St. Servatius (Siegburg)
The Catholic parish church of St. Servatius is a listed church building in Siegburg . The choir is an early example of a reception of the high Gothic architecture of Cologne Cathedral and was in turn adopted in subsequent buildings such as the collegiate church of Vilich and the approximately simultaneous Mönchengladbach Minster . The church is richly decorated and contains important medieval works of art in the treasury. It belongs to the parish of St. Servatius Siegburg in the Archdiocese of Cologne .
history
The first parish church was replaced by a new building around 1169. This is a gallery basilica with a flat-roofed central nave . The side aisles are groin vaulted . The west tower was increased by two to six floors at the beginning of the 13th century. A choir with three apses was built in the Gothic style at the end of the 13th century by a master trained at the Cologne Dombauhütte . Around 1500 the central nave was brought up to the same height as the main choir by pulling up the upper cladding walls; it was covered with star vaults.
The church, which was used as a military hospital and warehouse from 1794–1810, was extensively restored between 1864–1869. In 1888 a sacristy was built on the south side and extensions on the sides of the tower in place of the western ends of the aisles. In the years 1897–1900, restoration work was carried out on the tower, among other things.
After severe damage in the Second World War, the aisles and side choirs were given new roofs in the years 1953–1960, the gables that were attached in the 19th century were removed, the west tower plastered and painted. During further restorations in the 1980s, the nave and choir were plastered and painted.
architecture
Exterior
The lower storeys of the mighty tower come from the end of the 12th century. The ground floor is accessed through a large arched portal in a rectangular panel. On the floors above, the architecture becomes richer and more fragmented; on the fifth, the original bell-shaped floor, there are clover-leaf arches and a zigzag frieze. The current bell storey above from around 1220 has two large, coupled sound openings and is closed off by a slate-covered pyramid helmet.
The central nave and the high Gothic main choir are united under one roof. The upper storey and the south aisle are equipped with two-part tracery windows; Romanesque arched windows are only preserved in the north aisle. In front of the middle yoke is the Romanesque vestibule, the arched portal of which is now walled up and a chapel room on the upper floor. To the east are the sacristy from 1888 and 1948 with the treasury on the upper floor.
The three-part choir with five -eighth closure on the two-bay main choir and the two single-bay side choirs is heavily influenced in its detailed forms by the Cologne cathedral choir. The three apses are uniformly structured by stepped buttresses with pinnacles and show slender, two-lane tracery windows over a surrounding coffin cornice . They are equipped with gargoyles in the main choir , which were replaced in 1985 with copies in basalt lava . The gargoyles of the side choirs have not been preserved.
Interior
The nave is vaulted with late Gothic star vaults at the same height as the main choir. Gothic ribbed vaults are used in the south aisle and in the galleries. From the original three-aisled late Romanesque gallery basilica , which was flat-roofed in the central nave and in the galleries, only half the height of the central nave and the groin-vaulted north aisle with the former vestibule are preserved. The Romanesque gallery openings with triple arches in a round arch panel are only preserved in the west bay of the nave, the intermediate supports were renewed in the late Gothic style. This gallery basilica is a successor to St. Ursula in Cologne and served as a model for the church in Morsbach .
The choir is vaulted with deep vaulted ribs and sail-like, steep vaulted caps. The architectural sculpture of the finely crafted capitals is very close to that of Cologne Cathedral. An originally intended conversion of the side aisle can be seen on the foliage friezes on the western vaulting service in the north choir. The side walls of the secondary choirs adjoining the main choir are fitted with tracery that corresponds exactly to the tracery of the other windows. In the south choir, an ornamental wall painting from the construction time of the choir was uncovered, which obviously repeats the pattern of the stained glass at the time . Today's glass paintings were designed by Willy Weyres in 1958/59 .
Furnishing
The main piece of equipment is the high altar with a monolithic Romanesque altar plate, a carved antependium from the 18th century from the Heisterbach monastery and a neo-Gothic carved altar shrine from 1904. From the older equipment there is also a cylindrical baptismal font from the early 13th century with crosses in pointed arches mention. A walnut Madonna figure from around 1380 still has the original version and is influenced by the so-called Friesentormadonna in the Schnütgen Museum in Cologne. Six late Gothic statues of the apostles from the period between 1508 and 1512, which were created by Master Tilman , are placed on the arcade pillars . On the northern pillar of the choir there is a lime wood Mother of God from around 1640/50 with a new version that is attributed to Jeremias Geisselbrunn.
organ
The organ was built in 1990 by the organ builder Klais (Bonn), reusing the prospectus , console and most of the pipe material from the previous organs from 1894 and 1930; the previous organs also came from the organ building company Klais. In 1995 the organ was expanded to include an echo mechanism with 7 registers ; the echo mechanism is swellable and can be freely coupled to any manual mechanism and to the pedal mechanism. The slider chests -instrument has 46 registers (3,083 pipes ) on three manual works and pedal and has at its disposition in particular elements of the romantic organ building of the late 19th century, as well as elements of the organ movement (1930) on. The playing and stop actions are electric.
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Church treasure
The most important pieces came to the parish in 1812 from the property of Siegburg Abbey . Among them are the Anno shrine , the so-called Annokrümme from the 11th century of a bishop's staff in gold sheet mount and a consecration comb of St. Anno, made of ivory , from the 2nd half of the 12th century.
The portable altar of Saint Mauritius from around 1160 comes from the workshop of Eilbertus of Cologne . It consists of an oak box with gilded and enamelled copper, which stands on bronze dragon feet. Standing figures of the prophets are arranged on the walls. On the cover plate around the porphyry altar stone , the twelve apostles, a crucifixion known as Trinitas, Noli me tangere , the women at the grave and the Ascension are depicted.
The Gregorius portable altar from the end of the 12th century is the main work of the master of the Gregorius portable altar , which is stylistically classified in the Meuse valley. Like the Mauritius portable altar, the altar consists of a box made of oak with gold-plated and enamelled copper on dragon feet.
A Lower Saxony work from the end of the 12th century is the reliquary box of St. Andrew. He shows a wildly moving figure style that is traced back to Maasland manuscripts and strongly colored melts .
The shrines of Saints Innocentius and Mauritius and Saint Benignus from around 1180/1190 were created under the influence of the Anno shrine in a Cologne workshop. These two shrines are decorated in the shape of a house with gold-plated and enamelled copper sheet. The figure decorations were lost. The gable ends are structured by cloverleaf arches, the long sides by columns or arched arcades. The roof surfaces are divided into fields by strips, the bronze combs are decorated with rock crystal knobs . Older parts have been reused on both shrines.
The shrine of St. Honoratius from the end of the 12th century in the shape of a house with transverse gables is covered with gold-plated copper and silver sheet. Five enthroned apostles on the long sides, the half-figure of Christ in the transverse gable field and the roof reliefs with the Annunciation, Birth, Crucifixion and Resurrection have been preserved from the figural decoration. It is rated as "a pretty crude work in which the classical art of Nikolaus von Verdun only faintly resonates".
The shrine of St. Apollinaris was created in 1446 by Hermann von Aldendorp. This shrine, completely clad with gilded copper sheet, is similar in type to the Romanesque shrines, but shows a painterly ornamentation of small, ornamented surfaces with a lily and a double-headed eagle . The figures and crowns of the pointed arch fields are not preserved.
swell
- Georg Dehio : Handbook of the German art monuments. North Rhine-Westphalia I. Rhineland. Deutscher Kunstverlag Munich, Berlin 2005, ISBN 3-422-03093-X , pp. 1096-1099.
- Reclam's Art Guide Germany III, Monuments, Rhineland and Westphalia, 1975, ISBN 3-15-008401-6
- Peter Jurgilewitsch, Wolfgang Pütz-Liebenow: The history of the organ in Bonn and in the Rhein-Sieg district , Bouvier Verlag, Bonn 1990, ISBN 3-416-80606-9 , pp. 479-482. [not yet evaluated for this article]
Web links
- Parish website
- Website of the Treasury of St. Servatius
- The bells of St. Servatius on wdr.de/Glockenpforte
Individual evidence
- ↑ a b c d Georg Dehio : Handbook of German Art Monuments. North Rhine-Westphalia I. Rhineland. Deutscher Kunstverlag Munich, Berlin 2005, ISBN 3-422-03093-X , pp. 1096-1099.
- ↑ Information about the organ on the municipality's website
Coordinates: 50 ° 47 '46.4 " N , 7 ° 12' 27.4" E