is accessed through a west portal made of Franconian reddish sandstone in Tuscan order , the keystone of which bears the year 1626. A gable above the wooden gate crowns the double coat of arms of Urban Caspar von Feilitzsch and his wife Veronica von Mülich. The mighty tower with an octagonal tower, Welscher hood and lantern accentuate the building. Four round stair towers with Italian domes are arranged on both sides of the tower and choir.
A groin-vaulted vestibule leads into the nave. In the four-bay, bright nave, shaped by the galleries, mighty pillars support the groin vault . A round arched triumphal arch leads to the single -bay, groin-vaulted choir, which is separated from the nave by an ornate wrought-iron grille.
Stone galleries are built in on three sides. The north side shows prayer rooms from the 17th and 18th centuries, whose richly decorated prospectuses are provided with tablets and coats of arms. On the west side on the upper floor of the tower there is the former stately winter prayer room, which was separated from the nave when the organ was installed in 1880 and is also covered with groin vaults. The fireplace from 1628 is decorated with the builder's coat of arms and on the side with the personifications of Caritas or Fides with a chalice and probably by Spes with a dove. The sacristy is built into the east yoke of the south aisle, and the funeral chapel of the von Feilitzsch family is built into the three bays to the west (see below).
Furnishing
The splendid late Gothic winged altar was taken over from the previous church and was originally made around 1500 in a workshop in Hof . In the predella it shows the adoration of the kings as well as Anna Selbdritt and Maria Magdalena to the side . A crescent moon Madonna and Saints Peter and Paul are depicted in the shrine, with small carved figures of the twelve apostles on each of the wings in two fields one above the other. The backs of the wings show Emperor Heinrich II. And his wife Kunigunde on the left with Bamberg Cathedral in the background as well as the Saints Nicholas and Wolfgang , on the right Laurentius , Stephanus , Martin and Erasmus . The back of the predella shows painted representations of the Saints Dorothea , Margareta , Barbara and Katharina .
The stone pulpit with finely crafted figures in the style of the High Renaissance was donated in 1626 by Wolf Feilitzsch auf Rosenberg and his wife. A figure of Moses carries the polygonal basket with depictions of the evangelists with mussel imbes ; The Salvator mundi is depicted on the sound cover . Due to the expressive physiognomies and gestures of the figures, an attribution to the school of the Walther family of sculptors is considered possible.
The octagonal baptism made of black, partially gold-plated marble was donated in 1626 by Wolff Dietrich von Poseck from Unterweischlitz. Several late Gothic carved figures, which may have belonged to an altar or a triumphal cross group, date from around 1500. With the exception of the crucifix, all of the frames have been lost. A larger than life crucifix, Mary and Johannes Evangelista, an associated male figure without attribute, perhaps Saint Stephen or Laurentius, and a lamentation of Christ are depicted .
Several portraits of members of the von Feilitzsch family have survived. Of these, the full-length representation of Urban Caspar von Feilitzsch on the north side and, as a counterpart, the portrait of his wife Veronika von Mühlich on the south side, should be mentioned.
On the pillars are paintings with scenes from the Old and New Testament from the 17th century, which probably come from the Rubens school .
On the south pore the pews of the previous church from the 15th century with ornamental Gothic painting are set up. In the tower hall, two richly decorated and partly gilded communion stalls belonging to the von Feilitzsch family from the 17th century have been partially preserved.
The magnificent prospectus comes from an organ by Johann Peter König from the years 1719/20 with carvings by Johann Nikolaus Knoll from Hof and setting as well as gilding by Heinrich Matthäus Lohe from Hof. In 1880 the organ was moved from its first location on the south pore to the west in a newly created tower opening. In 1907 Reinhard Schmeisser from Rochlitz broke off this organ and built a new one with a pneumatic action . Today the prospectus contains a work by Jehmlich from 1977.
Funeral chapel
The splendid room with the grave monuments and epitaphs of the von Feilitzsch family is separated from the central nave by artistic wrought iron bars, which were created in 1626 by a master Vogel from Zwickau. The elaborate baroque ceiling painting from the 17th century, restored in 1920, is decorated with scenes from the Old and New Testament, of which the closing of Satan by the angel and the view of the heavenly Jerusalem are particularly impressive.
Numerous tombs and epitaphs have been preserved from the 16th and 17th centuries. The oldest colored sandstone slab for Jobst von Feilitzsch († 1511) shows the deceased standing in full armor on a lion, flanked by the coats of arms of those of Feilitzsch, Obernitz, Köckeritz and Lindenau. The five paintings of an associated epitaph were lost in 1945.
The sandstone slab for Urban von Feilitzsch († 1580) shows a figure clad in armor in a slight rotation in front of a Renaissance portal richly decorated with the coats of arms of those from Feilitzsch, Köckeritz, Schenke von Limburg and Planitz. The corresponding epitaph is equipped with an oil painting depicting the Last Judgment.
Another sandstone slab for Rudolph Levin von Feilitzsch († 1596) also depicts the deceased in full armor, surrounded by the coats of arms of those of Feilitzsch, Planitz and Beulwitz. The epitaph for Jobst Christoff von Feilitzsch and his wife Maria von Zedwitz is provided with an oil painting of the Lamentation of Christ. Another sandstone slab for Hans Heinrich von Feilitzsch († 1635) shows a full-length representation of the deceased with 16 coats of arms.
The plate made of white and black marble for Urban Caspar von Feilitzsch († 1649), the builder of the church, is particularly elaborate. The plate is framed by foliage and flower tendrils with coats of arms and children's figures and shows the portrait of the deceased in a medallion with the figure of death behind and an inscription plaque below. The corresponding, also very elaborate epitaph was created by Johann Brenck and Hans Georg Schlehendorn from Kulmbach, also in white and black marble, only in 1687 and shows a three-part structure with inscription panels. In the main field, Corinthian columns carry a blown gable with a double coat of arms, Spes and Fides are shown on the side. The epitaph is framed by a painted illusionistic frame with angels and genii.
A large copper plate composed of eleven individual sheets with the depiction of the Last Judgment according to Michelangelo was created by Giorgio Ghisi .
Peal
The bell consists of three bronze bells , the bell cage is made of oak wood, as are the bell yokes and were renewed in 2002. Below is a data overview of the bell:
| No. | Casting date | Caster | material | diameter | Dimensions | Chime |
|---|---|---|---|---|---|---|
| 1 | 2002 | Bell foundry R. Perner | bronze | 1130 mm | 835 kg | f sharp ′ |
| 2 | 2002 | Bell foundry R. Perner | bronze | 910 mm | 446 kg | ais ″ |
| 3 | 2002 | Bell foundry R. Perner | bronze | 775 mm | 290 kg | cis ″ |
Surroundings
To the west of the church, on the cemetery wall, is the eighteenth-century death house belonging to the von Rosenberg, von Kasten, von Ober- and Unterweischlitz and von Kürbitz families. The small building with a square floor plan is finished with a Welschen hood , point and a knob . It is covered on the inside with a groin vault and is accessed in the east through a basket-arched double-wing door with granite walls and keystone .
literature
- Georg Dehio : Handbook of the German art monuments. Saxony II. The administrative districts of Leipzig and Chemnitz. Deutscher Kunstverlag, Munich / Berlin 1998, ISBN 3-422-03048-4 , pp. 453–456.
- Heinrich Magirius, Hartmut Mai: Village churches in Saxony. Evangelische Verlagsanstalt, Berlin 1985, p. 200.
- Rainer Thümmel : Bells in Saxony . Sound between heaven and earth. Ed .: Evangelical Regional Church Office of Saxony . 2nd, updated and supplemented edition. Evangelische Verlagsanstalt, Leipzig 2015, ISBN 978-3-374-02871-9 , p. 317 (With a foreword by Jochen Bohl and photographs by Klaus-Peter Meißner}).
Web links
Individual evidence
- ↑ Information on the Kürbitz Church on the SR2-treffen.de page. Retrieved July 20, 2018 .
- ^ A b Rainer Thümmel : Bells in Saxony . Sound between heaven and earth. Ed .: Evangelical Regional Church Office of Saxony . 2nd, updated and supplemented edition. Evangelische Verlagsanstalt, Leipzig 2015, ISBN 978-3-374-02871-9 , pp. 317 (With a foreword by Jochen Bohl and photographs by Klaus-Peter Meißner).
Coordinates: 50 ° 27 '43.9 " N , 12 ° 4' 26.3" E