St. Maria zur Höhe (Soest)
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St. Maria zur Höhe , also called Hohnekirche , is an art-historically significant church in Soest ( North Rhine-Westphalia ). It is considered to be one of the first hall churches .
The church is a bit out of the way in the north of the old town of Soest. It is also called Hohnekirche in order to better distinguish it from the Church of St. Maria zur Wiese (Wiesenkirche) . As a building, it is particularly noteworthy in terms of its structural structure and interior design and also houses several artistic rarities. The building is a historical monument.
The Evangelical Church Community of Maria zur Höhe belongs to the Evangelical Church of Westphalia and has around 1,800 members.
History and architecture
The predecessor
The first Hohnekirche - a vaulted Romanesque basilica - existed at the latest when the Soest parish was divided up by the Archbishop of Cologne, Philipp I von Heinsberg, in 1180. The north tower of an original two-tower system has been preserved from it in the existing building. The connections to the church building show that it was provided with galleries. This gallery was originally accessible from a neighboring building, which suggests that it was used as a ruling church.
The hall church
In the second quarter of the 13th century, the first building was replaced by a hall church, which represents an experimental early stage in the development of the Westphalian hall church. When the eastern Hallenjoch was built, a “hall in a bound system” with intermediate pillars was initially considered, and only with the construction of the western half of the nave was the transition to the pure hall church with domed vaults, so-called domical vaults . It was only by doing without the intermediate supports that the southern main portal could be attached in its current form. In the east the church closes in a rectangular box choir with a representative three-window group.
The main portal tympanum from this period still follows the Romanesque conception: It shows the sun and moon over the crucifixion. The birth of Christ takes place on the left, an angel kneels behind Mary's couch. The child lies above it on a symbolic altar table with three arches. The end of the birth scene is formed by an ox and a donkey and standing Joseph with a Jew hat , on the left, God the Father in a semicircle. The moon mourns over the crucifixion as a symbol for the Old Testament and the sun for the New Testament. To the right of the crucifixion the three women are standing at the empty grave on Easter morning behind the open sarcophagus . The inscription of the quatrefoil refers to Christ's work of redemption, which gives confidence . The chronogram below the tympanum shows the year 1671, in that year the tower collapsed and was rebuilt. On the south side, the wall surface is rich and - unusual for the time in Westphalia - decorated with arched friezes, pilaster strips and panels. The interior shows a completely different picture. A careful restoration in 1880 recreated the medieval painting based on existing remains. The interior is wider than it is long and therefore does not correspond to the usual dimensions of such a church. The drafts of the windows, which were made from 1993 to 1997, come from Jochem Poensgen from Soest. These works, which largely dispense with colors, are made using the grisaille technique. The patterns are based on the asymmetry of the building and the shapes of the wall paintings in the neighborhood.
Baptistery
The baptistery is under the tower. It was already present in the previous building. During the second construction phase, a wall pillar had to be intercepted, otherwise it would have blocked the access. This was done through three pillars. The Romanesque baptismal font was created before 1220 and shows Mary, John with a lamb and six apostles in half-reliefs.
Interior design
The Soest Disc Cross
A disc cross is a subspecies of a triumphal cross .
The disc cross that can be seen in the interior is an art-historical rarity. It dates from around 1200. It is unique on mainland Europe and the oldest in art history. Something similar can almost only be found on the island of Gotland in Sweden. However, these are all younger forms. Originally the body, i.e. the Christ body, was nailed on here, which can be seen from the existing nail marks. The disc cross consists of spruce and pine wood, has a height of 3.89 m and a disc diameter of 2.72 m. The boards and the reliefs were and are still partially covered with canvas on which a plaster primer with silver foil was applied.
In the Middle Ages, wooden statues were generally treated in this way. The wooden core of such a sculpture, which can often be seen today, was just a kind of rough version, then came the glued-on plaster layer, which was wonderfully sanded and on which the colors held much better. These layers of paint were renewed in earlier centuries or painted over with other colors. In the 19th century the idea of having to do some kind of cleaning was therefore “freed” many wooden sculptures from the layers of paint and, on this occasion, from the plaster layer at the same time, so that the pure wood core remained, which is then called the pure work of art. The original colors of the Soest disc cross have been preserved. The disc cross has stood on the east wall of the Hohnekirche in the south aisle since the late Middle Ages.
The disc cross has the theme of Christ's work of redemption : suffering, resurrection and ascension. The sin of the world came from a tree, on a wood it was destroyed again, hence the formation of the cross wood as a tree of life . In the Middle Ages, the disk was a symbol for the cosmos; the circular shape can also stand as a symbol for truth and thus for God. It is connected to the cross.
The cross stands in front of the pane, at the corners of the cross bar there are square reliefs, on the circle there are four medallions. The trunk of the cross is designed as a tree of life. The medallions on the disk show the events that happened immediately before the Passion: the entry into Jerusalem at the bottom right, Jesus teaching in the temple at the bottom left, Jesus and his disciples in the Garden of Gethsemane at the top left, Judas kiss and betrayal at the top right.
The square reliefs represent the completion of the work of redemption, on the vertical bar below the burial, the ascension above. The journey to hell on the right, the three women at the grave on the left. The reliefs, however, lack the goldsmith's sensitivity; some of them are quite rough in shape.
Apse painting
The vault of the main apse still bears the originally preserved medieval painting from 1230 to 1240 and is considered to be very valuable in terms of art history. The prerequisite for the painting to be found here is knowledge of Byzantine models in mosaics, wall paintings and weaving patterns, which were conveyed either through the Crusades or, which is often assumed, through a painting school of Byzantine origin directly to Soest. (This is also indicated by the Marienchor in St. Patrokli .)
In the apse of the north aisle, a curtain painted in 1250 has replaced the one originally actually hung at this point. These paintings were hidden under a coat of paint for centuries before they were uncovered and restored in 1869.
organ
The organ is located in a historical, baroque prospect . The main case dates from 1679. The builder is unknown. The organ was built in 1969 by the organ builder Paul Ott . The slider chests -instrument has 23 registers on two manuals and pedal . The actions are mechanical.
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- Coupling : II / I, I / P, II / P
Furnishing
- The sacrament house is a work from around 1450, it was made of Baumberger sandstone and richly decorated with Gothic decorative elements.
Bells
In the squat tower hangs a small peal of two bronze bells, cast by the Rincker bell foundry in Sinn:
- I. Clay a'-8, cast in 1928; Inscription: Hope does not allow to be shamed.
- II. Tone h'-5, cast in 1960; Inscription: Come and let us honor Christ!
literature
- Bernd Fischer: Münster and the Münsterland (DuMont art travel guide). Cologne 1982.
- Josef Engemann: The main portal of the Hohnekirche in Soest. The relief representations and their meaning. Munster 1991.
- Rudolf Fidler: The secret of the Hohnekirche in Soest / Westphalia: a late Romanesque church interior and its encrypted messages. Paderborn 1997, ISBN 3-87088-933-0 .
- G. Ulrich Großmann: Eastern Westphalia (DuMont art travel guide). Cologne 1984.
- Wilfried Lüdeking: Soest, Maria to the height. Printed by Gerhard Dust, Soest 1976.
- Ilse Maas-Steinhoff: Maria to the height of Soest. A short tour of the church. Althoff Druck, Soest.
- Hubertus Schwartz : The parish church of St. Mariae to the height (Hohnekirche). Westfälische Verlagbuchhandlung Mocker & Jahn, Soest 1956.
- Hubertus Schwartz: Soest in his monuments. Second volume: Romanesque churches (= Soester Scientific Contributions, Volume 15). 2nd unchanged edition. Westfälische Verlagsbuchhandlung Mocker & Jahn, Soest 1978, ISBN 3-87902-029-9 , pp. 204-238.
Web links
- Ev. Parish Maria zur Höhe Soest
- Parish page with tour ( Memento from February 11, 2013 in the web archive archive.today )
- The architectural and art monuments of the Soest district / edit. by A. Ludorff , Münster i. W.: Schöningh, 1905, p. 119 ff .; 3. Marien parish (description of the church Maria zur Höhe with numerous picture panels)
Individual evidence
- ^ Paintings with figurative content found , in the Centralblatt der Bauverwaltung , No. 14, April 5, 1884, pp. 133, 134; Retrieved December 27, 2012.
- ↑ Reference to monument protection ( Memento from April 13, 2014 in the Internet Archive )
- ↑ Monument protection ( Memento of the original from April 13, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ parish
- ↑ Johann Josef Böker : Romanesque sacral architecture in Soest. in: Heinz-Dieter. Heimann (Ed.), Soest: History of the City, Vol. I (Soester contributions LII). Mocker & Jahn, Soest 2010, pp. 840f.
- ^ Tympanum ( Memento from April 13, 2014 in the Internet Archive )
- ↑ Decoration of the outer walls ( Memento from April 13, 2014 in the Internet Archive )
- ↑ Design by Jochem Poensgen, Soest / Düsseldorf, executed 1993–1997, in the baptistery in 2007. Designed in grisaille technique, they largely dispense with colors in order to include those of the outside world. Their patterns take up the shapes of the neighboring wall painting and the asymmetry of the building. Church window.
- ^ Art historical value of the wall paintings ( Memento from April 13, 2014 in the Internet Archive )
- ^ Time of exposure ( Memento from April 13, 2014 in the Internet Archive )
- ↑ Information on the organ ( Memento of the original from March 31, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Sacrament House ( Memento from April 13, 2014 in the Internet Archive )
Coordinates: 51 ° 34 ′ 27 ″ N , 8 ° 6 ′ 41 ″ E