St. Petri (Buxtehude)
The Protestant Church of St. Petri in the Hanseatic city of Buxtehude is a Gothic brick church in the Stade district in Lower Saxony . It belongs to the parish of St. Petri Buxtehude in the Buxtehude parish of the Evangelical Lutheran Church in Hanover . With its high neo-Gothic tower, it shapes the cityscape of Buxtehude and has rich, partly artistically valuable furnishings.
history
The church of St. Petri in Buxtehude is a three-aisled, arched brick basilica , which consists of a four-bay nave, the choir bay with a slightly irregular five-sided end and the mighty west tower. The laying of the foundation stone in 1285 is presumably related to the previous building documented by excavations, which was abandoned after an indulgence in 1296 and replaced by the existing building, which was completed around 1320. Numerous altar foundations in the 14th and 15th centuries have survived.
The tower was destroyed by lightning in 1853 and then restored with a new octagon and a pointed helmet according to plans by J. Wimmel from Hamburg. During a restoration in the years 1898–99, the side aisles, the choir, the bridal house and the sacristy were demolished according to plans by Karl Börgemann and rebuilt closely following the original structure. The upper storey was clad with new bricks, traces of traces of the window tracery were reconstructed and buttresses were added to the side aisles, for which there were no indications. As in the Middle Ages, the upper aisle in the central nave was left without buttresses.
The bridal house in the second yoke from the west on the south side of the nave was rebuilt in freely invented forms in 1898–99; the previous building was on the north side and was built in 1754. The sacristy on the south side of the choir was redesigned by Börgemann; the medieval building was under one roof with the north aisle and had two floors inside. A model from 1842 in the Buxtehude ∙ Museum for Regional History and Art shows the condition of the tower before the fire in 1853.
architecture
Art-historical position
The special art-historical position of the Petrikirche results from the rare use of the basilica in Lower Saxony and its connection with the shapes of the brick hall churches in and around Hamburg and Lüneburg . The cantoned round pillars of the central nave are a reshaping of the pillars of the Marburg Elisabeth Church and occur at the same time in the Marienkirche Uelzen and the Johanniskirche in Lüneburg .
The six-part vaults in the central nave and the five-part vaults of the side aisle in combination with two window axes per yoke appear for the first time in Magdeburg Cathedral soon after 1274 and are made of brick around 1320 in the Petrikirche in Hamburg , in the Stendal Cathedral and other churches in Altmark . The western niche in the tower hall, which encompasses the portal and the window, is also shared by the church in Buxtehude with the Hamburg Petrikirche. The dating of the church was disputed for a long time between 1285 and 1296 and the late 14th century. The excavated previous building and the relationship with the Petrikirche in Hamburg indicate a date between 1296 and 1320.
Interior
Despite the almost complete renovation, the interior has largely retained its original character. In the years 1986–90 the interior was restored; since then, the architectural structure has emerged clearly. The central nave walls are divided into two storeys of almost the same height: in the lower part the four wide-span pointed arch arcades on strong round pillars, each with four service bundles in the form of a clover leaf . In the upper storey, the number of axes has doubled, which is why six-part vaults were built over a yoke in the central nave. The ship is divided vertically by strong pillars. A steep, ogival pair of panels is arranged in each wall field, with an upper cladding window above each.
In the choir there is a two-storey wall structure with two rows of windows and panels on top of each other. The longitudinally rectangular aisle bays are spanned by five-part vaults; accordingly the aisle bays each have two window axes. Between the windows there are slim bundles of services with the cross-section of a quatrefoil . A pointed arch portal is arranged in the second yoke on each side of the nave, the southern one was given a neo-Gothic garment .
Except for the rich profiles of the arcades , all the individual architectural forms were renewed during the restoration in 1898–99. The central nave was originally open to the full height of the tower room; the current end wall was built after the fire in 1853.
Furnishing
Altars
The main piece of equipment is a high baroque altarpiece , which was created in 1710 by the master Hans Hinrich Römers from Hamburg. The two-storey structure is equipped with paintings, figures, a column frame and acanthus ornament . Above the Last Supper painting in the base zone is the large central picture with the birth of Christ and on the upper floor a three-dimensional crucifix in front of a painted landscape. Above the broken segmented arch gable , the structure is crowned by the risen Christ between angels with the tools of the Passion ; statues of the four evangelists stand next to the columns.
The artistically most valuable piece of equipment is the Halepagen altar in the north aisle, a late Gothic winged altar with painted passion scenes, which is named after the founder Gerhard Halepaghe . The painting of the predella was painted over in 1641 with the Adoration of the Kings and Shepherds; possibly the medieval picture has been preserved underneath. The main panel shows Christ carrying the cross , on the inside of the wings there are depictions of the flagellation and crowning of thorns on the right and the crucifixion and burial on the left. The outer sides are painted with life-size depictions of Paul and Jerome . The kneeling clergyman next to Paul is seen as the picture of the founder of Gerhard Halepaghe, whose coat of arms and name inscription were attached to the stone altar table, which has now disappeared. The main panel and parts of the outside of the wing are considered to be the work of the main master named after this altar , possibly Wilm Dedeke , who worked in Lübeck before 1500 , then in Hamburg and around 1510 here in Buxtehude. The other paintings were created around 1520 by a younger painter.
Further liturgical equipment
The magnificent early baroque pulpit from 1674 is designed in strong, emphatically plastic forms and is carried by the half-length of an atlantic . It has a bowl-shaped console base decorated with winged putti heads and carries statues of apostles between winding columns on the balustrade of the basket and on the staircase. The door to the pulpit is framed by ornamented pilasters , above which a gable-like attachment with cartilage is arranged. The multi-storey, richly decorated sound cover is provided with putti with the tools of the Passion and in between shows a late Gothic figure of Christ from the beginning of the 16th century under a canopy framed by twisted columns . A statue of Christ with the victory flag from 1673/74 serves as the crowning of the sound cover.
Remains of a medieval choir stalls from around 1400 have been preserved, the eastern end cheeks and some seats were added towards the end of the 19th century. On the western cheeks there are figural reliefs under keel arches, depicting prophets seated on the outside, on the inside of the northern stalls the crucified Christ and a priest with a chalice and on the front sides female saints. Several carved cheeks from around 1500, cheeks dated around 1550 and 1545 and 1546 were reused on the new stalls. In the south aisle there is a life-size, well-designed crucifix from around 1470, presumably the former triumphal cross .
The western chandelier in the central nave dates from 1589, the other two from the period after 1650. A vestry cabinet with rich late Gothic iron fittings was built around 1500. The altarpiece consists of two valuable Gothic chalices from 1468 and 1518 and a silver altar cross from 1680.
The ringing consists of three bells that were cast by the bell foundry in Heidelberg in 1973. It consists of three bells with the tone d (1380 kg), g (710 kg) and a (500 kg).
Epitaphs and former pieces of equipment
Several epitaphs have been preserved from the 16th and 17th centuries. The epitaph for Martin Moller († 1583) on the north wall of the choir polygon should be mentioned here, which shows a crucifixion painting dated 1585 with the donor family within a wooden frame with herm pilasters and a protruding cornice. Next to it is a large painting depicting Salvator mundi from 1635.
On the south side of the choir polygon there is a nameless epitaph with fluted columns, flat triangular gable and crucifixion painting from around 1600. The epitaph for Anna Hauto († 1634) on the central pillar on the north side comes from the former monastery church Altkloster in Buxtehude, with the inscription The marble framing is from 1634 and the stucco was added in 1770 after the implementation. The epitaph for the court musician Michael Uhlich († 1673) is on the east wall of the south aisle and shows a bust of the deceased in a lush acanthus frame with putti making music. The Radeleves family's sandstone epitaph from 1567 hangs on the outside of a north buttress of the choir and shows a columnar frame with an inscription and coat of arms.
The famous Buxtehude Altar, a work from the workshop of Bertram von Minden from around 1400, was given to the Hamburger Kunsthalle on permanent loan in 1904 , but its origins from the medieval Petrikirche are not certain. A photographic copy of the altar has been on view in the south aisle since 1990. Next to it is a diorama in a showcase, which shows the medieval construction site of the St. Petri Church in a model. The Passion Altar, presumably the former main altar of the church, ended up in the Buxtehude ∙ Museum. From him the predella, the shrine and the painted pair of wings of the raised central part have been preserved. It is a southern Dutch work from around 1470 and one of the few examples of such altars from the Duchy of Brabant .
Organs
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An organ was first recorded in 1545. The instrument by Arp Schnitger (III / P / 36) from the years 1699–1701 fell victim to the tower fire in 1853. Today's organ with a neo-Gothic prospect is a work by Philipp Furtwängler from 1859 with 52 stops on three manuals and pedal . Furtwängler integrated 25 Schnitger pipes that had been preserved. The romantically arranged work is one of Furtwängler's largest organs with around 3300 pipes.
The restoration between 1982 and 1984 by Alfred Führer saved the organ from the threat of demolition. In the course of this, ten registers were reconstructed. Rowan West carried out another restoration in 2004-2006 , who reconstructed all seven mixed voices . All other 35 registers are original. The disposition is as follows:
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- Coupling : I Octavant, I / II, I / III, I / P, Forte-Pedal, Piano-Pedal
- W = Rowan West (2006)
- AF = Alfred Führer (1984)
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The case of the choir organ on the south side of the central nave with seven registers was used from 1949 to 1974 as a back positive for the organ of St. Cosmae in Stade . The choir organ was built in 1974/1775 by the Hillebrand brothers in Altwarmbüchen. Harm Dieder Kirschner built a small chest organ with seven registers in 2006, which has been in St. Petri since 2010. An expansion of the choir organ by Roman West is planned to include the following arrangement, which includes four transmissions and three registers on alternating loops :
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literature
- Georg Dehio : Handbook of the German art monuments. Bremen - Lower Saxony. Deutscher Kunstverlag, Munich, Berlin 1992, ISBN 3-422-03022-0 , pp. 331-335.
Web links
Individual evidence
- ↑ Information board in the church, see Wikimedia Commons.
- ^ Art treasures in St. Petri Buxtehude. Retrieved April 29, 2018 .
- ↑ Information on the organs on the website of the Buxtehude parish. Retrieved January 13, 2019 .
- ↑ Furtwängler organ on NOMINE eV , accessed on January 13, 2019.
Coordinates: 53 ° 28 ′ 37.7 " N , 9 ° 42 ′ 3" E