St. Laurentius Church (Dassel)
The St. Laurentius Church is consecrated in 1447 and has been an Evangelical Lutheran church in Dassel , a small town in the Northeim district in Lower Saxony , since 1542 . It belongs to the Emmaus parish Dassel- Solling in the parish of Leine-Solling .
On the inner walls of the hall church there are numerous Protestant Secco paintings from the post-Reformation period around 1577, including a remarkable denomination picture . About 1630 whitewashed with a conserving layer of lime, the partly large-scale wall paintings survived almost intact for more than three centuries. Since they were uncovered in 1947, they can be seen again in a color intensity that is rare for Secco painting .
Another special feature of the church is the much older church tower , originally built as a defense tower with remains of Romanesque foundations and plinths.
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Geographical location
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Dassel and the St. Laurentius Church were founded near old trade routes. The church is located in the center of the old town directly on the church square and on the market square to the east, slightly elevated compared to the surrounding streets. With the open church square on the north side, which served as a cemetery until the 19th century, and the forecourt and Kirchstrasse on the south side, the city's central monument is appropriately exposed. On the northeast side is the Ratskeller building, a representative half-timbered house built as a town hall, which temporarily housed the Dassel district court . On the southwest side there is residential development. The listed half-timbered complex from 1879 on the west side of the church square was demolished in 2016 after it was classified as dilapidated. Structural remains from the early modern period were found on this area in 2017 in the course of a rescue excavation .
A Luther linden tree planted in 1883 stands on the church square .
history
Church history
In the first part of the Corveyer Traditions there is a compilation of early medieval acquisitions of the Corvey Monastery, covering the period from 822 to 875. A Villa Dassila located in the Suilbergau is mentioned here.
The original parish in Dassel belonged to the border area of the Mainz archbishopric, which centralized its regional parish organization in the 11th century in St. Peter's Abbey in Nörten . In 1310, Count Simon von Dassel was the last of his line to sell all of the properties in Dassel to the diocese of Hildesheim , which ruled the city until the end of the century, but then handed it over to a council of the Dassel citizens who acted on their own responsibility. In 1495 Dassel came under the rule of the Principality of Calenberg , which soon became entangled in the Hildesheim collegiate feud (1519–1523). At the end of the conflict with the Principality of Lüneburg , the Principality of Calenberg-Göttingen with Erich I had prevailed. From then on, the duke left the reign of the Calenberger Land to his wife Elisabeth von Calenberg . In contrast to her husband, the duchess turned to the Lutheran faith after meeting Martin Luther near Wittenberg in 1535 and in the following years worked with Anton Corvinus to carry out the Reformation in her area of influence. In 1542, two years after the death of Ernst I, a new church ordinance for the Calenberger Land came into force by Corvinus.
After the son of the late Duke, Erich II , had been declared of legal age in 1546, he tried to return his Calenberger Land to Catholicism. However, he failed with this request due to the resistance of the neighboring Lutheran duchies and Hanseatic cities and his own subjects. At Pentecost 1553 he then declared the free practice of religion in his country and repeated this in July 1576 in a written decree. A year later, Erich II finally joined his troops fighting in European countries and did not return to his duchy until his death in 1584.
In March 1576 nine preachers from the Calenberger Land met in the Laurentiuskirche. They agreed on the interpretation of the Augsburg Confession and the Schmalkaldic Articles . At this meeting it was also decided to decorate the church interior with confessional paintings. When executed a year later Erich II received. In the image world court a place among the crowd of the damned .
For the designation St. Laurentius , as in many other churches of the same name, the battle on the Lechfeld on the commemoration day of St. Laurentius of Rome (August 10, 955) played a role, in which King Otto I fended off the invading Hungarians .
In 2012 the Emmaus parish was founded.
Previous buildings
In place of today's church there was a previous church, which was first mentioned in a letter of protection from Emperor Heinrich II in favor of the Hildesheim monastery of St. Michael in 1022 as Ecclesia Daschalon (Dassel) and in its vicinity there was a settlement of twelve farms in a farming community, in which there was also a wooden chapel. The church, which was probably half-timbered according to the regional style, was attached to a stone defense tower.
The wooden chapel was then replaced by a massive building in the late 10th century, the predecessor of today's church.
On July 6, 1392, a conflagration put down large parts of the settlement, which at that time already had city rights. The Church of St. Laurentius also burned out. Only the defense tower used as a church tower was spared.
Building history
Five years after the devastating fire, the population of Dassel began modestly rebuilding their church. First they built a kind of chapel that, like the previous building, leaned against the intact tower. Due to the poverty of the parish, the reconstruction took five decades and could only be completed with the support of the Hildesheim bishops and the Corvey monastery as well as some nobles and the monasteries of Amelungsborn and Fredelsloh . On May 12th 1447 the new St. Laurentius Church was consecrated by the auxiliary bishop of Hildesheim.
Although the town of Dassel burned down three times again in the following century (1513, 1519 and 1580), the church building survived these disasters almost unscathed.
The tower is the oldest stone building in the city of Dassel. The exact year of its construction cannot be traced, but the remains of Romanesque buildings in the lower part of the tower indicate that it was built in the early Middle Ages . In reports about the devastating city fires in 1247 and 1392, when the city burned down completely twice, the tower is mentioned as largely spared thanks to its two meter thick enclosing walls in the base.
This originally narrower window opening was enlarged in order to create the bronze main bell to be melted down from the tower (see section “Bells”).
The Welsche Dome with lantern crowning the tower replaced the original saddle roof in 1753, as Johannes Letzner sketched in his Dasselischen and Einbeckischen Chronica of 1596.
When the ball was re-gilded by master painter Friedrich Malchow in June 1934, historical records of Mayor Klügel from October 26, 1874 were found in it, which provided information about the population development of Dassel at that time, war participants, major fires, grain prices and game stocks in the Solling .
In 1989, extensive security measures were taken on the tower shaft. To ensure stability, it was necessary to install ring anchors made of stainless steel over five floors and to grout the inner masonry cavities with trass lime mortar . From May to August 2001 a fundamental renovation of the over 200 year old tower roof structure took place, the static security of which was no longer given due to the ingress of moisture. The almost undamaged tower hood was replaced in the original. The renovation work was carried out by a consortium made up of the companies Bade ( Bad Bevensen ) and Gebrüder Bartels (Dassel).
Who was actually the owner of the tower and was therefore obliged to maintain and repair it, was not clarified until 1965 after long discussions. Until then, according to the prevailing opinion, the old defense tower belonged to the city of Dassel. At the instigation of Pastor Hans Brandes, an agreement was made on September 16, 1965, which should regulate the transfer of ownership of the tower to the parish. The city of Dassel planned to replace the maintenance obligation with DM 52,500. On March 17, 1966, the mayor and city manager signed the agreement, thus sealing the property issue, which had been controversial until then.
Even before ownership of the tower was handed over, the city had a memorial for those who fell in the two world wars of the past century set up in the lower part of the tower.This eliminated the small, narrow door through which one originally entered the interior of the tower could. It was moved to the left by a new wall breakthrough, whereby the historic door leaf was used again. In the course of the construction work carried out on the tower in 1989, this memorial was removed and the room was used as a storage room until 2008. In 2014 the tower was finally given a new plaster made of white shell limestone .
architecture
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The entire structure is 40 meters long and 17 meters wide. Its external appearance is characterized by buttresses , between which 13 tracery windows sit.
From the perspective of architectural history , today's building consists of two parts: the partly Romanesque tower and the Gothic nave.
Nave
The three-nave church has a ge osteten five eighths - Choir . On the west side of the nave , built from local red sandstone , rises the church tower, originally the town's defense tower .
These floor-to-ceiling windows of the church are divided into two lanes with the exception of two three-lane windows in the choir. They lead into pointed arches from the combination of two intersecting circular segments. The tracery of twelve windows consists in the upper part of a different ornament constructed from circles and circle segments, the three-pass or clover leaf, which breaks through the surface filling. A fish-bubble ornament was chosen for a window on the north side , which was used as a decorative motif in the late Gothic period in different forms in all northern European countries.
On the south side, 2 of the buttresses have markings. The foundation stone is set into the pillar next to the entrance portal, while two concentric semicircles are carved as a sundial on another pillar . After 1938 lines, numbers and a new pole rod were added to the sundial .
tower
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The height of the four-sided massive tower, to which the central nave is attached with its west side, is 31.0 meters and forms an independent component in the overall structure.
Since a large sling was anchored on the 7.20 meter high tower base in the Middle Ages , which exerted enormous pressure on the base, the wide masonry was additionally stabilized by three buttresses. The outer walls of the tower, made of rubble stones, are provided with a smooth, full-surface plaster. Only corner edges, pilaster strips and window frames are made of visible house stones. The circumferential pilaster strip at a height of around 14 meters gives the impression of three false floors.
Four pointed arched windows and three clock faces of the tower clock loosen up the simple facade, as well as a round arched window enlarged in 1942 on the west side above the pilaster.
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The oak spire, which is placed on the top of the wall of the tower shaft, changes from a square base given by the masonry into an octagonal curved shape. The octagonal open lantern above continues upwards into a curved octagonal tower dome. A gold-plated ball with an attached weather vane serves as the crowning of the tower .
After extensive restorations, the chamber was transformed into a prayer room with benches arranged on the side, accessible from the interior of the church below the organ gallery through a wide pointed arch.
Portals
The Laurentiuskirche in Dassel has a portal of the same size on the south and north side of the church. Both step back behind the building line and have simple, clearly Gothic features. They consist of pointed arches made of red sandstone that are bevelled at the sides. A main portal on the narrow western side, which is otherwise common in Hallenkirchen, could not be inserted here, as the western side of the church was attached to the former fortified tower of the city and this did not allow a breakthrough to the west for structural reasons.
The main entrance to the interior of the church is located between the tower and the first yoke on the south side of the nave. Opposite on the north side there is another, identical portal, which led to the former cemetery on the church square and today serves as a side entrance. Both portals are below the organ gallery.
inner space
Inside, the narrow central nave, separated by a Gothic triumphal arch, closes off in the east with the altar room, which is one step higher. The lateral boundary of the central nave consists of four bays on octagonal arcade pillars, whose spiers can be seen that originally a cross vault typical of the Gothic architectural style was planned as the ceiling. Matching consoles are already available. The buttresses of the outer walls also point to the original plan, since they were apparently intended to transfer the forces generated by a vault into the foundation.
Cross vaults were only used in the choir and in the sacristy. Probably for reasons of cost, the central nave and side aisles were given flat, simple wooden ceilings instead, which, however, took away the height of the ceiling that is otherwise characteristic of Gothic architecture and thus makes the triumphal arch to the choir appear slightly oversized.
Furnishing
Lost inventory
Since little of the early medieval furnishings has been preserved, the interior of the St. Laurentius Church appears rather simple and inconspicuous. The original, elaborately designed main altar in the chancel, the original Laurentius altar in the sacristy, a third altar on the east wall of the north aisle and the two galleries in the aisles disappeared during the renovation work in 1927. More than 50 memorias were held after the church was rebuilt and inaugurated, so that the interior was furnished with appropriate devotional objects and some altar donations. This once valuable inventory is also no longer available. What has been preserved, however, is the large baroque wheel chandelier from 1675, which is hanging in the central nave in front of the triumphal arch and donated by the Hasenbalg couple (see also section “Pulpit”).
Altar and choir room
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Until 1947, an elaborately designed ensemble consisting of an altar table with a solid substructure and brackets in front of both sides and an altar plate made of sandstone as well as a multi-part winged altar tapering upwards behind the altar table dominated the choir. A wooden wall located directly behind the winged altar separated the rear part of the choir. From the second half of the 17th century until 1844 the organ stood on the left side of the choir.
Up until 1927, to the right and left of the altar were the seats of the higher classes of the parish called Priechen. The owner of the two separately roofed, log-like rows of seats was the city of Dassel, which leased them out every three years against the highest bid. On festive days, however, the tenants had to keep the priechen opposite the organ open for the church musicians until 1844. After all flowed through the lease annually at Michaelmas than 100 guilders to the municipal treasury.
In the anniversary year 1947, the choir was redesigned by removing the winged altar and the wooden partition behind it. A filled crypt was found under the altar . It was not examined more closely archaeologically, but limited the stability of the planned massive altar to such an extent that the previous light altar could only be replaced by a makeshift wooden altar. This was equipped with a wooden cross.
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It was not until 1961 that the subsurface was fortified in such a way that a massive substructure of a new altar could be realized by the sculptor Georg Alves from Hanover . The previously existing sandstone altar plate ( cafeteria ) was used again. At each of the four corners and in the middle of the cafeteria, small crosses are carved to symbolize the five wounds of Christ. The large wooden cross was replaced by an artistically designed altar cross by the Munich artist Hermann Jünger . The new cross is made of silver, the shaft and foot of wrought iron. The gold-plated front is set with semi-precious stones. The crucified is shown in stylized form at the intersection of the two cross bars. At the ends of the horizontal bar, the Greek letters A and Ω stand for the beginning and the end according to the Revelation of John ( Rev 22:13 EU ).
Sacrament House and Piscina
Immediately below the window on the north-eastern wall of the apse , i.e. the so-called Gospel side , a sacrament house from the pre-Reformation period is embedded in the masonry. The wall niche, which can be closed by an ornate door, served during the Catholic era of the church to protect the holy of holies , the hosts consecrated in the Holy Mass .
A Gothic cross forms the upper end of the metal door, which is painted with small stars in blue-green paint. To the right and left of the cross you can see the family coat of arms of the von Dassel family with deer antlers and a coat of arms with three spheres. Under the door, the names JESUS and MARIA are carved into the framing sandstone, separated by a simple cross.
Opposite on the southeast side of the apse, a small opening in the wall indicates the original presence of a liturgical water basin, the so-called Piscina, also from the pre-Reformation period . It was used to allow consecrated water that was no longer needed after a Holy Mass to seep into the earth of the cemetery around the church. A small opening through the outer wall provided the drainage of excess water for baptism and the water that the priest needed to wash his hands or to clean the sacred vessels. The late Gothic painting around the piscina in the form of a creeping flower was carefully restored in 1947.
pulpit
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The pulpit of the St. Laurentius Church probably dates from the first half of the 16th century. This colored pulpit made of sandstone originally stood on the last freestanding column on the south side of the central nave. In 1675, Andreas Hasenbalg, owner of the paper mill on the Ilme , and his wife donated a thorough restoration of the pulpit and had it moved to the corner column of the sacristy. This is indicated by the following inscription: A proxima in hanc columnam transpositum et renovatum 1675 (moved from the next to this column and renewed in 1675). The donors have also been immortalized in an inscription: Fieri me fecit m. Andreas Hasenbalg chartopoeta Dassellensis eiusque ux. Anna Gertrud Stegmann (Master Andreas Hasenbalg, paper maker at Dassel, and his wife Anna Gertrud nee Stegmann let me do it). Two other inscriptions read: Ad legem et ad testimonium. Esaias VIII. (On the law and the testimony. Isaiah 8th) and Past. Henningo pits Dasselensi Arnoldo Pinkernell Nort. (Pastors Henning Grube from Dassel and Arnold Pinkernell from Northeim). At the new location of the pulpit, the staircase to the pulpit was initially on the north side of the sacristy wall below the depiction of the Last Judgment. In order to create direct access from the sacristy to the pulpit, the staircase was moved to the west side of the sacristy wall in 1962.
The pulpit is covered by a baroque sound cover carved from wood and donated by the Hasenbalg couple . The lid is adorned on two levels with a total of ten heads of putti according to the number symbolism in the Bible . On the top of the lid, Christ is depicted above expiring ornaments, holding down a snake with his foot and carrying a victory flag with his hand as a sign of his victory over sin and death.
The pulpit is carried by a Simson head. Simson (also: Samson, Hebrew Schimschon) was an Old Testament figure with superhuman strength from the Israeli tribe of Dan . Samson's successful struggle, in which he himself found death, freed his people Israel from the danger posed by the Philistines . The head of Samson serves as a symbol of power and strength as the supporting console of the pulpit. In 1947 and 1954 the Simsonkopf was restored and it was painted in color.
Baptismal font
The baptismal font , which stands on the left side of the nave of the church opposite the pulpit, dates from 1886. It was donated by Ernst Reinhold Moritz von Alten and his wife Franziska Anna Katharina, nee Freifrau von Knigge , as the inscription on the small one round brass plate on the support of the baptismal font. Today's baptismal font was in front of the altar until 1962. It replaced the baptismal font previously used, which Baron Jobst Edmund von Brabeck had donated to the chapel in Hunnesrück around 1700 , and which is now installed in the successor to the Hunnesrück chapel, the Michaeliskirche in Dassel.
sacristy
The sacristy of the St. Laurentius Church, which is located in the eastern part of the south aisle, has an access from the choir and a door to the pulpit staircase. In the room, which is covered with a Gothic ribbed vault, is the Laurentius altar, the side surfaces of which are decorated with relief panels cast from bronze. A piece of the skull, a corner of the blood-soaked cloak and the seal of St. Lawrence are said to have been walled into the altar, according to tradition that cannot be proven.
Murals
At the beginning of 1939, during renovation work, medieval wall paintings were discovered under the thick layer of lime that covered the interior walls of the church. Friedrich Fischer, an expert at the Technical University of Hanover , stated during a site visit carried out on August 21 of the same year that the wall paintings discovered under the paint could be of historically valuable significance. He commissioned the church painter Wildt from Hanover who was present to prepare a cost offer for the exposure of the pictures. However, on September 18, 1939, the state curator Deckert from Hanover , who was also informed of the find, forbade the further investigation, exposure and preservation of the old wall paintings in the Dassel church, as the continuation of the work in times of war is not responsible . Only after a resolution by the church council on March 27, 1947 began the uncovering work under the supervision of the state curator Deckert by the church painter Droste from Hameln and the painter Friedrich Malchow from Dassel.
The lime-secco painting, now freed from the protective coating, can be assigned to two time periods. Ornamental tendrils originate from the pre-Reformation period when the church was built around 1447 , of which only remains are visible. From the post-Reformation period, according to the banner on the triumphal arch around 1577, the pictorial representations that characterize the picturesque decor of the entire nave come from. Presumably around 1630, these newer wall paintings were whitewashed when Catholic rule again determined the faith for two years (1630–1632). It was precisely this preserving whitewash , which was used to hide the spurned pictorial representations from the eyes of the worshipers, made a decisive contribution to the protection and preservation of the valuable paintings for over three centuries, as they were protected and shown from external influences (especially from sunlight) today in a color intensity that is rare for Secco painting.
Consecration crosses
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Above the north exit of the church, which used to lead to the church square with the burial places, there is a not entirely symmetrical red consecration cross with Gothic ornaments on both sides above a later added renaissance ribbon. It can be assumed that this cross was carved into the plaster in the year of consecration of the church in 1447 and painted with red iron paint .
The upper bar of the consecration cross engages in a stylistically depicted globe on which a Brabant cross is attached. The three ends of the cross flow into three-leaf clover leaves, while the stem rests on the globe. To the right and left of the cross is the writing VERBUM DOMINI MANET IN AETERNUM (God's word remains in eternity).
Next to the staircase to the pulpit, another consecration cross can be seen in a double circle on the outer wall of the sacristy. It is one of the twelve apostle crosses that were often placed in Catholic churches in Gothic times . According to Paul's letter to the Ephesians ( Eph 2:20 EU ) the church is built on the twelve apostles as if on a foundation . The remaining eleven apostle crosses that do not exist in the Laurentius Church were not uncovered when the paintings were uncovered in 1947, but could still be hidden under the lime paint.
Last Judgment
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On the north outer wall of the sacristy, you can see the monumental picture with the Christian message of the Last Judgment , in which the unknown painter referred to the turbulent years of the 16th century with the depiction of contemporary people and brought them in connection with the heavenly rulership. The painting thus expresses the political significance of denominationalization , the time when the Lutheran teachings were first depicted. The creator of the Dassel Last Judgment was based on already known representations of the subject and divided his image into two horizontal levels, an upper heavenly and, separated by a broad band of clouds, a lower earthly sphere.
In the upper part of the picture, Christ is enthroned in the center as judge of the world, his feet on a globe flanked by angels blowing trumpets. A rainbow stretches behind Christ, at the left end of which the praying Mary can be seen in front of a group of people in traditional costume. Adam and Eve can also be recognized in this group . At the right end of the rainbow, John the Baptist , who is also praying, stands in front of the group of apostles .
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Below the horizontal band of cloud, the picture shows on the left the group of the blessed destined for the resurrection , on the right the group of the damned, who are already being stuffed into the abyss of hell by the devil's grandmother. With the blessed, Peter stands with the key in front of the heavenly gate to let in the chosen ones, among whom are recognizable Martin Luther , Philipp Melanchton , Johannes Bugenhagen , Johann Friedrich I and Elisabeth von Calenberg-Göttingen . In the group of the damned in the lower right half of the painting, both representatives of the old church such as the Pope (with tiara ) and a monk with tonsure can be recognized, as well as secular sinners. Particularly highlighted from the crowd is a woman in the foreground who is sitting in a wheelbarrow and holding a butter churn and is driven towards the throat of Hell, a symbol that was often used at the time for deceiving market traders. A little higher you can see a person dressed in black with a bulging wallet in his left hand, a symbol of greed and greed. Here Christ's statement to his disciples is adapted that a camel would rather go through the eye of a needle than a rich man would go to heaven ( Mt 19 : 23-24 EU ). But a reference to the indulgence trade is also conceivable.
In the upper part of the group of the damned, the painter particularly emphasized a person with a fur beret and fur trimmed coat, which at that time were only affordable for higher-ranking personalities. Even if certain similarities with Johannes Calvin , the Reformation adversary of Luther, can be seen, it is more likely to be the unpopular Erich II , who returned to the Catholic faith after he came of age. In the picture he is led to the throat of hell by a devil in the shape of a rooster, who was considered vain and inconstant in the Middle Ages.
The banner under the picture reads under the group of the Blessed VENITE BENEDICTI PATRIS MEI (Come here, you blessed ones of my father; Mt 25.34 EU ), under the group of the damned DISCEDITE A ME MALEDICTI ( Get away from me, you cursed ones; Mt 25.41 EU ).
Paradise and the fall of man
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The large picture of the creation story takes up the entire area of the western sacristy wall and can be read from bottom right to top left. In the lower right corner of the picture, the already created Adam is shown. The scene to the left shows how God creates his wife Eve from the rib of the sleeping Adam.
The fall of the first two people is shown in the lower left of the picture . Seduced by the crafty serpent that coils around the tree trunk, Adam and Eve eat fruits from the tree of the knowledge of good and evil . The couple, previously shown naked, are now shamefully covering their nakedness with leafy branches of the tree.
In the middle part of the picture, beef, stork, deer and wild boar appear as examples from the local fauna . The upper half of the picture is characterized by the depiction of the expulsion from paradise . On the right side of the picture Adam and Eve hide in a bush to escape God's punishment, but are roused out of it by a unicorn , the symbol of purity, innocence and chastity. In the last scene, an angel with a threatening sword drives Adam and Eve out of paradise.
In the upper part of the picture, a figure of God observes the entire event from a cloud. To the right of this, a mountain range rises almost to the clouds, on whose peaks three small black chamois can be seen.
From the life of Jesus - From birth to baptism
The secco paintings above the zygomatic arches of the central nave show the life of Jesus in six images, starting on the right on the south side with the biblical Christmas story and ending with the baptism in the Jordan on the north side in front of the triumphal arch. The unknown painter apparently based his representations on Albrecht Dürer's Little Woodcut Passion from 1511, since many details of his pictures and the positions of the figures match this model. However, the spatial restrictions of the zygomatic arches of the Dassel church required simplifications in the representation.
Annunciation to Mary
The sequence of images begins above the pulpit with the announcement to Mary , at which the Archangel Gabriel appears and announces that she will give birth to a son by the name of Jesus. The archangel, clad in a richly wrinkled robe, turns with his right arm raised and two outstretched fingers to Mary, who is waiting in silence.
Adoration by the Shepherds
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The second picture shows the shepherds adoration of the newborn Jesus. Since Mary and Joseph could not find a hostel in Bethlehem, Mary had to give birth to her son in a stable. Shepherds from the area were the first visitors, as an angel had previously announced the good news of the coming of the Savior to them ( Lk 2,7–20 EU ).
The circumcision
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The third painting and last painting on the south side of the central nave is The Circumcision . On the eighth day after the birth of Jesus, according to Jewish custom, his circumcision was carried out by a priest, combined with the naming and acceptance into the people of Israel ( Gen 17.12 EU ) and ( Lk 2.21 EU ).
Adoration of the three kings
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The cycle of images continues on the north side of the central nave, starting at the organ gallery. The fourth picture shows the adoration of the three kings . One of the three kings kneels before Mary, who is holding the child on her lap. As a token of humiliation, he has taken off his crown and presented a box of myrrh . The other two kings stand in the background, adoring the child and holding their gifts, gold and incense, in their hands.
In the temple
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The next, fifth picture shows the Holy Family in the temple of Jerusalem, since according to Jewish regulations the firstborn son should be brought to the temple forty days after birth, given to God and redeemed by a sacrifice (money or animal substitute). In addition to Mary, Joseph and Jesus, the pious and God-fearing Simeon and the prophetess Hannah are shown , who recognize the child as the Messiah . Simeon holds Jesus on an altar and Mary and Joseph offer two doves as an offering ( Lk 2.36 EU ).
Baptism in the Jordan
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In the last, sixth picture on the south wall of the central nave in front of the triumphal arch, the baptism of Jesus in the Jordan is shown. John the Baptist does it while Jesus, dressed in a loincloth and standing in the water of the river, turns to him. An angel standing to the left of Jesus testifies to Holy Baptism. He holds the robe of the Savior in his hands. The Holy Spirit hovers over the event in the form of a dove.
Sideways behind Johannes is a man dressed in a beret and a scholarly robe, who cannot be deduced from the biblical descriptions of baptism and thus creates space for speculation. Erich Plümer suspects that the unknown creator of the paintings depicted himself in contemporary clothing, while Elisabeth Anton sees this person as the reformer of the Calenberg region, Antonius Corvinus.
The biblical message from Matthew 3:17, Mark 1:11 and Luke 3:22 is inserted into the picture to the left and right of the dove: HIC EST FILIUS MEUS DILECTUS IN QUO MIHI BENEPLACITUM EST ILLUM AUDITE (This is my beloved son, on whom I have been pleased. Listen to him). The two round medallion stones set into the wall to the left and right of the lettering are older than the baptismal image. They show a Christ head and a star.
The baptismal font of the Laurentius Church has stood in front of the central northern pillar below the baptismal display since 1962.
Passion - From the Lord's Supper to the Resurrection
The passion of Jesus Christ is shown above and to the side next to the yoke arches of the Gothic windows of the south aisle with dark ornamental ribbons. Nine of the original eleven pictures of the Passion have been reconstructed. The sequence of images runs from the sacristy in a westerly direction to the organ gallery.
The depiction of the Passion begins with the Last Supper . Due to the small area available, the painter has depicted Christ standing in two rows in the midst of his assembled disciples. Only Judas Iscarioth sits on the opposite side of the table. When the picture was restored, only eleven of the twelve disciples could be completely reconstructed. On the table is a bowl with the remains of the roasted Easter lamb ; the meal is over, Christ speaks of his approaching death.
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In the next picture, Christ kneels in the Garden of Gethsemane on the Mount of Olives at the gates of Jerusalem . The painter has the praying Christ kneel before a golden chalice. An angel with a cross appears in the clouds while the disciples sleep. The soldiers brought in by Judas are already approaching to take Christ prisoner.
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The third picture, The Kiss of Judas and The Capture , shows both processes in one painting. Judas, accompanied by a crowd of mercenaries , treacherously kisses Christ. Those armed with halberds, as in the painter's time , then take Christ prisoner. In the foreground you can see Peter with a raised sword, apparently just cutting off the ear of Malchus , a servant of the high priest Kajaphas ( Jn 18 : 10-11 EU ).
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In addition to the capture, the next picture is the interrogation , presided over by the high priest Kajaphas, who, after a rapid trial against Christ, is sentenced to death for blasphemy . A warrior hits Christ in the face with his fist.
The fifth picture of the Passion story shows how Christ is presented to the Roman governor Pontius Pilate for the first time, accompanied by two heavily armed mercenaries .
The restorer was unable to reconstruct the sixth picture between the second and third window. The few uncovered traces suggest that this was a representation of the presentation of Christ to King Herod .
The seventh picture shows the flagellation of Christ in the house of Pontius Pilate. The painter depicts Christ with his face contorted with pain in front of the scourge column. From left and right, two men hit Christ with a scourge and rod.
The eighth scene, the exhibition of Christ or Ecce homo , shows Christ in a red mocking cloak and a crown of thorns on his head. Pontius Pilate brings him before the accusing Jews, who call him to be crucified.
The hand washing of Pilate as probably the ninth image of the Passion could only be partially uncovered by the restorer.
In contrast, the image of the carrying of the cross is preserved as the tenth representation of the Passion story. On the right edge of the picture the mother Mary and the favorite disciple Johannes can be seen. A soldier in the background of the left edge of the picture controls what is happening, turned over his shoulder.
A picture of the crucifixion of Christ is missing at this point in the representation of the Passion. It seems possible that this depiction was made below the 4th and 5th images in order to bring the central moment of the story of suffering to the fore for the visitors to the service. Fragments at this point suggest it. The final picture, The Resurrection under the organ gallery, shows Christ as the eleventh picture with his right hand raised and a cross flag in his left hand.
Christophorus
The walls in the north aisle are not as richly decorated as those in the south aisle. Only above the exit to the church square can three pictures be seen, which were created much later than the other paintings in the church, probably around 1630. All three pictures were given the names of the people represented by the painter. The first of the individuals depicted here is St. Christopher as a steadfast giant, who leans on a tree trunk to hold on to the prevailing storm. He carries the baby Jesus safely through the strong current of the river from one bank to the other.
Martin Luther already indicated this type of representation in one of his painting instructions as follows: “ So Christophorus is being painted in the middle of the sea, with a tree that God has given him in his hand, on which he leans and holds. Without the tree, it would be impossible for him to bear the burden and get through the deep, wide sea. So it would be impossible for me to endure the great dread, raging, raging and tyranny of the world, plus the great cunning and fiery arrows of the devil, where Christ would not help me. “The tree trunk on which Christophorus leans thus symbolically represents the word of God , on which the Christian can always lean in order to withstand the rigors of life.
Paul
If the image of Christophorus is almost completely covered by the later installation of the northern entrance to the organ gallery, the image of the Apostle Paul is completely visible. It represents him in front of a cloudy sky, holding the sword of the spirit in the left hand of his outstretched arm. With his right hand he presses a Bible tightly to his chest.
Lucretia
The third picture of the trilogy, which cannot be completely restored, shows the Roman Lucretia (around 500 BC), here written Lucretia , as an unclothed woman on a horse. In her left hand she holds a dagger which she points at herself, to put an end to her life. As the wife of Lucius Tarquinius Collatinus from the royal family of the Tarquinians , according to tradition, she was violently dishonored by Sextus Tarquinius , a distant relative of her husband, in his absence. As a well-known virtuous woman, she could not stand this shame, so she committed suicide.
Angel
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Two striking angels each adorn the arches on the outer walls of the central nave at the level of the organ gallery and above the triumphal arch in front of the chancel. The two angels to the right and left of the gallery hold a torch and a banner in their hands with outspread wings, which shows the date of the paintings ( 1577 ) on the south wall , while ANNUNCIO VOBIS GAUDEUM MA (N) GNUM on the tape on the north wall (I announce great pleasure) is to read.
In the spandrels above the triumphal arch, and thus on the main viewing area during the service, trumpet-blowing angels with outspread wings float out of a tendril. Between the two angels above the top of the arch is the inscription HOLY HOLY HOLY IS THE LORD (Isaiah 6 - Visit to the Temple of Jerusalem).
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organ
history
More than 200 years after the consecration of St. Laurentius and over 150 years after the Reformation, the now Lutheran church on the left side of the chancel opposite the pulpit received its first organ , which was replaced by a new one in 1730. Both organ builders are not known. In 1844 the parish commissioned the organ builder Philipp Furtwängler & Sons from Elze to build a new organ on the western gallery in the spirit of the Baroque . Furtwängler built an organ with 24 registers on two manuals and the pedal . According to the contract from 1903 to 1927, the city council of Dassel took over the costs for the annual tuning of the organ as well as for the bellowing that was still common at the time .
A first fundamental rebuilding and renovation of the organ was carried out in 1949 by the organ builder Paul Ott from Göttingen , who expanded it to 27 registers in keeping with the times. About half of Furtwängler's register inventory was retained, the rest was renewed or reworked. The instrument, inaugurated in a church service, was immediately placed under monument protection. In 1975, the organ builder Martin Haspelmath from Walsrode carried out further repairs and partial restoration of the historical holdings .
In 1994 significant defects were found on the organ, so that it was no longer playable. The church council then initiated the necessary restoration. Securing the financing of the complex work dragged on until autumn 1999. The Franz Rietzsch Orgelbau company from Hemmingen-Hiddestorf near Pattensen dismantled the organ into all its individual parts, cleaned it and replaced the damaged parts. On June 18, 2000, the extensively renovated Furtwängler organ with its 25 registers and 1650 pipes could be used again in a festive service by church music director Friedhelm Flamme and thus re-inaugurated.
Disposition
The organ has two manuals , a pedal , 33 ranks , 25 registers with 1650 pipes .
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Bells
| Timeline about the bells of the St. Laurentius Church in Dassel | ||
|---|---|---|
| 1687 | First written mention of a bronze Laurentius bell | |
| 1751 | Casting around the bell for today's Laurentius bell | |
| 1907 | Acquisition of an additional daffodil bronze | |
| 1914 | Removal of the daffodil and melting down for the manufacture of weapons of war | |
| 1922 | Purchase of a new daffodil steel | |
| 1922 | Acquisition of a third bell, the citizen bell , also made of steel | |
| 1922 | Acquisition of two more steel bells for the tower clock to ring the hour | |
| 1942 | Removal of the Laurentius bell for the purpose of melting down for the manufacture of war weapons | |
| 1947 | Return of the undamaged Laurentius bell in the church tower | |
| 1973 | Exchange of the four steel bells for new ones made of bronze | |
Laurentius bell
Although it can be assumed that a bell was already present in the tower of the Laurentiuskirche with the construction of the first church in 1477, the first documentary evidence of a bell dates from 1687. The bell that is still present today, called the Laurentius bell, is 1.25 meters high, has a lower diameter of 1.30 meters and weighs 1340 kg. It is tuned in tone d 1 .
There are numerous inscriptions on the outside of the bronze bell , for example next to the coat of arms of the city of Dassel, an indication that it was cast in 1751 by the bell caster Christoph August Becker from Hildesheim. On the east side, next to a crucifix, there is an image of St. Lawrence. Below it is reported on a board that the bell was not let down from the tower to melt down during the First World War , as happened with many other bells in the vicinity, but in May 1942 it was at great expense to turn it into weapons of war. It came to the central collection point for church bells, the so-called bell cemetery in Hamburg-Veddel, and was stored there. It lay there intact until 1947 and returned to the tower of the Laurentiuskirche in June of the same year.
Osterglocke (1907 to 1914)
The cast of the first daffodil of bronze was given in 1907 by the magistrates of the city in order. Their consecration took place at Easter of the same year. The bell bore the inscription PEACE OF THIS CITY - PEACE BE YOUR FIRST COMMANDMENT - Osterglocke 1907 . In 1914 the bell was removed from the tower. It was melted down to make weapons of war for the First World War.
Osterglocke (1922 to 1973)
The 1917 by the foundry Ulrich & Weule from Bockenem from steel cast second Osterglocke replaced the original 1922nd The bell, tuned to tone h 1 , with a height and a diameter of 1.00 meter each weighed 432 kg. On its west side was the biblical quote from Luke 24.26 Didn't Christ have to undergo such suffering and for his glory? to read.
Citizen Bell (1922 to 1973)
Together with the new Easter bell, the Laurentiuskirche received the first civic bell , also made of steel by the Ulrich & Weule foundry in 1917. It bore the inscription Be diligent to maintain the unity of the spirit through the bond of peace . The bell, ringing in tone a 1, was larger than the new daffodil. She weighed 732 kg, was 1.10 meters high and had a diameter of 1.20 meters.
Tower clock bells (1922 to 1973)
Together with the Easter bell and the citizen bell, two more steel bells were installed in 1922 to strike the hour and quarter of the hour on the tower clock. Neither bells were inscribed. The larger of the two bells weighed 118 kg, was 0.51 meters high and was tuned to the tone h 2 , while the smaller, 40 kg heavy and 0.40 meter high bell rang on the tone c sharp 2 .
New bells (from 1973)
At the beginning of 1973, the regional church bell expert Hardege stated in an expert report that the civic bells and daffodils had to be shut down, since the steel could crack or parts of it could break out when the clapper was struck and could endanger passers-by. As a result, both bells were no longer struck from mid-January 1973. In the same year, all four existing steel bells were replaced by new ones made of bronze:
- Citizen bell, 660 kg, tuned to g 1
- Daffodil, 487 kg, tuned to a 1
- Hour bell, 78 kg, tuned to g 2
- Quarter-hour bell, 63 kg, tuned to h 2
On the 1st of Advent 1973 the consecration of these bells took place in a solemn service. The cost of the new bell of almost 25,000 DM was almost entirely covered by donations from the local parish.
Laurentius bell
Citizen Bell
Daffodil
Property rights
Until 1966 there was disagreement between the parish and the city administration about property rights and powers to ring the bells. Since the tower in which the bells are housed was the property of the city, the city also claimed ownership of the bells. Mayor Pergande made this unmistakably clear in a letter to the parish in 1927: ... 1) The tower is owned by the city of Dassel. 2) The owner of the bells hanging in the tower is the city of Dassel. 3) The bells are available: a) the city of Dassel on special occasions, b) the Protestant Luth. Parish for ecclesiastical purposes. ...
On the one hand, the city treasury u. a. Fees for funeral and honor bells for not the protestant church belonging to persons other hand, she paid the purchase of new bells in 1907 and 1922. complexity proved by then, the payment of the bell-ringer , who received a premium for church bells on its urban base salary. On the other hand, the clerk was paid for funeral bells from the city treasury. Only when the tower was transferred to the parish in 1966 did the legal basis change.
Epitaphs and tombstones
During the renovation work on the altar and the relocation of the baptismal font in 1961, the remains of a crypt were found, the outer walls of which consisted of grave slabs made of sandstone . The crypt served as a burial place for clergymen and members of the Dassel aristocratic families from the period 1611 to 1776. The grave slabs, partly as incised drawings and partly as bas-reliefs , were carefully lifted from the site and placed in various places inside and outside the church.
Below the organ gallery:
- 1611 Sophia von Hake
- 1618 Heinrich VI von Hake
- 1759 Katharina Charlotte Busse
- 1759 son of Katharina Charlotte Busse
- 1770 Catharina Henriette Sophie von Rauschenplat
- 1776 Christoph Heinrich Kreit
In the choir room:
- 1685 Pastor Henning Gruve
South outer wall:
- 1636 Pastor Conradus Nortmann
- 1655 Pastor Hermann Marheineke
Gravestone of Heinrich IV von Hake 1618
Grave slab S. von Hake 1611
Grave slab son of the KC Busse 1759
Gravestone CHS von Rauschenplat 1770
Grave slab Chr. H. Kreit 1776
Grave slab H. Gruve 1685
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A remarkable wooden epitaph hangs in the center of the north outer wall of the aisle. Originally attached to the western outer wall of the sacristy below the paradise painting, it was felt to be annoying there and stored in a storeroom of the rectory. Restored and renovated in 1995, it was given its current location. The very elaborately designed, 1.67 meters high and 1.48 meters wide epitaph is, as the inscription attests, dedicated to Hartung Bode von Hake, son of Heinrich von Hake, who died in 1599. The boy was only 44 weeks old. While the middle part of the epitaph with the painting of the resurrection of Jesus Christ bordered by Doric columns , the triangular tympanum and the four coats of arms below the picture date from the 16th century, the two side parts and the lower frame with the tablet were made in the 19th century added. The four coats of arms represent the Hake house and the Garmissen , Münchhausen and Oberg houses that are related to it .
Post-Reformation pastors
- 1543–1551 Arnoldus Culmannus (1st pastor)
- 1542–1553 Arendt Bertram (also Bartram) (2nd pastor)
- 1551–1594 Justus Heinemann (first pastor)
- 1553–1566 Johannes Spiegel (2nd pastor)
- 1566–1588 Arnold Kortner (2nd pastor)
- 1588–1594 Georg Koch (also Cocus) (2nd pastor)
- 1594–1615 Thomas Schlüter (1st pastor)
- 1994–1625 Johannes Siborg (also Johann Sieburg) (2nd pastor)
- 1615–1625 Hieronymus Otto (1st pastor)
- 1625–1630 Johannes Siborg (also Johann Sieburg) (1st pastor)
- 1627–1629 Basilius Becker (2nd pastor)
- 1629–1633 Konrad Nortmann (2nd pastor)
- 1630–1632 Henricus Christophorus Schlüter (first pastor)
- 1633–1636 Conradus Nordmann (1st pastor)
- 1633–1640 Theodor Happius (also Happe) (2nd pastor)
- 1637–1655 Hermann Marheineke (1st pastor)
- 1643–1655 Henning Gruve (also Gruben) (2nd pastor)
- 1655–1685 Henning Gruve (also Gruben) (1st parish office)
- 1655–1669 Petrus Pnkerneil (also Pinckerneli) (2nd parish office)
- 1669–1685 Arnold Joachim Pnkerneil (also Pinckerneli) (2nd pastor)
- 1685–1707 Johann Michael Alphei (also Alpheus) (2nd pastor)
- 1686–1712 Paulus Ericus Kolditz (1st pastor)
- 1707–1712 Johann Heinrich Wiesen (2nd pastor)
- 1712–1722 Justus Herbert Schneidewindt (first pastor)
- 1712–1720 Johann Daniel Behrens (2nd pastor)
- 1720–1724 Johann Friedrich Henke (2nd pastor)
- 1722–1748 Ernst Hermann Timaeus (1st pastor)
- 1725–1752 Johann Christoph Leonhardt (2nd pastor)
- 1748–1756 Christian Erdwin Crome (first pastor)
- 1756–1785 Johann Andreas Busse (1st parish office)
- 1756–1761 Friedrich Chritian Mönkemeyer (2nd pastor)
- 1761–1806 Johann Theophil Schmidt (2nd pastor)
- 1785–1813 Johann Georg Wilhelm Hummel (1st pastor)
- 1813–1836 Johann Ludewig Friedrich Hummel (1st pastor)
- 1815–1818 Ludwig August Christian Mülhan (2nd pastor)
- 1819–1834 Wilhelm Julius Wolrath Hasenbalg (2nd pastor)
- 1835–1847 Georg Ludwig Drösemeier (2nd pastor)
- 1836–1840 First pastor vacant
- 1840–1858 Ernst August Strecker (1st pastor)
- 1849–1861 Johann Georg Heinrich Grupen (2nd pastor)
- 1859–1878 Johann Georg Friedrich Ludwig Hannemann (first pastor)
- 1861–1873 Karl Friedrich Gottheld Gerhard Brose (2nd pastor)
- 1873–1977 2nd pastor vacant
- 1879–1893 Johann Ludwig Ernst Hasenbalg (1st pastor)
- 1893–1895 1st pastor vacant
- 1895–1901 Friedrich Ludwig Hermann Less (1st pastor)
- 1902–1934 Gerhard Julius Wedekind (1st pastor)
- 1935–1950 Friedrich Frese (1st pastor)
- from 1975 a second pastor's position was reintroduced due to the reorganization of the parish
- 1950–1979 Hans Brandes (1st pastor)
- 1977–1979 Walter Dietrich (2nd pastor)
- 1979–1982 Walter Dietrich (1st pastor)
- 1981–1991 Hajo Dirksen (1st pastor)
- 1982–1991 Lothar Bratfisch (2nd pastor)
- 1991–1992 Lothar Bratfisch (1st parish office)
- 1991–1992 Regina Koch (2nd pastor)
- 1992–1996 Regina Koch (first pastor)
- 1993–1996 Hans Vespermann (2nd pastor)
- since 1996 2nd pastor vacant
- 1996-2004 Hans Vespermann (1st pastor)
- since 2004 Martin Possner (1st pastor)
literature
- Elisabeth Anton: Studies on wall and ceiling painting of the 16th and 17th centuries in Protestant churches in Northern Germany , Verlag Blasaditsch, Munich 1977
- Church council Laurentiuskirche zu Dassel: The Evangelical Church of Dassel am Solling 1447–1947 , self-published, Dassel 1946
- Erich Plümer: 19th Annual Report of the Association for History and Antiquities of the City of Einbeck and Surroundings 1948–1950, Einbeck 1950
- Erich Plümer: History of the City of Dassel , City Administration Dassel 1965
- Renata von Poser-Max: The St. Laurentius Church in Dassel and its Lutheran representation of the Last Judgment (1577). in: Yearbook of the Association for History and Art in the Diocese of Hildesheim, 59th year 1991, Verlag Ferdinand Schöningh, Paderborn 2006
Web links
- Website of the parish
Individual evidence
- ↑ leinetal24: majority agree - seize the opportunity, November 14, 2015
- ↑ HNA-online: First excavation - archaeologists find old ceramics on Dasseler Kirchplatz, 04/10/17
- ^ Corveyer Traditions § 428 (Wigand p. 95)
- ↑ Johannes-Fridericus Falke: Codex traditionum Corbeiensium, 1752, p. 131
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, pp. 18–20
- ↑ Johannes Letzner: Dasselische and Einbeckische Chronica , Book 5,1. Erfurt 1596. p. 43 right
- ↑ Ecclesiastical gazette for the Evangelical Lutheran Church of Hanover 4/2012, p. 179ff.
- ^ RI II Saxon House (919-1024) - RI II, 4
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published by the Kirchengemeinde, Dassel 2010, p. 11/12
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, p. 12
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published by the Kirchengemeinde, Dassel 2010, p. 17
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, p. 35
- ↑ Ernst Zinner: The oldest wheel clocks and modern sundials, in: XXVIII. Report of the Natural History Society of Bamberg, Volume 28, 1939, p. 110
- ↑ Ernst Zinner: Old Sundials on European Buildings, 1964, p. 68
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, pp. 121–124
- ↑ Otto Elsner: Der Papier-Fabrikant, Volume 30, 1932, p. 134
- ↑ Manuela Martinek: How the snake became the devil - the symbolism in the story of paradise from the Hebrew Bible to the Koran, 1996, p. 116
- ^ Church council of the Protestant parish in Dassel: The Protestant Church in Dassel am Solling 1447–1947 . Self-published by the Kirchengemeinde, Dassel 1946
- ↑ Erich Plümer: The medieval paintings in the Laurentius Church in Dassel in: 19th Annual Report of the Association for History and Antiquities of the City of Einbeck and Surroundings 1948–1950 , Einbeck 1950, pp. 74–80
- ↑ Erich Plümer: The wall paintings in the church at Dassel , in: Alt Hildesheim , issue 23/1952
- ^ Elisabeth Anton: Studies on wall and ceiling painting of the 16th and 17th centuries in Protestant churches in Northern Germany , Verlag Blasaditsch, Munich 1977
- ↑ M. Scharfe: Evangelical devotional pictures . Stuttgart 1968
- ↑ Take [...] the sword of the spirit, that is the word of God ( Eph 6,17 EU )
- ↑ Titus Livius , I, 57–60, and Ovid , Fasti , II, 685–855.
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published by the Kirchengemeinde, Dassel 2010, pp. 123–124
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, pp. 52–53
- ↑ Organ study trip manual ( Hans Uwe Hielscher )
- ↑ The Orgelseite.de - Martin Doering
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published by the Kirchengemeinde, Dassel 2010, p. 37
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, pp. 100–104
- ^ Manfred Schnepel: St. Laurentius Church in Dassel . Special print from the series Zeitspuren . Self-published Kirchengemeinde, Dassel 2010, pp. 105–114
Coordinates: 51 ° 48 ′ 6.3 " N , 9 ° 41 ′ 24" E