St. Bartholomew Church (Golzwarden)

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St. Bartholomew from the south

The St. Bartholomew Church is the Evangelical Lutheran church in Golzwarden , town of Brake (Unterweser) , Wesermarsch district in Lower Saxony. The late Romanesque hall church made of brick was built on a Wurt in the 13th century and expanded several times over the centuries. The polygonal Gothic choir was added in the 15th century. The originally existing west tower was demolished in the 15th century and finally in 1514. The church has a turret from 1711 and a bell tower from 1514, 10 m west of the nave.

history

In the Rasteder Chronik, Golzwarden around 1100 is referred to as a parish. A chapel could not be archaeologically proven during excavations for this early period in 1963. A church in Golswartte was first mentioned in a document on December 6, 1263, when the previous branch church was separated from the parent church Rodenkirche and received its own parish . It was dedicated to the Apostle Bartholomew .

The 13th century church on a rectangular floor plan ended with a semicircular apse in the late Romanesque style. A layer of fire supports the report in the Hamelmann Chronicle from 1599 that the village and the church were burned to the ground almost to the ground by Konrad II of Oldenburg in 1375 . Accordingly, the foundation walls were rebuilt in the 14th century. A massive, well-fortified west tower was demolished in the 15th century after the Stadland was conquered by the Bremen people in 1414 and the Golzwarder church was successfully besieged. At the time she owned "de strongest torne in Vresschlande" (the strongest tower in Friesland). By order of the Archbishop of Bremen, the church was decongested. The apse was replaced by a Gothic choir in the 15th century . The west tower was finally laid down in 1514. A solitary bell cage was created from the demolition material. In 1711 a roof turret with an octagonal helmet and a weathercock was added to the west gable, which was replaced by a weather vane in 1853. The western gable side received a cement plaster in the 19th century to hide the building scars. The gray plaster was renewed in 1951. In the course of an interior renovation in 1892, four terracotta figures were purchased, by AM Sieben geb. Diekmann donated two chandeliers to the choir and painted ceilings, galleries, stalls and walls. The foundations of the former west tower (about 10 meters square) were exposed at the beginning of the 20th century. In 1929 the small western porch and in 1952 the choir screen were removed. A comprehensive renovation of the church followed in 1963/1964. The sacristy was given its current place after the stairs under the mansion were removed. Archaeological investigations during this time led to the elucidation of the building history. The church was renovated in 1994 and the pastorate in 1995, and the bell tower was renovated in 1997/1998.

The church was badly damaged by a fire in the roof structure on July 4, 2019, and the police suspect arson.

architecture

Choir from the north
Ship and bell tower

The hall church, which is not exactly easted, but slightly east-northeast oriented, is built from red bricks in the format of a monastery on the northern edge of the village on a two meter high church yard. Apart from the plastered western gable side, the church is unplastered. The corner blocks, like the base and the window and portal frames, are made of sandstone blocks. Inside, a large pointed triumphal arch opens the choir to the nave. The interior of the 8.50 meter wide nave is 29.50 meters long and around 8 meters high. The choir is two steps higher than the nave. This is illuminated on the north side in the middle through five small arched windows. Two small old arched windows have been preserved in the south wall. They are surrounded by three large arched windows, which were probably created by enlargement. The church has centered on the north and south side arched portals with jambs from Porta sandstone . The vaulted south portal probably originally served as the main portal. The north portal is walled up. The west entrance is clad with copper plates. A slender roof turret with an octagonal pointed helmet is placed on the steep gable roof in the west, which is crowned at a height of 27 meters by a tower knob and a weather vane. The roof turret houses a bell by the Bremen bell founder Claudi Gage from 1663. The clock face of the tower clock is attached to the top of the western gable.

The 10.50 meter long and 7.55 meter wide polygonal choir with a three-eighth end in the Gothic style is drawn in opposite the nave and is lower. It is supported on the outside by buttresses. A small door on the east side may have replaced the original priest's door on the south side, from which the remainder of a natural stone door arch has been preserved. Six large pointed arch windows illuminate the choir; the east window is walled up.

To the west of the church is the bell tower from 1514 as a successor to the medieval west tower. The open tower corresponds to the parallel wall type with narrow round arched openings, which were later walled up on the south side in the lower area. In the west, a steep buttress has been reaching under the eaves since 1710. The bell tower houses the older bell from Ghert Klinghe Bremen from 1440. It was originally cast for the St. Nikolai Church in Edewecht, stolen in 1538 and sold to Golzwarden. The larger bell was made by the Hamburg bell founder Andreas Bieber in 1750. It is a cast of the previous bell by Claudi Gage (1669), who in turn cast a bell from 1500.

Furnishing

Interior to the east

The interior is closed off by a flat wooden beam ceiling, which was painted in 1892 by the court and theater painter Mohrmann from Oldenburg. In 1994 the painting was exposed again. The long sides are structured by six trough-shaped, ogival niches. It is unclear whether the church was originally vaulted . The foundations of a side altar were found in at least one niche in 1963. The church stalls date from 1619. In the north-west of the choir are the remains of an old Lutheran confessional. The brass chandelier from 1746 is dedicated to the memory of Jürgen Siassen (1713–1746). The choir and the central aisle are covered with 17 tombstones from the 16th and 17th centuries, in front of the altar is the tombstone of the first Protestant pastor Herman Pleuss (Pleo) († February 23, 1537). The grave slab of Bernhardt von Kißleben, Drosten von Ovelgönne, who died in 1592, is placed on the south side of the choir. Georg Karl Rohde created the two Art Nouveau windows behind the altar in 1913 , each showing four biblical scenes. On the left the birth of Christ, the twelve-year-old Jesus in the temple, Jesus and the children as well as Jesus and the sinner are shown, on the right guardian angel, confessor, missionary order and sower.

Galleries

Wallzell filling the gallery

The west gallery from 1634 was extended by Harm Backenköhler in 1698 to include the north gallery. The predominantly biblical representations come from Johann Christian Wallzell from the year 1700/1701. 44 vertical picture panels are supplemented by a writing panel. On the western gallery, which serves as a site for the organ, five themes are from the first book of Moses represented and two from the second book of Moses , while below the organ three musical themes can be seen, among them an organ in the style of Arp Schnitger along with organist and a group of musicians, one of whom should be identified with Schnitger. The north gallery shows a symbolic representation of 23 scenes from the New Testament in which the Passion story of Christ takes up a large space with eleven panels. In the background, Old Testament scenes are composed on a smaller scale as a foreshadowing of the New Testament event. The manor of the pastor family bears six Old and New Testament as well as allegorical pictures, the king's chair has five pictures, including two depictions of kings and two coats of arms.

Altars

On the south wall there is a two-meter-wide middle section of a Gothic winged altar from around 1520. The carved oak altar is polychrome. In the middle field, the events on the Calvary are shown. The crucifixion scene is based on Albrecht Dürer's woodcut from 1502/1503 . On the left the reliefs of the carrying and nailing to the cross and on the right the Descent from the Cross and the Entombment of Jesus are shown. The crucified and the two thieves were added before 1900. Before the restoration, the altar hung on the north wall. The birth of Christ and the Last Supper can be seen on the double doors, which were supplemented from templates in the 19th century. Because of the different style, the side wings have been hanging near the baptismal font since 1963.

The rectangular base of the altar is raised by two steps. The baroque altarpiece made of oak was carved in 1701 by Harm Backenköhler from Delmenhorst. It shows the images of the Last Supper on the predella , which are common in Lutheran baroque altars, and the crucifixion scene in the oval central field, on which numerous biblical figures are depicted. However, the reredos do not end with a painting of the resurrection, as is often the case, but here the deposition from the cross is shown. The paintings are lined to the right and left by Solomonic columns and acanthus leaves as well as the statues of the four evangelists, each writing in a book and standing on pedestals with the evangelist symbols. At the top of the altar stands the Risen One with the staff of the cross in his left hand. His right hand is raised to heaven.

On the south wall to the right of the portal are terracotta figures of Saints Matthew, Bartholomew, John and Paul on newer pedestals, possibly remains of a pre-Reformation altar. The templates come from Peter Vischer the Elder , which he created for St. Sebald in Nuremberg.

pulpit

The polygonal pulpit from 1640 comes from the Hamburg sculptor Onno Diercksen from Tossens, a former journeyman of Ludwig Münstermann . The ball under the pulpit bears the four letters O D. B H. At the corners stand hermen-like mannerist figures of the four evangelists , each with an inkwell, framed by John the Baptist and Moses or Bartholomew. Their expressive heads are noteworthy. The bas-reliefs on the pulpit fields are designed as ornaments. On a surrounding frieze on the upper cornice of the pulpit the Bible verse can be read in gilded letters: “It is not you / those who speak, but / yours. Father's Spirit / it is who / through you speaks ”( Mt 10,20  LUT ). The rear wall of the pulpit frames a door above which the Hodders coat of arms and the donor's inscription are attached. The sound cover is crowned by the figure of the risen one with a cross and a victory flag.

baptism

The originally Romanesque font was probably reworked by Ludwig Münstermann in 1633 and provided with reliefs of the virtues Pietas (piety), Fides (faith), Veritas (truth) and Religio (worship). In between there are four coats of arms or house brands with the names of the founders, two pastors and two church lawyers. The organ builder Arp Schnitger from Schmalenfleth was baptized in the baptismal font on July 9, 1648. The polychrome version was exposed again during a restoration in 1978.

organ

Schnitger prospectus from 1698

The church already owned a positive in 1632, which was sold in 1635. In that year the community acquired a used organ from the Oldenburg Lambertikirche . This instrument, which was built before 1570 by the brothers Cornelius and Michael Slegel ( Zwolle ) with originally nine registers on one manual , was expanded to two manuals and 15 registers and placed on the north-east wall opposite the pulpit. The organ builder Constantin Ibach from Stade added an independent pedal with four registers in 1650. In 1697/1698 Arp Schnitger renovated and expanded the organ in his home church and moved it to the west gallery . He built two new windchests and some registers at cost price: "Because I was born and baptized in this village, I did not take more for this Werck than it cost me, namely 380 Rth." His journeymen Johann Hinrich Ulenkampf (Hulenkampf ) and Johann Matthias Naumann carried out the work. After the renovation, the instrument had 20 stops, which were divided between two manuals and a pedal . Only the five-axis prospectus of the organ has survived today. The elevated polygonal central tower is flanked by two-storey pipe flat fields that lead to the pointed towers under a common cornice. The pipe fields top and bottom with an openwork fretwork in the form of acanthus vines . The side blind wings and the crowning of the case are designed in the same way, which only appear three-dimensional when they are painted. A bronze plaque to the left of the main portal of the church commemorates Schnitger's work. A "Förderverein Arp-Schnitger-Orgel Golzwarden eV" founded in 2015 is trying to reconstruct the Schnitger organ.

In 1912 Johann Martin Schmid built a pneumatic mechanism into the historic case, which was replaced by Alfred Führer in 1965 with today's organ with 22 registers on mechanical slide chests. The disposition is as follows:

I main work C – f 3
Principal 8th'
Reed flute 8th'
octave 4 ′
Flute 4 ′
Nasat 2 2 ⁄ 3  ′
octave 2 ′
Mixture IV 1 1 ⁄ 3  ′
Zimbel III
Trumpet 8th'
II breastwork C – f 3
Covered 8th'
recorder 4 ′
Principal 2 ′
Sesquialtera II
Fifth 1 1 ⁄ 3  ′
Scharff III
shelf 8th'
Tremulant
Pedal C – f 1
Sub bass 16 ′
octave 8th'
octave 4 ′
Rauschpfeife III
trombone 16 ′
Trumpet 8th'

See also

literature

  • Georg Dehio : Handbook of the German art monuments. Bremen Lower Saxony. Deutscher Kunstverlag, Munich / Berlin 1992, ISBN 3-422-03022-0 , pp. 522-523.
  • Albrecht Eckhardt: Oldenburgisches Ortlexikon Volumes 1 and 2: Bibliography, registers, maps: Archeology, geography and history of the Oldenburger Land. Oldenburg 2011, 2012, pp. 364–365.
  • Cornelius H. Edskes, Harald Vogel: Arp Schnitger and his work (=  241st publication by the Society of Organ Friends ). Hauschild, Bremen 2013, ISBN 978-3-89757-525-7 .
  • Dietrich Diederichs-Gottschalk : My sound points to eternity. The image programs for organ lofts and church furnishings in the St. Bartholomäuskirche Golzwarden and the St. Pankratiuskirche Hamburg-Neuenfelde in the context of the organs by Arp Schnitger. Isensee, Oldenburg 2017, ISBN 978-3-7308-1404-8 .
  • Wilhelm Gilly: Medieval churches and chapels in the Oldenburger Land. Building history and inventory. Isensee Verlag , Oldenburg 1992, ISBN 3-89442-126-6 , p. 70 f.
  • Horst Hollmann: Arp Schnitger gets a face . In: Ostfriesland Magazin 1/2018, SKN Druck und Verlag, Norden 2017, p. 78 ff.
  • Gudrun Mawick: Worldwide Church founded. Panel in St. Bartholomew's Church . In: Jeversches Wochenblatt of June 11, 2019.
  • Gerd Müller: St. Bartholomew Church in Golzwarden. 750 years of church history. Brake-Golzwarden 2013 [Church leaders].
  • Oldenburg landscape (ed.), Horst Neidhardt (arrangement): Architectural monuments in the Oldenburg region. Guide to soil, construction and Settlement monuments. Holzberg, Oldenburg 1980, ISBN 3-87358-119-1 , p. 38.
  • Hans-Bernd Rödiger, Waldemar Reinhardt: Frisian Churches - Rüstringen, Friesische Wehde, Butjadingen, Stedingen and City of Wilhelmshaven , Volume 4. Verlag CL Mettcker & Söhne, Jever 1982, p. 86.
  • Wolfgang Runge: Churches in the Oldenburger Land. Vol. 1: Church districts Butjadingen, Brake, Elsfleth. Holzberg, Oldenburg 1983, ISBN 3-87358-167-1 , p. 149 ff.

Web links

Commons : St. Bartholomäus Church (Golzwarden)  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 6.
  2. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 7.
  3. ↑ Thomas Hill: The city and its market. Bremen's regional and foreign relations in the Middle Ages (12th – 15th centuries). Steiner, Stuttgart 2004, ISBN 3-515-08068-6 , p. 303.
  4. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 11.
  5. ^ Oldenburg landscape (ed.): Architectural monuments in the Oldenburger Land. 1980, p. 37.
  6. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, pp. 9, 39.
  7. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 39.
  8. ↑ nwzonline.de: Church in Brake badly damaged by fire , accessed on July 4, 2019.
  9. ↑ Press release of the Ev.-Luth. Church in Oldenburg , accessed on July 12, 2019.
  10. ↑ a b Müller: St. Bartholomew Church in Golzwarden. 2013, p. 12.
  11. ↑ Diederichs-Gottschalk: My sound points to eternity. 2017, p. 27.
  12. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 8.
  13. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 35.
  14. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, pp. 29–30.
  15. ↑ a b Müller: St. Bartholomew Church in Golzwarden. 2013, p. 31.
  16. ↑ Diederichs-Gottschalk: My sound points to eternity. 2017, pp. 103-109.
  17. ↑ Diederichs-Gottschalk: My sound points to eternity. 2017, pp. 42–47.
  18. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 14.
  19. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, pp. 16-17.
  20. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 15.
  21. ↑ a b Edskes, Vogel: Arp Schnitger and his work. 2013, p. 158.
  22. ↑ Müller: St. Bartholomew Church in Golzwarden. 2013, p. 20.
  23. ↑ Gustav Fock : Arp Schnitger and his school. A contribution to the history of organ building in the North and Baltic Sea coast areas . Bärenreiter, Kassel 1974, ISBN 3-7618-0261-7 , p. 131 .
  24. ↑ Edskes, Vogel: Arp Schnitger and his work. 2013, p. 74.
  25. ↑ Förderverein Arp-Schnitger-Orgel Golzwarden , accessed on January 27, 2018.
  26. ↑ NOMINE eV: Organ in Golzwarden, St. Bartholomew , accessed on 27 January 2018th

Coordinates: 53 ° 21 ′ 6.7 ″  N , 8 ° 27 ′ 54 ″  E