St. Karl Borromeo (Nuremberg)
The Roman Catholic parish church of St. Karl Borromeo (briefly referred to as the parish church of St. Karl ) in Nuremberg - Mögeldorf was built in the years 1926/27 in an expressionist style based on plans by Fritz Fuchsenberger . The monumental church is an example of the type of suburban church in moderately modern forms that was common in the first half of the 20th century . It bears the patronage of St. Karl Borromeo (memorial day: November 4th) and is registered as a monument with the number D-5-64-000-1203 at the Bavarian State Office for Monument Preservation .
history
With the arrival of Catholic industrial workers to the east of Nuremberg, shortly after the First World War, it was decided to found an independent parish in the Mögeldorf district. In 1919, the later Archbishop's Spiritual Counselor Johannes Roth was appointed pastor , who held this office until he retired in 1948.
After an emergency church on Thumenberger Weg had been in use since 1905 , the Nuremberg Church Administration bought a plot of land in the Karree Lindnerstraße, Ostendstraße, Lechnerstraße and Thusneldastraße in 1923 . The parish church, a rectory and a nurse's house with a kindergarten were to be built there. In a letter from 1926, a parish size of around 3,600 Catholics is assumed, "the majority of industrial workers who, religiously cold, are far from the church". Therefore, a lot of emphasis was placed on rooms for the education of children and young people .
First, in 1925, the rectory was built on the southwest corner of the property . Pastor Johannes Roth initially wanted to entrust the famous Viennese architect Clemens Holzmeister with the planning of the parish church. In the end, however, the choice fell on the Bavarian architect Fritz Fuchsenberger, who - contrary to the tender , which provided for a baroque church - proposed a building in early Christian forms. The decisive factor for this decision was probably that Fuchsenberger was willing to create the plans free of charge. This led to complaints about improper behavior at the building art council of the city of Nuremberg and the Association of German Architects . In favor of Fuchsenberger's plans, the initial idea of an architectural competition was abandoned. On June 1, 1926, the Nuremberg city council approved the construction plans. Fuchsenberger's handling of the financial resources remained opaque during the entire construction process.
On August 8, 1926, when the foundation stone was laid by Bamberg Auxiliary Bishop Adam Senger , some concrete pillars were already in place . Construction progressed quickly, as sand-lime brick, at that time as artificial brick, from the nearby Zapf works in Behringersdorf was used as the building material - an absolute novelty at the time. The stones were bricked up directly from the truck, which proved to be time-saving and inexpensive. So the church could already be named on May 15, 1927. The choice of building material - concrete pillars and sand-lime brick masonry - was often described as "not sacred" at the time of construction, but in the long term it turned out to be a good choice because it is very resistant to environmental influences.
In addition to the construction in 1926/27, Fuchsenberger was also responsible for the drafts of the high altar and all related metalwork , in particular for the reredos . These were made in 1927/28 by the Munich silversmith Alois Wöhrle. In addition, the stalls , the confessionals , the vestibule , the sconces and the paving of the floor were made according to Fuchsenberger's drawings .
The Nuremberg industrialist Robert Pfaller financed the furnishing of the chancel with a generous donation; likewise the colored windows in the choir and lower church, which were made according to the drafts of the painter Paul Thalheimer . He also created the numerous wall paintings . For financial reasons, the side altars were initially without jewelry before 1939/40 from the St. Walburg Abbey in Eichstätt this tapestries were acquired. Some of these were new, some came to St. Karl Borromeo as a second use. This meant that the parish church was essentially complete.
The church did not suffer any major damage during the Second World War . Only the glass windows in the choir were destroyed and the wall hanging behind the altar burned. The glass windows were replaced in 1968/69 by works by the painter Alfons Abel typical of the time , on which abstract angel figures are depicted. In addition, in 1978/79 a mosaic of the church patron Karl Borromeo was added in a niche on the west wall . The design comes from the painter Anton Greiner from Stegaurach . The organ , built in 1964 by GF Steinmeyer & Co. , was expanded in 1983 by the Nuremberg organ builder Volkmar Krätzer to a total of 42 registers , spread over three manuals and pedal . In the years 1988/89 the Nuremberg architect Paul Eck set up a room for weekday services and devotions in the lower church.
architecture
Appreciation
The parish church of St. Karl Borromeo represents the type of suburban church that was common in the first half of the 20th century in moderately modern forms. Nevertheless, St. Karl Borromeo is one of the few buildings that both largely survived the war and were spared modernization efforts in the second half of the 20th century. This is why the church today presents itself in terms of architecture and furnishings as a uniform example of late Expressionist church building . In the building, as in Paul Thalheimer's wall paintings, the central motif of the pointed and sharp-edged forms can be found in numerous places . In terms of construction and furnishings, St. Karl Borromeo bears a strong resemblance to the parish church of St. Boniface in Erlangen, which was built a little later .
Exterior construction
The basilical nave is closed off by a westwork-like facade facing Lindnerstrasse . The portal area is characterized by three arched arcades that rest on cross-shaped pillars . These lead into the vestibule and from there through three heavy bronze doors with lion's head door handles and decorative nails into the interior.
Above the portal area, four exclusively horizontally running cornices are evenly spaced along the facade, which has pilaster strips formed by corner blocks made of stone . In 1978/79 a mosaic of the church patron Karl Borromeo was inserted into the centrally arranged, arched wall niche . This is framed by house stones, which condense towards the top and form a point. On the top floor of the westwork there are again arcades; this time there are five much narrower ones. In addition, a kind of triangular frieze extends across the entire facade, which is flanked by two tower stumps with characteristic corner spurs. The octagonal baptistery is built on the north side of the westwork, accentuated by corner blocks made of stone and a pressed dome . On the south side there is a transition to the rectory.
The seven- bay nave has three aisles . Along the sides are two low, narrow aisles that are covered with a pent roof and have small window openings at a great height. The central nave is significantly wider and higher. It has a gable roof , which also includes the choir and is illuminated through high, narrow window openings in the form of an upper aisle . The simple facade design on the long sides is only loosened up by the window frames made of strong wedge stones and the corner brackets of the eaves cornice .
The semicircular closed apse forms the eastern end . The eaves cornice with the triangular consoles and the row of windows accentuated by wedge stones also extend around the apse. There is also a small copper bell carrier on the roof . The semicircular crypt , which was expanded in 1988 to become the so-called lower church , used to be located under the chancel , which was raised by several steps . This is almost circular and is therefore about twice the size of the previous crypt. The apse is flanked on the north and south sides by two two-story extensions, the sacristy and the former sacristan's apartment , which is now used as a place for meetings. Both have gable roofs and simple stepped gables that are studded with vases .
inner space
The three naves all have flat wooden ceilings, which contribute significantly to the spatial effect. The mighty beams of the central nave , which are additionally held by upper frames, rest on masonry consoles. In a longitudinal planking is ogival clamped between the beams. The ceilings in the side aisles are made of raw boards that rest on the beams that are grouped into groups of three. Only the yoke in front of the north side altar is spanned by a pointed arched barrel vault. The apse is also vaulted .
The arcade arches, which act as dividing arches between the central nave and the side aisles, are emphasized by double layers of stone and interlocked with the concrete of the pillars . The windows of the upper aisle, which are in the axis of the arches, have a slight ogival shape, but they get their special shape from the stepped reveal and the clearly raised, jagged pointed arches. The window openings in the side aisles, on the other hand, are small and have the shape of an elongated hexagon . On the round choir arch , the pulpit is built to the north and a pedestal to the south , which carries a modern, wood-carved figure of Mary . The sound cover of the pulpit is - like the upper end of the parapet - made of natural stone and bears the inscription BLESSED ARE THE WORD OF GOD HEAR AND OBSERVE .
A spacious organ gallery has moved into the west yoke of the main nave , which is supported by five pillars made of bush hammered concrete. These in turn form arcade arches. The pillar edges continue upwards as ridges that arch over the openings with pointed arches, so that the front is, as it were, folded in an expressive motif with obtuse angles .
Below the chancel is the lower church, which was designed in 1988 according to plans by the Nuremberg architect Paul Eck. Compared to the former crypt, the area was roughly doubled and the space was carefully modernized, which still fits in well with the overall design of St. Karl Borromeo. For example, the difficult room constellation was countered with the newly drawn-in, folded ceiling, which at the same time takes up the design language of the church building. Two ogival niches with staggered reveals were set into the new walls , in which there are folded enamel panels . In one niche a modern gospel book is set up, in the other a relic of the church patron Karl Borromeo is kept in a shrine . In contrast to the choir windows, the four glass windows on the east side date from the time the church was built. The motifs - bees, grapes, ears of wheat and lilies - come from designs by Paul Thalheimer. The lower church has modern furnishings with an altar and wooden stalls. The old crypt altar was placed on concrete plinths in the anteroom of the lower church.
Furnishing
High altar
The high altar designed by Fritz Fuchsenberger consists of a conical substructure with applied metal crosses and a strong end plate made of natural stone. The two-story tabernacle with richly decorated doors with a diamond pattern with colored stones rises in the middle . The edges are bordered with ornamented bands that are additionally set off by a stronger shade of yellow . In the door of the lower tabernacle, two enamel plates with representations of the Last Supper and the Last Judgment are set, which were designed by Paul Thalheimer. The door of the upper tabernacle is decorated with rows of angels at the side; in the center are the evangelistic symbols and four scenes related to the Eucharist : the sacrifice of Isaac , the Mannalese , the crucifixion of Christ and the miraculous multiplication of the bread . In front of the door is a metal crucifix with a silver-colored crucified. The upper tabernacle is crowned on a jagged base with a metal figure of the triumphant Christ in a halo, which was created by the sculptor Hans Miller.
The retable has a folded back wall that ends in a serrated line at the top. Highly polished brass sheet is applied to a wooden core . The side strips flanking the reredos contain further enamel pictures by Paul Thalheimer, all of which have a reference to the church patron Karl Borromeo: on the right he is blessing the poor ; he heals the sick ; The Mother of God appears to him. On the left he gives gifts to the poor; the first holy communion of Saint Aloisius of Gonzaga ; Charles Borromeo handing communion. The color selection of the enamel ribbons on the tabernacle and on the edges of the retable is limited to red, green, blue, yellow and white.
Painting
The interior was painted according to the designs by Paul Thalheimer, who were probably proposed by the architect Fuchsenberger. Thalheimer developed the concept in coordination with Pastor Roth: the predominantly vertical format murals were applied directly to the sand-lime brick wall using casein paints . Since the colors, which are limited to the tones red, green, white and yellow, were only applied very thinly, the stone structure gives the representations a special character. Only the halos of the Pentecost depiction are applied in pastose gold . In addition to the small selection of color shades, Thalheimer also limited himself to the formal language: by dividing it into sharply defined forms, he tried to build tension in the viewer. For example, he depicts human figures, mostly stylized, with strong limbs and expressive movements.
In the apse the descent of the Holy Spirit is depicted - the so-called Pentecost depiction. The approach of the vault is decorated with a zigzag pattern. Separated from this by the ribbon of windows there is a cross in the middle , at the top of which the dove is shown as a symbol of the Holy Spirit in glory. On the side are St. Mary and the apostles with halos and tongues of fire over their heads. Below - partially covered by the high altar - the sentence COME HOLY SPIRIT AND FILL THE HEARTS OF YOUR BELIEVERS AND IGNITE THE FIRE OF YOUR LOVE can be read.
On the east wall of the chancel above the arch to the apse the blessing Christ is depicted, accompanied by the evangelist symbols. To the left is Mary with the body of her son and the inscription HL. MOTHER, PUSH YOUR SON'S WOUNDS DEEP INTO MY SOUL to see, on the right, Mary with the baby Jesus and the sentence MARY WITH THE CHILD LOVE US ALL GIVE YOUR BLESSINGS . Below on the left is a depiction of the flagellation of Christ and the inscription THIRTY-THREE YEARS HE WANTED TO LIVE IN THE FLESH AND THEN OFFERED HIMSELF TO DIE WITHOUT RESISTANCE FOR US , on the right a depiction of Christ with two apostles and the sentence NOT YOU CHOOSE ME BUT I CHOOSE YOU, AND THEY LEAVED EVERYTHING YOU HAD AND FOLLOWED HIM .
There are more paintings on the east wall of the nave. At the apex of the round choir arch there is a representation of God the Father , flanked by numerous figures of angels and saints . Along the arch of the choir runs the words YOU SHOULD PRAISE YOUR WORKS LORD // YOU SHOULD PRIZE YOUR SAINTS . The Way of the Cross is shown on the remaining walls of the nave and the west wall of the chancel . The fact that each of these images includes three people and the associated station names (e.g. JESUS IS CONDEMNED TO DEATH ) results in a certain uniformity.
Tapestries
A special characteristic of St. Karl Borromeo are the tapestries created by Sister Deocara (bourgeois Maria Diepold, 1892–1968) in the Benedictine Abbey of St. Walburg in Eichstätt. These were made around 1930, but were not originally intended for St. Charles Borromeo. Some of the carpets were exhibited in the Christ the King's Church in Munich in 1931 . In 1933 these were loaned to Trier for the celebration of Saint Roch , and in 1934 they decorated the cathedral square in Bamberg on the occasion of Archbishop Jakob von Hauck's 50th anniversary as a priest . Some of the carpets ended up in Boulder , Colorado , the other has been in Mögeldorfer Church since 1939/40. This part of the carpets was supplemented by other works that were specially created for the side altars and the exits to the crypt in St. Charles Borromeo. These are therefore a few years younger than the carpets in the aisles.
The parable of the prodigal son is depicted on a carpet in the north aisle . The story is divided from west to east into the following eight episodes: departure of the son; the son abroad; the impoverished son hires out to a farmer; he tends the pigs; he returns to the father; The father is preparing a feast to celebrate the return; the festival with dancing children; the father also brings the other brother to the party. On another carpet, nine pictures show scenes from the life of Jesus: the baptism of Jesus in the Jordan by John ; the wedding at Cana ; the calling of Matthew ; the wonderful fishing; Christ and the Samaritan woman at the well; the storm on the Sea of Galilee ; the tax collector Zacchaeus ; the raising of the dead girl ; Mary Magdalene washes Christ's feet. On the right edge of the carpet you can see the sign of Walburg Abbey and the date MDCCCCXXXIII (1933).
In the south aisle there are two carpets that have been sewn together and brought to the required length by inserting two angels with censer . The series of images of the Passion of Christ can be read from east to west. On the far left of the carpet is the text: “They grabbed Jesus and led him to Caiaphas . Are you the son of god? You say it is me The soldiers braided a crown and pressed it on his head and led him away. ”The following are the motifs: the capture of Christ; the questioning of Petri ; Christ before Caiaphas; the flagellation of Christ; the crowning of thorns ; Christ before Pontius Pilate and Christ takes the cross; Christ carries the cross and meets his mother Mary; Christ falls under the cross and meets Veronica . After the first angel with a censer the text follows: “And afterwards they came to the place called Calvary, there they crucified him, and he who saw it bears testimony, and his testimony is true, and he knows that he speaks the truth. ”The following motifs are: Christ is stripped of his clothes; Christ is nailed to the cross; Christ crucified with Mary and John under the cross, Mary Magdalene, who embraces the cross beam, and a group of sisters from the St. Walburg Monastery, recommended to the Lord by St. Walburga , the patroness of the Benedictine Abbey (large picture); the Descent from the Cross ; Christ in the grave mourned by angels. At the end there is the second depiction of an angel with a censer.
Two of the carpets adorn the side altars. The Holy Family is depicted on the left side altar and St. Konrad von Parzham on the right side altar . In addition, two tapestries, which used to be located on the exits to the crypt, were hung on the inner walls of the aisles. On the carpet in the north aisle is shown how St. Charles Borromeo gives communion to St. Aloisius, in the south aisle the care of a plague patient by the church patron, assisted by a deacon .
organ
The organ of the parish church of St. Karl Borromäus was built in 1964 by GF Steinmeyer & Co. from Oettingen . It originally had 33 stops on three manuals and a pedal . In 1983 it was expanded to 42 registers by the Nuremberg organ builder Volkmar Krätzer, making it one of the largest instruments in the Catholic churches in Nuremberg.
Bells
The ringing of St. Karl includes four bells with the tone sequence e 1 –g 1 –a 1 –c 2 , which are not - as usual - in the towers, but in the vestibule-like porch in between. All four bells were cast by Karl Czudnochowsky in Erding in 1955 . The bells in detail:
| No. | Surname | Casting year | Caster | Weight [kg] | Diameter [mm] | Chime |
|---|---|---|---|---|---|---|
| 1. | Christ bell | 1955 | Karl Czudnochowsky, Erding | 922 | 1240 | e 1 |
| 2. | Marienbell | 550 | 1043 | g 1 | ||
| 3. | Karl Borromeo Bell | 360 | 895 | a 1 | ||
| 4th | Agnes bell | 221 | 760 | c 2 |
At the parish service on Sunday, bells 1, 2 and 3 usually sound for four minutes each to ring together and to ring .
literature
- Barbara Schock-Werner: Nuremberg-Mögeldorf - Catholic parish church St. Karl Borromeo (= Little Art Guide No. 1991). Schnell & Steiner, Munich 1993.
Web links
Individual evidence
- ↑ a b c d e f g h Schock-Werner, p. 5f.
- ↑ a b c d e f building history . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ Schock-Werner, p. 2f.
- ↑ Significance of the Church . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ a b c d e f g h Schock-Werner, pp. 6–9.
- ↑ a b c d e f g Church of St. Karl Borromäus - description . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ The crypt . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ a b Schock-Werner, p. 10f.
- ↑ a b The high altar . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ a b c d Schock-Werner, p. 13f.
- ↑ a b c d The painting . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ a b c d Schock-Werner, pp. 14-18.
- ↑ a b c d The tapestries . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ Bavarian organ database online
- ↑ a b The bells in St. Karl Borromeo . Online at st-karl-nuernberg.de ; accessed on October 28, 2018.
- ↑ Nuremberg (N) - The four bells of Saint Karl Borromeo (tower photo) . Online at www.youtube.com ; accessed on October 28, 2018.
Coordinates: 49 ° 27 '25.6 " N , 11 ° 7' 30.5" E