St. Christophorus (Reinhausen)

Parish Church of St. Christophorus in Reinhausen

The Church of St. Christophorus is the Evangelical Lutheran parish church in the village of Reinhausen in the district of Göttingen ( Lower Saxony ). It stands on the sandstone rock of Kirchberg above the center of the village. The origin of the church building was a castle chapel built by the Counts of Reinhausen in the 10th century . After converting the castle into a collegiate they served by the entity resulting from this and since the 12th century Benedictine - monastery Reinhausen as a church. This is why it is still often referred to as the Reinhausen Abbey Church today. At the same time, it was always the parish church of the village of Reinhausen. A few decades after the introduction of the Reformation , in 1542, the monastery was gradually dissolved, and with short interruptions the church was only used as a parish church. Today it belongs to the Göttingen church district in the Hildesheim-Göttingen district of the Hanover regional church .

Floor plan of the church

Fresco of St. Christopher in the entrance hall of the church

Despite considerable structural changes in the Gothic and Baroque styles , the style of the Romanesque monastery church clearly emerges in the overall picture . This is particularly evident in the west bar, which is visible from afar, with its twin towers. The building type was changed in several construction phases from a Romanesque basilica to a hall church . Several late medieval works of art have been preserved in the interior, including two late Gothic altars, large remains of wall paintings and stone sculptures that depict , among other things, St. Christopher as the patron saint of the church.

location

View of the church and the likes

The monastery church stands at a height of about 210  m above sea level. NHN on the Kirchberg, about 30 meters north of a rocky edge that drops steeply to the valley of the Wendebach and to the village center of Reinhausen, located in the valley southeast of the church. Due to its location on a foothill of the Knülls extending to the west , which rises steeply above the village, the church is very exposed. In contrast to the town center, it is visible from the hills bordering to the west and even from the western slope of the Leinetal.

Eastern rock staircase as one of the historical access routes to the church

The road that leads from the village to the Kirchberg was only laid out in the early 19th century; previously, access from the village to the church was only possible on foot via three stairs carved into the rock, the steps of which are now heavily used. Up until then, access with carts was only possible from the northeast via the domain courtyard .

The church is not just faces east , but rotated by an angle of about 23 degrees to the north. Strictly speaking, the west-south-west facing west bar of the church borders a paved parking lot, where today's access road ends. On this side, too, the terrain slopes significantly. To the west of it are the former school and kindergarten of the village on a foothill of the Kirchberg. The south and east sides of the church border the enclosed churchyard , while the north side is not open to the public. It borders on the former monastery grounds, which, among other things, houses the Reinhausen Forestry Office in the former administrative building and is separated from the churchyard by a sandstone wall. An intermediate building that connected the western front of the church with the office building was destroyed by fire in 1955, except for the outer walls of the two massive basement floors. To the northeast of the cemetery is the Reinhausen domain.

history

Castle of the Counts of Reinhausen

Floor plan showing the age of the building (based on Ulfrid Müller):
dark blue: original building, castle and collegiate church
blue: Romanesque extension and addition
red: Gothic built-in and annexes
orange: baroque changes when converting to a hall church
yellow: changes from the 19th and 20th centuries .
semi-transparent / pale (pale blue / pale red-pink): canceled today

The oldest archaeological evidence of human activities on Reinhäuser Kirchberg is the fragment of a stone ax from the Neolithic Age . Continuous settlement can only be proven since the early Middle Ages. Since the 9th century, one was castle of the Counts of Reinhausen on the way of course backed by rock barrier to the Valley mountain spur above the village of Kirchberg. A larger number of archaeological finds from the area around the monastery church could be on the 9th / 10th. Century to be dated. In 10./11. In the 19th century, the Counts of Reinhausen held the Gaugrafenamt in Leinegau and thus also had supra-regional importance. Their ancestral castle in Reinhausen was dimensioned accordingly: the living area with the church in the west comprised about one and a half hectares, the farmyard adjacent to the northeast was about another hectare. The current location of the church, the churchyard and adjacent areas were included. Since 1980, smaller areas of the castle grounds have been archaeologically examined in several individual excavations and findings. At the edge of the mountain spur, a two-shell fortification wall up to 3.30 meters thick was exposed over a length of around nine meters . The demolition of the wall was dated to the 12th century on the basis of small finds from the construction and rubble from the Middle Ages. Towards the gently sloping slope, the fortification consisted of two section trenches and a three-meter-thick mortar wall. The interior of the castle is difficult to reconstruct because the site was built over by the monastery in the High Middle Ages. In the interior of the monastery church, however, remains of the castle church of the Counts of Reinhausen were found during excavations. There is no evidence of the exact structural design of the castle church.

Collegiate church

At the end of the 11th century, Counts Konrad, Heinrich and Hermann von Reinhausen and their sister Mathilde converted their ancestral castle into a monastery . The dating of the conversion into a pen to the year 1079 in older literature is contradicted in more recent research. Instead, based on the possible death dates of one of the founders, Count Konrad von Reinhausen, the years 1089 or 1086 are assumed to be the latest date for the foundation. According to historical building research by Ulfrid Müller in the years 1963–1967, it is certain that the structural substance of the own church was used for the church after the castle was converted into a canons' monastery and later into a monastery. Among other things, this is indicated by the execution of the southern choir wall. The basic concept of the later collegiate church can already be seen in the layout of the castle church in Ottonian times. The south wall of the choir with a still recognizable added round arched window, its north wall, the choir arch with the battlement plates , which emphasize the lower arch, and the lower areas of the pillars in the central nave are the remains of the castle church. Ulfrid Müller adopted a west portal for the original church, in the place of which today's tower front was built later. Compared to other castle chapels in the region, the church is unusually large and thus corresponds to the regional primacy of the Counts of Reinhausen in the 10th and 11th centuries.

The monastery church Reinhausen goes back to an own church in the aristocratic castle of the Counts of Reinhausen, which was archaeologically proven at this point from the 10th century. Accordingly, the beginning of the building history of the church is to be set in the 10th century. Despite the lack of written evidence from the early period, the history of the church over a thousand years is almost certain. Müller's research initially assumed that the castle church would be built in the 11th century.

Monastery church

Just like the pre-monastery history, the early history of Reinhausen Monastery is mainly known from a report by Reinhard's first abbot, which he must have written between 1152 and 1156. The conversion from a monastery to a monastery was probably a process that took several decades. The consecration of the monastery church is dated between 1107 and 1115 and was carried out by Bishop Reinhard von Halberstadt. Reinhausen belonged to the Archdiocese of Mainz , so the parish consecration was due to the Archbishop of Mainz. Since the Archdiocese of Mainz was vacant after the death of Bishop Ruthard and before Adalbert's episcopal ordination , an external, neighboring bishop was commissioned to carry out the ordination. Count Hermann von Winzenburg, as the initiator of the founding of the monastery, had hoped for a generous donation from Bishop Reinhard, but this was not granted. In the Lower Saxony monastery book , December 3, 1111 is assumed as the probable date of the consecration. The information on the consecration of the monastery most likely relates to the consecration of the monastery church, as the appointment of an abbot took place in 1116 at the earliest.

The appearance of the monastery church can roughly be reconstructed for the first half of the 12th century. According to their building research, Ulfrid Müller and Klaus Grote assume that this shape of the castle and collegiate church can also be assumed for the original building of the monastery church, i.e. that major redesigns only took place when the monastery had already existed for some time. While the church was extraordinarily large for a castle chapel, it had and still has very small structural dimensions compared to other Romanesque monastery churches. In the building stock from the earliest monastery times, there is almost no building ornamentation and the church was not vaulted - unlike the church of the Lippoldsberg monastery , which was architecturally pioneering in the region and was completed in the middle of the 12th century. This indicates that the actual construction of the church took place much earlier. According to the results of the building research, the original monastery church was still roughly the same as the castle and collegiate church: parts of this first monastery church have been preserved in the north and south walls of the chancel, possibly in the choir arch including the battlement plates, in the eastern pair of pillars and in the lower half of the two western pillars that stand in the central nave of today's church. According to reconstructions, the church was a pillar basilica with a cross-shaped floor plan . It had a transept that went beyond today's outer walls in the north and south, and a central nave, raised opposite the side aisles, which was exposed above the side aisles through the upper aisles . The thus architecturally strongly emphasized crossing could have been built similarly to the front part of the central nave corresponding to this component today, but the floor level was increased by three steps compared to the nave, so the floor level of the nave was correspondingly lower. The aisles were separated from the transept by a wall - probably with an opening - the foundation of which was found on the south side of the church. According to the foundations of the foundations, the eastern pillars of the central nave originally had a cruciform floor plan. There is still no information about the design of the western front of the first monastery church, for example with a tower or a westwork; today's Romanesque western building is more recent. According to the report of the first abbot Reinhard on the history of the Reinhausen monastery, contrary to the layout of the monastery, the monastery was relocated and expanded from the south side to the north side due to lack of space. This information can refer to the monastery church, because south of the church there is actually only about 10 meters of space to the cliff. During the time as a monastery church, there were some redesigns, the incorporation and extension of chapels and the foundation of altars.

• Construction phase reconstruction according to Ulfrid Müller
• 

  Original building

• 

  12th Century

• 

  Late 13th century

• 

  14th Century

• 

  17th century

• 

  around 1800

The Romanesque west facade with its two towers, which has the greatest impact on the external appearance, was built around 1170. The redesign from the middle of the 12th century is assumed to be influenced by the abbess Eilika von Ringelheim, who came from the family of the Counts of Reinhausen and spent several months a year at her former ancestral home in the Reinhausen monastery. The steep slope of the terrain did not allow a portal in the west facade, so that the entrance for visitors who did not come from the monastery was placed at the current location in an intermediate yoke on the south side east of the tower. Opposite on the north wall was the entrance from the monastery area. Whether a gallery was already built into the central building during the construction of the west wing is assessed differently: Ulfrid Müller takes a gallery almost as safe because it could serve the Abbess and Countess Eilika as a master gallery and she can also participate in the kind of a nun's gallery Worship in the monk's church made possible. In addition, references to the later applied wall paintings to the northern gallery entrance from the upper floor of the monastery building are seen. Tobias Ulbrich does not see these references inevitably and denies the mandatory dating of a gallery to the time before 1400. In addition to the upper aisle windows, the central nave was exposed through two large arched windows in the west wing, which were later changed and reconstructed in 1893.

Because the aisle foundation protrudes significantly on the inside, it is assumed that the aisles were widened somewhat in the second half of the 12th century. The walled-up arched windows and the interior paintings show that they were three-quarters as high as they are today. The new walls of the aisles were built thicker: their thickness is just under 1.30 meters, like that of the west bar, while the older walls are only around 90 centimeters thick. Ulfrid Müller also assumes a significant increase in the central nave in this construction phase, but this thesis is rejected by others. The abandoned crossing remained unchanged in the late Romanesque construction phase.

A renewed economic upswing of the monastery in the period between 1245 and 1309 brought new construction activities to the monastery church. Archbishop Gerhard II of Mainz granted a forty-day indulgence to anyone who participated in the construction of the Reinhausen Church in a Mainz indulgence document from 1290 . At the end of the 13th century, the north and south yokes of the west bar as well as the two adjoining intermediate bays received a simply designed groin vault, the girdle arches of the tower basements were redesigned to be pointed arches, as did the arches on the east side of the first floor in the tower. The main entrance on the south side lost the tympanum , which originally filled the arched field of the round arch portal, and was given a pointed arched door. A second portal, which was added today, was broken into on the south side west of the transept.

Mauritius Chapel Window

In the same construction period, a chapel of St. Mauritius (Moritz) with three Gothic lancet windows was set up above the entrance on the south side of the church . The Mauritius chapel extended over two bays , the side aisle wall was raised for the chapel at this point. Access was via the gallery. Because of the size of the chapel, the east wall was not in the axis of the existing pillar, but one meter east of it. The wall on the ground floor was supported by a wall immediately below, so that a separate entrance hall was created under the chapel. The altar of the Moritzkapelle was given its own brick foundation, which is visible as a pillar in the northeast corner of the vaulted entrance hall. The altar and thus the chapel were first mentioned in a document in 1415 when a soul mass was founded. According to the tradition of the Göttingen chronicler Franciscus Lubecus, another chapel is said to have been built by Abbot Gunter von Roringen before his death in 1300 as the burial place of the abbots of the Reinhausen monastery. This dating must be questioned because Gunter still headed the monastery as abbot in 1382 and 1385.

During the renovation work in 1965, approaches to a ribbed vault were found north of the choir in the area of ​​the sacristy erected there . It belonged to a Gothic side chapel with a 3/8 end . There was a narrow corridor between the north arm of the transept and the chapel, which provided direct access to the choir from the monastery building. The remains of the chapel are related to the chapel north of the choir, mentioned in a document in 1394, which served as the burial place of the Lords of Uslar . It is also called Johannis chapel because the traditions it as the site of the evangelist John mentioned consecrated altar: it was mentioned in writing in 1360 a new altar in the handling , 1378 a grave lay the knight Ernst von Uslar before the altar of St. John the Evangelist and 1399 an allocation of four sons of Ernst von Uslar for the St. John's altar in the new chapel in contact. The Uslar burial chapel is still listed in the inventory list in 1707. In older literature, the chapel was dated to 1322. The dating was based on two clearly damaged keystones of a ribbed vault with inscriptions that were found in this area in the 19th century and attributed to this chapel. Today they are stored in the Mauritius chapel. The newer deciphering of the inscriptions “• an (n) o • 1 • 5 • 22 • d (omi) n (u) s • m [at] hias • [... ] "And" frater • reÿnerus • prior • ". The assignment of these keystones to the burial chapel of the Lords of Uslar is no longer probable and the dating of this chapel to the year 1322 is no longer valid.

Gothic tracery tiles from the north side of the church

The passage from the northern intermediate yoke of the church to the southwest corner of the adjoining cloister was bricked up from the inside as early as the Middle Ages, according to recent knowledge. A niche was created on the outside, the lower part of which was later also lined. Under a layer of humus, four Gothic tracery tiles were found during drainage work in 1993, which served as flooring. Neither in the adjacent area of ​​the cloister nor in the door sill area under the medieval brickwork was there any continuation of the tile covering or any evidence of it. Hildegard Krösche is considering assigning these tiles to the chapel north of the choir.

From the beginning of the 14th century to the dissolution of the monastery in 1574, building measures mainly served to design the church and its chapels. Between 1387 and 1442 the inside of the walls at least in the entrance hall, on the side walls of the gallery and in the south aisle were decorated with frescoes . After the Reinhausen Monastery was joined to the Bursfeld Congregation in 1446, further late Gothic pieces of equipment were donated. The last foundation dedicated to the construction of the church and the monastery, which has been handed down in writing, was made in 1451 by the Lords of Uslar. A late Gothic carved altar was donated in 1498 and 1507, large parts of both have survived to this day. According to the more recent reading of the inscriptions on the two keystones in the Mauritius Chapel, it must be assumed that a major extension or renovation was carried out on the monastery grounds and a vault was drawn into a building in 1522. This could also be indicated by the inscription on a stone that has since been lost and was embedded in the cemetery wall as a spoil in the 19th century : “M.ccccc.xxii. / S.georivs ora pro nobis. "(" 1522 / St. George (?), Pray for us. ")

Since the Reformation

Even before the Reformation the monastery was in a downward trend in terms of economy and personnel, this development accelerated through the introduction of the Reformation in 1542 and the establishment of an official court in the monastery property. 20 years after the introduction of the Lutheran monastery order, the inventory of the monastery and the church was listed because the monastery was to be handed over to Ludolf Fischer, who was appointed as bailiff. The last monk of the old convent died in Reinhausen in 1564.

Merian engraving from Reinhausen, 1654

The further redesign of the church building after the dissolution of the monastery can initially only be seen from the first pictorial representation on an engraving by Matthäus Merian , which appeared in the Topographia Germaniae in 1654 . At that time the shape of a basilica was no longer externally recognizable. The transept was combined with the crossing, the choir and the nave under a gable roof. The towers were crowned with tall pointed helmets, and there was a roof turret on the choir. This is confirmed by an inventory list of the monastery from 1707, in which a bell is mentioned above the choir.

At the beginning of the 18th century, the cross-shaped floor plan was abandoned by demolishing the transept walls and building the longitudinal walls of the side aisles in a continuous line. The east wall of the choir was rebuilt with the old stones and received a large baroque window, and large baroque style window openings were also broken into the side aisle walls. The west facade also received a baroque window. A shortening of the church reported by Mithoff in 1861, which is said to have taken place 150 years earlier, will refer to these measures. By drawing in a lower ceiling over all the naves, the basilica was fundamentally transformed into a hall church.

In the years 1885–1887 an extensive renovation took place in which the connecting storey between the towers was reconstructed. In the course of the work, the west gallery was also redesigned, the dormers removed and the roof pulled through without the previously existing shoulder. In addition, after the dismantling of the baroque pulpit altar wall, the church received a winged altar made from remains of a medieval Marian altar and supplemented with new parts, which has served as the main altar ever since. In order to protect the walls of the choir room against moisture penetration, a second wall shell was built in front of the walls in the lower area. Another fundamental restoration of the church interior took place from 1963 to 1967. A sacristy and a heating room were added to the north next to the choir room. With the renovation and renovation work on the church, archaeological excavations were carried out between 1965 and 1968 and the existing structure of the church was precisely measured and examined by Ulfrid Müller. Because the building history investigations started long after the renovation work had started, no more excavations could take place in the western part of the church. Knowledge of a possible tower or a differently designed western end of the original church building could therefore not be obtained. In 1990/1991 the tower facade had to be renovated.

In February 2011 the Kirch-Bauverein St. Christophorus Reinhausen e. V. founded to raise funds for the financing of maintenance and renovation measures at the church.

architecture

Exterior construction

Southeast view of the church

The appearance of the monastery church is determined by the monumental-looking Romanesque double tower facade in the west. It was built from red sandstone blocks of low strength obtained on site and, in addition to narrow window openings, which hardly disturb the cohesion of the overall impression, is only structured by a very narrow, simple cornice . The total width of the west building is 16.30 meters. The towers end with low hipped roofs with a transverse ridge, which give them a somewhat stocky look, especially when viewed from a distance. The southern tower roof is slightly lower than the northern one. Under the roofs, the sound openings are arranged as coupled windows , the Romanesque dividing columns of which have cube capitals and Attic bases . The masonry of the towers rises above that of the central wing by 5.5 meters, between them lies the sloping roof of the central nave roof sloping to the west. The 5.75 meter high upper floor is subdivided under the towers into two floors, which are illuminated at the top through a slightly wider arched window with a central column and a simple narrow arched window below. Only the upper floor between the towers, which was reconstructed during a major renovation at the end of the 19th century, has two significantly larger arched windows. On the ground floor of the west facade there are four more arched windows, each 45 centimeters wide and 1.40 meters high. A door has broken into the base of the south tower under the southern window.

The simple basic shape of today's appearance over a rectangular floor plan looks like that of a hall or simple hall church . With a length of 28.60 meters without a choir, the church is significantly smaller compared to other monastery churches in the region. The entire building is unplastered on the outside. The simple gable roof with a continuous ridge and hips above the connecting floor of the tower and above the choir emphasizes the simplicity of the building's shape.

The entrance portal on the south side is connected to the masonry of the tower without a construction seam and comes from the same construction period

Particularly noticeable is the Romanesque main portal on the south side immediately behind the west bar, which protrudes slightly from the building line; the protruding part of the wall is slightly upright and is closed at the top by a simple cornice and emphasized, the portal is not in the middle, but clearly offset to the left. The sandstone ashlar masonry next to the projecting portal zone is attached to the masonry of the tower without a construction seam. The arched portal itself is characterized by multi-stepped walls and laterally set columns with cube capitals and an Attic base , the transition from the lateral portal walls to the high arched area above the portal is designed as a profiled combat zone . The innermost door wall, on the other hand, has a smooth transition to the transom zone and a slight pointed arch . At a little distance above the portal, three Gothic pointed arch windows are arranged close to each other, which belong to the Mauritius chapel above the entrance hall. The outer wall area of ​​the chapel is made of coarsely hewn sandstone blocks and only on the originally exposed eastern edge has large-format and carefully smoothed stones. The larger stones of the Mauritius chapel have pincer holes, unlike the cuboids on the older west bar and in the portal zone. On the north side of the church, opposite the Moritzkapelle and portal zone, one wall area has a mixed masonry structure. Only the upper part of a walled up arched door 82 centimeters wide is visible. It originally enabled a direct passage between the church and the cloister. Another arched door, now walled up, on the north side led from the upper floor of the cloister to the first floor of the tower.

Eastern part of the south wall with a bricked-up pointed arch door and in the right half of the picture with the irregular masonry instead of the old transept

To the east of the portal zone, the south wall of the nave is made of mostly roughly hewn sandstones, with the eastern area of ​​around 7.50 meters wide, which was delimited by a building seam and in which the transept was located up to the beginning of the 18th century, an even more irregular stone setting and has less surface treatment. In the south-east corner of the nave, the usual careful corner cuboid is missing because the former transept was demolished at this point. The three baroque arched windows are about 2 meters wide and 3.35 meters high. They are edged with simple but carefully chiseled ashlar frames made of red and light sandstone, the spar and keystones protrude slightly from the rest of the soffit. The window openings on the south wall correspond to opposite ones on the north wall, with the eastern window there being reduced in height in favor of a door to the former cloister courtyard below. Between the western and the central window of the south wall, the heavily sloping soffit stones of a much smaller, simple round arched window, which dates from the Romanesque and was later walled up, can be clearly seen. A walled-up window of the same size in the north wall of the church also corresponds to this former window. The soffit stones of a small, ogival door, also added, are visible on the left below the central window on the southern outer wall of the nave; they have a simple bevel as the only ornament on the soffit edge . The east wall of the south aisle and the side walls of the choir are windowless today. Above the roof edge of the aisle there is only a wooden hatch.

South wall of the choir: The masonry of the original building differs significantly from the younger masonry of the adjacent walls

The 6.40 meters deep and 7.30 meters wide, drawn-east choir with a straight final points on the south wall, a small part, regular layers masonry on which differs significantly from the less regularly layered masonry at the east end of the aisles and on the east wall of the choir. A small Romanesque window that has since been added can also be seen in the south wall of the choir. The masonry of the northern choir wall above the later extension is similar to that of the southern wall. These choir side walls date from the time the church was built. Broad, unadorned buttresses are attached to the outer corners of the choir . That this is a later addition is clear from a construction seam to the actual choir room and individual ashlar stones running through the wall. In the baroque east wall of the choir, as in the east end of the side aisles, which was changed at the same time, there are reused stones from older construction phases. They can be recognized by profiling or pliers holes and have been reworked for reuse with a pointed chisel. In the middle of the east wall of the choir, a baroque window corresponds in its design to the windows of the side aisles. On the north side of the choir there is a low extension built in 1965 during the renovation of the church for the heating system and the sacristy . Its walls are also clad with sandstone on the outside. In order to avoid a higher backfill of the terrain, which rises to the east and north, on the choir, a retaining wall was built to the east, so that a ditch was created towards the choir. In the area of ​​the heating extension, this trench is about 1.80 meters deep, so that only the roof of the extension is visible when viewed from the cemetery. To the north of the extension there is an old sandstone wall that has brackets of a former ribbed vault facing the pit and the lower approaches of the vault ribs. The wall above the extension separates the church property from that of the forestry office. The eastern extension of the wall, built later, forms the retaining wall of the cemetery.

The north side of the church is directly adjacent to the neighboring property and cannot be seen by visitors. After a fire in April 1955, only the west wall of a building of the forestry office, which was formerly attached to the westwork of the church in the north, remained in line with the lower west wall of the church.

inner space

Church floor plan. A: nave; B: choir room; C: community room; D: entrance hall; E: sacristy; F: stairs in the south tower; G: cemetery; H: parking lot

The interior of the church is divided into a western and an eastern section. Access is via a small entrance hall with a painted, pointed arched groin vault in the south of the western building section. From there, one door each provides access to the west into the south tower and to the stairs in the upper storeys, to the north into the community room and to the east into the actual church room, which is three steps higher.

Interior of the church facing east

The eastern main part of the Christophoruskirche is a brightly plastered three-aisled nave hall with a flat, decorative wooden ceiling. The interior is 7.10 meters high and the central nave is 5.50 meters wide. The aisles are each 3.50 meters wide, with the north aisle narrowing down to 2.70 meters due to the north wall being considerably thicker in the middle. The side aisles are separated from the central nave by two rectangular pillars each with round arched arcade arches over narrow cornices, which are wide in relation to the dimensions of the church . The span of the three yokes is a little over five meters each. The pillars stand on the floor without bases . The two eastern pillars - originally the crossing piers at the western beginning of the transept - each have a base area of ​​87 centimeters wide and 1.60 meters long and have a considerably more elongated cross-section than the equally wide but only one meter long western pair of pillars. At the transition from the pillars to the arches, transom plates profiled with circumferential bulges and valleys are installed, which are additionally accentuated by a color matching the red sandstone compared to the white plaster. The large baroque windows in the aisles and the choir are glazed with small-format, colorless panes between wooden bars. The inner reveals of the window niches end with segmental arches and are light, the window sills strongly beveled. The clogged door and window reveals from earlier construction phases on the outside are not visible in the interior, on the south wall only the lack of the interior fresco painting indicates. The upper end of these frescoes also marks the earlier height of the side aisles. The interior has a baroque character due to the large arched windows, but the Romanesque basic structure is still fully expressed. The eastern part of the central nave and the aisles in front of the eastern pillars are raised by one step compared to the part of the nave with chairs and are therefore on the same level as the choir. There are pulpit and lectern.

The east choir , just like the nave, is simply brightly plastered and separated from the central nave by a round arch, which rests on wall templates at the corners of the choir. With a width and length of 5.50 meters each, it is almost square in plan, although it is slightly lower than the main part of the nave because it is one step higher than the main part of the nave. The back of the altar table with the winged altar in the center of the arch is illuminated by the large baroque window in the east wall of the choir.

Congregation room in the western part of the church with a view to the north of the vaulted part

The western part of the church with the basement of both towers, the intermediate yoke adjacent to the east and the western extension of the central nave to the second pair of pillars is separated from the main room of the church. To the north of the Gothic entrance hall, this partition consists of a wall that was inserted later. The area separated in the western part is used as a community room and winter church. The area optically separated from the outside in the south view, namely the towers and the adjoining intermediate yoke with the portal zone and the Mauritius chapel, can also be seen in the interior layout. The community room in the western extension of the central nave has a flat beamed ceiling. The northern part - the extension of the northern aisle to the west - is connected to the parish room by two pointed arches running in the longitudinal direction of the church. The arches, the two-bay groined vault to the north and the corner of the north tower are supported by a pillar one meter thick, which is square in the base. The ground floor of the north tower with the adjacent intermediate yoke thus forms a visually separate part of the community room, in which a kitchenette is installed. Corresponding pillars on the south side of the community area and the walled-up belt arches in between reveal an analogous construction. However, while the eastern vaulted yoke on the south side in the entrance hall has been preserved, the western one in the south tower has been removed. A staircase was installed there in 1966, and there is a toilet room underneath. The two other supports of the belt arches are a pillar in the extension of the partition wall between the parish room and the nave, which originally separated the side and main aisles of the church, and the western outer wall.

The upper floor above the community room is open to the church as a gallery . The organ is located in the central nave, the northern part is accessible through a round arched door from the central gallery. To the south of the gallery, next to the tower, is the former Mauritius chapel with three pointed arched windows arranged side by side. Up to the height of the window sill, the outside wall of the room is significantly thicker than above. The resulting wall ledge, 58 centimeters deep, is covered with sandstone slabs and has a piscina on the right side . A wall pillar in the northeast corner of the Mauritius Chapel, which runs vertically over the entire height of the room in the entrance hall and is decorated with frescoes, breaks off irregularly above the floor. The interlocking with the walls shows that he used to carry the altar, the top of which was one meter above the floor. The weathered central columns of the coupled sound openings of the towers, which had to be replaced by new ones, are stored in the Mauritius Chapel. There are also two keystones of a ribbed vault, which can be dated to the year 1522 by their inscription. The Mauritius chapel forms the passage to the gallery and contains a wooden staircase as access to the south tower, the tower of which is empty. In the north tower a ladder leads to the bell floor.

Furnishing

Frescoes

Frescoes depicting Saint Christopher on the west wall above the entrance

In several places in the interior of the church, larger remains of colored frescoes can be seen on the plaster. These paintings are dated to the turn of the 14th and 15th centuries. All frescoes were restored during a renovation project in 1965–1967.

Entrance hall

The frescoes in the anteroom at the southern main entrance to the monastery church were uncovered in 1909/1910. The vault of the entrance hall is decorated with floral ornaments in which four medallions , each with a half-figure, are embedded. The figures may represent the four church fathers , but the assignment is not certain. On the walls of the entrance hall Mary is depicted under the cross and St. Christopher with the Christ child on his shoulders. The text of a banner in the Christophorus representation is difficult to read. Another figure can be seen on the edge of the vault near the entrance to the south aisle. A three-line banner, which is also difficult to read, is painted on the pointed arch above this entrance.

Main room

Fresco of the resurrection on the south wall of the central nave of the gallery

Further frescoes can be found in the south aisle of the church. Some of the frescoes are only partially preserved. Shown are scenes from the Christophorus legend according to the Legenda aurea , especially his martyrdom, according to the legend, suffered on the orders of King Dagnus in Lycia : Above the entrance on the west wall of the south aisle is shown how the pagan King Dagnus at the sight of Christophorus from Throne falls, next to it on the right the flagellation of Christophorus. Below there are fragments of male characters on the left and male and female portrayals on the right. The white background of the pictures is adorned with red flowers, in the flagellation scene there are red stars. Above the upper left illustration, a two-line banner describes the scene, which is no longer fully legible. In the scenes on the south wall of the side aisle, Christophorus and the Christ child on the river bank are shown at the top right , the preaching at the top left and the praying Christophorus at the bottom right . In the prayer scene, to the left of Christophorus, there is also King Dagnus and another person, the explanatory banner can only be deciphered in small parts. At the bottom left, King Dagnus sits on the throne and arrows float in the air that the king had fired at Christophorus. This scene is also provided with a banner that is only partially legible. Again the backgrounds are decorated with red flowers and stars. To the left of the eastern part of the south wall there are fragments of further paintings. The frescoes were partly destroyed by later renovations, in particular by installing the large baroque windows and dismantling the transept. The upper wall area of ​​today's aisle walls is not painted, it was later built up when the church received a uniform gable roof and the basilica elevation was abandoned.

Gallery

On the side walls of the gallery, scenes relating to stories from the New Testament and the Last Judgment are depicted: on the south side the resurrection and the archangel Michael as the weigher of souls , on the north side Jesus and the sleeping disciples in the garden of Gethsemane and the jaws of hell . These frescoes were only uncovered during the repairs in 1963–1967.

altar

Altarpiece of the main altar, feast day side

The winged altar, which has served as the main altar since the end of the 19th century, consists of a central shrine with carved figures on a gold background and two folding wings painted on both sides. Both the paintings on the wing panels and the lines of text on the front and back indicate that it was originally an altar of Mary. During a restoration in 1885–1887, it was transformed into a crucifixion retable. The altar wings are inscribed with a date of 1498. The altar was consecrated by Johannes , Titular Bishop of Sidon and Vicar General of Archbishop Berthold of Mainz. There is no written record about the donor or donors of the altar. In a certificate of indulgence from 1499, the newly consecrated tablet with carved and painted images of the Virgin Mary is mentioned.

Before the restoration up until the end of the 19th century, the wings and the outer parts of the central shrine were integrated into a baroque altar wall separately from the central part, as were the figures of the Jodokus shrine. The altar retable stands on a predella decorated with coats of arms and inscriptions above the altar table made of sandstone blocks , which is two steps higher than the choir.

A crucifixion group is the central element in the 1.86 meter high and 1.78 meter wide central shrine . Originally there was certainly a depiction of the Virgin Mary there, in keeping with the dedication of the altar, probably as a radiant wreath Madonna or as a coronation group . On each side of the central shrine there are two saints: Maria Magdalena at the bottom left, Katharina at the top left, Barbara at the top right and Cyriacus at the bottom right. These carved and painted figures are referred to in most publications as carvings from the workshop of the master Bartold Kastrop . Other authors, on the other hand, reject an attribution to Kastrop's workshop or at least discuss it critically. The figures of the saints, the tracery and the plinth are similar to those on the Marian retable from the Church of St. Martin in Geismar , which can be safely assigned to Bartold Kastrop based on an inscription. On the other hand, the year in which the Reinhausen altarpiece was made - 1498 - speaks against Kastrop as a carving master, because he was only naturalized to Göttingen a year later and until then operated a workshop in Northeim, which is much further away. In addition, there are differences in facial expression and liveliness of the figures compared to the Geismar carved figures from Kastrops. Antje Middeldorf Kosegarten sees similarities to the figures of the carved altar in the St. John's Church in Uslar and to a stone sacrament niche in the Göttingen Johanniskirche . Each carved figure stands on a base with bevelled corners at the front, on which it is marked with black letters: "S (an) c (t) a maria magdalena", "S (an) c (t) a katerina ora p (ro nobis) ”,“ S (an) c (t) a barbara virgo ”and“ S (an) c (tu) s ciriacus mar (tyr) ”. The carved figures of Mary and John under the cross were made anew in the course of the restoration of the altar in 1885. While some authors assume that the crucifixion group was made at the same time , others date the figure of Christ crucified to the Baroque period, while the cross itself is said to have been renewed later. Still others assume that the entire crucifixion group is baroque. The bases of the accompanying figures of the cross are significantly higher than the older ones, they bridge a painted decorative strip on the lower edge of the center of the altar and raise the two figures to the level of the base of the cross. These bases are not bevelled and are labeled “Sca maria” and “Scs iohannes”. The execution of the letters is based on the older carved figures on the altar.

The inside of the 88 centimeter wide wings show scenes from the life of Mary: the Annunciation on the left wing and the visit to Elisabeth on the right wing ; below on the left wing the birth of Jesus and on the right wing the adoration of the kings . A copper engraving by Martin Schongauer served as a template, at least for the last scene . There are different assumptions about the authorship of the paintings: According to more recent information, they come from the same workshop as the back of the wings, but cannot be reliably assigned to the master himself. Older art historians, on the other hand, assume an unknown, not very progressive painter with no other known works in Lower Saxony. The backgrounds of the paintings are in gold, which identifies these pages as holiday pages. The horizontal strips on the upper and lower edges of the wings and the shrine as well as in the middle of the wings, which serve to limit the representations, are also gold-colored.

Everyday side of the altar

The outside of the wings are the weekday side of the altar and have a red background. The Twelve Apostles are shown in groups of three with Matthias instead of Judas Iscariot . In addition to their attributes, they are identified by their names at the top and on the bar that separates the two rows. Eight figures also bear their names on the hem of the robe. The paintings are attributed to an unknown master who is referred to as "Master of the Reinhausen Apostles" because of this work. Other publications attribute the wing paintings to a student of Hans von Geismar or the Hildesheimer Epiphaniusmeister or assume that the master of the Reinhausen apostles was a direct student of Hans von Geismar. Engravings by Martin Schongauer probably served as models for some of these works as well. The outside bears at the bottom as a manufacturing date the inscription "Anno dni 1498 pletum est hec tabella / Jn honore glorious marie virgini." (In the year of our Lord 1498, this panel was completed / For the glory of the glorious Virgin Mary.) The l in "[ com] p l etum ”(completed) is missing the ascender, this word was also interpreted as“ pictum ”(painted).

In the horizontal gold-coated strips on the inside of the wings above and below the paintings, as well as in the upper and lower horizontal strips of the central shrine, lettering is stamped which originally resulted in a sentence running through the wings and the shrine. During the reconstruction of the middle part, the writing was replaced by a decorative ribbon, so that a larger part is missing. The upper edge of the altar shows the Salve Regina , an antiphon by Hermann von Reichenau :

"SALVE REGINA MATER MISERICORDIE VITA DVLCED (o)
(et) SPES NOSTER (salve / ad te clamamus exsules filii Evae / ad te suspiramus ge) MENTES ET FLENTES
IN HAC LACRIMARVM VALLE EYA ERGO ADVOC (ata nostra) "

(German: "Greetings, Queen, Mother of Mercy, life, bliss and our hope, be greeted! We call exiled children of Eve to you; to you we sigh mourning and weeping in this valley of tears. Well then, our advocate" ),

the lower one an antiphon set to music by Heinrich Isaac :

"AVE · SANCTISSI (m) A · MARIA · MATER · DEI · REGINA · CELI
PORTA · PARADISI (domina mundi / tu es singularis virgo pura / tu concepisti Jesum) SINE · PECCATO
TV · PEPERISTI · CREATOREM · ET · SALVATOREM · MVNDI · IN QVO (ego non dubito) "

(German: "Greetings, Most Holy Mary, Mother of God, Queen of Heaven, Gate to Paradise, Mistress of the World! You are a uniquely pure virgin, you received Jesus without sin, you gave birth to the Creator and Redeemer of the world on whom I do not doubt. ").

In the middle of the left wing is a verse from the Latin translation of the Song of Songs :

"TOTA · PVLCRA · ES · AMICA · MEA · ET · M (acula non est in te)"

(German: "You are completely beautiful, my friend, and there is no flaw in you"),

on the right wing:

"O · FLORE (n) S · ROSA · MATER · DOMINI"

(German: "O blooming rose, mother of the Lord")

after an antiphon by Hermann von Reichenau. In older literature, different readings and other missing items are given, especially for the writing in places that are difficult to recognize.

The predella was made later than the altar panels. The information about the time of origin ranges from the late 16th century through the Baroque period to the 19th century. In the middle, in intertwined rings, it bears two coats of arms with upper coats of arms , which in some publications are interpreted as an alliance coat of arms . According to today's color scheme, the heraldic right coat of arms in silver shows an upright red lion covered with golden balls, on the red and silver puffed helmet, four right-angled crossed silver rods with different points at both ends, helmet covers are red and silver. The heraldic left coat of arms shows a red saddled and bridled, jumping black horse on the silver puffed helmet, a red saddled and bridled, jumping black horse in front of five fan-shaped black and silver feathers, helmet covers black and silver. In older photos that show the state before 1945, the coat of arms relief can be seen with or without painting. An assignment of the coat of arms to the families von Werder and von Pentz is mentioned by Hans Georg Gmelin, but not described as certain. On both outer sides, next to the coat of arms, is the text of the words of institution for the Lord's Supper in gold on a black background . These text panels are not yet available on photos that were taken before 1945.

Jodokus Shrine

Jodokus Shrine

In the north aisle, the so-called Jodokus shrine is attached to the east wall, the middle section of a former winged retable, the carved figures of which were built into a baroque pulpit altar wall above the sound cover until the main altar was restored at the end of the 19th century. After the pulpit altar wall was dismantled and the main altar was reconstructed, the shrine was hung on the east wall of the south aisle. Since the renovation work in 1963–1967, it has been in the north aisle. The shrine is inscribed and dated to 1507 and is considered the work of the Epiphanius master from Hildesheim.

Three figures - all with a book in hand - represent Saint Jodokus as a pilgrim with a scallop shell on his head, on the left Saint Bartholomew and on the right Saint Blaise . The central figure of Jodokus is a good head taller than that flanking saints. All standing on pedestals with inscriptions and have behind the heads on a gold background haloes with the inscriptions: ". SANCTVS.JODOCVS" (sic) ". SANCTVS.BARTHoLOMEVS" and ". SACTVS.BLASIVS". The pedestal inscriptions read “SANCTVS.BARTOLOMEVS” on the left, “SANCTVS.BLASIVS.EPISC” on the right. However, under the middle figure there is the year “.DVSENT.VNDE.VIF.HVNDERT.SEFVEN.” (1507). The Jodokus figure also bears inscriptions on the hem of the robe, which are interrupted by turned-up areas and folds of the hem of the coat: "CRISTVS" on the right arm carrying the book, "MARIE" under this hand, on the right collar (from the left of the viewer) " IHESVS ", on the left collar" M ", on the lower hem of the coat" SANCTVS ", after a folded hem part" (...) OCVS "and" FA "and at the bottom right" MANG ". All writings on the Jodokus shrine are executed in early humanist capital . The designations of the figures mentioned by Hector Wilhelm Heinrich Mithoff as "S.JACOB.MAJ" in the middle, "SCS.BLASIVS" on the right and "S.BARTHOLOMEVS" on the left no longer exist in this form; Tobias Ulbrich thinks it is possible that the inscription for Jakobus is on the invisible back of the base of the central figure.

Since Mithoff's description, various authors have identified the eponymous figure in the center of the shrine as James the Elder . Ulbrich justified this with the inscription mentioned by Mithoff, with the pilgrim insignia of the figure including the scallop shell on the headgear, and with an alleged second pair of wings on the main altar, which, through figurative and pictorial representations of the James legend, attests to the veneration of this saint in Reinhausen. As an additional altar wing in addition to the two wings of the main altar, only a single wing was preserved in the 19th century, which was then owned by Carl Oesterley . Mithoff assigned it to a single altar together with the Gothic works of art built into a pulpit altar wall at that time - Jodokus shrine, both wings of the main altar, four carved figures of saints from the shrine of the main altar. This wing painting, which was very damaged in the 19th century and has been restored since then, is now in the Lower Saxony State Museum in Hanover. It is generally no longer assigned to the main altar, but to the Jodokus shrine and ascribed to the painter Hans Raphon . This altar wing was the left outer wing of the Jodokus reredos, which according to some publications is said to have originally had two pairs of wings. Both the right wing and an inner pair of wings are missing. The scenes depicted on the preserved wing have been more clearly recognizable since the restoration; there are two images on each side, one above the other. On the outside there is above the image of the Apostle James the Elder with staff, book and the shell on the forehead of the hat, below that of St. Hubertus with bishop's staff , book, miter and a hunting horn under the left hand. Both saints are shown sitting on rocks, James has a long beard. On the inside there are two scenes from the legend of the saints of Jodokus: in the upper picture the miracle of the source of Jodokus, through which he saved Count Heymo, who was on the hunt, from death, in the lower picture the wonderful preservation of his body. In the depiction of the miracle of the spring, Jodokus - like the carved figure in the shrine - is depicted as a beardless young man in pilgrim clothes, his cap lying on the floor also wears the pilgrim's shell. A single more recent description only knows this one wing of the Reinhauser Jodokus reredos and describes not only the right wing but also the middle section as lost.

Triumphal cross

Triumphal cross

The later revised crucifix on the eastern front of the south aisle is also to be classified in the late Gothic and is said to have served as a triumphal cross earlier . It is 2.92 meters high; in the 19th century it was housed on the lower floor of the west wing.

Stone sculptures

A semicircular Romanesque stone relief is walled into the east wall of the choir. It shows a cross on a hemisphere in an arch and underneath a lion with a human head, which seems to devour a second human head. The relief probably served earlier as a tympanum in the arched area of ​​the portal of the church.

The remainder of a Gothic stone carving with a central pinnacle , which instead of a finial, has a crown carried by two angels, is also walled into the east wall of the choir . Its original function is interpreted as a crowning top of a sacrament niche. It is said to be a considerably coarser copy of a sacrament niche from the Göttingen Johanniskirche .

On the southern wall of the choir, on a newer stone plinth, there is a stone sculpture of St. Christopher, a relic of the veneration of the namesake of the church, which dates from the Romanesque period. The saint is depicted with the Christ child on his shoulders and a staff in hand. Before the renovation measures 1963-1967, the sculpture was in a wall niche on the east wall of the south aisle below the Jodokus shrine. It has only been one of the works of art in the church building since the 19th century; previously it was in the cloister courtyard.

In the north wall of the choir a detailed sculpture is walled in, which shows Christ carrying his cross. The well-preserved stone carving in the central area shows next to Christ, who rises again under the cross, as further fully depicted persons a man in front of the cross holding Christ on a rope, and standing behind Christ probably Simon of Cyrene . Of three other people in the background, only the head and parts of the upper body can be seen.

• 

  Tympanum

• 

  Remnants of a sacramental niche

• 

  St. Christopher

• 

  Station of the cross

Funerary monuments

In the choir, there is a cast iron grave slab on the north and south walls. Both date from the second half of the 16th century. The plate on the southern wall of the choir was made for the pledge holder of the monastery Christoph Wolff von Gudenberg, who died on February 15, 1569, the plate on the north wall for Melchior von Uslar, who died on September 8, 1574, and his wife Margarete von Ohle. On the east wall of the choir hangs a painted wooden panel from 1735, which was written to Maria Magdalena Hinüber geb. reminded of Busch. The two cast-iron grave plaques were placed next to each other on the south wall of the choir until after the end of the Second World War, the wooden plaque hung together with another wooden epitaph above the slabs. The second wooden panel was also designed in the form of a medallion with tendrils on the side and a crown, it was reminiscent of the bailiff Christian Erich Hinüber, who died in 1752 and is also named on the surviving panel as the husband of the deceased. Another stone grave slab from 1706 for Veit Andreas Hornhardt on the east wall of the north aisle is badly weathered. Hornhardt was from 1680 to 1705 bailiff of the Reinhausen office .

• 

  Christoph Wolff von Gudenberg

• 

  Melchior of Uslar

• 

  M. Hinüber, b. v. bush

• 

  VA Hornhardt

Baptismal font

The baptismal font is made of dark stained wood. The foot is four-sided, the basin with the receptacle for the baptismal bowl is supported by four neo-Romanesque columns and is octagonal. It bears the surrounding inscription: “Wer da | believes | and baptized | becomes, the | will be saved | will | Mark. 16.16 " Lut . There is a tendril ornament on the eighth side.

pulpit

The only slightly raised pulpit to the left of the choir room is, like the lectern on the right, a modern, very simple piece of equipment. The baroque pulpit incorporated into the former altar wall was removed from 1885–1887. Until the renovation in the 1960s, the pulpit stood on four neo-Romanesque columns on the front, free-standing pillar.

Vasa sacra

Chalice, 14./17. Century

In an inventory of the church treasury , which was made after the introduction of the Reformation in 1542, seven goblets and godparents were listed, one of which belonged to the hospital, as well as a goblet housed outside. There was also a gold-plated monstrance . Twenty years later, when the monastery was handed over to a bailiff, an inventory was made again , in which hardly any sacred equipment was listed and which only contained an unspecified goblet. Today there are still two silver goblets and two corresponding godparents that are not on public display in the church.

The older gilded silver chalice is dated to the 14th century due to the style. The 16.4 centimeter high goblet has a flat, simply round base with a diameter of 14 centimeters, a six-sided shaft, a ribbed node and a wide, simple cup with a diameter of 11.7 centimeters. The low vertical edge of the foot is decorated with a row of dots and crosses, the shaft has a surrounding ornament of little crosses above and below. On the top of the foot is the inscription "· CVRT · HANS · HENRICH · VON · VSLER · MARIA · VON · VSLER · ELSABET · SOPHIÆ · VON · VSLER · PIGATA · MAGDALENA · VON · VSLER · SCHONETTE · LISABETH · VON · VSLER” engraved. Due to the names mentioned, the inscription can be dated to the second quarter of the 17th century with high probability, because the Brunswick-Lüneburg Land Commissioner and War Commissioner Curt Hans Heinrich von Uslar married Maria von Uslar in 1627 and had daughters Elisabeth Sophie with her, Beate Magdalena and Schonetta Elisabeth. The latter was already married in 1661, so the inscription was probably placed well before that date. The writing “FB / 1908” from more recent times is scratched under the base of the chalice.

Chalice, end of the 16th century

The matching paten from the second quarter of the 17th century is also made of gold-plated silver and has a diameter of 15.8 centimeters. It bears an inscription on the edge that is identical to that of the chalice with the exception of two letters, plus a disc cross.

The second silver chalice is 18 centimeters high and dates from the end of the 16th century. The base plate and the foot with a diameter of 14 centimeters have the shape of a six-pass , above it a six-sided shaft with a flattened node on the side bears the letters "IHESVS" in a diamond shape and, like the shaft, is decorated with engraved ornaments. The steeply rising small cup has a diameter of ten centimeters. A lying gilded crucifix is ​​placed on one segment of the foot, and Duke Erich's coat of arms, divided into four parts, is engraved on the opposite segment . On the edge next to the crucifix, the inscription "TEMPLO REINHVSANO SACRVM" is engraved, which proves that it belongs to the Reinhausen Church. The segment of the foot bears the initials of the bailiff: "M (ATTHIAS) · S (CHILLING) · A (MT) M (ANN) · Z (V) · R (EIN) H (AVSEN) ·", which is an approximate date made possible: Matthias Schilling took office as the ducal bailiff of Reinhausen in 1578, Duke Erich died in 1584. Since both are named on the chalice, it must have been created during this period.

The corresponding paten made of silver has a diameter of 15.1 centimeters. It has the same engraved inscription "TEMPLO REINHVSANO SACRVM" on the edge of the underside as the chalice and carries a disc cross on the upper side.

organ

View of the organ

Organ console

The current organ of the Christophoruskirche was built in 1967 by Rudolf Janke as a replacement for an older one. The brochure of the manual works has five axes and is flanked by two free-standing pedal towers. The instrument has 16 registers , which are divided into two manuals and pedal . The disposition is as follows:

I Hauptwerk C – g 3 Reed flute 8th' Principal 4 ′ Nasat 2 2 ⁄ 3  ′ Sif flute 2 ′ Mixture III-IV 1 1 ⁄ 3  ′ Trumpet 8th'

II breastwork C – g 3 Dumped 8th' Flute 4 ′ Principal 2 ′ Terzian II 1 3 ⁄ 5  ′ Sharp II – III 1' Tremulant

Pedal C – f 1 Sub bass 16 ′ Principal 8th' octave 4 ′ Rauschpfeife III 2 ′ bassoon 16 ′

• Coupling : II / I, I / P, II / P

The previous instrument of the current organ was moved from Osterode am Harz to Reinhausen in 1841. When the Osteroder Schlosskirche St. Jacobi received a new organ from the master organ builder Johann Andreas Engelhardt , the old organ was given free of charge to the Reinhäuser Christophoruskirche.

Bells

Bell bells of the tower clock in the north tower

For a long time there was only one big bell in the church, which was cast from bronze in Hildesheim in 1890 by the Radler Bell Foundry. In 1948 the company JF Weule from Bockenem produced an hour bell weighing 60 kilograms and a quarter-hour bell weighing 45 kilograms for the church. These smaller bells are chiming bells and hang in the north tower of the church.

The oldest bell in the church was cast in 1585 by a bell caster Rofmann, who is not listed in the relevant lists, but was only hung in the tower of St. Christopher's Church after the Second World War. It originally came from East Prussia in the Mohrungen district and was brought to Hamburg to be melted down during the war. This bell has a height of 60 centimeters, with the crown it is 73.5 centimeters high, the diameter is 84.5 centimeters. It weighs 360 kilograms and bears the circumferential inscription on the shoulder: "DVRCHS · FEVWR · AM · I · FLOWED · WITH GOD · HELP HAS · PASTED ME · ROFMAN · 1585 ·"

use

The Counts of Reinhausen owned their family castle on what is now known as the "Kirchberg" rock above the village, which they converted into a monastery at the end of the 11th century . The former own church on this castle was given the function of a collegiate church.

When the Canons' Monastery was converted into a Benedictine monastery at the beginning of the 12th century , the church became a monastery church. The consecration is dated between 1107 and 1115 and was carried out by Bishop Reinhard von Halberstadt. In addition to being a monastery church, the church also served the population of Reinhausen as a place of worship; the parish rights lay with the monastery.

In the course of the introduction of the Reformation in 1542 by Duchess Elisabeth von Braunschweig-Calenberg-Göttingen, the convent under Abbot Johann Dutken had to convert to the Lutheran creed. The abbot died in 1549. From 1548 to 1553, the monastery and church were re-Catholicized again by Elisabeth's son Erich II as part of the Augsburg interim and an abbot, Peter von Utrecht, was appointed. After the end of the interim in 1553 he refused to accept the new Lutheran teaching, was arrested and expelled from Reinhausen. Jakob Pheffer died as the last monk of the old convent in 1564 in Reinhausen monastery.

In the course of the Reformation, the church was used as a parish church by the Reinhausen parish; the parish was combined with the parish in Diemarden . The pastor's office in Reinhausen was dissolved and the parish as the mother church without its own pastor's office (mater coniuncta) was also looked after by the Diemarden priest. During the Thirty Years' War there was another attempt at recatholicization, but it only lasted from 1629 to 1631. During this time the Lutheran pastor was barred from the church. The residents of Reinhausen were obliged to accept the Catholic holidays and services. Attending the Protestant church service in the neighboring village of Diemarden was also prohibited under threat of punishment and the route there was strictly controlled.

The church building has been owned by the Dukes of Braunschweig-Lüneburg since the Reformation. In 1865, the first and second floors of the church were also used for the seat of the Reinhausen Office , which was housed in the directly adjacent former cloister . The interest crops were stored there and resold from there. In 1956 the church was handed over to the parish due to the regulations of the Loccum Treaty .

The former monastery church now serves as the parish church of the Evangelical Lutheran Church and, together with the church in Diemarden, is looked after from a rectory, which has been in Reinhausen since 1962. Both churches belong to the church district Goettingen in Sprengel Hildesheim-Göttingen the Hanover regional church . The Reinhausen parish has almost 900 parishioners and, in addition to the church, maintains the cemetery to the south and east as well as the local kindergarten. The church of the Catholic parish of St. Michael in Göttingen also serves as a branch office. Until January 2010, Catholic mass was celebrated twice a month in the monastery church, and since then only on four public holidays a year.

The church also serves as a venue and location for church music and (spiritual) concerts. In 2015 the parish founded a concert team that plans and organizes musical events. The church is open daily from 10 a.m. to 6 p.m. for viewing and prayer and is marked as a " reliably open church ". It is located on the Via Scandinavica , one of the Way of St. James in Germany.

For 2014, special services, concerts, lectures, guided tours and other events were scheduled and carried out to celebrate the more than thousand-year history of the church. Because the exact construction date of the church is not known and the written testimonies start later, the millennium celebration of the church refers to a time when the existence of the church can be considered certain based on the existing structural substance.

Pastors

Since the introduction of the Reformation in 1542, the parish has been looked after by Evangelical Lutheran pastors with short interruptions. Many of the pastors who have been appointed to the Christophorus Church since then are known by name.

literature

• Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape IX . Deutscher Kunstverlag, Munich Berlin 1970, p. 9-44 .
• Ulfrid Müller: Reinhausen monastery church (=  major architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971.
• Manfred Hamann : Document book of the Reinhausen monastery . Göttingen-Grubenhagener document book, 3rd section. Hahnsche Buchhandlung, Hannover 1991, ISBN 978-3-7752-5860-9 .
• Tobias Ulbrich: On the history of the Reinhausen monastery church . Reinhausen 1993.
• Peter Aufgebauer : About Reinhausen Castle, Monastery and Church - and German history. In: 1000 years of the church on the Kirchberg in Reinhausen. The millennium book on 1000 years of church, culture and life. Edited by Henning Behrmann u. a., Reinhausen 2015, pp. 18–35.

Web links

Commons : St. Christophorus-Kirche (Reinhausen)  - Collection of images, videos and audio files

• St. Christophorus Reinhausen , website of the parish under “We are evangelical”, accessed on April 13, 2016
• St. Christophorus Reinhausen on the website of the Kirch-Bauverein, accessed on September 18, 2013
• Historical photos of the monastery church and its furnishings on the website www.unser-reinhausen.de by Christian and Karin Schade, accessed on January 24, 2019
• Image index of art and architecture with historical photos of the monastery church and its furnishings, accessed on January 24, 2019

Individual evidence

1. ↑ Topographic map 1: 25,000
2. ↑ ^{a b} Ulfrid Müller: Reinhausen Monastery Church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 2 .
3. ↑ ^{a b c d e f} Peter Ferdinand Lufen: Landkreis Göttingen, part 2. Altkreis Duderstadt with the communities Friedland and Gleichen and the combined communities Gieboldehausen and Radolfshausen (=  Christiane Segers-Glocke [Hrsg.]: Monument topography Federal Republic of Germany . Architectural monuments in Lower Saxony . tape 5.3 ). CW Niemeyer Buchverlage GmbH, Hameln 1997, ISBN 3-8271-8257-3 , p. 280 .
4. ↑ ^{a b} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The current structural stock of the monastery church , S. 13-14 .
5. ↑ ^{a b} online map at navigator.geolife.de, accessed on August 22, 2017
6. ↑ Historical photos of the Kirchberg in Reinhausen, including photos before and after the fire in the office building, on the website www.unser-reinhausen.de by Christian and Karin Schade, accessed on March 27, 2020
7. ↑ It is included in the exhibition of archaeological finds in the church and labeled accordingly.
8. ↑ ^{a b c} Klaus Grote: Castles. Investigations and findings in the mountainous region of southern Lower Saxony. 5th section: Reinhausen, Gde. Gleichen, Ldkr. Göttingen: early to high medieval count castle. In: www.grote-archaeologie.de. Klaus Grote, accessed December 30, 2018 . 
9. ↑ ^{a b} Entry by Stefan Eismann zu Reinhausen in the scientific database " EBIDAT " of the European Castle Institute, accessed on January 1, 2019.
10. ↑ Klaus Grote: Excavations and larger site works by the district monument maintenance of the district of Göttingen in 1989 . Chapter 2: Reinhausen: Kirchberg (early to high medieval castle wall). In: Göttinger Jahrbuch 38 (1990), pp. 261-264. ISBN 3-88452-368-6
11. ↑ ^{a b c} Tobias Ulbrich: On the history of the monastery church Reinhausen . Ed .: Ev.-luth. Reinhausen parish, parish council. Reinhausen 1993, chap. 3.1.7 The founding history of the Reinhausen monastery - The founding of the monastery - The genealogy of the Counts of Reinhausen , p. 50-54 .
12. ↑ ^{a b c d} Ulfrid Müller: Reinhausen monastery church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 3 .
13. ↑ ^{a b} Peter Aufgebauer (Ed.): Burgenforschung in Südniedersachsen , book publisher Göttinger Tageblatt, Göttingen 2001, ISBN 3-924781-42-7 . Chapter 2: Wolfgang Petke: Reinhausen Foundation and Reform and the Castle Policy of the Counts of Winzenburg in High Medieval Saxony , pp. 65–71.
14. ↑ Tour through the church on the website of the Kirch-Bauverein Reinhausen, accessed on February 2, 2019
15. ↑ ^{a b} Klaus Grote: The medieval systems in Reinhausen . In: Guide to archaeological monuments in Germany , Volume 17: Stadt und Landkreis Göttingen , Konrad Theiss Verlag, Stuttgart 1988, ISBN 3-8062-0544-2 , pp. 212-214
16. ↑ ^{a b c d e f g} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The building eras of the monastery church , section building period II , p. 35-38 .
17. ↑ ^{a b c d e f} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The construction epochs of the monastery church , section construction period I , p. 30-34 .
18. ↑ ^{a b c d e} Tobias Ulbrich: On the history of the monastery church Reinhausen . Ed .: Ev.-luth. Reinhausen parish, parish council. Reinhausen 1993, chap. 1.1 The building history of the former monastery church - the original church building (until 1156) , p. 2-8 .
19. ^ Klaus Grote : Churches and monasteries . Archaeological and architectural studies on medieval churches and monasteries in southern Lower Saxony. (Penultimate paragraph: Benedictine monastery and monastery church of St. Christophorus). Retrieved December 20, 2013
20. ^ Manfred Hamann: Document book of the Reinhausen monastery . Göttingen-Grubenhagener document book, 3rd section. Hahnsche Buchhandlung, Hannover 1991, ISBN 978-3-7752-5860-9 , No. 11, p. 34-37 .
21. ↑ ^{a b c d} Peter Aufgebauer (Ed.): Burgenforschung in Südniedersachsen , book publisher Göttinger Tageblatt, Göttingen 2001, ISBN 3-924781-42-7 . Chapter 2: Wolfgang Petke: Foundation and reform of Reinhausen and the castle policy of the Counts of Winzenburg in high medieval Saxony , pp. 71–74.
22. ↑ ^{a b c} Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 to the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1291
23. ↑ The history of the Lippoldsberg monastery church. 12. The construction of the monastery church. In: Lippoldsberg Monastery Church. Retrieved March 17, 2019 . 
24. ↑ ^{a b c d e f g h i j} Peter Ferdinand Lufen: District of Göttingen, part 2. Altkreis Duderstadt with the communities Friedland and Gleichen and the combined communities Gieboldehausen and Radolfshausen (= Christiane Segers-Glocke [Hrsg.]: Monument topography Federal Republic of Germany. Architectural monuments in Lower Saxony . Volume 5.3 ). CW Niemeyer Buchverlage GmbH, Hameln 1997, ISBN 3-8271-8257-3 , p. 277 .
25. ↑ ^{a b c} Tobias Ulbrich: On the history of the monastery church Reinhausen . Ed .: Ev.-luth. Reinhausen parish, parish council. Reinhausen 1993, chap. 1.2 The building history of the former monastery church - the second building period (1156– approx. 1290) , p. 8-12 .
26. ↑ ^{a b c d e f} Ulfrid Müller: Reinhausen monastery church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 4 .
27. ↑ ^{a b c d e f g} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The building eras of the monastery church , section building period III A , p. 38-40 .
28. ↑ ^{a b c d e f g h i j k l m n o p q r s t u v w} Peter Ferdinand Lufen: Landkreis Göttingen, part 2. Altkreis Duderstadt with the communities Friedland and Gleichen and the integrated communities Gieboldehausen and Radolfshausen (= Christiane Segers-Glocke [Ed.]: Monument topography of the Federal Republic of Germany. Architectural monuments in Lower Saxony . Volume 5.3 ). CW Niemeyer Buchverlage GmbH, Hameln 1997, ISBN 3-8271-8257-3 , p. 279 .
29. ↑ ^{a b c d e} Tobias Ulbrich: On the history of the monastery church Reinhausen . Ed .: Ev.-luth. Reinhausen parish, parish council. Reinhausen 1993, chap. 1.3 The building history of the former monastery church - the third building period (1290–1400) , p. 12-16 .
30. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Low German Contributions to Art History , Volume 9, Ed .: Harald Seiler, Deutscher Kunstverlag Munich Berlin 1970, p. 12, p. 38 and footnote 69, p. 44
31. ^ Franciscus Lubecus: Göttinger Annalen from the beginning to the year 1588 . Edited by Reinhard Vogelsang. Ed .: Stadt Göttingen (=  sources on the history of the city of Göttingen . Volume 1 ). Wallstein Verlag, Göttingen 1994, ISBN 3-89244-088-3 , p. 99-100 . See also footnote 5 , there and Tobias Ulbrich: On the history of the monastery church Reinhausen , pp. 15–16 and footnote 45
32. ↑ ^{a b c d e f g} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The present structure of the monastery church , section east side , p. 20-21 .
33. ↑ ^{a b c d} Sabine Wehking : DI 66, No. 130 in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0013004 , accessed on June 18, 2015
34. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The building history of the monastery church in its previous traditions and The building eras of the monastery church as well as footnotes 15 and 17, p. 11, 40 and 43 .
35. ↑ According to recent research by Sabine Wehking : DI 66, No. 130 in: www.inschriften.net (German inscriptions online), urn: nbn: de: 0238-di066g012k0013004 , accessed on June 18, 2015. According to Ulfrid Müller 1971 and Tobias Ulbrich 1993 could be read dominus matthias 1322 and frater remigius prior .
36. ↑ Thomas Küntzel: Gothic tracery tiles in southern Lower Saxony. Your historical background and thoughts on production. In: Geschichtsverein für Göttingen und Umgebung eV (Ed.): Göttinger Jahrbuch , Volume 43, Göttingen 1995, pp. 19–40, here p. 28.
37. ↑ Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 until the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1296
38. ↑ ^{a b c d} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The building history of the monastery church in its previous traditions , p. 9-13 .
39. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The building eras of the monastery church , section building period III B , p. 40 .
40. ↑ Sabine Wehking : DI 66, No. 131 in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0013101 , accessed on April 13, 2016
41. ↑ ^{a b c d e f g h i j} Hector Wilhelm Heinrich Mithoff : Art monuments and antiquities in Hanover . Volume 2: Principalities of Göttingen and Grubenhagen along with the Hanoverian part of the Harz Mountains and the county of Hohnstein . In: Contributions to the history, regional and folklore of Lower Saxony and Bremen. Series A: Reprints , Volume 2. Verlag Harro v. Hirschheydt, Hannover-Döhren 1974. ISBN 3-7777-0813-5 . Original: Helwingsche Hofbuchhandlung, Hanover 1873. Pages 180–182
42. ^ ^{A b} Manfred Hamann: Document book of the Reinhausen monastery . Göttingen-Grubenhagener document book, 3rd section. Hahnsche Buchhandlung, Hannover 1991, ISBN 978-3-7752-5860-9 , p. 14-15 .
43. ^ ^{A b} Manfred Hamann: Document book of the Reinhausen monastery (=  publications of the historical commission for Lower Saxony and Bremen, XXXVII: Sources and studies on the history of Lower Saxony in the Middle Ages . Volume 14 ). Hahnsche Buchhandlung, Hanover 1991, ISBN 3-7752-5860-4 , 468 (Göttingen-Grubenhagener Urkundenbuch; Section 3).
44. ↑ ^{a b} Peter Aufgebauer : From castle, monastery and church Reinhausen - and from German history. In: 1000 years of the church on the Kirchberg in Reinhausen. The millennium book on 1000 years of church, culture and life. Edited by Henning Behrmann u. a., Reinhausen 2015, p. 33.
45. ↑ ^{a b c} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The construction epochs of the monastery church , section construction period IV , p. 40-41 .
46. ^ Hector Wilhelm Heinrich Mithoff : Lutheran and Reformed Churches and Chapels in the Principality of Göttingen . In: Journal of the historical association for Lower Saxony , year 1861, p. 411. Here quoted after Ulfrid Müller: The monastery church in Reinhausen . In: Low German Contributions to Art History , Volume 9, Ed .: Harald Seiler, Deutscher Kunstverlag Munich Berlin 1970, p. 41
47. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Low German Contributions to Art History , Volume 9, Ed .: Harald Seiler, Deutscher Kunstverlag Munich Berlin 1970, p. 41. However, here Ulfrid Müller writes “Saalkirche” instead of “Hallenkirche”.
48. ↑ ^{a b c d e f g h i} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The current structure of the monastery church , interior section , p. 23-26 .
49. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, note 1, p. 42 .
50. ↑ Tobias Ulbrich: On the history of the monastery church Reinhausen . Ed .: Ev.-luth. Reinhausen parish, parish council. Reinhausen 1993, chap. 1.5 The building history of the former monastery church - the fifth construction period (18th century) , p. 18-20 .
51. ↑ Kirch-Bauverein St. Christophorus Reinhausen e. V. Kirch-Bauverein St. Christophorus Reinhausen e. V., accessed December 20, 2013 . 
52. ^ Association in Reinhausen takes care of the Christopherus Church. Evangelical-Lutheran District Hildesheim-Göttingen, accessed on May 16, 2012 . 
53. ↑ ^{a b} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The current structure of the monastery church , section west side , p. 14-16 .
54. ↑ Ulfrid Müller: Reinhausen Monastery Church (=  large monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 5 .
55. ↑ ^{a b c d} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The present structure of the monastery church , section north side , p. 21-23 .
56. ↑ ^{a b c d} Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (ed.): Low German contributions to art history . tape 9 . Deutscher Kunstverlag GmbH, Munich Berlin 1970, chap. The present structure of the monastery church , section south side , p. 16-20 .
57. ↑ ^{a b} Ulfrid Müller: Reinhausen Monastery Church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 6 .
58. ↑ ^{a b c d e f g h i} Sabine Wehking : DI 66, No. 49 in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0004905 , accessed on November 16, 2013
59. ↑ ^{a b c} Jacobus de Voragine: Legenda Aurea: Article Legenda aurea - Sanct Christophorus , from the Ecumenical Lexicon of Saints , accessed on January 31, 2019
60. ↑ ^{a b c} Ulfrid Müller: Reinhausen monastery church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 7 .
61. ↑ ^{a b c d e f g h} Sabine Wehking, DI 66, No. 82 in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0008203 , accessed on January 21, 2017
62. ^ ^{A b c d e} Antje Middeldorf Kosegarten : The Marienretabel from St. Martini in Göttingen-Geismar . In: Thomas Noll , Carsten-Peter Warncke (Ed.): Art and piety in Göttingen. The altarpieces of the late Middle Ages . Deutscher Kunstverlag, Berlin Munich 2012, ISBN 978-3-422-07089-9 , p. 151-152 .
63. ↑ Manfred Hamann: Document book of the Reinhausen monastery (=  publications of the historical commission for Lower Saxony and Bremen, XXXVII: Sources and studies on the history of Lower Saxony in the Middle Ages . Volume 14 ). Hahnsche Buchhandlung, Hannover 1991, ISBN 3-7752-5860-4 , p. 301 (Göttingen-Grubenhagener deed book; Section 3).
64. ↑ ^{a b c d e f g h i j k} Hans Georg Gmelin: Late Gothic panel painting in Lower Saxony and Bremen (= Harald Seiler [Hrsg.]: Publications of the Lower Saxony State Gallery Hanover ). Deutscher Kunstverlag, Munich / Berlin 1974, ISBN 3-422-00665-6 , Master of the Reinhausen Apostles, 1498, p. 534-537 .
65. ↑ ^{a b c d e f g h} Tobias Ulbrich: On the history of the monastery church Reinhausen . Reinhausen 1993, chap. 2 The furnishings of the monastery church , p. 21-29 .
66. ↑ ^{a b c d e} Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 until the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1297
67. ↑ ^{a b c d e f g} Sebastian Heim: The late Gothic altars in St. Christophorus Reinhausen . In: 1000 years of the church on the Kirchberg in Reinhausen. The Millennium Book on 1000 Years of Church, Culture and Life , published by the planning group P14, 2015, pp. 40–53
68. ↑ ^{a b} Ulfrid Müller: Reinhausen Monastery Church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 9 .
69. ↑ Wolfgang Eckhardt: A Magdalene figure and other works by the Göttingen carver Bartold Kastrop . In: Jahrbuch der Hamburger Kunstsammlungen 25, Hamburg 1980, p. 30. Quoted from Antje Middeldorf Kosegarten: The Marienretabel from St. Martini in Göttingen-Geismar . In: Thomas Noll, Carsten-Peter Warncke (Ed.): Art and piety in Göttingen. The altarpieces of the late Middle Ages . Deutscher Kunstverlag, Berlin Munich 2012, ISBN 978-3-422-07089-9 . Notes 75 and 5, pp. 160 and 156.
70. ↑ See photos of the altar, especially the middle part and the predella
71. ↑ "Anno Domini 1498 pictum est hec tabella" - The late Gothic altars in the St. Christophorus Church . Lecture by Sebastian Heim on May 15, 2014 in the St. Christophorus Church. In Ulfrid Müller: Klosterkirche Reinhausen , p. 9, a general dependency “on the copper engravings by Martin Schongauer” is indicated for the inside of the wings. (Schongauer's template for the depiction of the Adoration of the Magi)
72. ↑ So for the representation of Bartholomäus (template by Martin Schongauer) after "Anno Domini 1498 pictum est hec tabella" - The late Gothic altars in the St. Christophorus Church . Lecture by Sebastian Heim on May 15, 2014 in the St. Christophorus Church.
73. ↑ So with Hans Georg Gmelin: Late Gothic panel painting in Lower Saxony and Bremen . Munich / Berlin 1974, p. 357
74. ↑ ^{a b} Heinrich Lücke: Monasteries in the district of Göttingen. Neustadt / Aisch 1961, p. 23
75. ↑ Ulfrid Müller: Reinhausen Monastery Church (=  large monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 16 .
76. ^ High altar, predella with alliance coat of arms , photo with picture description of the Institute for Monument Preservation in Lower Saxony, today State Office for Monument Preservation, in the picture index of art and architecture German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on January 22, 2017
77. ↑ ^{a b} Photo of the altar, left half and right half in the picture index of art and architecture. German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on January 21, 2017
78. ↑ Heinrich Lücke: On the banks of the garden . History and literature from the southeast corner of the Göttingen region . Aloys Mecke Druck und Verlag, Duderstadt 1927, new edition 1989, pp. 185–192
79. ↑ ^{a b} Ulfrid Müller: Reinhausen Monastery Church (=  large architectural monuments . No. 257 ). Deutscher Kunstverlag, Munich Berlin 1971, p. 8 .
80. ↑ ^{a b} Sabine Wehking, DI 66, Landkreis Göttingen, No. 114 in: www.inschriften.net (German inscriptions online), urn: nbn: de: 0238-di066g012k0011400 . Retrieved June 18, 2015
81. ↑ So read on the base ( photo of the right side of the base ). According to Sabine Wehking, DI 66, Göttingen district, no. 114 in: www.inschriften.net (German inscriptions online), urn: nbn: de: 0238-di066g012k0011400 , accessed on June 18, 2015, the last word is "SEVEN" .
82. ↑ This reading is based on photos of the altar: photo with inscriptions "IHESVS" and "M" , photo with inscription "CRISTVS" , photo with inscription "MARIE" , photo with inscription "SANCTVS" , photo with inscription "OCVS" , photo with Inscription "FA" (on the fold of the robe ) and photo with inscription "MANG" . According to Sabine Wehking, DI 66, Göttingen district, no. 114 in: www.inschriften.net (German inscriptions online), urn: nbn: de: 0238-di066g012k0011400 , accessed on January 15, 2016, the inscriptions on the hem of the garment read: " · SANCTVS · // · CRISTVS · MARIE // IHE · SVS // · M // MANG "
83. ^ ^{A b c d e f} Hans Georg Gmelin: Late Gothic panel painting in Lower Saxony and Bremen (= Harald Seiler [Hrsg.]: Publications of the Lower Saxony State Gallery Hanover ). Deutscher Kunstverlag, Munich / Berlin 1974, ISBN 3-422-00665-6 , Hans Raphon, 1507, p. 560-562 .
84. ↑ Tobias Ulbrich: On the history of the monastery church Reinhausen . Reinhausen 1993, p. 27-28 .
85. ↑ Hedwig Röckelein : The Jacobus page of the Göttingen retable. Cult and Iconography Jacobus d. Ä. and the history of the origins of the altarpiece . In: Bernd Carqué, Hedwig Röckelein (ed.): The high altar retable of the St. Jacobi Church in Göttingen (=  studies on Germania Sacra ). tape 27 . Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen 2005, ISBN 3-525-36284-6 , p. 179 (footnote 9).
86. ↑ "Anno Domini 1498 pictum est hec tabella" - The late Gothic altars in the St. Christophorus Church . Lecture by Sebastian Heim on May 15, 2014 in the St. Christophorus Church.
87. ↑ Harald Busch : Master Wolter and his circle. Part: 1. Church wood sculpture and painting of the 16th century in Hildesheim before the introduction of the Reformation (1542): (With an excursus about Hans Raphon and the painting of southern Lower Saxony of his time). Strasbourg: JH Ed. Heitz 1931 (Studies on German Art History; H. 288 [rather] 286), p. 185; quoted here after Karin Hahn: The work of the Lower Saxon painter Hans Raphon, especially the altar of the Pauline monastery in Göttingen that was found again in the Národní Gallery in Prague . In: History Association for Göttingen and Environment eV (Hrsg.): Göttinger yearbook . tape 13 . Heinz-Reise-Verlag, Göttingen 1965, p. 62 .
88. ^ Karl Arndt: The retable of the Göttingen Paulinerkirche, painted by Hans Raphon . In: Thomas Noll, Carsten-Peter Warncke (Ed.): Art and piety in Göttingen. The altarpieces of the late Middle Ages . Deutscher Kunstverlag, Berlin Munich 2012, ISBN 978-3-422-07089-9 , p. 196 .
89. ↑ Götz J. Pfeiffer: The crucifixion retable from 1506 from the St. Juergens Chapel including an appendix of the works of Hans Raphon and his workshop . In: Thomas Noll, Carsten-Peter Warncke (Ed.): Art and piety in Göttingen. The altarpieces of the late Middle Ages . Deutscher Kunstverlag, Berlin Munich 2012, ISBN 978-3-422-07089-9 , p. 234 .
90. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (Ed.): Low German Contributions to Art History , Volume 9, Deutscher Kunstverlag Munich Berlin 1970, p. 27 and photo p. 31.
91. ↑ ^{a b} View of the altar , photo around 1950 from the L. Petersen collection, published on www.unser-reinhausen.de by Christian Schade, accessed on July 17, 2018.
92. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Harald Seiler (Ed.): Low German Contributions to Art History , Volume 9, Deutscher Kunstverlag Munich Berlin 1970, p. 27
93. ^ Gleichen-Reinhausen, former collegiate church St. Christophorus, four epitaphs: E.Chr. Wulff von Gudenberg † 1569 (below left) Cast Iron, Melchior von Uslar, † 1574 (below right) Grußeisen, Chr. Humber (?), † 1762 (above left) and Maria MAF von Busch, † 1735 (Photo taken before 1945). German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on July 2, 2014 .  - In the note there on the photo, which is not easy to read everywhere, the name and year are given incorrectly (the correct year of death is also calculated from the year of birth and age of death); see. on this Hanoverian advertisements ... of October 13, 1752, IV. Vacanzen , as well as Dagmar Kleineke: The parish chronicle of the parish Obernjesa-Dramfeld , Göttingen 2016, p. 62.
94. ↑ Compare partially recognizable remains of the inscription on the photo of the grave slab .
95. ^ Klaus Kürschner: A contribution to the history of the Reinhauser forest . Göttingen 1976 (dissertation), Appendix pp. 1-6. Given here according to Wolfgang Lustig: Reinhausen through the centuries . Göttingen 1991, Appendix: Amtmänner and Drosten 1542–1885 .
96. ^ View from the gallery , photo from the 1950s from the Wolfgang Bachmann collection, published on www.unser-reinhausen.de by Christian Schade, accessed on February 6, 2019.
97. ↑ Manfred Hamann: Document book of the Reinhausen monastery (=  publications of the historical commission for Lower Saxony and Bremen, XXXVII: Sources and studies on the history of Lower Saxony in the Middle Ages . Volume 14 ). Hahnsche Buchhandlung, Hanover 1991, ISBN 3-7752-5860-4 , 464 (Göttingen-Grubenhagener Urkundenbuch; Section 3).
98. ↑ DI 66, Landkreis Göttingen, No. 146 † (Sabine Wehking) in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0014602 , accessed on February 21, 2017
99. ↑ DI 66, Landkreis Göttingen, No. 405 (Sabine Wehking) in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0040506 , accessed on February 15, 2017
100. ↑ DI 66, Landkreis Göttingen, No. 406 (Sabine Wehking) in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0040603 , accessed on February 15, 2017
101. ↑ DI 66, Landkreis Göttingen, No. 204 (Sabine Wehking) in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0020409 , accessed on February 15, 2017
102. ↑ DI 66, Landkreis Göttingen, No. 205 (Sabine Wehking) in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0020506 , accessed on February 15, 2017
103. ^ Organ in Reinhausen , accessed on July 29, 2020.
104. ↑ ^{a b c d e f} Heinrich Lücke: Monasteries in the district of Göttingen. Neustadt / Aisch 1961, p. 26.
105. ↑ Church music at St. Jacobi Castle Church in Osterode am Harz. In: www.kirchenmusik-suedwestharz.de. District Cantor Jörg Ehrenfeuchter, accessed on July 29, 2020 . 
106. ↑ ^{a b c} Sabine Wehking, DI 66, Landkreis Göttingen, No. 206 in: www.inschriften.net (Deutsche Insschriften online), urn: nbn: de: 0238-di066g012k0020603 , accessed on June 28, 2014
107. ↑ ^{a b} Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 to the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1293
108. ↑ Manfred Hamann: Document book of the Reinhausen monastery (=  publications of the historical commission for Lower Saxony and Bremen, XXXVII: Sources and studies on the history of Lower Saxony in the Middle Ages . Volume 14 ). Hahnsche Buchhandlung, Hannover 1991, ISBN 3-7752-5860-4 , foreword (Göttingen-Grubenhagener Urkundenbuch; Section 3).
109. ↑ Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 until the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1290
110. ↑ ^{a b} Hildegard Krösche: Reinhausen - Kollegiatstift, then Benedictine (before 1086 to the 2nd half of the 16th century). Josef Dolle (Ed.): Lower Saxony monastery book. Directory of the monasteries, monasteries, comers and beguinages in Lower Saxony and Bremen from the beginnings to 1810, Part 3: Marienthal to Zeven (= publications of the Institute for Historical Research at the University of Göttingen, Volume 56.3). Publishing house for regional history, Bielefeld 2012, ISSN  0436-1229 , ISBN 978-3-89534-959-1 , p. 1292
111. ↑ ^{a b c} Klaus Kürschner: A contribution to the history of the Reinhauser forest . Dissertation to obtain the doctoral degree of the forestry faculty of the Georg-August-Universität zu Göttingen. Göttingen 1976, 3.14 Reformation and Counter-Reformation, p. 34-36 .
112. ^ Klaus Kürschner: A contribution to the history of the Reinhauser forest . Dissertation to obtain the doctoral degree of the forestry faculty of the Georg-August-Universität zu Göttingen. Göttingen 1976, 3.4 History of the office building, p. 52 .
113. ↑ Ulfrid Müller: The monastery church in Reinhausen . In: Low German Contributions to Art History , Volume 9, Ed .: Harald Seiler, Deutscher Kunstverlag Munich Berlin 1970, p. 12 and footnote 29, p. 43
114. ^ Göttingen church district - parishes. In: We are Protestant: Ev.-luth. Church district of Göttingen. Ev.-luth. Regional Church of Hanover, accessed on October 30, 2017 . 
115. ^ The church districts of the Hildesheim-Göttingen district. Evangelical Lutheran Church of Hanover, accessed on May 24, 2014 . 
116. ↑ ^{a b} Ev.-luth. Church parish Christophorus, Reinhausen on the website of Ev .-- luth. Church district of Göttingen. ( Memento from May 17, 2014 in the Internet Archive )
117. ↑ Göttinger Tageblatt of January 9, 2010
118. ^ For the time being, last Sunday mass in Reinhausen ( Memento from November 13, 2016 in the Internet Archive )
119. ↑ The concert team. In: We are Protestant: St. Christophorus Reinhausen. Evangelisches MedienServiceZentrum (EMSZ) of the Evangelical Lutheran Church of Hanover, accessed on April 13, 2016 . 
120. ^ Frank Gessler: Welcome to the Evangelical Lutheran St. Christophorus Congregation in Reinhausen. In: We are Protestant. Ev.-luth. Regional Church of Hanover, accessed on August 12, 2016 . 
121. ↑ Map open churches, south area. In: www.kirchliche-dienste.de. House of Church Services, accessed October 30, 2017 . 
122. ↑ Pilgrimage. From Göttingen to Creuzburg in 5 stages. (PDF) Jakobus-Pilgergemeinschaft Göttingen eV, October 22, 2014, p. 4 , accessed on January 19, 2019 . 
123. ↑ 1000 years of the church on Kirchberg Reinhausen - Our appointments ( memento of December 24, 2013 in the Internet Archive ), archived website, accessed on December 15, 2014
124. ↑ 1000 years of the church on Kirchberg Reinhausen , accessed on December 20, 2013
125. ↑ List of pastors , notice in the context of the exhibition for the 1000th anniversary in the church
126. ↑ Church in the village , community letter of the Evangelical Lutheran. Parishes of Diemarden and Reinhausen, September – November 2014, p. 5. Accessed June 17, 2015 (PDF)

This article was added to the list of excellent articles in this version on April 7, 2019 .

Coordinates: 51 ° 28 ′ 3.6 ″  N , 9 ° 59 ′ 0.4 ″  E