St. Josef (Saarbruecken)

Tower of Malstatter Josefskirche from St.-Josef-Straße

Side view of the Josefskirche from Kirchbergweg on the historic Malstatt

Side view of the parish church St. Josef from the line of sight of Lebacher Straße from the upper Malstatt with overhead line masts of the Saarbahn

Saint Joseph with the baby Jesus, stele in front of the church

The Church of St. Josef is a Catholic parish church in Malstatt , a district of the Saarland capital Saarbrücken . Saint Joseph is the church patron . Patronage day is the ecclesiastical solemnity of the commemoration day of St. Joseph of Nazareth on March 19th . In the list of monuments of the Saarland, the church , which was built in the neo-early Gothic style , with the associated rectory is listed as an individual monument. Together with the St. Johanner Michaelskirche , the St. Ingberter Josefskirche and the Dillinger Saardom, the Malstatter Josefskirche belongs to the group of the largest sacred buildings in the Saarland . Since the heavy bombing raid on Saarbrücken on October 4, 1944, in which the Malstatter sacred building was badly damaged, the church has lacked the originally high spire of what was then the highest church tower in Saarland. The Josefskirche has been part of the Saarbrücken-Malstatt parish community in the diocese of Trier since September 1st, 2011, together with St. Marien in Rußhütte and St. Albert on the Malstatter Rodenhof .

prehistory

St. Josef (Saarbrücken), portal view of the tower facade

St. Josef (Saarbrücken), procession with Bishop Michael Felix Korum to the church on the day of the consecration on May 10, 1911

middle Ages

Benedictine convent of St. Peter, Metz - owner of the Malstatter church patronage

Malstatt was mentioned for the first time in 960 in a document issued by King Otto I in Cologne with regard to his village church (Ecclesia de Mathalstatt) , which is owned by the Metz Benedictine monastery of Saint Peter on the citadel / St. Peter to the nuns . The Malstatter village church, however, was in the area of the Trier dean's office in Merzig . In a certificate from Otto II from 977, Dudweiler is named as a branch chapel of Malstatt.

The Malstatter pastor was appointed alternately between the Metz Monastery of St. Peters and the Counts of Saarbrücken , who, however, completely bought up the patronage and the tithe in 1561 . This gave the Saarbrücken counts the sole right to occupy the parish. From a church perspective, Malstatt remained the southernmost tip of the Archdiocese of Trier until the Reformation and was surrounded on three sides by the diocese of Metz . Unlike the neighboring communities, Malstatt never became dependent on the Sankt Arnual Abbey . The sale of the rights of patronage Malstatts by Metzer monastery to the House of Nassau-Saarbrücken is related to the occupation of the Three Bishoprics (German: Three dioceses'), the bishoprics (bishoprics) Metz , Toul and Verdun in the ecclesiastical province of Trier in In 1552 by France under its King Henry II. The old Metz Peterskloster was profaned .

Reformation and Thirty Years War

In the course of the Nassau Reformation in 1575, the village population of Malstatt had to due to the order of Count Philip III. from Nassau-Saarbrücken compulsorily switch to the Protestant-Lutheran creed. The old Malstatter church was destroyed in the Thirty Years War. As a result of the chaos of war, Malstatt was so weakened that the place had to be taken over by the parish of Dudweiler in the years 1673–1679 and then by St. Johann . The old Malstatt branch in Gersweiler was looked after by high school principals. It was not until 1738 that Malstatt became independent again and was given responsibility for the surrounding villages of Burbach, Rußhütte, Großwald, Luisenthal, Neudorf, the Rastpfuhl and the old Gersweiler branch with Ottenhausen, Klarenthal and Krughütte. At that time, Malstatt had a church that was also used by the Burbach residents. Most of the residents were of the Lutheran denomination at that time , few were Catholic (assigned to the Catholic parish of St. Johann ) and only one resident belonged to the Reformed denomination (assigned to the Reformed parish Saarbrücken ). Gersweiler ( Aschbachkirche ) was a Lutheran branch of the Evangelical Lutheran Malstatter parish. The pastor of the parish of St. Johann, who was responsible for the few Malstatter Catholics, was occupied by the Bishop of Metz and paid by the King of France since the reunions . The small Catholic parish of Malstatt had been a branch of St. Johann since 1680 and thus belonged to the diocese of Metz. In the summer of 1793, French revolutionary troops burned the inventory of the Malstatter church. In 1802, St. Johann came to the diocese of Trier with its largest branch, Malstatt.

Prussian takeover and re-Catholicization through industrialization

Malstatt, town center at the end of the 19th century looking towards the market and the Protestant church (Saarbrücken city archive)

In the First Peace of Paris in 1814, Malstatt and Burbach remained under King Louis XVIII. French. When the Bavarian troops stormed St. Johann on June 23, 1815, Malstatt and Burbach were completely plundered. The damage caused by the Bavarian troops was paid for in 1820 by French war indemnities, which were used to renovate the Malstatter church. In the Second Peace of Paris , Malstatt came with the other places of the Saar Valley from France to the Kingdom of Prussia ( Rhine Province ). Until the middle of the 19th century, Malstatt was still predominantly Protestant-Lutheran.

With the beginning of industrialization (mining and iron and steel industry) in the second half of the 19th century, an enormous immigration of workers from the Eifel , the Hunsrück and Lorraine began, so that by the end of the 19th century in Malstatt no longer Protestantism, rather, Catholicism was the majority denomination. In 1867, only 1158 Catholics lived in Malstatt (with Rußhütte: 1558 Catholics) who belonged to the parish of St. Johann . By 1885 the number had already risen to 5,480, and due to the industrial development more and more people immigrated, so that a vicariate was created, whose first vicar , Matthias Metzdorf, came to Malstatt on October 28, 1887. Two small, interconnecting rooms on Grosse Schulstrasse were available for holding the service . On January 6, 1886, a Catholic church building association was founded in Malstatt. On August 18, 1888, the vicarie was converted into a parish based in Malstatt. Vicar Metzdorf was appointed the first pastor . The previous church service room in Grosse Schulstrasse had become much too small in the meantime, so that in the spring of 1888 work began on building an emergency church (today's Dechant-Metzdorf-Haus) in Kleine Schulstrasse, into which one could move on December 2, 1888. A Catholic clubhouse was built in 1891 for the three religious brotherhoods, the three charitable associations and the four social associations of the parish. In addition, in 1893 nurses from the Marienhof- Koblenz motherhouse were appointed to Malstatt to take care of the sick , for whom a nurses' house with a kindergarten and sewing school was built in 1899. The establishment of the Sisters of the Holy Spirit had to be abandoned in 1974. In 1905 there were already 14,845 Catholics living in Malstatt, in 1908 there were around 16,000.

construction

In 1898 the number of Catholics in Malstatt had already exceeded 10,000, and so the places in the emergency church were no longer sufficient. The planning of a large church building began, for which the old cemetery on Friedrichstrasse (today St.-Josef-Strasse) could be acquired as a building site . With the first groundbreaking on September 7, 1908, the construction project began according to plans by the architect Johann Adam Rüppel ( Bonn ). The church was completed in just two years and consecrated on September 11, 1910. Michael Felix Korum, then Bishop of Trier , undertook the solemn consecration of the church on May 10, 1911.

Until the end of the Second World War

During the First World War in 1917 the bells of the first church bells (matched to the tones b, des, es, f and gb; manufactured in a Colmar bell foundry ) were melted down for armament purposes. In 1922, the interior of the church was completely painted by the Düsseldorf church painter Josef Held. In 1923/24 the church received its first organ.

During the first major air raid on Saarbrücken on July 30, 1942, during the Second World War , the church was damaged by high explosive bombs , with windows, roofs and doors being broken. Since the necessary repair material was obtained, the church could be made usable again. Further air raids took place in 1943 and 1944, which severely damaged the church building and made it unusable by breaking the emergency glazing, destroying parts of the roof and severely damaging the vaults . The extended chapel of the Caritashaus in Kleine Schulstrasse acted as an emergency church for the community .

During the major attack on Saarbrücken on October 4, 1944, the church was finally destroyed. Incendiary bombs ignited the helmet of the church tower , which fell on the rear roof and penetrated the vault. A non-extinguishable fire was kindled in the framework, in which u. a. the organ burned up and the bell that was still in the tower fell and shattered.

post war period

After the war, the former kindergarten at the nurses' house on Kleine Schulstrasse served as a church service room, but it turned out to be much too small. As a result, two wooden barracks were acquired from the Röchling company, which should be used to build an emergency church. The city of Saarbrücken provided the site at the corner of Lebacherstrasse and Deutsche Strasse (today Rheinstrasse) as a building site. On December 23, 1945, the new barrack church was consecrated and placed under the protection of St. Paul. At the beginning of 1946, the reconstruction work on the church was resumed, after first taking care of the construction of the emergency church. The reconstruction should follow in three construction phases.

First, from autumn 1946 to late 1947, the roof over the front part of the church, where the vault was preserved, was renewed. The plastered surfaces of the interior were painted white and a partition wall to the destroyed part of the church was built. The paintings by the Düsseldorf church painter Josef Held from 1922 were lost. The choir was redesigned by moving the altar forward. On September 19, 1948, Auxiliary Bishop Metzroth consecrated the new altar and thus consecrated the new worship room.

The second construction phase, and with it the further construction, made slow progress due to the tight financial situation. In 1953, the reconstruction of the rear part of the church could begin, which was carried out according to plans by the architect Fritz Thoma ( Trier ). After the roof had been renewed and the remains of the old organ gallery had been removed, a new, larger gallery with two wide staircases was built. The room below was separated from the destroyed central part of the church by a wall made of glass blocks and converted into a weekday chapel for church services with small communities.

In the third construction phase, the central part of the church was also restored by renewing or repairing the roof and vaults and covering the floor with stone slabs. The choir was completely redesigned again, in such a way that the choir windows were pulled down and glazed again. An altar, ambo , pulpit and a four-part communion bench made of black marble were newly acquired. Donations made it possible for the Trier goldsmith Hans Alofs (1927–2019) to purchase a new silver tabernacle with stones, which found its place on the new altar table. In the spring of 1954, the work was completed and on March 7th of the same year the weekday chapel was inaugurated. After the partition wall had been removed, the church could be handed over to its purpose on Palm Sunday 1954. During the reconstruction work, the steeple did not get its high pointed helmet back.

After 1954

In the years 1954 to 1961 further construction work followed. Thus, the partially damaged or become unsightly old were gradually pews replaced. The side altars were replaced by two black metal reliefs . In 1955, a small gallery was built for the new organ in the right aisle . A way of the cross was worked into the wall of the left aisle in 1961 as a sgraffito and the emergency glazing of the church windows was replaced by stained glass.

In 1967 the front right side door was removed and walled up and the resulting niche was designed as a small Marienkapelle. The glazing of the small pointed arched windows of the chapel shows Marian symbols in an abstract design. The chapel contains a copy of the miraculous image of the Black Madonna of Czestochowa from the Jasna Góra monastery .

Due to the liturgical reform of the Second Vatican Council , the choir room was redesigned again by the mid-1980s.

An initiative by the SPD local association in Malstatt to rebuild what was once the highest steeple in the Saarland was rejected by the administrative board in 1983. In 2008 the interior of the church underwent a restoration .

architecture

Emergency Church of St. Joseph

Former emergency church St. Josef, then Dechant-Metzdorf-Haus, entrance front in Kleine Schulstrasse
Former emergency church St. Josef, then Dechant-Metzdorf-Haus, apse area
Interior of the emergency church St. Josef in Malstatt, view to the apse

In 1888 the parish of St. Josef in Malstatt built an emergency church in the form of a simple hall with a retracted choir in the arched style . The emergency church was provided with a gable roof and a large gable tower with double acoustic arcades rose above the gable. The west facade was divided into three parts by a simple pilaster structure . Due to the strong growth of the Malstatt Catholics, the building no longer offered sufficient space, so that plans for a large new building were undertaken. The emergency church still exists today with a modified architecture as the Dechant-Metzdorf-Haus.

Neo-Gothic Church of St. Joseph

Plans and role models

St. Martin's Church in Saaralben , the so-called "Saar Cathedral" ("Cathédrale de la Sarre")
Wayside shrine , St. Josef
Bonn-Dottendorf, St. Quirinus
Osijek, St. Peter and Paul (Upper Town Parish Church)
Salisbury Cathedral, lancet triple windows in the upper aisle

In 1898 a church building association was founded in Malstatt. In July 1905 he acquired a building site on the Malstatter Kirchberg in the corner of the then Eisenbahnstrasse (today Pfarrer-Bungarten-Strasse) and Friedrichstrasse (today St.-Josef-Strasse). The Malstatter cemetery had previously been located here. A new cemetery was established in 1880 on Jenneweg in upper Malstatt. Today this cemetery is called the Old Malstatter Cemetery . In 1907, the decision was made to implement the church construction plans made for Malstatt by the busy architect Johann Adam Rüppel , who came from Lower Franconia . Rüppel had already built the Bildstocker St. Josefskirche on the Saar in the years 1905 to 1907 and the St. Martin's Church in Saaralben in the years 1904-1907. These two buildings convinced the Malstatt church council so much that they approved a design by Rüppels for Malstatt that was very similar to the two previous buildings.

The church in Malstatt, which at the time of its construction was the largest church in today's Saarland, was to be built in the forms of the early Gothic. The reference to the Gothic period was intended to place the new sacred building in the consolidating framework of a continuity and give it the authority of a long tradition. The great upswing of neo-Gothic on the Saar began with the construction of the Stummschen Chapel in Neunkirchen , which was built by Mathias Mußweiler between 1852 and 1854 . In Malstatt itself there was already neo-Gothic architecture in the princely pleasure park on Ludwigsberg in the 18th century . From 1769 Friedrich Joachim Stengel had built staffage buildings here for the purpose of feudal merrymaking, which, however, had been destroyed in the course of the French Revolution.

The adoption of neo-Gothic in church building on the Saar in the 19th century was due to its symbolic value. With the adoption of the forms of the medieval Gothic in the style phase of the Neo-Gothic one generally associated the hope, the Christian spirit of the Middle Ages and its intense ecclesiasticalism in the time of industrialization, in which many felt connected to the spirit of the Enlightenment and thus were skeptical of the Christian faith faced to be able to revive. The legitimation of the Catholic Church should be visualized architecturally through the clear display of its powerful tradition. The choice of the location of the new church high on the Malstatter Kirchberg, which had served as a pagan thing in pre-Christian times, could be interpreted as a visualization of the victory of Christianity over paganism and all previous opposing movements. The positioning of the mighty sacred building above the smaller Protestant Malstatter church set a message accent that could be understood as the victory of Catholicism over the Reformation. Great importance was attached to the towering tower of the Josefskirche, at that time the highest on the territory of today's Saarland, in terms of its attraction and charisma. Its massive, vertical cubature should not only function as a landmark within the soft picture of Malstatt, but also represent a warning hint of intellectual orientation in a time of tremendous upheavals in the 19th and early 20th centuries. The trend towards the revitalization of personal piety, towards individual confession and the emotionalisation of the religious life carried the enthusiasm for the Gothic into large sections of the population.

construction

St. Josef, Malstatt, inside the church towards the apse

St. Josef, Malstatt, the church still without a tower during construction in autumn 1909 (St. Josef parish archive)

St. Josef, Malstatt, inside the church towards the gallery

St. Josef, Malstatt, the church after completion with a high slated spire (St. Josef parish archive)

St. Josef, Malstatt, weekday chapel under the modern gallery

St. Josef (Saarbrücken), side portal, Jesus hands Peter the keys of heaven, ( Mt 16.19 EU )

St. Josef (Saarbrücken), apse area

St. Josef (Saarbrücken), angel figure on a pinnacle

St. Josef (Saarbrücken), rectory

St. Josef (Saarbrücken), interior view, view through the church axis from the apse; In the foreground the lecture cross of the Trier goldsmith Hans Alof (1927-2019)

On August 17, 1908, the new building was officially approved, so that construction work on the Malstatter Josefskirche could begin on September 7, 1908. The groundbreaking ceremony was celebrated in May 1909. The construction company was Moritz & Sievernich from Trier and Müden on the Moselle . Construction manager Emil Engel was responsible for the construction management. The inauguration of the completed structure took place on September 11, 1910.

The new building was built from dark red sandstone, which is roughly embossed and provided with a straight edge. The quarry stones were obtained from Arzweiler in Alsace , the house stones from Mackweiler in Alsace . The east-facing church has three aisles, three bays in the axially symmetrical nave and has a slightly projecting transept with a recessed, polygonal choir. A strut system made of buttresses and buttresses shows the yoke division of the interior on the outside. The church facade consists of a neo-Gothic tower with an octagonal bell storey, which originally ended in a high helmet. The facade tower is flanked by two small, polygonal chapels. Behind the two chapels on the front and on the gables of the transepts, the stepped gable walls characteristic of the architect Rüppel stand out.

The west facade has characteristic neo-Gothic structuring and decorative elements (buttresses, stepped portal, tracery rose above the main portal, three-group pointed arch windows, blind windows). Slender stair towers on both sides of the choir in the east lead to the top floor.

An octagonal roof turret with a pointed helmet rises above the star-vaulted crossing. Its eight windows originally closed in neo-Gothic pointed arches, but they are now closing after the war-torn church has been rebuilt. The three central nave bays are slightly compressed. Each of the three central nave bays are assigned two approximately square aisle bays in the aisles on both sides. An intermediate support for the two four-part cross vaults in the aisle was dispensed with. Thus, the traditional " bound system " of medieval church building (i.e. two smaller square aisle yokes correspond to a square central nave yoke, the vault of which is relieved by an intermediate support) was replaced by spheroidal warped caps, the vaults of which rise up to the apex of the central nave arch. This creates a shielding effect in the aisles. The alignment of the side aisles to the central nave creates an additional transept accent that is reminiscent of the spatial effect of pillar churches. Rüppel had already used the ingenious vaulting in the side aisles in wayside shrines and Saaralben.

Rüppel's designs gave the floor plan and interior space a centralizing expansion. Rüppel's goal was to combine the traditional neo-Gothic church building with the demands of more modern sacred architecture for abundance of light and clarity. The unification of the room should enable the believers to participate more actively in the worship service. Rüppel referred to the ideas of his father-in-law, the builder Gerhard Franz Langenberg , who had also dispensed with intermediate supports in the side arcades of the parish church of St. Quirinus in Bonn - Dottendorf , which he designed . Interestingly, the neo-Romanesque St. Quirinus Church in Dottendorf also has a façade tower with a tracery rose and flanking polygonal chapels, as can be found in the neo-Gothic St. Joseph's Church in Malstatt. Together with Langenberg, Rüppel had already planned the neo-Gothic church of St. Peter and Paul (Oberstädter parish church) in the Croatian-Slavonian part of the then Kingdom of Hungary in the city of Osijek . Although Langenberg died a year after construction work began in 1895 and Rüppel had to withdraw from the unfinished project, as he was now forced to complete many of the church buildings that Langenberg had begun in the Rhineland, there are numerous parallels between the Osijeker Church Peter and Paul and the Malstatter Josefskirche with regard to the architectural cubature, even if the design of the Josefskirche with regard to the architectural details is more sparing and it lacks the high spire today.

The arched arcades in Malstatt, which connect the side aisles with the central nave, extend almost to the top window . The strong round pillars are surrounded by four thin round services with capitals . Broad belt arches and the cross ribs of the vault rise above it. The side aisles are illuminated by two-lane tracery windows . Staggered triplet windows illuminate the upper cladding area. Rüppel could have taken over the motif of the lancet triplet windows in the upper storey area used in Malstatt, wayside shrine and Saaralben from Salisbury Cathedral . As in Salisbury , in the Malstatter Josefskirche the triple windows in the upper aisle correspond to two windows in the aisle yokes. In the transept arms, which are only slightly protruding, large tracery rosettes create colored light effects.

In the direction of the east-facing choir, a triumphal arch frames the recessed, star-vaulted choir zone with the polygonal choir. The monumental lancet windows of the choir polygon were pulled down almost to the level of the floor during the reconstruction of the church, which was destroyed in the war, and their impressive effect was increased.

During the Second World War , the tower roof of the then 75 m high church tower was destroyed by fire and fell into the nave, the vault of which collapsed as a result. In the process and during the reconstruction, the west gallery with the neo-Gothic organ, the furnishings from the time of construction, the elaborate colored glazing and the rich painting of the late historical church work of art were destroyed. The Trier architect Fritz Thoma redesigned the altar area and the gallery with wide staircases during the reconstruction. The entire room was made white and “purified”. In the years 1967–1968, the Saarbrücken architect Fritz Heipp added a Marienkapelle to the south transept portal.

The three churches of Rüppels an der Saar (Malstatt, Saaralben, wayside shrine) show strong similarities: formal details in the tower shapes, the strut systems, the rose windows, the stepped gables and the representative design. However, wayside shrines and Saar albums have more costly three-aisled transept arms, which one believed they could not afford in the larger, but financially weaker Malstatt. Thus the centralizing effect in the wayside shrine and Saar albums is much greater than in the traditionally designed church building in Malstatt.

Dimensions

The Josefskirche has the following dimensions:

Total external length: 68 m
Total internal length: 63 m
largest width in the transept: 28.60 m
Nave width: 25.20 m
Choir dimensions: 9 × 11 m
Crossing dimensions: 12 x12 m
Central nave vaults: 12 × 10.25 m
outer tower floor plan dimensions: 9 × 9 m
inner tower floor plan dimensions: 5 × 5 m
Original tower height: 75 m
Today's tower height after war destruction including tower cock: 48 m
Ridge height: 44 m
Height of central nave to main cornice: 19.30 m
Gable roof height: 10 m
Window dimensions in the side aisles: 5 × 1.20 m
Diameter of the two transept rosettes: 6 m
Diameter of the portal rose: 4.20 m

Originally 75 m high, the tower of Malstatter Josefskirche was the highest church tower in Saarland. The tower of St. Ingbert's Josefskirche is only 73 m, that of the Protestant St. Johanner Johanneskirche is only 74 m. The spire of the Saarlouis Ludwigskirche is at a height of 51 m. The two towers of the Saardome in Dillingen / Saar have tower heights of 48.50 m (east tower) and 50.00 m (west tower). The two towers of St. Johanner Michaelskirche are only 47 m high.

Furnishing

Original equipment

Original church window

All church windows of the neo-Gothic first glazing fell victim to the bombing of the Second World War.

Voege window

The windows of the side aisles, the rose window of the tower facade, the sacristy window, the tympanum window, the glazing of the windows of the facade tower and the four stair towers as well as the upper cladding windows were made by the art painting Voege in Mannheim . The lower windows of the transept thematized the stations of the cross . The wheel window above the main portal showed the Christ monogram IHS .

van Treeck window

The church windows in the apse, the upper transept windows above the side altars and the two rose windows came from the Bavarian court glass painting van Treeck in Munich . The choir windows themed the life of St. Joseph:

In the three-part window above the side altar on the former epistle side, the Sacred Heart of Jesus was depicted in the 5.5 m high middle section . Pope Leo XIII knelt before him . , dedicating the world to the heart of Jesus. Leo XIII. had especially encouraged the veneration of the Heart of Jesus , to whom he had consecrated all of humanity on June 11, 1899. He was also a promoter of Marian piety, especially the rosary . In the course of his devotion to Mary , he published seven encyclicals on the rosary. The Pope was flanked in the Malstatter representation by Margareta Maria Alacoque and Maria Droste zu Vischering , who at the time had just died in the reputation of holiness , on whose visions the consecration of the whole world to the Heart of Jesus on June 11, 1899 by Pope Leo XIII. decreased. Below this group were depicted those in need who seek the help of the Sacred Heart of Jesus. In the right part of the window you could see Pope Pius IX. , Saint Ignatius of Loyola and Saint Aloisius of Gonzaga . In the left part of the three-part window, St. Augustine of Hippo , St. Antonius of Padua and Klemens Maria Hofbauer were depicted.

Above the side altar on the Gospel side showed the veneration of the Immaculate Heart of Mary . Pope Pius IX had introduced a votive mass , an office and a festival of its own on July 21, 1855 . In the depiction, the Virgin Mary turned her gaze to penitents who were enmeshed by the serpent of sin. Saint Bernard of Clairvaux freed sinners from the strangling coils of the serpent by granting absolution . Angels lifted the liberated up to Mary. In the right part of the window, the patroness of Lorraine, Joan of Arc , knelt before the Blessed Mother. The Maid of Orléans held the banner of the Immaculate Conception in her hand . Next to her were St. Catherine of Alexandria , St. Mechthild of Magdeburg , St. Hildegard of Bingen and St. Agnes of Rome .

The rose windows of the transepts showed the Savior as Salvator Mundi (right) and the Mother of God with the baby Jesus (left), each surrounded by angels psalming .

Neo-Gothic altars

St. Josef, Malstatt, neo-Gothic high altar before it was destroyed in the 1950s (St. Josef parish archive)

St. Josef (Saarbrücken), high altar relief panel, wedding at Cana

St. Josef (Saarbrücken), high altar relief panel, Last Supper

St. Josef (Saarbrücken), high altar relief panel, crucifixion

St. Josef (Saarbrücken), high altar relief panel, manna rain and water miracles

St. Josef (Saarbrücken), St. Antonius of Padua with the baby Jesus, detail of the back of the wing of the high altar

St. Josef (Saarbrücken), weekday chapel, relief panels of the high altar (middle and right) and the Josef altar (left)

St. Josef (Saarbrücken), central relief of the former Joseph altar: The Holy Family at work in Nazareth

The dining halls of the three neo-Gothic altars were made of white marble with columns of red marble. The altar plates and capitals of the columns were made of Lorraine Savonière limestone . The superstructures were carved in oak and painted in color. The side altars each reached a height of 9 meters, the high altar had a height of 11.50 meters. The three altars survived the bombing raids on Malstatt with minor damage. Pastor Pütz had the existing altars in the "purifying" spirit of the time, which rejected the art of historicism , initially stripped of their bursts. All the altars were subsequently destroyed. Only the relief panels and some statues have survived in a damaged condition to this day. The relief panels of the high altar and the Joseph altar are provisional altarpieces in the weekday chapel. The statue of the Sacred Heart of Jesus on the high altar and the statue of the Madonna of the Altar of Mary are now in a badly damaged condition in the sacristy. They were previously stored in the church's coal cellar.

High altar

Within the sacred space, the high altar was both a target and a focus. It corresponded with the wall paintings of the apse, the other neo-Gothic fittings and the architectural shell. The altar was dismantled in 1955. The central theological theme of the Malstatt high altar, which survived the 'purification measures' of the post-war period only in its relief panels and individual figures, was the message of divine love, which found its expression in the description and reference to biblical scenes and the depiction of saints of charity.

The stipes of the altar table showed the Lamb of God in a central position and thus already pointed in its base to the Old Testament idea of sacrifice, which in the understanding of the church was transformed from the sign of the law to the sacrament of love through the Eucharist.

The altarpiece of the high altar was designed as a winged altar by August Bücker's (1859–1933) altar builder's workshop in his studio in Rheda . August Bücker was not, however, the sole creator of the altar. Rather, he coordinated the numerous trades and gave orders to foreign workshops of stone sculptors, wood carvers, gilders and barrel painters. Bücker's most capable carver was Heinrich Hartmann (1868–1937), who also played a key role in the work for Malstatt.

The Malstatter reredos showed the wedding at Cana , the Lord's Supper , the crucifixion of Jesus as well as the Manna rain and the water miracle in the desert in four large reliefs in four large reliefs from left to right . The depicted scenes were intended to thematize the Eucharist entirely in the sense of the classical ecclesiastical prefiguration theology - the exegesis prevailing in Christian iconography at the time . An event from the Old Testament is contrasted with an event from the New Testament . By juxtaposing 'Typos' (Old Testament) and 'Antitypos' (New Testament), a continuity of the biblical events should be made visible in faith. It is primarily about “promise” and “fulfillment”: what is prefiguratively announced in the Old Testament is completed - according to the message of this interpretation tradition - as the unsurpassable reality of the divine order of salvation in the New Testament. Although Christianity and Judaism are closely linked with one another, the Old Testament is only given its own value as an indicator of the new.

The relief panel shown on the right, which combines the story of the Manna rain and the two water miracles into one scene, corresponds to the promise of fulfillment in the scene of the wedding of Cana. The bread of heaven, manna, is referred to in the Bible ( Ex 16 EU ) as the food that God gave the Israelites as nourishment on their 40-year journey through the desert. This food fell on the desert floor at night and could be picked up in the morning. In the New Testament ( Jn 6: 28-35 EU ) Jesus Christ refers to himself as the "bread of life" with reference to this manna:

“So they asked him: What must we do to do the works of God? Jesus answered them, This is the work of God, that you should believe in him whom he sent. They said to him: What sign are you doing so that we can see it and believe you? What work are you doing Our fathers ate manna in the wilderness, as the scriptures say: He gave them bread from heaven to eat. Jesus said to them, Amen, amen, I say to you, it was not Moses who gave you the bread from heaven, but my Father gives you the true bread from heaven. For the bread that God gives comes down from heaven and gives life to the world. So they asked him: Lord, always give us this bread! Jesus answered them, I am the bread of life; whoever comes to me will never go hungry again, and whoever believes in me will never be thirsty again. "

In Christianity , therefore, manna stands as a symbol for the Eucharist , which is thematized in the communion scene of the Malstatter high altar.

The scene of the two water miracles of Moses shown in the relief panel ( Ex 17.1–7 EU , Num 20.1–13 EU ) relates to the wedding at Cana. The story in John's Gospel is a miracle story that tells how Jesus, as a guest at a wedding party, turned water into wine ( Jn 2 : 1–12 EU ). It is the first of the so-called signs of Jesus, with which the Gospel of John introduces him as the Son of God and the Messiah and wants to lead the reader to faith ( Jn 20 : 30–31 EU ).

While Moses in the Old Testament scenes (Ex 17,1–7 / Num 20, 1–13) can only give the people simple water with the power of God and at the same time presumably pretends this as an act of his own strength (Num 20, 1–13), Jesus, as the Son of God, is himself able to make wine out of water, according to the message of prefiguration theology. The altar reliefs further reinforce this contrast by turning the directions of Jesus and Moses towards each other: While the perspective of meaning enlarged Moses is depicted in an almost arrogant and self-exaggerating manner and with a majestic gesture when performing the miracle, the corresponding relief panel shows Jesus in a humble and bent posture .

The wonderfully transformed wine in the New Testament scene symbolizes the festival and the joy of life in the Bible ( Ps 104.15 EU ). It lets people feel the glory of creation and is a traditional part of the rituals on the Sabbath , Passover and wedding celebrations . In addition, it is described in the book of Isaiah as an essential element of the eschatological banquet on Mount Zion ( Isa. 25.6 EU ). The miracle story described in the Gospel of John is supposed to show that with Jesus this eschatological time of joy, predicted by Isaiah , began, in which mourning, fasting and renunciation are not appropriate, but one should celebrate with the "bridegroom Jesus" ( Mt 9:15 EU ). The abundance of wine can be understood as an indication of the life in abundance that God intended for man ( Jn 10.10b EU ). The loaves and goblets positioned in the relief tablet on the table of the bride and groom refer to the eucharistic elements of the Lord's Supper scene. The Old Testament Manna rain and the bread of the Lord's Supper are also closely related to typology.

The engraving of the staff of Moses in the rock with the subsequent water miracle was interpreted in classical prefiguration theology as a prediction of the lance engraving of the legendary Longinus in the side of Jesus ( Jn 19.34 EU ). The holy lance depicted in the relief tablet developed into one of the regal insignia of the Holy Roman Empire of the German Nation , the imperial regalia .

The inner relief panels also correspond to one another. The gift of self that Jesus announced in the Last Supper ( 1 Cor 11 : 23-26 EU , Matt 26 : 17-29 EU ; Mk 14: 12-26 EU ; Lk 22: 14-20 EU ) is accomplished through his crucifixion. The Lord's Supper relief, in which Jesus established the New Covenant in his blood, also refers once again to Moses in the right panel, who is considered the creator of the Old Testament covenant with God on Mount Sinai ( Ex 24.1-11 EU ):

“To Moses he (God) said: Go up to the Lord with Aaron, Nadab, Abihu, and with seventy of the elders of Israel; prostrate yourself at a distance! Moses alone should approach the Lord, the others are not allowed to come closer and the people are not allowed to climb the mountain with him. Moses came and imparted to the people all the words and ordinances of the Lord. All the people replied with one voice and said: We will do whatever the Lord has said. Moses wrote down all of the Lord's words. He got up early in the morning and erected an altar and twelve stonemasons for the twelve tribes of Israel at the foot of the mountain. He sent out the young men of the Israelites and they offered burnt offerings and slaughtered young bulls for salvation offerings to the Lord. Moses took half of the blood and poured it into a bowl and sprinkled the other half on the altar. Then he took the book of the covenant and read it to the people. They replied: We will do whatever the Lord has said; and we want to hear it. So Moses took the blood, sprinkled it on the people, and said, This is the blood of the covenant which the Lord makes with you on the basis of all these words. Then Moses, Aaron, Nadab, Abihu and the seventy of the elders of Israel went up and they saw the God of Israel. (...) They were allowed to see God and they ate and drank. "

While in the Old Testament scene only a select group may experience the fellowship of God, in the New Covenant - according to the typological interpretation - all people are taken into the love of God by Jesus. The Passover meal depicted in the relief tablet is under the auspices of the memory of God's act of liberation for his people Israel. The betrayal of Judas Iscariot , with which Jesus ' passion begins, is indicated by the coin pouch in Judas' hand. Judas himself grabs his head as a sign of his despair, covers his face with a pained expression and visibly isolates himself from the meal. Jesus, on the other hand, is shown in the relief in the role of the Jewish housefather, who gratefully holds the piece of unleavened bread and the cup of blessing in his hands to distribute them to the disciples present. The biblical interpretive words symbolize the relief in that the two food elements are positioned in front of Jesus' chest in such a way that the viewer is shown an identity of this with Jesus himself.

The skull positioned at the foot of the cross in the crucifixion scene refers both to the place of execution of Jesus, which is called Golgotha ("place of the skull"), and to the church tradition that the skull of Adam was buried here and the wood of the cross a seed of Paradise had outgrown in the mouth of dead Adam. The message is that with Adam sin and death came into the world, whereas Jesus brought healing to the world. While all must die through Adam, all will live in Christ ( 1 Cor 15:22 EU ). The two stars, the sun and moon, flanking the cross of Jesus indicate the darkness at the crucifixion of Jesus described in the New Testament tradition , which aims at an eschatological interpretation of the death of Jesus. The Roman centurion depicted next to Jesus passes on his faithful knowledge of Jesus' sonship to a Jewish scribe in the relief scene ( Mk 15.39 EU ). The animal symbols on the neo-Gothic communion bench take up the idea of the sacrificial death of Jesus again.

The individual relief panels address the message of divine love as a whole. While God's love for his chosen people is shown in the Moses scene, the circle of those gifted by God's love is increasing in the other panels. The representation of the miracle of wine can be understood as a loving gesture of Jesus to a limited group. The relief tablets of the Lord's Supper and the Crucifixion widen the circle. They serve to make the love of God for all of humanity visible. The satisfaction of only physical needs (water miracles, manna rain, wine miracles) is contrasted with the satisfaction of spiritual needs in the Eucharist.

Accordingly, a statue of the Sacred Heart of Jesus rose as a symbol of divine love in the central axis of the retable above the tabernacle and its niche . The sculpture, which is still damaged today, depicts Jesus as the Savior of the world, who offers mankind in need of redemption his thorn-wrapped heart, which is flaming with love. The dogmatic background of the presentation was the introduction of the Solemnity of the Sacred Heart of Jesus by Pope Pius IX. in 1856 for the universal Church. In 1899 Pope Leo XIII had. in the encyclical Annum sacrum the whole world is consecrated to the Sacred Heart of Jesus. In the encyclical Leo XIII. on the royal authority of Jesus over heaven and earth and recommended his Sacred Heart as an object of pious devotion.

The Sacred Heart statue was flanked by statues of St. Thomas Aquinas (right), due to its importance for the Catholic doctrine of the Eucharist , and St. Clare of Assisi (left). During an attack by the Saracens in 1240, the saint met them with the monstrance . She had done the same when Assisi was besieged by the imperial army a year later. Their iconographic attribute of saints is therefore the monstrance, and sometimes the chalice . Statues of saints were also placed between the two inner panels and the two outer panels. Under canopies that rose above the pivot point of the swivel wings, there were figures of St. Elisabeth of Thuringia (left) and St. Francis of Assisi (right), who in the so-called Imitatio Christi realize their faith in the exercise of charity and needlessness searched.

The center of the pyramidal winged altar of St. Josef in Malstatt was the tabernacle . The preaching of the Archangel Gabriel to the Virgin Mary , as the origin of the incarnation of Jesus Christ, was depicted on its gilded double doors . On the left was the heavenly messenger and on the right the Virgin Mary. The incarnation of Jesus through Mary, the descent of God into the womb of the virgin - according to the iconographic-theological conception of the high altar - corresponds to the descent of God onto the altar in the sacrificial mass, the formation of Jesus Christ in the Eucharistic event.

Above the tabernacle there was an exposition niche to accommodate the altar cross or the monstrance . The niche was flanked by adoring angels. The depiction of another six angels, who were supposed to point out the holiness of the Eucharistic event, was in the rich burst of the altar structure.

In the predella zone on both sides of the tabernacle the busts of the four evangelists Matthew , Mark , Luke and John were to be seen in carved reliefs as testimony to the Incarnation as well as the life, death and resurrection of Jesus.

When closed during the working days, four saints could be seen on the back of the double doors of the high altar. From left to right these were:

Alfonso Maria de Liguori with the Rosary (founder of the Congregation of the Most Holy Redeemer )

Mary Magdalene with an ointment vessel as a witness to the message of the resurrection ( Jn 20.11-18 EU )

Agnes of Rome with a martyr's palm and a lamb as a reference to her mystical engagement to Jesus Christ

Anthony of Padua with the cingulate tied three times in the Franciscan style (reference to the vows of poverty, chastity and obedience), with the lily as a sign of his chastity and with the baby Jesus on his arm. The attribute 'baby Jesus' goes back to a legend according to which a count, as the host of the saint, visited the saint at night to inquire about his health. A light so bright came from the saint's chamber that the nobleman suspected a fire and jerked the door open. But he found Antonius smiling in his arms, cradling the radiant baby Jesus.

The selection of the four saints, whose reliefs are still preserved, can be understood in connection with their intense piety to Jesus and their burning love for the Savior. It can also be interpreted as a reference to the sacraments of confession (Alfons), confirmation and anointing of the sick (Maria Magdalena), consecration (Agnes) and marriage (Antonius). The reliefs have been preserved to this day.

Joseph Altar

Side altar of the Catholic parish church St. Bartholomäus in Meggen in the Sauerland from the "Wiedenbrücker Schule" as a model for the reliefs of the Malstatter Josefs altar

The side altar on the epistle side showed the Holy Family . The little Jesus stands in the center of the depicted scene. He has an open book - probably the Holy Scriptures - placed on Mary's lap. Mary, who is currently working on the distaff , seems to be teaching Jesus the Jewish doctrine of the Tanach on the side, while Joseph, who is busy with carpentry , watches them both. The relief was flanked by statues of St. Joachim and St. Anna , Mary's parents. While Anna holds the Tanach in her right hand, Joachim is shown praying. His original staff has been lost. In the harmonious gathering of the Holy Family in Nazareth, the Catholic Church saw a deeply meaningful mystery and a helpful and valuable ideal image for the disintegration of traditional family structures often associated with the social upheavals of industrialization.

The background to the historical development was the accompanying and consequential social problems of the transition from an agricultural to an urbanized industrial society from the early 19th century. But even in the run-up to this, large sections of the population suffered dramatic misery. Aspects of the development were an enormous population explosion that created a wage labor proletariat , the peasant liberation that led to rural exodus and urbanization , and the decline of the old trade with a gradual rise of the factory industry. The core problems of the resulting social question were pauperism and the insecurity of the existence of farmers, rural servants , artisans , workers and small employees . This was all the problem of the former small farming village of Malstatt, which in a short time had developed into the industrial town of Malstatt-Burbach.

The worship of the Holy Family was given by Pope Leo XIII. especially promoted to counteract a disintegration of Christian family life. Representations of the Holy Family as the bearer of an ecclesiastical family ideology should encourage Catholic families to live a godly way of life, to avoid conflict, to show family solidarity and reliable general welfare. In the wake of a piety increasingly oriented towards the Child Jesus under Franciscan influence, the everyday life of the Holy Family in intimate domesticity - the work in Joseph's workshop as well as Mary's household chores - became a popular subject. The genre-like representation of the Holy Family in a strongly idealized domesticity was also under the sign of religious edification. In addition, the Holy Family in its earthly 'Trinity' (Jesus - Mary - Joseph) was understood as a reference to the heavenly Trinity .

The architect of the Malstatter Josefskirche, Johann Adam Rüppel, had already built the Catholic parish church of St. Bartholomew in the neo-Romanesque style in the years 1895 to 1896 in Meggen in the Sauerland and furnished it from the workshop of Christoph Siebe (1849–1912) of the "Wiedenbrücker Schule" to let. The Joseph altar of the church has the same figure constellation as the Malstatter Josef altar; but with a neo-Romanesque shrine case and modified barrel painting. The positive experience in working with the workshops of the “Wiedenbrücker Schule” in Meggen could have prompted Johann Adam Rüppel to recommend them for furnishing the Malstatter Josefskirche.

Mary Altar

The side altar on the Gospel side showed a statue of the Virgin Mary with the baby Jesus. The paradise snake, winding at her feet, holds in her mouth the forbidden fruit from the tree of the knowledge of good and evil ( Gen 3 EU ), which was seductively offered to Eve in paradise. Thus Mary is interpreted here as the “new Eve” and Jesus as the “new Adam” ( Rom 5,12-21 EU ), who spreads his hands in blessing. The sickle of the moon under the feet of Mary refers to the description of the "Mulier amicta sole" in the Revelation of John ( Rev 12,1 EU ).

The sculpture was flanked by reliefs with the themes of “ The Sacrifice of the Virgin ” and “ The Assumption of the Virgin ”. The still preserved depiction of the offering of the three-year-old Mary as a virgin in the Jerusalem Temple by her parents Joachim and Anna is taken from the apocryphal Gospel of James :

“But the child's months increased. The child was two years old. And Joachim said, 'Let us take it up to the temple of the Lord to keep the promise we made. Otherwise the master sends God to us to fetch it, and our gift will not be acceptable as one forced in this case. ' And Anna said: 'We want to wait the third year so that the child does not long for father and mother if they separated earlier.' And Joachim said: 'Then let's wait.' And the child was three years old. Then Joachim said: 'Call the daughters of the Hebrews, the immaculate, as companions! Have them each take a torch and they should burn as a distraction for the child so that the child does not turn back and his heart is not seduced away from the temple of the Lord. ' And they did so until they came up to the temple of the Lord. And the priest took Mary under care, kissed and blessed her and said: 'The Lord has made your name great among all generations. In you at the end of the days the Lord will reveal his ransom to the children of Israel. ' and he bade her sit down on the third step of the altar, and the Lord God put grace on her. Then she began to dance on her feet, and the whole house of Israel loved her. And their parents went down again, full of astonishment, and they praised God the Lord that the child had not turned to them to stay with them. But Mary was in the Lord's temple, like a dove, feeding herself with very little food, and she received food from the hand of an angel. "

In the relief panel of the Marian altar, little Maria climbs the steps to the throne of the high priest , who receives her kindly. The torch has already been given to a temple servant. Anna and Joachim wait humbly in front of the steps. A woman has sunk down in adoration, and another child has also clasped his hands in awe.

The representation of the Assumption of Mary is no longer in the possession of the parish. Mary was represented as the King of Heaven , who was carried up to the heavenly heights by angels above her grave strewn with roses. The representation was taken from the group of early Christian writings of the Transitus Mariae and other legends.

pulpit

Preserved relief of the pulpit of the Malstatter St. Josefskirche, carved by Heinrich Hartmann: Paul preaches on the Areopagus ( Acts 17 : 16–34 EU )

The sculptor atelier Bücker from Rheda in Westphalia was responsible for all carving work . They survived World War II slightly damaged. In the post-war period, all items of equipment were initially stripped of their ornamentation in a 'purifying' manner and then completely dismantled. Some statues were given away as gifts to parishioners. Some of the reliefs are now partially damaged in the weekday chapel or in a makeshift depot that does not comply with conservation principles.

The no longer preserved oak pulpit bore four reliefs: Sermon on the Mount , sending out the apostles , Paulus of Tarsus preaches in Areopagus in Athens , Boniface preaches to the Teutons under the Donariche of Geismar . At the corners of the polygonal pulpit there were sculptures of Christ in the circle of the four evangelists. The sound cover ended in rich neo-Gothic cracks . The Wiedenbrück-based carver Heinrich Hartmann used an almost similar image program and structure for the still-preserved pulpit in the Kamen church of the Holy Family in 1910.

Communion bench

The carved communion bench from the Bücker altar construction workshop (carver Heinrich Hartmann, 1868–1937) is still preserved and originally formed a statement unit with the reliefs of the high altar. After installing a new communion bench made of marble in the 1950s, it currently forms the end of the rows of benches near the altar in the nave. The animal reliefs on the communion bench, which correspond to the classic art-historical typology scheme, show Christian allegories of the Incarnation, the Passion and the resurrection of Jesus from the dead in floral-framed eight-passports:

The eagle stands in the Bible as a symbol for God's care, who carries the Israelites "on eagle wings" ( Ex 19.4 EU ). The eagle, which flies into the sun in the relief of St. Joseph's Church, is also a symbol for the renewal of youthful strength through God ( Ps 103,5 EU , Isa 40,31 EU ); because, according to ancient beliefs, the grown-up eagle flies into the sun, burns its plumage there, then dips three times into a spring and becomes young again. Thus the eagle stands as a symbol for baptism as well as for Christ's resurrection and ascension.

In Christian symbolism, the peacock is a symbol of the resurrection of the body, since its flesh was considered imperishable in ancient times.

As an allegory , the pelican refers to the sacrificial death of Jesus Christ, since according to tradition, the animal stabbed its chest with its beak to nourish its young in the nest. According to the Physiologus , an early Christian folk book written in Greek from the 2nd century AD with stories about wondrous animals, plants and stones, the pelican opens its own breast with its beak, lets its blood drip onto its dead young and fetches it so back to life. As the bird sacrifices itself for its young, so let Jesus give its life for men.

The lion is to be understood as the lion of Judah as a symbol of Jesus and as an allegory of the resurrection, since according to the tradition of the Physiologus the animal brings its stillborn cubs to life on the third day after birth by licking and blowing on them. The three-day period corresponds to the three-day rest of Jesus' grave after his crucifixion.

The mythical phoenix bird stands as a symbol of the death and resurrection of Jesus, since, according to the physiologist, the animal burns or dies at the end of its life cycle in order to rise again from the decaying body or from its ashes.

The Lamb of God is a symbol of the sacrificial death of Jesus Christ. This idea of the Agnus Dei refers to the lamb as a sacrificial animal in the Old Testament , especially to the Passover lambs, whose blood was painted on the door post on the night of the Israelites' exodus from Egypt ( Exodus ) at the command of God as a protective symbol before the Angel of Death was ( Ex 12 EU ). Following the exodus of Israel as God's saving act, besides the baking of unleavened bread, the slaughter of a lamb became the central practice of the Passover festival. The fourth servant song in Isaiah ( Isa 52,13ff EU ) is also connected with the symbolism of the lamb. There it says of the Servant of God: “He was mistreated and depressed, but he did not open his mouth. Like a lamb brought to the slaughter and like a sheep in the face of its clippers, so he did not open his mouth either ”( Isa 53,7 EU ). Jeremiah uses a similar symbolism ( Jer 11,19 EU ).

The deer at the water source is considered as a result of the Psalm verse ( "As the deer longs for flowing streams, so my soul longs for God, for you." Ps 42.2 EU ) representative, who look for salvation or rescued in baptism soul. In the book of Isaiah the deer is also a symbol for the messianic dispensation (“Then the lame leaps like a deer”, Isa 35.6 EU ). With reference to the Physiologus , the enmity towards the snake or the dragon has been an essential characteristic of the deer since ancient times . This gives the deer in its role as an opponent of the serpent, i.e. the devil , a christological significance. In addition, according to Christian tradition, the deer, since it feeds exclusively on plants, is a particularly clean animal.

The unicorn stands for the incarnation of God . The Physiologus states that a unicorn can only be captured by a virgin, the virgin being interpreted allegorically as the Virgin Mary and the unicorn as Jesus Christ. The fact that the unicorn has only one horn refers to monotheism ; that it resembles a little goat is an indication of Christ's humility. Due to the popular belief that the unicorn can cleanse the water poisoned by a snake with its horn, it is therefore also regarded as a symbol for baptism and the victory of good over evil.

The Bücker altar construction workshop also used the motifs of the reliefs on the communion bench of the St. Vitus church in St. Vit , a district of Rheda-Wiedenbrück, in 1912f ; here, however, in a much smaller dimension with four medallions and in a neo-baroque frame.

Communion bench relief, phoenix
Communion bank relief, peacock
Communion bank relief, lion
Communion bench relief, pelican
Communion bank relief, lamb
Communion bench relief, deer
Communion bench relief, unicorn
Communion bank relief, eagle

More pieces of equipment

St. Josef (Saarbrücken), St. Josef stele

St. Josef (Saarbrücken), Pietà in reconstructed polychromy

The original pews were made by the carpenters Spuhler, Dewald, Clemens and Ostermann. The roof structure was made by the Grünhäuser company from Trier-Kürenz . The other carpentry work was carried out by the Bohr company in Wehrden on the Saar. The plumbing work was done by the Saarbrücker company Thömmes and the forging and locksmith work by the Bonn company Viehofen.

Confessionals

The neo-Gothic confessionals of the Wiedenbrück school were also richly ornamented. They were removed in the post-war period.

Pietà

A neo-Gothic pietà is set up in one of the two small chapels . It was stripped of its polychrome plating in the post-war period . The formerly rich painting of the chapel was painted over in white.

Sediles

The sediles of the neo-Gothic furnishings are still preserved and placed in the church.

Portals

The original doors with their rich wrought iron fittings have also been preserved .

Floor coverings

The original floor coverings were supplied by the company Villeroy & Boch from Mettlach / Merzig . Some of the flooring has still been preserved after the war damage. The motifs shown show the devil dragon defeated by the cross, deer at the water source or floral ornaments.

Christmas crib

Since 2008 the church has again had a neo-Gothic Christmas crib made of polychromed terracotta by Villeroy & Boch from the second half of the 19th century. The crib figures originally belonged to the parish of St. Peter in Merzig. The maximum figure size is approximately one meter. After the acquisition, the historical figures were restored and a new crib stable was built.

Flags

Historical congregational flags with rich needle paintings were restored on the occasion of the 100th anniversary.

Ornamental carpets

Large decorative carpets for the altar area, which 15 female parishioners had made in 1931 from zephyr wool based on a design by Franz Stoffel, thematize the fate of the Old Testament Joseph ( Gen 37–50 EU ) as the prefiguration of the foster father Jesus. They consist of several individual parts and can be connected and laid out in the altar area for high festivities. The colors (green, red and blue tones) are intense and should be reminiscent of the colorful dress that Joseph received from his father Jacob ( Gen 37.3–4 EU ). The total area of the carpet was 98 square meters.

In the center you can see Joseph, the son of Jacob, in splendid regalia on the throne as the representative of the Egyptian Pharaoh, surrounded by supplicants. In the field below, a fruitful vine sprouts from a cornucopia , with a bird in the branches that is threatened by a fire-breathing dragon. The words “Go to Joseph!” ( Gen 41.55 EU ), which the Egyptian Pharaoh said to his people at the beginning of the great famine, can be read on a banderole . Above the central picture ears of corn and grapes are depicted as Eucharistic symbols and lilies as symbols of Joseph's purity.

The four corner fields show the sheaves of his brothers bowing in front of the sheaf of Joseph ( Gen 37.5–7 EU ), the bow of the sun, the moon and eleven stars before Joseph ( Gen 37.9 EU ) as well as an abundance of dishes, which stand as a symbol of the “fat years” that Joseph prophesied dreamily ( Gen 41.1–36 EU ). The side panels contain floral arrangements surrounded by snakes, birds and ribbon. On the left you can see a little tree with red flowers as a symbol of the Old Testament Joseph. The lettering banderole contains a verse from the Jacob's blessing: "Joseph is a growing tree, lovely to look at, its branches quickly grow up on the bricklayer!" ( Gen 49,22 EU ). In the field on the opposite side you can see the sprouting staff of the New Testament Joseph. A banner contains the words “And when he was about to put her on the altar, a white flower bloomed out like a lily”. In the medieval Legenda aurea (around 1260), which is based on a similar story in the Proto-Gospel of James from the second half of the 2nd century, it is said that the high priest called all marriageable men from David's descendants to find a husband for to find the Temple Virgin Mary. Everyone should bring a staff. That is how Joseph appeared at the temple. As a sign, the angel of the Lord announced with reference to Isa 11 : 1-2 EU that the staff of the chosen one would begin to blossom. The high priest put the sticks in the temple and then distributed them again. When Joseph was the last to receive his staff back, a flower had sprouted from the staff. Thereupon the high priest Joseph announced that he had been chosen to bring the Virgin Mary home in order to protect her virginally. Joseph hesitated at first because he was old and already had sons, but then consented and brought Mary home (cf. Num 17 : 16-23 EU ).

Modern equipment and preserved pieces

Vasa sacra and vestments

St. Josef (Saarbrücken), Monstrance, goldsmith's workshop Krieg & Schwarzer, Mainz

St. Josef (Saarbrücken), neo-Renaissance Marian sculpture

The church still has an extensive range of historical sacred implements and paraments , some of which still come from the mother parish of St. Johann.

The disc monstrance , richly set with stones, is designed in neo-late Gothic forms. The Monstranzfuß is eight Passignano, the Fußdickel is grooved . The shaft is decorated with gothic latticework , the rhombuses of which are studded with rounded red stones. The nodus consists of an intertwining of acanthus leaves . Above that, tracery surfaces rise. A pointed arch gallery turns into a lily . Tangled acanthus tendrils emanate from the host. In the reredos around the host insert the symbols of the evangelists John , Luke , Matthew and Mark are inserted in four round silver medallions . In the second wreath, the four occidental church fathers Ambrosius , Augustine , Hieronymus and Gregory the Great can be seen in square enamel medallions . The medallions of the Church Fathers are framed by praying angels on all sides. The golden Latin inscription on a blue enamel background " Ecce panis Angelorum factus cibus viatorum" (German: "See the angel bread becomes the food of the hikers") comes from the Corpus Christi sequence " Lauda Sion " by Thomas Aquinas from the 13th century. A halo set with red pearl stones forms the frame. It is crowned by a cross at its top.

Today's church window

After the Second World War, the windows in the polygonal apses of the church were significantly extended downwards in order to give the church an even more vertical spatial impression in the style of high-Gothic cathedrals such as Cologne Cathedral .

Window by Anton Wendling

The apse windows, which are around 17 meters high, and the transept windows were created in 1957 by the glass painter Anton Wendling . In intensely colored red, white and blue tones, they show a shimmering pattern of stars with set crosses like a kaleidoscope . The two huge stars in the transept rosettes are six meters in diameter. The ornament could be related to the vision of Balaam , in which he - according to the church - prophesies the birth of the Messiah : "I see him, but not now, I see him, but not nearby: a star rises in Jacob , a scepter rises in Israel ”( Num 24.17 EU ). The story of the wise men from the east updates this promise in the Christian understanding: like Balaam, who announced the star, they come from the east to confirm the fulfillment of the prophecy. (cf. the story of the wise men from the Orient in Mt 2 EU ).

Reinhard Hess's window

The other windows in the chapels, the side aisles, the upper aisle of the central nave and the west rosette in the tower were made by the glass painter Reinhard Heß , who executed them between 1955 and 1956. In Saarbrücken, in addition to the windows in St. Josef, Heß also made the windows for the neighboring parishes Herz-Jesu , St. Helena , St. Eligius , St. Paulus and St. Elisabeth .

St. Josef (Saarbrücken), baptistery

The four single-lane windows of the baptistery in St. Josef show flaring, stylized tongues of Pentecostal fire as a symbol of the Spirit of God (cf. Acts 2, 1–41 EU ) as well as waves of water as a sign of the sacrament of baptism . The windows address the word of Jesus in Jn 3: 5–6 EU : “Jesus answered: Amen, amen, I tell you: If someone is not born of the water and the Spirit, he cannot come into the kingdom of God . What is born of the flesh is flesh; but what is born of the spirit is spirit. "

The four single-lane windows of the southern chapel on the west side show:

John the Baptist as patron of the mother parish of St. Johann and of Pastor Johannes Pütz (* 1912, † 1961, term of office as chaplain: 1939–1942; as pastor: 1947–1961) with a staff in his left hand and a banderole in his right, which bears the abbreviated Latin inscription "E (cce) Agnus D (ei) +" ("See the Lamb of God"; Jn 1.29.36 EU );
the parish priest Joseph of Nazareth, who caresses the baby Jesus standing in front of him and holds a lily in his left hand as a sign of his purity;
the holy apostle Matthias as patron of the diocese of Trier and the church builder dean Matthias Metzdorf (* 1854, † 1913, term of office in St. Josef 1887–1913) in priestly robes with the ax of his martyrdom in his right hand and the Bible in his left;
Archangel Michael in armor and with a flaming sword as patron of the neighboring parish of St. Michael in St. Johann;

The two large two-lane windows of the nave show Eucharistic symbols (ears of wheat in the left window and grapes in the right window). The eight two-lane tracery windows of the nave and the four windows of the north and south chapels in the nave are decorated with ornamental colors in bold colors. They show stylized lilies as a symbol of Joseph's chastity and his legendary stick miracle. The lancet triple windows of the upper storey show in a stylized form in lighter tones sprouting blossoms as a reference to the stick miracle in the Jerusalem temple.

The window above the main portal contains the Greek capital letters IC XC. They are the first and last letters of Ιησούς Χριστός (Jesus Christ). This alludes to Jesus' saying, which comes from the Gospel of John, “I am the door; whoever enters through me will be saved; he will go in and out and find pasture ”( Jn 10.9 EU ). The western rose window in the tower (diameter: 4.20 meters) shows the Star of David in the central six-pass . The twelve surrounding circular segments contain the abstract representations of lilies. The colored design of the lilies gives the viewer another cross shape. The surrounding three-pass wreath is filled with numerous "J", the first letter of the parish priest Josef. Every three “J” form a triangle, which corresponds to the letter “D” and refers to Josef's ancestor David . The outermost triangular wreath contains lily blossoms as a symbol of the purity of Joseph and Mary.

Remains of the destroyed neo-Gothic high altar

The relief panels of the former neo-Gothic high altar and the Joseph altar , which remain from the original interior, are now in the weekday chapel under the gallery.

Tombs

In a chapel south of the main portal is the burial place of the first pastor of St. Josef, Matthias Metzdorf, who died in 1913, whose bones were transferred there in 1922. Next to it is the grave of the “rebuilder” of St. Joseph's Church, Johannes Pütz. The grave inscription "From shadows and images to truth" refers to the second speech of St. Athanasius against the Arians and is the translation of the Latin grave inscription "Ex umbris et imaginibus in veritatem" by the English cardinal John Henry Newman , the pastor Johannes Pütz revered throughout his life would have.

Remnants of the original painting

In 2008 the wall and ceiling paintings by the Düsseldorf church painter Josef Held were rediscovered and restored or painted.

Bronze work by Sepp Baumhauer

Altar relief
Amborelief
Apse cross in the background the metal installation "Saint Joseph as the patron saint of Malstatt"
Tabernacle stele
Jesus and the Emmaus disciples
The incredulous Thomas
Emm output
Jesus appears to Mary Magdalene
Easter candlesticks

The abstract bronze reliefs on the people's altar and ambo as well as the large standing cross, the eternal light chandelier and the tabernacle stele in the altar area were created in the early 1980s by the sculptor Sepp Baumhauer (* March 16, 1930, † May 8, 2011) from Schwäbisch Gmünd on his initiative Sister Irmgard Donnevert, who belonged to the parish of St. Josef. The planning in this regard had already begun in 1978. The background to the artistic redesign of the altar area was the theft of the tabernacle of the Trier goldsmith Hans Alofs (1927–2019) in the night of September 15-16, 1976. The new pieces of equipment were installed in March 1985 in the Josefskirche.

Tabernacle stele

The almost four meter high tabernacle stele (erected in 1981) shows Easter-Eucharistic scenes in its cube-like middle section :

Back: Jesus interprets the writing for the Emmaus disciples ( Lk 24 : 13–27 EU )

Front: Jesus reveals himself to the Emmaus disciples when the bread is broken ( Lk 24.30–32 EU )

Right: The appearance of the risen Jesus to the unbelieving Thomas ( Joh 20,19-29 EU )

Left: The appearance of Jesus to Mary Magdalene ( Joh 20.11–18 EU ).

Easter candlesticks

Baumhauer's Easter candlestick was made in 1984 and installed in the church on April 29th.

Ambo

The relief on the front of the ambo (Montage 1985) recalls the story of the brazen serpent . The artist depicts the serpent winding up on a cross staff held by Moses . According to the testimony of the Bible, when he left Egypt as the leader of the Israelites, he set up a metal image of a snake on a (cross) staff to escape God's punishment ( Num. 21.6–9 EU ). The healing of those who looked at the snake is counted among the salvific deeds of God (cf. Dtn 8,15 EU ). The book of wisdom speaks of the fact that God gave his people a "saving sign" ( Weish 16.5–11 EU ). The story of the serpent is taken up in the New Testament when Jesus speaks to Nicodemus and uses the story as an analogy ( Jn 3 : 14–15 EU ): “And as Moses exalted the serpent in the desert, so must the Son of Man exalted so that everyone who believes (in him) has eternal life in him. ”The healing that the Israelites found by looking at the snake is pictorial for the salvation that Jesus received through his death on the cross, thus also "Raised" hanging on a piece of wood. The believer is healed when he looks at the crucified Christ like the Israelites at the serpent.

cross

Baumhauer related the entire theological program of his furnishings in St. Joseph to the suffering and glorification of the Messiah . In the spirit of prefiguration theology , the Old Testament indicates in veiled form what the evangelists proclaim in the New Testament.

Accordingly, Baumhauer also depicts Adam on the trunk of his cross to the right of the altar (installation 1985) . According to legendary tradition, Christ was crucified at the place of Adam's grave. Through the blood of the Savior flowing down, he was brought back to life as the progenitor of humanity. In the Christian tradition of the Latin Church , Adam, who is disobedient to God, is the representative and forefather of all humanity driven by sin. As such, his actions are, as the Apostle Paul writes in Romans ( Rom 5,12-21 EU ), the cause of the suffering and death of all people. This “old (human type) Adam” is contrasted with Jesus Christ as the “new Adam”, whose death on the cross in obedience to the will of the Father ( Phil 2.8 EU ) and whose resurrection through the victory over the powers of death gives new life for all Enable people (cf. 1 Cor 15.24–28.55–57 EU ). The contrast between “spirit” and “flesh” is fundamental for Paul and also stands behind the contrast between the “new Adam” Jesus and the “old Adam” (cf. Rom 5.12-21 EU , Rom 8.1 -17 EU , Gal 5.13-26 EU ). The human being transformed by Christ now has access again to the grace of "hope in the glory of God" ( Rom 5,2 EU ) and immortality ( 1 Cor 15,53-57 EU ).

altar

In relief of the altar Stipes the glorification of apocalyptic Passover Lamb . The relief was mounted in 1984 at the existing since 1963 altar. The scene shows the adoration of the Lamb ( Rev 5 : 6-14 EU ). In the center of a seemingly chaotic vortex, the radiant lamb with a cross appears - as a sign of its victory over sin and death - flanked by 24 eyes, a multitude of angels and elders. In the vision of the prophet of God appear at the four corners Ezekiel described four worshipers before the throne of God ( Ezek 1.4 to 28 EU ), which is also the author of the New Testament apocalypse were taken ( Rev 4,6-8 EU ). Clockwise, these are on the bronze relief of the Malstatter Altar: a winged lion , an eagle , a winged bull and a winged person. All four beings each carry a book. According to the testimony of the Bible, they proclaim the holiness of God. The four heavenly beings are associated with the four evangelists John , Luke , Mark and Matthew in Christian theology . The human-faced being stands for the incarnation of Jesus, the bull-faced being for his sacrificial death, the lion-faced being for the resurrection and the eagle-faced being for Jesus' return to the Father.

Metal pictures and Stations of the Cross by Werner Persy

St. Josef (Saarbrücken), metal installation "Annunciation"

The Trier painter and graphic artist Werner Persy created the 14 Stations of the Cross in St. Josef on the one hand and the large metal pictures in the transepts in 1961, which replace the two original side altar retables:

Left: “The announcement of the birth of Jesus by the Archangel Gabriel to the Virgin Mary”.

Persy pulls together several scenes in his portrayal. The archangel, hovering from the top right, raises his hands up to indicate his heavenly mission. The seated Virgin Mary for her part raises her hands in a frightened posture. The indicated facial features of Mary express fear. The dove of the Holy Spirit hovers over her head in a circular halo. The crescent moon under her feet relates Mary to the apocalyptic woman ( Revelation 12 : 1-5 EU ). Mary's head is crowned with a five-pointed coronet, which identifies her as the Queen of Heaven . The historical background of the representation is that Pope Pius XII. at the end of the Marian Year 1954 with the encyclical Ad caeli reginam the Queen of Ideas festival for the whole Church had solemnly determined. The five-pointed circlet indicates the five-petalled nature of the Marian symbol of the Rosa mystica in the Lauretanian litany .

Right: “St. As the patron saint of Malstatt-Burbach, Josef blesses the Burbacher hut and the Malstatter Josefskirche ”.

The church patron, marked as a craftsman with a work apron around his hips and a square in his left hand, raises his right hand to give a protective blessing over the silhouette of the Malstatter Josefskirche. The church is shown here without the spire that was lost in the war. A metal wave indicates the Malstatter Kirchberg, the historical Thingstätte. Stepped metal bands represent the terraces sloping down towards the Saar, on which the artist has abstracted a winding tower and an industrial chimney. The neimated head of Joseph is not shaped like the usual circular, but completely in the progress-oriented spirit of the time in the form of a cathode ray tube screen .

Saint Joseph was chosen as the patron saint of the Malstatt Church for several reasons. Pope Pius IX had St. Joseph on 8 December 1870 the wake of the dogma of the Pontifical infallibility (Dogmatic Constitution Pastor Aeternus on the First Vatican Council on July 18, 1870) at the time of incipient culture war in the recently newly established and strong Protestant dominated German Reich to Declared patron saint of the Catholic Church. Pope Leo XIII. In his encyclical Quamquam Pluries of August 15, 1889, he emphatically praised the outstanding devotion to St. Joseph as the heavenly protector and defender of the Church of Christ.

Especially in the former farming village of Malstatt, which was characterized by industrialization, St. Joseph should be given to the uprooted industrial workers who earned their livelihood in the steel industry and in mining as a figure of identification. Saint Joseph was to serve as a model for the workers who, in the view of the Church, lived in constant danger of succumbing to the lure of atheistic socialism and communism . Consequently, Pope Pius XII. in 1955 as a church counterpart to the world-wide celebrated Labor Day (May 1st), the commemoration day of Joseph the worker. In the biblical tradition, Joseph worked as a builder and is traditionally the patron saint of workers, especially carpenters and lumberjacks . The inclusion of the day of remembrance in the liturgical calendar was a response of the Church to the spread of socialism and the social movement. In addition, even after the end of the Kulturkampf, the Catholic veneration of Joseph was in a certain way inherent in an anti-Prussian-anti-Protestant character. The Joseph iconography played an important role in the time of the establishment of the Malstatter Josefsgemeinde: Just as the foster father of Jesus had saved the baby Jesus from death by fleeing to Egypt ( Mt 2 : 13-21 EU ), he was also the savior of the in Bismarck's Kulturkampf interpreted the endangered Catholic Church.

Accordingly, the handover of the keys to Petrus was shown above the side entrance gate of the new church in Malstatt at the beginning of the 20th century . The basis of the scenic representations in Christian art is the biblical passage in the Gospel of Matthew ( Mt 16 : 18-19 EU ) in which Christ symbolically gives Simon Peter after his confession of Caesarea in the circle of the other apostles the sacramental power of binding and loosing and the constancy of the Church emphasizes: “But I say to you: You are Peter and on this rock I will build my church and the gates of the underworld will not overwhelm it. I will give you the keys of the kingdom of heaven; what you will bind on earth will be bound in heaven, and what you will loosen on earth will be loosened in heaven. "

St. Joseph statue in the sacristy

In the sacristy there is a ceramic statue of the Merzig ceramic artist and church musician Josef Schwindling . The statue was donated to the parish in 2009.

Bells

The emergency church had a bell (a ′, 360 kg) from 1896 from the Andreas Hamm bell foundry in Frankenthal . A bell with the pitch c ″ was already there. Both bells are no longer preserved.

In 1910, the year the church was consecrated, the Otto bell foundry in Hemelingen near Bremen cast five bells with a total weight of 10,009 kg. The disposition was: b ⁰ , 7826 lbs / des ', 4740 lbs / es', 3290 lbs / f ', 2260 lbs / ges', 1902 lbs. In 1917 4 bells had to be delivered for the war armor, which were melted down immediately according to the regulations of the time, as they were new and therefore had no monument value.

In 1926 new bells could be purchased again. It was a six-part bell that was ordered and cast from the Causard foundry in Colmar . Except for the smallest bell, in 1942 all bells for the armament of the Second World War had to be returned. The bell that remained in the tower was destroyed in an air raid on October 5, 1944.

Since 1957 there have been six bells from the Mabilon bell foundry in Saarburg in the church tower. All bells have decorated six-handle crowns and bear the Latin inscription “Parochia Ad Sanctum Joseph - Saarbrücken II MCMLVII” (Parish St. Josef, Saarbrücken II, 1957). The other inscriptions are taken from the Catholic liturgy or the Bible.

No.	Surname	Nominal (16th note)	Weight (kg)	Diameter (mm)	inscription
1	Joseph	c ¹ +1	2300	1570	“In Honorem Sancti Joseph. Fac Nos Innocuam, Joseph, Decurrere Vitam: Sitque Tuo Semper Tuta Patrocino. " (In honor of St. Joseph. Let us, St. Joseph, live a pure life. Under your protection, be it in safe hat.)
2	Michael	it ¹ +1	1350	1320	“In Honorem Sancti Michaelis. Signifer Sanctus Michael Repraesentet Eas In Lucem Sanctam. " (In honor of St. Michael. The standard-bearer, St. Michael, lead you to the holy light.)
3	Pius X.	f ¹ +3	950	1170	“In Honorem Sancti Pii Papae. Laetatus Sum, Quia Dixerunt Mihi: In Domum Domini Ibimus. ” (In honor of Pope Pius. I was happy when I was told: We are going to the house of the Lord; Ps 122.1 EU )
4th	John the Baptist	ges ¹ +3	800	1110	“In Honorem Sancti Joannis. Hic Est Qui Baptizat In Spiritu Sancto. " (In honor of St. John. It is he who baptizes in the Holy Spirit; Jn 1.33 EU )
5	Maria	as ¹ +4	580	980	“In Honorem Beatae Mariae Virginis. Angelus Domini Enuntiavit Mariae. ” (In honor of the Blessed Virgin Mary. The angel of the Lord brought Mary the message.)
6th	Matthias	b ¹ +4	400	880	“In Honorem Sancti Matthiae. Nobis Domine, Sancti Matthiae Intersessione Locum Salutis Ostend, Pedesque Nostros In Viam Salutis Dirige. ” (In honor of St. Matthias. Show us, Lord, on the intercession of St. Matthias, the place of our salvation, and direct our steps on the path of salvation .)

organ

Organ prospectus

The first organ of the church was built in 1923/24 by the organ construction company Weigle ( Stuttgart ) and had 42 registers and 2,600 pipes . The instrument, in a case of richly carved work , was placed in the organ gallery on the tower side of the church.

Today's organ was built in 1953 by Michael Weise Orgelbau ( Plattling ). The instrument has 33 registers, divided into three manuals and pedal . The organ is set up with a free-standing console and free pipe prospect in the south transept, which is why the windows that were originally there had to be walled up. The playing and stop action is electric. A special feature of the church is the reverberation of almost 10 seconds.

I Hauptwerk C – g ³
1.	Quinatde	16 ′
2.	Principal	8th'
3.	Pointed flute	8th'
4th	Octave	4 ′
5.	Smalled up	4 ′
6th	Super octave	2 ′
7th	Mixture V	1 ¹ ⁄ ₃  ′
8th.	Trumpet	8th'

II breastwork C – g ³
9.	Reed flute	8th'
10.	Prefix	4 ′
11.	Forest flute	4 ′
12.	Swiss pipe	2 ′
13.	Pointed fifth	1 ¹ ⁄ ₃  ′
14th	Cymbel III

III Inking unit (swellable) C – g ³
15th	Dumped	8th'
16.	Willow pipe	8th'
17th	English principal	4 ′
18th	Nasard	2 ² ⁄ ₃  ′
19th	recorder	2 ′
20th	Principal	2 ′
21st	Third flute	1 ³ ⁄ ₅  ′
22nd	Scharff V	1'
23.	Krummhorn	8th'
24.	shawm	4 ′
	Tremulant

Pedal C – f ¹
25th	Principal	16 ′
26th	Sub-bass	16 ′
27.	Octave bass	8th'
28.	Delicately packed	8th'
29	Chorale bass	4 ′
30th	Back set III	2 ′
31.	trombone	16 ′
32.	Trumpet	8th'
33.	horn	4 ′

Pairing :
- Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P
- Sub-octave coupling: III / I
Playing aids : hand register, two free combinations, mf, f, tutti, automatic piano pedal, crescendo, reed works

church choir

Two years after the founding of the parish of St. Joseph in 1888, the church choir St. Cäcilia was founded on March 25, 1890 . Under the organist Jakob Pauli, who directed the choir from 1920 to 1946, the choir, with 100 members, had its peak in numbers in 1935.

Pastor

St. Josef (Saarbrücken), grave chapel of Pastor Matthias Metzdorf and Pastor Johannes Pütz with a Pietà by the sculptor's atelier Bücker from Rheda in Westphalia ; The sculpture, which was stained in the post-war period, has been polychromed again since a restoration

Pastor at St. Josef in Malstatt:

Matthias Metzdorf, (born October 21, 1854, † November 30, 1913, pastor 1887–1913)
Theodor Acker, (born February 22, 1872, † October 12, 1941, pastor 1914–1919)
Franz-Josef Bungarten , (* February 4, 1876, † September 7, 1965, pastor 1919–1936)
Dr. Otto Hirz, (born January 15, 1894, † November 27, 1936, pastor 1936–1946)
Johannes Pütz, (born August 29, 1912, † October 13, 1961, chaplain in St. Josef 1939–1942, pastor 1947–1961)
Erwin Bernard, (born December 25, 1915, † November 12, 1991, pastor 1961–1966)
Josef Pauken, (born March 15, 1924, † May 31, 1999, pastor 1966–1973)
Josef Schmidt, (born November 22, 1932, pastor 1973–1989)
Edgar Michels, (born September 3, 1943, pastor 1989–2002)
Axel-Maria Kraus, (born August 5, 1956, pastor 2002–2004)
Bernd Schikofsky, (born July 16, 1959, pastor since 2004)

literature

L. Sudbrack, A. Jakob (Ed.): The Catholic Saarland. Home and church. Volume I, Saarbrücken 1954, p. 32.
50 years of the parish church of St. Josef Saarbrücken-Malstatt 1911–1961. Saarbrücken no year (1961).
75 years of the parish church of St. Josef Saarbrücken-Malstatt. Ottweiler undated (1976).
100 years of the parish of St. Josef Saarbrücken-Malstatt 1888–1988. Saarbrücken n.d. (1988).
Kristine Marschall: Sacred buildings of classicism and historicism in Saarland. Institute for Regional Studies in Saarland, Saarbrücken 2002, ISBN 978-3923877409 , p. 666.
Bernd Schikofsky (Ed.): Outstanding - surprising. The Church of St. Josef in Saarbrücken-Malstatt. Geistkirch-Verlag, Saarbrücken 2010, ISBN 978-3-938889-95-4 , p. 288.
Alois Thomas and Ulrich Craemer: New Buildings in the Diocese of Trier (Monographs of the Building Industry, Volume 17), ed. from the Department of “Construction and Art” of the Episcopal Vicariate Trier, Stuttgart 1961, pp. 122–123.

Web links

Commons : St. Josef - collection of images, videos and audio files

Individual evidence

↑ List of monuments of the Saarland, partial list of monuments state capital Saarbrücken (PDF; 638 kB), accessed on August 17, 2012
↑ Evangelical Parish Office Malstatt (ed.): Thousand Years Church in Malstatt 960–1960. Saarbrücken 1960, p. 3.
^ Walter Zimmermann: The art monuments of the city and the district of Saarbrücken. 2nd edition, unchanged reprint of the Düsseldorf 1932 edition, Saarbrücken 1975, p. 58.
^ Heinrich Kuhn: 1000 years of Malstatt, the three imperial documents of 960, 977 and 993 for the St. Peter Abbey in Metz. In: Saarbrücker Hefte. 11/1960, pp. 32-45.
↑ ^a ^b Short history of the Protestant parish Malstatt (PDF) evangelischmalstatt.de. Retrieved April 5, 2016.
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 122.
↑ Albert Rosenkranz (Ed.): The Evangelical Rhineland, A Rhenish Parish and Parish Book, Part I, The Communities. Düsseldorf 1956.
^ Wilhelm Engel (Ed.): 375 Years of the Evangelical Church on the Saar, 1575–1950. Saarbrücken 1950, p. 68.
^ Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition of 1914, St. Ingbert 1979, p. 166.
↑ St. Johann, Saarbrücken, Gersweiler , Sulzbach , Güdingen , Bübingen and Fechingen
^ Heinrich Kuhn: Thousand Years of Church in Malstatt 960-1960. Malstatt Protestant Parish Office, Saarbrücken 1960, pp. 5–6.
^ Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition from 1914 , St. Ingbert 1979, p. 154.
^ Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition from 1914 , St. Ingbert 1979, p. 203.
^ Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. 2nd edition from 1914, Saarbrücken 1914, pp. 173-181.
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, pp. 122–123.
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.
^ Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815-1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part 2, 2nd edition from 1914, Saarbrücken 1914, pp. 179-181.
↑ Joachim Conrad: "To tie the bond of the association ever tighter". In: Ders., Stefan Flesch, Nicole Kuropka, Thomas Martin Schneider (Hrsg.): Evangelisch am Rhein. Becoming and essence of a regional church. Writings of the archive of the Evangelical Church in the Rhineland, vol. 35. Düsseldorf 2007, pp. 178–181.
^ Johann Friedrich Gerhard Goeters: The introduction of the union in the area of the old district synod Saarbrücken. In: Helmut Franz, Hans Walter Herrmann: The Evangelical Church on the Saar yesterday and today. Saarbrücken 1975.
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt. Saarbrücken 2010, p. 106.
Jump up ↑ The beginning - Festschrift "75 Years Parish Church St. Josef" from 1985/86. On: www.stjosef-saarbruecken.de, accessed on August 17, 2012
^ Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.
↑ Construction of the parish church St. Josef - Festschrift "75 years parish church St. Josef" from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 102.
↑ ^a ^b ^c St. Josef up to the end of World War II - commemorative publication “75 Years Parish Church St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ ^a ^b ^c ^d ^e St. Josef 1945 - 1961 - Festschrift "75 Years Parish Church St. Josef" from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ St. Josef from 1961 - 1986 - commemorative publication “75 Years Parish Church St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ Redesign of the choir room - commemorative publication “75 Years of the Parish Church of St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 107
↑ ^a ^b Information on the parish church of St. Josef at: www.kunstlexikonsaar.de, accessed on August 17, 2012
^ Karl August Schleiden: Illustrated History of the City of Saarbrücken, Dillingen / Saar 2009, pp. 126-131.
↑ Dieter Dolgner: Foreword to: Kristine Marschall: Sacral buildings of classicism and historicism in Saarland, (publications of the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 7–9.
↑ https://volksfreund.trauer.de/trauerbeispiel/hans-alof , accessed on April 14, 2020.
↑ Kristine Marschall: Die Baumeister der Josefskirche, in: Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 39–46, here pp. 39–40.
^ Wilfried Koch: Baustilkunde, 24th, revised edition, Gütersloh / Munich 2003, pp. 193, 206.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 25
↑ Kristine Marschall: Sacral Buildings of Classicism and Historicism in the Saarland, (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 321–322 and pp. 557–558.
↑ Kristine Marschall: The architectural and historical significance of the parish church of St. Josef in Malstatt, in: Bernd Schikofsky (Ed.): Outstanding - surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 59–67.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 84–89.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 105
↑ https://wiedenbruecker-schule.de/kuenstler-der-wiedenbruecker-schule/buecker-augustaltarbauer-ornamentiker/ , accessed on April 7, 2020.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 56.
↑ Brigitte Spieker and Rolf-Jürgen Spiecker: Proclamation of Faith in Magnificent Sculptures, The Wiedenbrücker Sculptor Heinrich Hartmann, (1868–1937), "Forgotten Artists" Series, Volume 4, Gelsenkirchen-Buer 2018.
↑ Volkmar Greiselmayer: Typology, Art History, in: Lexicon for Theology and Church, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 323-325.
↑ Christoph Dohmen and Erwin Dirscherl: Typology, Concept / Biblical-theological, in: Lexikon für Theologie und Kirche, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 321-323.
^ Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Collecting the Manna, No. 290, p. 52.
^ Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Hochzeit zu Cana, No. 296, p. 52.
^ Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Longinus' lance engraving, No. 455, p. 70.
^ Wilhelm Molsdorf: Christian Symbolik der Mittelalterlichen Kunst, 2nd, substantially changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 409, p. 64.
^ Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 411, p. 65.
↑ encyclical Annum sactrum , May 25, 1899 in: Heinrich Denzinger: Compendium of creeds and religious doctrinal decisions improved, extended, translated into German and in collaboration with Helmut Hoping edited by Peter Hünermann, 37th edition, Freiburg, Basel, Rom, Vienna 1991, 3350-3353, pp. 915-918.
↑ Adolf Adam, Genoveva Nitz, Karl Suso Frank: Holy Family, in Lexicon for Theology and Church, ed. by Walter Kasper u. a., 3rd completely revised edition, Freiburg, Basel, Vienna 2006, Volume 4, Column 1276–1279.
^ Benedikt Große Hovest and Marita Heinrich: The "Wiedenbrücker Schule", Art and Crafts of Historicism, Paderborn 1991, pp. 58–63
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 233.
↑ http://www.jakobus-weg.de/aJakw/3Spiritua/Jkevangel.htm , accessed on April 21, 2020.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 54.
↑ Brigitte Spieker and Rolf-Jürgen Spiecker: Preaching of Faith in Magnificent Sculptures, The Wiedenbrücker Sculptor Heinrich Hartmann, (1868–1937), “Forgotten Artists” series, Volume 4, Gelsenkirchen-Buer 2018, 51–55.
↑ Volkmar Greiselmayer: Typology, Art History, in: Lexicon for Theology and Church, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 323-325.
↑ Benedikt Große Hovest and Marita Heinrich: The "Wiedenbrücker Schule", Art and Crafts of Historicism, Paderborn 1991, p. 113.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.
^ Historical advertising photo of the Hansa-Rekord company.
↑ Legenda aurea cap. CXXXI
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 229–239.
↑ Commemorative sheet for the consecration and use of the new Catholic church in the parish of Malstatt on September 11, 1910 (separate reprint from the Saarbrücker Volkszeitung), printed in: Bernd Schikofsky (Ed.): Outstanding - surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 47-57, pp. 229-236, pp. 241-247.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 248-271.
^ Migne, Patrologia Graeca, T. 26, 320.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 282–283.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 277–278.
↑ https://www.ostalbtrauer.de/trauerbeispiel/josef-baumhauer , accessed on April 5, 2020.
↑ https://www.strassacker.com/de/kuenstler/az/sepp-baumhauer , accessed on April 5, 2020.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 273-276, 106.
↑ http://www.stjosef-saarbruecken.de/index.php?id=180 , accessed on April 5, 2020.
^ Wilhelm Molsdorf: Christian Symbolik der Mittelalterlichen Kunst, 2nd, substantially changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 409, p. 64.
↑ Géza Jászai: Evangelist or God's symbols ?, On the iconology of the Maiestas Domini representation of the Carolingian Vivian Bible, in: Das Münster, Zeitschrift für Christian Kunst und Kunstwissenschaft, 1, 2019, 72nd year, Regensburg 2019, p 25-29.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 278.
^ First Dogmatic Constitution Pastor aeternus on the Church of Christ, July 18, 1870, in: Heinrich Denzinger: Compendium of Confessions of Faith and Church Doctrinal Decisions, improved, expanded, translated into German and edited by Peter Hünermann with the collaboration of Helmut Hoping, 37th edition, Freiburg im Breisgau, Basel, Rome, Vienna 1991, 3050-3075, pp. 824-833.
↑ Decree Quemadmodum Deus Josephum
↑ Encyclical Quamquam pluries , August 15, 1889, in: Heinrich Denzinger: Compendium of Confessions of Faith and Church Doctrinal Decisions, improved, expanded, translated into German and edited by Peter Hünermann with the collaboration of Helmut Hoping, 37th edition, Freiburg im Breisgau, Basel, Rom, Vienna 1991, 3260-3263, pp. 875-876.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 279.
^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, especially pages 51, 55, 352, 518, 539 .
↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, in particular pp. 73, 79, 315, 482, 498 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).
↑ ^a ^b ^c The bells of St. Josef Church (PDF file; 3.64 MB) On: www.stjosef-saarbruecken.de, accessed on August 17, 2012
↑ Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, pp. 138-139.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 208–215.
^ Organ - Festschrift "75 Years Parish Church St. Josef" from 1985/86 On: www.stjosef-saarbruecken.de, accessed on August 17, 2012
^ Organ of the Church of St. Josef (Catholic) ( Memento from March 30, 2014 in the Internet Archive ) Information page of the Orgeln im Saarland website , accessed on August 17, 2012
↑ Malstatt Parish Community, Parish Letter No. 3, for the period from March 8, 2020 to April 5, 2020, pp. 14–15.
↑ Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 183–188.

49.241516 6.97362Coordinates: 49 ° 14 ′ 29.5 ″ N , 6 ° 58 ′ 25 ″ E

[1] List of monuments of the Saarland, partial list of monuments state capital Saarbrücken (PDF; 638 kB), accessed on August 17, 2012

[2] Evangelical Parish Office Malstatt (ed.): Thousand Years Church in Malstatt 960–1960. Saarbrücken 1960, p. 3.

[3] Walter Zimmermann: The art monuments of the city and the district of Saarbrücken. 2nd edition, unchanged reprint of the Düsseldorf 1932 edition, Saarbrücken 1975, p. 58.

[4] Heinrich Kuhn: 1000 years of Malstatt, the three imperial documents of 960, 977 and 993 for the St. Peter Abbey in Metz. In: Saarbrücker Hefte. 11/1960, pp. 32-45.

[evangelischmalstatt1-5] Short history of the Protestant parish Malstatt (PDF) evangelischmalstatt.de. Retrieved April 5, 2016.

[6] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 122.

[7] Albert Rosenkranz (Ed.): The Evangelical Rhineland, A Rhenish Parish and Parish Book, Part I, The Communities. Düsseldorf 1956.

[8] Wilhelm Engel (Ed.): 375 Years of the Evangelical Church on the Saar, 1575–1950. Saarbrücken 1950, p. 68.

[9] Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition of 1914, St. Ingbert 1979, p. 166.

[10] St. Johann, Saarbrücken, Gersweiler , Sulzbach , Güdingen , Bübingen and Fechingen

[11] Heinrich Kuhn: Thousand Years of Church in Malstatt 960-1960. Malstatt Protestant Parish Office, Saarbrücken 1960, pp. 5–6.

[12] Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition from 1914 , St. Ingbert 1979, p. 154.

[13] Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. Reprint of the 2nd edition from 1914 , St. Ingbert 1979, p. 203.

[14] Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815–1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part volume 2. 2nd edition from 1914, Saarbrücken 1914, pp. 173-181.

[15] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, pp. 122–123.

[16] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.

[17] Albert Ruppersberg: History of the former county of Saarbrücken, history of the cities of Saarbrücken and St. Johann 1815-1909, the city of Malstatt-Burbach and the united city of Saarbrücken up to 1914. Volume III, part 2, 2nd edition from 1914, Saarbrücken 1914, pp. 179-181.

[18] Joachim Conrad: "To tie the bond of the association ever tighter". In: Ders., Stefan Flesch, Nicole Kuropka, Thomas Martin Schneider (Hrsg.): Evangelisch am Rhein. Becoming and essence of a regional church. Writings of the archive of the Evangelical Church in the Rhineland, vol. 35. Düsseldorf 2007, pp. 178–181.

[19] Johann Friedrich Gerhard Goeters: The introduction of the union in the area of the old district synod Saarbrücken. In: Helmut Franz, Hans Walter Herrmann: The Evangelical Church on the Saar yesterday and today. Saarbrücken 1975.

[20] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.

[21] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.

[22] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt. Saarbrücken 2010, p. 106.

[23] Jump up ↑ The beginning - Festschrift "75 Years Parish Church St. Josef" from 1985/86. On: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[24] Johann Peter Muth: Parish historical pictures of the Catholic parishes of St. Johann and Saarbrücken for the 150th anniversary of the consecration of the current parish church of St. Johann. St. Johann an der Saar 1908, p. 123.

[25] Construction of the parish church St. Josef - Festschrift "75 years parish church St. Josef" from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[26] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 102.

[gesch-27] St. Josef up to the end of World War II - commemorative publication “75 Years Parish Church St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[gesch2-28] St. Josef 1945 - 1961 - Festschrift "75 Years Parish Church St. Josef" from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[29] St. Josef from 1961 - 1986 - commemorative publication “75 Years Parish Church St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[30] Redesign of the choir room - commemorative publication “75 Years of the Parish Church of St. Josef” from 1985/86 on: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[31] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 107

[info-32] Information on the parish church of St. Josef at: www.kunstlexikonsaar.de, accessed on August 17, 2012

[33] Karl August Schleiden: Illustrated History of the City of Saarbrücken, Dillingen / Saar 2009, pp. 126-131.

[34] Dieter Dolgner: Foreword to: Kristine Marschall: Sacral buildings of classicism and historicism in Saarland, (publications of the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 7–9.

[35] ttps://volksfreund.trauer.de/trauerbeispiel/hans-alof , accessed on April 14, 2020.

[36] Kristine Marschall: Die Baumeister der Josefskirche, in: Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 39–46, here pp. 39–40.

[37] Wilfried Koch: Baustilkunde, 24th, revised edition, Gütersloh / Munich 2003, pp. 193, 206.

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

[39] Kristine Marschall: Sacral Buildings of Classicism and Historicism in the Saarland, (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 321–322 and pp. 557–558.

[40] Kristine Marschall: The architectural and historical significance of the parish church of St. Josef in Malstatt, in: Bernd Schikofsky (Ed.): Outstanding - surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 59–67.

[41] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.

[42] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.

[43] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 84–89.

[44] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 105

[45] ttps://wiedenbruecker-schule.de/kuenstler-der-wiedenbruecker-schule/buecker-augustaltarbauer-ornamentiker/ , accessed on April 7, 2020.

[46] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 56.

[47] Brigitte Spieker and Rolf-Jürgen Spiecker: Proclamation of Faith in Magnificent Sculptures, The Wiedenbrücker Sculptor Heinrich Hartmann, (1868–1937), "Forgotten Artists" Series, Volume 4, Gelsenkirchen-Buer 2018.

[48] Volkmar Greiselmayer: Typology, Art History, in: Lexicon for Theology and Church, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 323-325.

[49] Christoph Dohmen and Erwin Dirscherl: Typology, Concept / Biblical-theological, in: Lexikon für Theologie und Kirche, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 321-323.

[50] Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Collecting the Manna, No. 290, p. 52.

[51] Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Hochzeit zu Cana, No. 296, p. 52.

[52] Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Longinus' lance engraving, No. 455, p. 70.

[53] Wilhelm Molsdorf: Christian Symbolik der Mittelalterlichen Kunst, 2nd, substantially changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 409, p. 64.

[54] Wilhelm Molsdorf: Christian symbolism of medieval art, 2nd, significantly changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 411, p. 65.

[55] yclical Annum sactrum , May 25, 1899 in: Heinrich Denzinger: Compendium of creeds and religious doctrinal decisions improved, extended, translated into German and in collaboration with Helmut Hoping edited by Peter Hünermann, 37th edition, Freiburg, Basel, Rom, Vienna 1991, 3350-3353, pp. 915-918.

[56] Adolf Adam, Genoveva Nitz, Karl Suso Frank: Holy Family, in Lexicon for Theology and Church, ed. by Walter Kasper u. a., 3rd completely revised edition, Freiburg, Basel, Vienna 2006, Volume 4, Column 1276–1279.

[57] Benedikt Große Hovest and Marita Heinrich: The "Wiedenbrücker Schule", Art and Crafts of Historicism, Paderborn 1991, pp. 58–63

[58] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 233.

[59] ttp://www.jakobus-weg.de/aJakw/3Spiritua/Jkevangel.htm , accessed on April 21, 2020.

[60] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 54.

[61] Brigitte Spieker and Rolf-Jürgen Spiecker: Preaching of Faith in Magnificent Sculptures, The Wiedenbrücker Sculptor Heinrich Hartmann, (1868–1937), “Forgotten Artists” series, Volume 4, Gelsenkirchen-Buer 2018, 51–55.

[62] Volkmar Greiselmayer: Typology, Art History, in: Lexicon for Theology and Church, Volume 10, 3rd, completely revised edition, ed. by Walter Kasper u. a., pp. 323-325.

[63] Benedikt Große Hovest and Marita Heinrich: The "Wiedenbrücker Schule", Art and Crafts of Historicism, Paderborn 1991, p. 113.

[64] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 27.

[65] Historical advertising photo of the Hansa-Rekord company.

[66] Legenda aurea cap. CXXXI

[67] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 229–239.

[68] Commemorative sheet for the consecration and use of the new Catholic church in the parish of Malstatt on September 11, 1910 (separate reprint from the Saarbrücker Volkszeitung), printed in: Bernd Schikofsky (Ed.): Outstanding - surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 47-57, pp. 229-236, pp. 241-247.

[69] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 248-271.

[70] Migne, Patrologia Graeca, T. 26, 320.

[71] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 282–283.

[72] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 277–278.

[73] ttps://www.ostalbtrauer.de/trauerbeispiel/josef-baumhauer , accessed on April 5, 2020.

[74] ttps://www.strassacker.com/de/kuenstler/az/sepp-baumhauer , accessed on April 5, 2020.

[75] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 273-276, 106.

[76] ttp://www.stjosef-saarbruecken.de/index.php?id=180 , accessed on April 5, 2020.

[77] Wilhelm Molsdorf: Christian Symbolik der Mittelalterlichen Kunst, 2nd, substantially changed and expanded edition of the "Guide through the symbolic and typological circle of images of Christian art of the Middle Ages", Am Kreuz, No. 409, p. 64.

[78] Géza Jászai: Evangelist or God's symbols ?, On the iconology of the Maiestas Domini representation of the Carolingian Vivian Bible, in: Das Münster, Zeitschrift für Christian Kunst und Kunstwissenschaft, 1, 2019, 72nd year, Regensburg 2019, p 25-29.

[79] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 278.

[80] First Dogmatic Constitution Pastor aeternus on the Church of Christ, July 18, 1870, in: Heinrich Denzinger: Compendium of Confessions of Faith and Church Doctrinal Decisions, improved, expanded, translated into German and edited by Peter Hünermann with the collaboration of Helmut Hoping, 37th edition, Freiburg im Breisgau, Basel, Rome, Vienna 1991, 3050-3075, pp. 824-833.

[81] Decree Quemadmodum Deus Josephum

[82] Encyclical Quamquam pluries , August 15, 1889, in: Heinrich Denzinger: Compendium of Confessions of Faith and Church Doctrinal Decisions, improved, expanded, translated into German and edited by Peter Hünermann with the collaboration of Helmut Hoping, 37th edition, Freiburg im Breisgau, Basel, Rom, Vienna 1991, 3260-3263, pp. 875-876.

[83] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, p. 279.

[84] Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, especially pages 51, 55, 352, 518, 539 .

[85] Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, in particular pp. 73, 79, 315, 482, 498 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).

[glocken-86] The bells of St. Josef Church (PDF file; 3.64 MB) On: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[87] Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, pp. 138-139.

[88] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 208–215.

[89] Organ - Festschrift "75 Years Parish Church St. Josef" from 1985/86 On: www.stjosef-saarbruecken.de, accessed on August 17, 2012

[90] Organ of the Church of St. Josef (Catholic) ( Memento from March 30, 2014 in the Internet Archive ) Information page of the Orgeln im Saarland website , accessed on August 17, 2012

[91] Malstatt Parish Community, Parish Letter No. 3, for the period from March 8, 2020 to April 5, 2020, pp. 14–15.

[92] Bernd Schikofsky (Ed.): Outstanding - Surprising, The Church of St. Josef in Saarbrücken-Malstatt, Saarbrücken 2010, pp. 183–188.