St. Maximin (leases)

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St. Maximin, exterior view

St. Maximin and the Fourteen Helpers in Need is the Catholic parish church of Pachten , a district of Dillingen . The place Lachten goes back to the Roman settlement Contiomagus . The earliest Christian evidence comes from Roman times .

The parish belongs to the parish community of Dillingen , which is divided into the five parishes of the Holy Sacrament , St. Johann , St. Josef , Maria Trost and St. Maximin.

In the list of monuments of the Saarland, the church is a single monument listed. The church is assigned to the diocese of Trier . The patronage day of the church is the feast day of the holy bishop Maximinus of Trier ( May 29th ).

history

St. Maximin, the previous Romanesque building demolished in 1890
St. Maximin, view of the old church before the demolition

The older church was aligned with the building of a Roman settlement. When the old church was demolished, a belt ornament with a coin from Emperor Constantine the Great was found .

Leases are mentioned on a list kept by Bishop Albero von Trier of the parishes that are obliged to participate in the annual Mettlach pilgrimage.

A donation transferred in the years 1292 and 1301, the basic rule of the Lords of Siersburg the German Order of Knights of the Commandery Beckingen . Until 1590, Dillingen was smaller in population than leases. After the Thirty Years War only sixteen families lived on leases.

Until the French Revolution , leases had to be paid tithes to the abbess of the Abbey Fraulautern . Before the parish was assigned to the diocese of Metz as a branch church of Dillingen from 1802 to 1817 , it belonged to the diocese of Trier . Leases only received the status of an independent parish in 1827. Until 1815 it was assigned to the Wallerfangen office, which was under the rule of the Duke of Lorraine .

In 1890 the 12th century church was demolished and replaced by the current church. The old judicial linden tree in front of the church was also felled . Pastor Philipp Schmitt wrote about it in 1838: "The lime tree in front of the church is strange; it is 21 feet (approx. 6.30 m) in circumference and 200 years ago the high court held its meetings in the village below."

The Church of St. Maximin (us) was built between 1891 and 1894 according to the plans of the Roden architect Wilhelm Hector . He was one of the busiest church architects of historicism in today's Saarland . At the same time as the construction of St. Maximin, numerous other churches in the vicinity of leasing ( Brebach 1890-1891, Hilhaben 1890-1891, Theley 1890-1892, Nalbach 1891-1892, Differten 1891-1893) were planned in the Hectors architectural office . In total, Wilhelm Hector built over 30 churches in what is now Saarland. However, he had unsuccessfully applied to the competition for the Saardom.

After the completion of the church in 1894, the consecration took place on May 1, 1896 by the Trier auxiliary bishop Karl Ernst Schrod .

On July 28, 1895, the church tower roof was the victim of a storm on the day of the fair, which also overturned the Hillenkreuz in the St. Johann cemetery .

During the Second World War the church suffered severe damage. The pressure wave from an explosion of an ammunition train in the Dillingen train station on August 27, 1944 destroyed the windows and put the church in danger of collapse. To this day, some impacts of shrapnel can be seen on the church tower. Most of the damage was repaired after the war and during renovations since the 1960s.

For the 125th anniversary of the church, the neo-Gothic sacred building was renovated from October 2017 to April 2019. This measure cost around € 240,000 and was largely financed by donations. All architectural elements of the interior, which were previously set in sandstone color, were painted over in shades of gray. A representation of Mary from the original neo-Gothic painting was uncovered above the Marien Altar.

  • Church interior after the renovation from 2017 to 2019

  • View of the apse with side altars

  • View of the apse with the Holy Helper altar

  • View to the organ gallery

  • Gallery

Church building

St. Maximin, view from the south
St. Maximin, interior view before renovation from 2017 to 2019
St. Maximin, apse of the church before renovation from 2017 to 2019
St. Maximin, altarpiece with statues of the fourteen helpers in need
St. Maximin, lintel from the earlier Romanesque church

architecture

Exterior

Architect Wilhelm Hector designed St. Maximin and the fourteen helpers in need with five bays , a three-sided choir and a west tower in the middle . The parish church is a neo - early Gothic three-aisled hall with small echoes of Romanesque motifs . The entire exterior is characterized by the contrast between the plastered, currently pink painted wall surfaces and the walls and architectural structural elements made of beige sandstone . The yokes of the nave and the corners of the choir and the church tower are emphasized by supporting pillars. The structure of the outer wall by buttresses corresponds to the yoke division inside . The walls of the aisles opened up in simple two-lane tracery windows. The buttresses jump back at the level of the surrounding cornice, in the uppermost area they only rest on the wall in the depth of the pilaster strips.

Below the neo-Gothic pointed arched windows with two-lane tracery , whose cloaks are visibly interlocked with the plastered wall surface, a cornice surrounds the church building. The tracery of the choir windows is additionally enriched with six-pass passes. The character of a stepped hall is evident in the exterior through the separation of the pent roofs of the side aisles from the gable roof of the central nave. The architect Wilhelm Hector used this architectural design element, which gave his buildings the character of a pseudo-basilica and which further increased the Gothic height effect, in many of his churches.

The console cornices between the roof and the outer walls of the nave and the choir point to the neo-Romanesque style . This also applies to the rising console friezes in the gables of the side aisles to the left and right of the tower and the console friezes on the open floor of the tower. The cross-sectional facade of the nave connects directly to the choir. The cross-sectional facade of the nave, at the corners of which there are diagonal buttresses, is directly connected to the tower. The side aisles are accessible from the tower facade through portals from the outside. Above this, the facade of the side aisles opens into a single lancet window. Above there are cross-shaped niches.

The church tower on a square floor plan is divided into five floors. The corners of the tower are accentuated by two buttresses that are at right angles to each other. This corner design is continued on the bell floor in pilaster strips, each with a halved pinnacle in front of them. A stair tower is attached to the right side of the two lower tower floors. The entrance gate in the tower is designed as an eyelash-crowned step portal with a glazed three-lane tympanum . Directly above it, the tower opens into a large three-lane tracery window with a figure of eight. Further up there is a small notch window and then a lancet window. A cornice runs between the fourth and fifth floors, each arching in the middle in a pointed arch to accommodate the clock faces of the tower clocks. The recessed fifth floor of the tower opens on the front in three, on the other three sides in two coupled lanceolate sound openings of the bell chamber. The final eaves cornice of the tower lies both on the corner pilasters and on wall beams supported by the console. The slated church tower roof is designed as a high octagonal buckling helmet.

The choir closes in a 5/8 polygon and corresponds to the width of the central nave. However, it has a lower eaves and ridge height. All corners of the apse are in turn occupied by buttresses in the manner otherwise prevalent on the building. The apse is illuminated through three tracery windows (axis and side surfaces). The two sacristies are located in the corners between the nave and the choir . The left sacristy was only built in 1899.

Interior

The cross ribbed vaults of the nave rest on slender round pillars that are relatively far apart. The motif of the round pillar arcades with wide-span intercolumns is part of the repertoire often used in Hector's neo-Gothic architecture. The more modest in design and size, also built by Hector in neighboring Diefflen between 1899 and 1900, the three-aisled and four-bay parish church of St. Josef and St. Wendelin with a small stair tower and three-sided choir (changed after the war destruction and rebuilt), showed similarities with St. Maximin on.

The nave is structured by five rectangular yokes. All yokes had ribbed vaults . Except for the four-beam vaulted choir, the rest of the room is vaulted with cross ribs. The choir yoke is rectangular. The vault of the central nave and the aisles rested on round pillars with simple leaf capitals , the arcades of which separate the central nave and aisles, as well as on small console-supported pillars on the inside of the outer walls. The keystones of the side aisles are lower than the apex stones of the dividing arches. The pointed arches of the two rows of arcades on the choir side rested on half pillars in the direction of the polygon apse. The one-bay choir area, which is lower than the nave, opens under a belt arch with a slight tendency towards the triumphal arch order. The ribs of the apse rise from round corner services, which are divided halfway up by a shaft ring.

The side aisles of St. Maximin are vaulted with rectangular yokes. The ribs on the inner walls end in small console columns. The capitals are decorated with stone leaves.

Furnishing

  • St. Maximin, Marien Altar

  • St. Maximin, Joseph Altar

Side altars

Two side altars have survived from the furnishings of the old church. Both altars are painted blue and gold.

Mary Altar

The Marian altar dates from the 17th century. In the upper niche of the blown tail gable is a statue of St. Sebastian , the patron of those suffering from the plague. Below that in the main niche is a more recent statue of the Virgin Mary. In the rococo ornaments on the altar plinth from the 18th century, the scene of the Annunciation is depicted as a relief. The work is assigned to the regional Guldner workshop.

Joseph Altar

The Joseph altar is a foundation of the Fraulautern abbess Johanetta von Wiltz (1617–1622). It is adorned with the coats of arms of their ancestors Wiltz and Bayr von Boppard, who flank the Predella zone. In the upper niche of the blown triangular gable is a representation of St. Nicholas , the patron saint of Lorraine . In the main niche below there is a more recent statue of Joseph. The canteen zone shows a rococo relief image of St. Erasmus of Antioch and probably comes from the Guldner workshop.

High altar (emergency helper altar)

The modern clay sculptures of the Fourteen Helpers , created in 1956 and designed and made by the Franciscan Sister Eberhardis Kohlstett from the Elisabeth Monastery in Trier, were originally located under the gallery. Here, Sister Eberhardis had initially formed the ensemble of statues out of plaster and only reworked it in more stable ceramic in 1956. In 1974 they were placed in a niche retable of the high altar. The en-face figures, designed in a simple, almost childlike language of form, are set up in two Gothic arched niches arranged one above the other. The upper row of niches shows seven saints. In the lower row, three figures flank the centrally positioned tabernacle, the wing doors of which are decorated with plant tendrils. The top row contains, from left to right, the statues of the following saints:

He is revered as the patron saint of doctors and midwives and is said to have worked as the doctor of Emperor Maximian . Around the year 305 AD he is said to have been martyred during the persecution of Christians by Emperor Diocletian . His hands were nailed to his head as part of the torture. As a recognition attribute, a dark green, licking venomous snake winds up on Pantaleon's robe. The animal is reminiscent of a child who was killed by a snakebite, which, according to legend, Pantaleon was able to awaken through prayer.

He is called to help out in fear of death and, according to legend, is the leader of the ten thousand martyrs who were tortured and executed on Mount Ararat for their beliefs under Emperor Hadrian . Achatius is portrayed by the artist as a warrior with a golden branch of thorns because of his martyrdom. According to legend, the saint was sent to Armenia with 9,000 soldiers to put down an uprising against imperial rule. When the army of Achatius was about to suffer defeat, seven angels are said to have promised them victory if they would profess Christ. So the soldiers converted to Christianity and achieved the promised victory. When the Emperor Hadrian heard about it, he had Achatius and his companions cruelly lacerated with thorn branches on Mount Ararat together with 1000 converted pagans and then crucified.

The saint is considered to be a helper with mental illnesses and is said to have been cruelly executed under Emperor Diocletian for his faith, although he is said to have cured his son from the possession. As a sign of his devout steadfastness, the artist has placed a golden palm branch in the right of the statue of St. Vitus in the Pachten high altar. A crowing rooster squeezes its way between the legs of the young saint. The saint points to the beast with his left hand. The rooster can be interpreted as a symbol of Vitus' vigilance and willingness to confess. The rooster can also be understood as an indication of the victory of Christianity over paganism, since the St. Vitus cult in the Slavic area replaced the light god Svantovite , to whom chickens and roosters were sacrificed. Perhaps because Vitus's day of remembrance (June 15) is around the time of the solstice , popular piety is linked to this saint's belief that he is responsible for waking up on time: "St. Vitus / wake me at the right time; / not too early and not too late / until the bell ... strikes. "

The holy virgin and martyr is mainly considered to be the patroness of the dying and the patroness of miners. According to legendary tradition, her father locked her in a tower because of her extraordinary beauty and was later abused and beheaded for converting to Christianity. Before that, she fed on the host. That is why the artist depicted her in the high altar of St. Maximin with a host and a golden chalice. Sister Eberhardis omitted the usual tower with three windows as a symbol of the Holy Trinity as an attribute of saints.

The saint is venerated as a helper in difficult life situations and in bereavement. He is the original patron saint of the hunters . According to the pious tradition, Eustachius was master of the army under Emperor Trajan and was executed for his belief. Raised in the pagan faith, Eustachius, who was initially called Placidus, served as colonel and commander of a Roman legion in Asia Minor. According to legend, a stag with a shining cross in its antlers appeared to him while hunting. The crucified Christ spoke to him between the two antlers of the stag, whereupon Placidus renounced the cruel hunt for animals, converted to Christianity and received the name Eustachius at baptism. Since the convinced Christian had refused the state-ordered sacrifices to idols, he was finally cremated together with his wife and two sons. Later the legend about the deer passed on to Saint Hubertus of Liège . Sister Eberhardis depicts the saint with three golden arrows in his left hand and deer antlers with the crucified one in his right.

Cyriacus is called upon as a helper against temptations in the hour of death. Sister Eberhardis depicts the saint as a deacon with a tied, demonic devil dragon at his feet. The saint kicks the evil monster on the abdomen with his right foot, causing it to squirm in pain. The animal is tied at the neck with a golden chain, the end of which is held by the saint with a calm expression, while the monster with its oversized head bares its teeth in rage and glares at the saint with an evil eye. The background to this depiction is the legend that Cyriacus is said to have freed the daughter of Emperor Diocletian from demonically caused diseases, symbolically represented by a dragon. Because of his faith, Cyriacus is said to have been executed with the sword after severe torture during the persecution of Christians in Rome .

The saint is venerated as a helper in confession and nursing mothers. The only non-martyr of the fourteen helpers in need is portrayed by the artist as a hermit in a monk's robe, as he is said to have lived as a hermit in Saint-Gilles (German: St. Aegidius) near Nîmes . The abbey church of the former Saint-Gilles monastery commemorates its founder. Aegidius is said to have withdrawn there into solitude. A doe was wounded while hunting, sought protection from Aegidius and was cared for by him. In gratitude the animal gave milk to the Holy One. So the saint also became the patron saint for nursing mothers. As a monk and later abbot of the monastery he founded, tradition has it that he was a helper and supporter to many sick, needy and people seeking advice. The artist Sister Eberhardis therefore also shows the saint with a small wounded doe, over which he holds his hands protectively.

The knight saint, who is invoked as a helper in the event of war threats, fever, plague and against temptation as well as the patron saint of domestic animals, was, according to legendary tradition, a Roman officer who was beheaded as a Christian martyr in the early 4th century. One branch of tradition understands him as a dragon fighter. The legend of the fight of the knight Georg with a dragon, who lived in a lake in front of the town "Silena in Lybia" and polluted the air with his poisonous breath, became particularly famous. The residents had to sacrifice lambs to him every day to quench his anger. When there were no more animals to be found, the sons and daughters of the townspeople were thrown to the monster to eat. One day, according to legend, the lot fell on the king's daughter. When the dragon appeared, St. George rushed to the aid of the royal maiden, struck the sign of the cross over the monster and pierced it with the lance, whereupon it fell wounded to the ground. The knightly saint then caused the king's daughter to drag the dragon into the city with the help of her belt, where all residents wanted to flee when they saw the monster. George promised to kill the dragon if the people were converted to Christ. He slew the dragon, whereupon the king and all his subjects were baptized. Sister Eberhardis portrays St. George as a young knight with a golden-blonde, curly mane. He wears a golden cross on his tunic and pierces the throat of the dragon writhing at his feet with a golden lance.

The lower row contains, from left to right, the statues of the following saints:

Sister Eberhardis has depicted the holy martyr with the torture wheel in her right hand and the sword of execution in her left. Katharina is especially venerated as the patroness of the apprenticeship, numerous craftsmen and as an emergency helper in many fears. As an educated and extraordinarily beautiful king's daughter, according to the pious tradition, she is said to have bravely refused to sacrifice herself to the idol demanded by the emperor in Alexandria in Egypt. In a speech duel with 50 pagan philosophers, she argued so convincingly for Christianity that she converted all of her learned opponents to Christianity. The emperor thereupon handed the converted philosophers to the stake, Katharina was thrown into dungeon, tortured and tied to a wheel. According to the legend, it shattered and Katharina was executed with the sword. According to legend, angels carried their bodies to Mount Sinai , where Emperor Justinian I had the St. Catherine's Monastery built in her honor .

Dionysius is regarded as a helper in headaches as well as in fears of conscience and in need of faith. The artist has depicted him as a decapitated man in bishop's robes, who holds his hatched head in his right hand. As the first bishop of Paris , Saint Dionysius (French: St. Denis) was beheaded around the year 250 on a mountain high above the city during a persecution of Christians. Since then the hill has been called "Mount of Martyrs", Montmartre . According to legend, Dionysius is said to have walked with his head in his hands to his present tomb in St. Denis , where he was buried. From the year 626 , the Frankish King Dagobert I built the abbey named after the saint with the Saint-Denis basilica above his burial place , which served the French kings as a burial place.

Sister Eberhardis shows the saint in a bishop's robe with a golden crook, miter and two crossed, burning candles that he holds in his gloved hands. The blessing candles, held in the shape of a cross, should clearly show the beneficiary the light-bringing salvation act of Jesus Christ on the cross. St. Blaise is especially venerated as a helper for neck problems. First a doctor, then Bishop of Sebaste , he was imprisoned during the persecution of Christians in late antiquity and there became a helper and comforter for many. In this way he freed a boy who had swallowed a fishbone from the impending suffocation. The blessing on his feast day, February 3rd, goes back to this legend. According to the testimony of his saint's life, Blasius was mangled by his henchmen with an iron comb and additionally beheaded.

The saint, who is called on primarily to help with stomach ache, birth pains and abdominal diseases, is depicted in episcopal robes with a miter and a golden crook as the bishop of Antioch in Asia Minor. In his left hand, Erasmus carries a winch , on which his intestines are wound, as a saint attribute . The legendary saint's life tells of the cruel martyrdom during the persecution of Christians under Emperor Diocletian . According to tradition, he was said to have suffered various forms of torture , such as bowel movements .

Patronage for a Christian day's work is assigned to the saint. He is regarded as an emergency helper in many dangers and as a rescuer from water shortages. Christophorus is regarded as the patron saint of boatmen and raftsmen and all travelers. He is called on as a helper against an unforeseen death. The giant Reprobus, as Christophorus is said to have originally been called, only wanted to serve the most powerful on earth. Soon he was serving as a porter on a raging river, where one day he was supposed to carry a child to the other bank. In the middle of the river, the little boy became so oppressive that Reprobus almost collapsed. When Reprobus had struggled to reach the safe shore, the child said: "You have not only carried the whole world, but also the one who made the world." The Christ child is said to have baptized him himself in the name of Christophorus - "Christ-Bearer". Sister Eberhardis depicts the saint in a simple robe with the Christ child on his right shoulder. The saint's feet and legs are depicted sunk in floods from which three fish peeked out. In an uncertain posture, the saint looks up at little Jesus, who puts his little hands on his forehead in a blessing.

Margareta is considered to be the patroness of the nutritional status and the country folk. She is called as a helper in childbirth and is seen as an advocate for the poor. Sister Eberhardis depicts the young saint with a cross in her right hand and a dove in her left hand. The dove could be interpreted as a symbol of the heavenly realm or the Holy Spirit , as Margareta answered a pagan governor who was courting her should: "Do you want me to give up heaven and choose the dust of the earth for it?" A lindworm with an oversized head winds at the feet of the saint. The monster's jaws, with its sharp teeth and a monstrous, forked tongue, are wide open. With a huge Glubschauge the animal sparkles in the Holy malicious, while the Virgin herself in quiet attitude away looks over it. According to the pious tradition, Margareta was cast out by her father, a pagan priest. Because she had to tend the pigs, she was later revered as the patroness of the country people. The city prefect of Antioch wanted her because of her beauty and wanted to force her to apostate. The Devil Dragon appeared to her in prison to dissuade her from Christianity. With the cross in her hand or with the sign of the cross , however, she managed to drive away the evil one. After severe torture, she was finally beheaded.

At the Maximinfest in 1974 the church was given the title of St. Maximin von Trier and the fourteen helpers in need consecrated . In the reliquary of the high altar there is a bone splinter from the head of St. Maximin von Trier, relics of the Trier martyrs, the Fourteen Holy Helpers and other saints.

Other equipment

Under the gallery there is a group of crosses and the image of Perpetual Help. In addition, there are statues of the following saints: St. Anthony of Padua (Patron of the Poor), St. Stephen (patron saint of youth), St. John the Baptist (patron saint of men), St. Maximin of Trier (parish patron), St. Theresa of Avila (Doctor of the Church), St. Cäcilia (patroness of church music), St. Mother Anna (patroness of the grandmothers), St. Elisabeth (patroness of women and Caritas) and St. Theresa of the Child Jesus (by Lisieux).

The altar was erected in 1974 and the ambo was purchased in 1990 .

The bas-relief above the entrance in the tower comes from the old church. A man armed with a cross and a book fights a dragon and a centaur . Widely used in the representation of St. Seen Maximin fighting against the teaching of Arius and the Gentiles.

The glazing of the apse window dates from 1954. The Gerolstein artist A. Tombers depicted the risen Christ in geometrical shapes in the axis window Sechspass of the window tracery becomes visible. The window to the left shows the adoration of the baby Jesus on Mary's lap, while the right window addresses the Pentecostal descent of the Holy Spirit in the form of a dove on the Jerusalem disciples . During the church renovation in 2017/2018, the apse windows were restored by the Trier company Kaschenbach.

organ

Inside the church, view of the organ before the renovation from 2017 to 2019

The organ of the church was built in 1955 by the organ building company Hugo Mayer ( Heusweiler ). The instrument has 34 (35) registers , distributed over 3 manuals and pedal . The instrument is the second largest organ in the city of Dillingen after the Gürzenich organ in the Saardom (57 stops). The playing and stop action is electric. An urgent renovation of the organ is valued at around € 60,000. The disposition is as follows:

I Hauptwerk C – g 3
1. Bourdon 16 ′
2. Principal 8th'
3. Gemshorn 8th'
4th Wooden flute 8th'
5. Octave 4 ′
6th Reed flute 4 ′
7th Fifth 2 2 ⁄ 3  ′
8th. Forest flute 2 ′
9. Mixture IV 2 2 ⁄ 3  ′
10. Trumpet 8th'
II Rückpositiv C – g 3
11. Wood-covered 8th'
12. recorder 4 ′
13. Principal 2 ′
14th Larigot 1 1 ⁄ 3  ′
15th Scharff III 1'
16. Krummhorn 8th'
Tremulant
III Oberwerk C – g 3
17th Covered 8th'
18th Quintatön 8th'
19th Salicional 8th'
20th Principal 4 ′
21st Night horn 4 ′
22nd Principal 2 ′
23. recorder 1'
24. Terzian II
25th Acuta IV 2 ′
26th Dulcean 16 ′
27. Schalmay 8th'
Tremulant
Pedal C – f 1
28. Sub-bass 16 ′
Soft bass (wind reduction No. 28) 16 ′
29 Octave bass 8th'
30th Bass fute 8th'
31. Chorale bass 4 ′
32. Back set IV 2 2 ⁄ 3  ′
33. trombone 16 ′
34. Pedal trumpet 8th'
  • Coupling : II / I, III / I, III / II, I / P, II / P, III / P
  • Playing aids : 2 free combinations, 2 piano pedal combinations (1 each for II and III), tutti, crescendo roller, individual tongue storage

Bells

In 1892, three new bells were hung in the bell tower (776 kg, 550 kg, 370 kg). While the two smaller ones fell victim to the bell recruitment of the First World War in 1917, the largest bell had to be handed in in 1940 during the Second World War. The current four bells of the church tower were made of cast steel by the Bochum Association in 1952 :

No. Surname Nominal
(16th note)		 Weight
(kg)		 Diameter
(mm)		 inscription
1 St. Maximin dis ′ 1055 1425 “Saint Maximin, you hero of faith, God appointed us patron, ward off from us what is pagan. Keep us faithful to Jesus Christ! "," Dedicated to the patron saint of the Church and the world of men "
2 St. 14 Holy Helpers f sharp ′ 597 1180 "Fourteen helpers in need, all need of the body and soul
we renters recommend to you, o carry them to God every day!", "Dedicated to the 14 helpers in need and the women"
3 Maria g sharp ′ 450 1045 "Mary, spread out your coat, make an umbrella and shield for us out of it.", "Dedicated to the Mother of God and the youth."
4th Nicholas ais ′ 299 920 "Saint Nicholas, you child friend on your earthly paths, for every house where someone cries, we implore your blessing!", "Dedicated to the children"

Stone of Ursus

Stone of Ursus. Wording:
IN PACE QUI
ESCIT UR
SUS INNOCEN
S QUI VIXIT
("The innocent Ursus rests here in peace, who lived three years and 46 days.")

The tombstone of Ursus from the 3rd / 4th centuries gives evidence of early Christianity . Century. It belonged to the grave with Christian symbols of the three year old boy Ursus . The stone gained importance through the Christ monogram XP, which, surrounded by two doves, is carved into the stone in reverse to the rest of the writing. Since Christianity developed later in rural areas than in urban settlements, stones of this type are rare in the country.

The stone was found in 1891 when the old church was demolished. The Ursus stone is the oldest Christian grave monument in Saarland. The original was temporarily lost during the Second World War and is now in the State Museum in Trier . A replica was placed near the gallery under the group of crosses on the right-hand side until the renovation between 2017 and 2019. Reinstallation is planned.

Clergy

Painting “Conference of the Priests” by Franz Xaver Leidinger (fourth from left); Pastor Philipp Schmitt (third from left); Johann Matthias Deutsch (second from left); Nikolaus Heinesch (far right); 1843; 84 cm × 63 cm; Beckingen rectory
The pastors of the parish of St. Maximin
  • around 1220 Arnold - priest of leases
  • 1677-1716 Peter Heis
  • 1744–1762 Johannes Pontiani
  • 1762–1765 Andreas Mailly
  • 1765–1788 Nikolaus Schultes
  • 1789–1812 Christoph Hauck (Haugh)
  • 1813–1816 Engelbert Henkel, vicar
  • 1819–1822 Nikolaus Heinesch, vicar
  • 1823–1841 Peter Lorrain, Augustinian monk of the former Saarlouis Augustinian monastery
  • 52 year vacancy
  • 1893–1907 Georg Weis
  • 1907–1911 Nikolaus Reitz
  • 1911–1926 Marcellus Bohn
  • 1927–1941 Antonius Nachtsheim
  • 1942–1954 Jakob Gilen
  • 1954-1969 Alois Molter
  • 1969–1992 Georg Jutz
  • 1992–2003 Gerhard Kerber
  • 2003 - Patrik Schmidt, since 2007 Deputy Dean
  • 2011 - Gerhard Jacob
The chaplains of the parish of St. Maximin
  • 1906–1907 Christian Schmitz
  • 1914–1917 Michael Ludwig
  • 1917–1920 August Horsch
  • 1921–1925 Hubert Zell
  • 1925–1927 Peter Domann
  • 1927–1929 Peter Johann Lenz
  • 1929–1932 Heinrich Massin
  • 1932–1933 Alfred Zens
  • 1934–1937 Matthias Wolfsfeld
  • 1937–1939 Johannes Zick
  • 1942 Friedrich Masselter as a parish administrator
  • 1953–1955 religion teacher Dr. Alfons Thome
  • 1955–1958 Peter Klein
  • 1958–1961 Josef Dissemond
  • 1951–1964 Anton Kasper
  • 1964–1965 Helmut Rausch
  • 1967–1968 Ludwig Müller
  • 2016-2019 P. Casmirrathis Kumar OCD
The deacons of the parish of St. Maximin
  • 1975–1976 Alfons Müller
  • 1977–1980 Willi Bertges
  • 1984-2015 Michael Balenzia
  • 2006–2007 Axel Feldmann
  • 2008–2009 Marco Hartmann
  • 2010–2011 Lars Meiser
  • 2013–2014 Ms. Jijo Anthony OPraem
  • 2019–2020 Stephan Schmidt

literature

  • Herbert Brunner, Hans Caspary, Alexander von Reitzenstein, F. Stich: Rhineland-Palatinate / Saarland, art monuments and museums. (= Reclams Art Guide Germany, Vol. 6), 8th edition, Stuttgart 1990, p. 91.
  • Hans-Berthold Busse: Wilhelm Hector (1855–1918), in: Saarländische Lebensbilder, Vol. 4, Saarbrücken 1989, p. 137.
  • Georg Dehio: Handbook of German Art Monuments, Rhineland-Palatinate, Saarland, Munich 1984, p. 214.
  • Philipp de Lorenzi: Contributions to the history of all parishes in the Diocese of Trier Trier 1887, p. 337 f.
  • Handbook of the Diocese of Trier, Trier 1938, p. 280.
  • Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 302, 539, 625.
  • Michaela Mazurkiewicz-Wonn: Art Place Leases Dillingen / Saar, Series Art Lexicon Saar Art Place, ed. by Jo Enzweiler, Saarbrücken 2014.
  • Gertrud Schmidt: The Roman leasing, catalog for the exhibition, Dillingen 1986.
  • Leo Sudbrack and A. Jakob (eds.): The Catholic Saarland, in: Heimat und Kirche, Volume II / III, Saarbrücken 1954, p. 11. p. 29f.
  • Walter Zimmermann (editor): The art monuments of the Ottweiler and Saarlouis districts, published by the Saar Research Association. Schwann, Düsseldorf 1934; 2nd, unchanged edition, Saarbrücken 1976, p. 244.
  • 100 years of church choir leases 1874–1974, ed. from the church choir "Cäcilia" St. Maximin, Dillingen-Pachten, Dillingen o. J. (1974).

Web links

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

Individual evidence

  1. ↑ Dillingen-Saar parish community at: www.pfarierendengemeinschaft-dillingen-saar.de, accessed on May 23, 2014
  2. ↑ List of monuments of the Saarland, sub-monuments list of the Saarlouis district ( Memento of the original from April 7, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF), accessed on May 23, 2014 @1@ 2Template: Webachiv / IABot / www.saarland.de
  3. ^ Walter Kiefer: Leases, Dillingen, Diefflen, Pictures from Yesterday and Today, (1885-1985) , Saarbrücken 1985, p. 26.
  4. ↑ according to the information board inside the church
  5. ↑ Walter Kiefer: Leases, Dillingen, Diefflen, Pictures from Yesterday and Today, (1885–1985), Saarbrücken 1985, p. 19.
  6. ↑ History of the parish of St. Maximin  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. From: www.pfarierendengemeinschaft-dillingen-saar.de, accessed on May 23, 2014@1@ 2Template: Toter Link / cms.pfarreisengemeinschaft-dillingen-saar.de  
  7. ↑ Dieter Lorig: New shine for the 125th church anniversary, Saarbrücker Zeitung, SZ-Extra Momente, E 1, 1./2. September 2018.
  8. ↑ Hans-Berthold Busse: The architect Wilhelm Hector, Church building around 1900, Regensburg 2018, pp. 194–197.
  9. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 302, 539, 625.
  10. ↑ Hans-Berthold Busse: The architect Wilhelm Hector, Church building around 1900, Regensburg 2018, pp. 194–197.
  11. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 302, 539, 625.
  12. ↑ Michaela Mazurkiewicz-Wonn: Kunstort Lachten Dillingen / Saar, series Kunstlexikon Saar Kunstort, ed. by Jo Enzweiler, Saarbrücken 2014, pp. 37–38.
  13. ↑ Vera Schauber and Hanns Michael Schindler: Article "Pantaleon", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 385–386.
  14. ↑ Vera Schauber and Hanns Michael Schindler: Article "Achatius", in: Heilige und Namenpatrone im Jahreslauf, Augsburg 1998, pp. 308–309.
  15. ↑ Vera Schauber and Hanns Michael Schindler: Article "Vitus", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 295–296.
  16. ↑ https://www.heiligenlexikon.de/BiographienV/Vitus_Veit.htm , accessed on October 1, 2016.
  17. ↑ Vera Schauber and Hanns Michael Schindler: Article "Barbara", in: Heilige und Namenpatrone im Jahreslauf, Augsburg 1998, pp. 626–627.
  18. ↑ Vera Schauber and Hanns Michael Schindler: Article "Eustachius", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 488–489.
  19. ↑ Vera Schauber and Hanns Michael Schindler: Article "Cyriacus", in: Saints and namesake in the course of the year, Augsburg 1998, p. 408.
  20. ↑ Vera Schauber and Hanns Michael Schindler: Article "Aegidius", in: Heilige und Namenpatrone im Jahreslauf, Augsburg 1998, pp. 453–454.
  21. ↑ Vera Schauber and Hanns Michael Schindler: Article "Georg", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 174–175.
  22. ↑ Vera Schauber and Hanns Michael Schindler: Article "Katharina", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 607–609.
  23. ↑ Vera Schauber and Hanns Michael Schindler: Article "Dionysius", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 522–523.
  24. ↑ Vera Schauber and Hanns Michael Schindler: Article "Blasius", in: Heilige und Namenpatrone im Jahreslauf, Augsburg 1998, pp. 50–51.
  25. ↑ Vera Schauber and Hanns Michael Schindler: Article "Erasmus", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 267–268.
  26. ↑ Vera Schauber and Hanns Michael Schindler: Article "Christophorus", in: Saints and namesake patrons in the course of the year, Augsburg 1998, pp. 377–379.
  27. ↑ Vera Schauber and Hanns Michael Schindler: Article "Margareta von Antiochien", in: Heilige und Namenpatrone im Jahreslauf, Augsburg 1998, pp. 368–369.
  28. ↑ Information on the parish church of St. Maximin and the 14 helpers in need at: www.kunstlexikonsaar.de, accessed on May 23, 2014
  29. ↑ Michaela Mazurkiewicz-Wonn: Kunstort Lachten Dillingen / Saar, series Kunstlexikon Saar Kunstort, ed. by Jo Enzweiler, Saarbrücken 2014, pp. 29–38, here pp. 36–37.
  30. ↑ Dieter Lorig: New shine for the 125th church anniversary, Saarbrücker Zeitung, SZ-Extra Momente, E 1, 1./2. September 2018.
  31. ↑ Dieter Lorig: New shine for the 125th church anniversary, Saarbrücker Zeitung, SZ-Extra Momente, E 1, 1./2. September 2018.
  32. ↑ The organ of the parish church St. Maximin Leases On: www.organindex.de, accessed on May 23, 2014
  33. ↑ Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, p 132nd
  34. ↑ Dieter Lorig: New shine for the 125th church anniversary, Saarbrücker Zeitung, SZ-Extra Momente, E 1, 1./2. September 2018.
  35. ↑ www.saarlandbilder.net

Coordinates: 49 ° 21 ′ 19.2 "  N , 6 ° 42 ′ 44"  E