St. Peter (brim)
The Church of St. Peter is an Evangelical Lutheran church in Krempe . It was built from 1828 to 1836 in the late classicist style . The tower with its characteristic dome can be seen from afar in the flat marshland.
location
Located to the east of the market square and separated from it by a row of houses, the church is surrounded by a park-like complex with high trees, the former churchyard, which originally extended to the wall of the Kremper fortress.
Building history
Previous construction
The first church in Krempe was probably built at the beginning of the 13th century when the Kremper Marsch was dyed . As part of the marshland colonization, the localities of the Krempdorfer and Grevenkoper Koog were combined to form a parish , the church of which was located in the overlapping area of the Köge, so that it could be reached equally well by both groups of settlers. Its location was in a bend in the river Krempau - the Ness - on an elevated place on which the church still has its place today. Krempe was first indirectly mentioned as a church location around 1237 in a document in which a church lord Godescalus (Gottschalk) from Krempe was appointed provost of the Uetersen monastery . In the absence of written evidence, it cannot be clarified whether the first church was listed as a brick building or was later converted into one. In the 1520s, the previous church received the addition of a southern aisle, the so-called New Church. In 1495 the builder Andreas Andersen built the first tower of the Kremper Church. This had a very tall, slender top and was 224 feet (about 67 m) high, of which the rafters at the top took up 140 feet (about 42 m). Its appearance is known from a contemporary engraving by the town of Krempe von Braun / Hogenberg .
On the night of February 14th to 15th, 1648, an unusually strong storm - here as well as in eight other marching parishes - caused the spire to collapse. The church roof, parts of the nave and above all the New Church were also significantly damaged. The hour bell crashed into the churchyard, but survived the accident unscathed. In 1654 the church received a new baroque , three-fold spire made of a first chair, bell cage and top. On top of it sat a 10-foot pole that carried a ball, a copper rooster, and a cross. The builder was Joh. Pape from Neuendorf . The new tower height is given as 260 feet (around 78 m) and was even higher than the previous version. Two models testify to the two variations of the predecessor church of St. Peter, which were made on the occasion of the move for the 700th anniversary of Krempes and are now installed inside the church.
In 1814, Krempe was occupied by Swedish troops and the church was confiscated as a powder store and hay store. As a result of the guards' carelessness, the building caught fire and was destroyed down to the foundation walls - with the exception of the hour bell again.
Construction of the classical church
The new building was designed and implemented by building inspector Friedrich Christian Heylmann from Altona, a student of the leading classical master builder and Danish senior building director Christian Frederik Hansen . A dispute over the design of the tower facade between Heylmann and the parish on the one hand and Hansen as the highest building authority delayed the start of construction by more than a decade. The foundation stone could not be laid until 1828. Construction progressed rapidly until the topping-out ceremony in 1830.
In August of the same year cracks were discovered in the masonry of the tower, which meant that the tower had to be partially demolished again. Because the exact causes could not be clarified between the parties involved, the entire construction came to a standstill. After Hansen got involved and had the nave completed for the time being, the church was finally consecrated on November 11, 1832. However, the tower was not fully completed until 1836.
builder
The three-aisled church is a typical late classicist building based on the design by FC Heylmann, which was heavily based on the forms that his teacher CF Hansen had developed for churches in Quickborn , Husum and Neumünster as well as for the Frauenkirche in Copenhagen . Because of these similarities, the Altona building inspector Werner Jakstein awarded the authorship to Hansen, whom he particularly admired , in the 1920s . This is a misinterpretation that continues to be rumored to this day. The contemporary "protocol of the new building of the church" by church jury Carsten Büldt from Grevenkop, the architect's drawings, which in no way correspond to the classically trained style of Hansen, the stylistic echoes of neo-Gothic in the structure of the outer walls and in the high side windows, the colossal column framing of the Pulpit altars, the commitment to the tower shape in the tower facade and many other details rule out Hansen's authorship for the church design and show Heylmann's own style.
Building
Nave
The simple nave with a rectangular floor plan is covered by a high, black-covered hipped roof. In contrast to the predominant ornamentation of classicist churches, Heylmann did without - with the exception of the main and side portal - sculptural framing or roofing of the windows and simply cut them into the smooth brick walls. Light falls into the interior of the church through seven-axis high, semicircular windows that span storeys, which were returned to their original gray color in the course of the last restoration. The five central windows illuminate the interior of the nave, while the two outer ones refer to the rooms behind them (the sacristy and the stairways to the galleries ). The two edge windows have a larger distance to those of the interior for functional reasons. Therefore, in order to maintain the symmetry, they were embedded in their own delimited wall fields ( risalites ), which protrude only slightly from the central wall and are now additionally emphasized by the rain drainage pipes. Stylistically striking and to be interpreted as a concession to the emerging trend towards neo-Gothic church architecture are the three narrow pointed arches that fill the semicircular arches of the windows.
A sandstone side portal is used on the north side instead of the central window . Today it is accessible to the disabled and forms another entrance into the nave. The side entrance consists of a simple portal with a smooth sandstone frame, above which a semicircular skylight with pointed arches creates a connection to the neighboring windows. The only adornment of this construction are two curved consoles with a calyx ornament, which support the simple roof.
Steeple
The west side is characterized by the soaring, massive church tower, which towers over the roof with a height of 38 m. It is composed of clear, trigonometric basic shapes, as it corresponds to the formal language of the Greco-Roman classic: cuboid, cylinder, hemisphere, cylinder with round-arched openings and a flat cone.
A massive cube on a square floor plan, the side length of which corresponds to half the width of the church, forms the lower area. Half of it is embedded in the nave and contains the vestibule to the interior of the church. Its walls are smoothly bricked up to the end with a console cornice. At the foot a simple portico with pilasters and a flat triangular gable emphasizes the entrance to the church. In the upper third, sandstone-framed, round-arched sound hatches are inserted into the structure on three sides. On the cube sits - indented on a platform - a simple cylinder, which is bordered by a copper console cornice. On its west side is the simple access door to the viewing platform, above which the - now electrically operated - tower clock is installed.
A cylindrical lantern is enthroned on the adjoining half-dome , the eight arcade arches of which give it the appearance of a small round temple. In it hangs the hour bell, which was already in service in the previous church. A protruding flat cone closes the small temple as a roof. The top of the church tower rises above it with a gold-plated ball and a weather vane, which shows the Kremper coat of arms and the number 1835 as the year of completion of the tower.
Interior
Tower hall
The west portal leads into the whitewashed vestibule of the church, which is formed by the lower storey of the tower block. Originally, the ceiling of this tower hall was bordered by a stucco frame. It contains a round hatch in the middle to lift the church bells. Its wooden lid closure is decorated with a rosette in acanthus decor.
inner space
The adjoining church has three aisles. Heylmann paid particular attention to the color design of the interior decoration. All colors were mixed and matched according to his instructions. The pink silicate color of the outer walls gives the visitor a warm aura. In the course of the church restoration, based on examination findings, it was modeled on the sound of the original color scheme. Due to the large number of wall surfaces, pink becomes the dominant interior color accent of the church.
Round arches resting on gray-pink pillars separate the central nave from the side aisles, which are formed from the side galleries and the corridors below. The column structure corresponds to the five inner window axes of the outer facade. A lot of daylight can enter the church through the high windows. Dark brown fighter plates decorated with egg rods form the end of the pillars fluted towards the interior. They carry the coffered arcade round arches, behind which are the side galleries, which are secured by a parapet decorated with docks (= halved balusters) decorated in shades of green.
A wide central aisle leads to the choir. The gray-colored rows of benches once reached as far as the outer walls, but have been replaced by variable seating in the aisles. The main nave is spanned by a semicircular barrel . The white barrel ceiling is divided into five bright, light fields by light gray straps made of stucco decorated with oak leaves. The structure of the belts and fields takes over the pillar arrangement of the central nave.
The chancel is designed as a semi-domed vaulted apse , in which the high, floor-spanning pulpit altar , which is accessible from the rear, is placed. This apse is a pure internal construction, which includes former boxes, the sacristy and other functional rooms on the outside and is not visible in the outer facade of the church. The half-dome is decorated with blue stars in small, white cassettes on a gray background, which give it a sky-like character.
The large west gallery carries the organ. At the end of the 19th century it was moved forward by a row of columns to make room for a larger organ and space for the church choir. The two supporting, Ionic columns near the entrance door to the nave are reminiscent of their original depth. To the right and left of the entrance stairways with baluster-supported handrails lead to the gallery.
Interior - view to the east. The side galleries are separated as community rooms by glass panes.
View of the side gallery. The arcade arches are supported by slim fluted pillars.
Pulpit altar
As in many post-Reformation church buildings in Northern Germany, the pulpit and altar are connected to form a unit. The central position of the pulpit emphasizes the importance of the word of God preached from the pulpit.
The pulpit altar is framed by a towering pillar temple ( aedicula altar), which rests on two gray cuboids and extends over the cornice of the choir. Its two white colossal columns with Corinthian capitals bear a gable triangle under which the St. Matthew verse stands between two golden winged angel heads:
- BLESSED ARE THE PURE HEART, BECAUSE THEY WILL LOOK GOD.
- (Matth. 5 V. 8 EU )
The gable triangle is crowned by a long cross , the gilded leaf tendrils of which symbolize the tree of life.
The pulpit can be reached via a concealed, rear staircase. Your cylindrically rounded pulpit closes at the bottom with a lower slope, which is richly decorated with foliage of oak leaves, palmettes and fig leaves.
Between the altar table and the pulpit - adapted to the curve of the background - there is an oil painting by the Hamburg landscape painter Siegfried Detlev Bendixen (1768 - 1864) depicting the Emmaus scene .
organ
The organ gallery in its current form is located on the west side of the nave. It has been subject to various changes since the time of construction. Originally, Heylmann had, against the wishes of the parish, obtained a different location for the organ : on an additional gallery in the arched ceiling - on a second floor, so to speak, while the gallery on the first floor was only intended for visitor spaces. In June 1839 a small organ was purchased from the English Church in Altona and installed up there.
At the end of the 19th century, the upper organ floor was removed and the current organ loft was extended by an arcade length, so that a new, larger organ from the Gebrüder Nagel from Hamburg could be installed there. This was based on a pedestal.
During the church renovation at the end of the 1960s, the parapet of the organ gallery - corresponding to the side galleries - was redesigned with docks. The organ had to be removed in 1966 because it was eaten away by the woodworm . It was not until 1977 that a new organ was installed by the Weigle company from Stuttgart following an interim solution. It has two manuals , 16 registers , 1116 pipes, a main movement , a swell movement and a pedal movement . Donated by community members, a carillon was added later.
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- Coupling : II / I, I / P, II / P
Equipment from the cemetery chapel
On the southeast side there is a glass window that comes from the neo-Gothic cemetery chapel. It depicts the reformer Martin Luther . The wooden crucifix on the outer wall of the north aisle also comes from the cemetery chapel .
Tower clock and bells
After the first tower clock did not work reliably, Jürgen Bötern delivered a new clock in 1853, which was in service until 1967. Then it was replaced by an electric clock.
One church bells had to be delivered in the First World War and two in the Second World War. It was not until 1957 that the church received new bells, which are still in use today.
Renovations
The structural condition of the church was already so bad in the 1930s that iron ring anchors had to be used to counteract the subsidence of the masonry. But that did not bring the desired success.
In the 1960s, consideration was given to demolishing the church and replacing it with a new building. The State Office for Monument Preservation called for the building to be preserved. In 1965/66 extensive foundation work was carried out, in the course of which a new, complex foundation was built.
When dry rot was discovered in the masonry of the church in 2004, further renovation was necessary. The following renovation work in 2006/2007 could only be financed with the help of donations and the sale of the parish hall. The community rooms , the offices and the kitchen were integrated into the church building. The rooms have been set up on the side galleries, which are now separated from the central nave by glass windows.
Pastors
- Wilhelm Alard (1608–1645)
- Johann Hudemann (1645–1678)
Hans Schröder compiled a list of the well-known preachers (pastor, archdeacon, deacon) of the Kremper Church in his attempt at a history of the Münsterdorf Consistory in the Duchy of Schleswig-Holstein in 1840. The continued lists in the church chronicle and the Kremper local chronicle are based on it.
Parish
The parish of Krempe includes the town of Krempe, the places Grevenkop, Krempdorf and Elskop.
literature
- Art topography Schleswig-Holstein . Processed in the State Office for Monument Preservation Schleswig-Holstein and in the Office for Monument Preservation of the Hanseatic City of Lübeck. Wachholtz, Neumünster 1982, ISBN 3-529-02627-1 .
- Carsten Büldt: Protocol of the new building of the church from 1828 to 1839. In the church archive of the community.
- Church Chronicle of St. Peter zu Krempe. Copy from the original by Friedrich Becker, 2005.
- Dieter Lange: To the builder of the Kremper Church. In: Nordelbingen 32 (1963), pp. 64-71.
- Arnulf Lühning: The tower clocks of the city of Krempe in the 19th century. In: Nordelbingen 45 (1976), pp. 127-169.
- Hans Schröder: Attempt of a history of the Münsterdorf Consistory in the Duchy of Schleswig-Holstein, third delivery . In: Archive for state and church history of the duchies of Schleswig, Holstein, Lauenburg and the neighboring states and cities . tape 4 . Johann Friedrich Hammerich, Altona 1840, p. 61–97 ( google.de [accessed October 19, 2018]).
- Lothar Wittorf: The St. Peter Church - A description of the late classical Kremper town church. Brim 2015.
- Lothar Wittorf: FC Heylmanns Kremper Church - under the influence of CF Hansen's architectural style. Brim 2011
Individual evidence
- ^ Hans Schröder: Attempting a history of the Münsterdorf Consistory, third delivery . In: Archives for State and Church History of the Duchies of Schleswig ... Volume 4 . Altona 1840, p. 65 .
- ↑ The St. Peter Church in Krempe on krempe.de, accessed on October 15, 2018.
- ↑ Werner Jakstein: State master builder Christian Friedrich Hansen, the Nordic classicist (= studies on Schleswig-Holstein art history. Volume 2). Wachholtz, Neumünster 1937.
- ↑ Lothar Wittorf: Die St.-PeterKirche , p. 35, accessed on October 15, 2018.
- ^ Lothar Wittorf: FC Heylmanns Klassizist Kremper Church under the influence of CF Hansen's architectural style , p. 26, accessed on October 15, 2018.
- ↑ Lothar Wittorf: FC Heylmanns classicist Kremper Church under the influence of CF Hansen's architectural style , p. 14, accessed on October 15, 2018.
- ↑ Information about the organ on the website of the parish
- ↑ Details (“The Second Pastor's Grave”, p. 28)
- ↑ Hans Schröder: Attempting a history of the Münsterdorf Consistory in the Herzogthume Schleswig-Holstein, third delivery . In: Archive for state and church history of the duchies of Schleswig, Holstein, Lauenburg and the neighboring states and cities . tape 4 . Johann Friedrich Hammerich, Altona 1840, p. 74 ff .
Web links
Coordinates: 53 ° 50 ′ 9.6 " N , 9 ° 29 ′ 28.8" E