St. Trinitatis (Altona)
The main Evangelical Church of St. Trinity was built in the years 1742–1743 in the Baroque style of the time in the Holstein city of Altona , which was incorporated into Hamburg in 1938 . After being destroyed in the war, the building was restored in its old form in the 1960s and the interior was given a modern interior .
The church in Altona
At the place of today's church there was initially a church from the years 1649/1650 belonging to the parish of Ottensen . The church tower was demolished in 1686 and a new tower was built between 1688 and 1694 by the Altona master carpenter Jacob Bläser , which became a landmark for Altona, which was elevated to town in 1664. According to Johannes Biernatzki, the parish lent the builder a 19 3/8 lot silver beaker “out of veneration” . The 70 meter high tower was crowned with a multiple curved copper helmet in Dutch style like the more than 110 meter high tower buildings that Peter Marquard had created from 1654 to 1669 for the main churches St. Nikolai , St. Katharinen and St. Michaelis in neighboring Hamburg .
Since the old church became dilapidated and also no longer met the representative requirements of the time, a new building was planned and built from 1742 to 1743 by the Holstein builder Cay Dose on a cross-shaped floor plan next to the Bläsersche Tower. Since 1737 Altona was also its own provost office with Johann Bolten as its first provost. Bernhard Leopold Volkmar von Schomburg , President of the city of Altona, laid the foundation stone on April 11, 1742.
The monograms of the Danish kings Christian V and Christian VI. on the sandstone portals show the importance attached to the large new main church in what was then the second largest city in the entire Danish state . The interior was designed as an independent Protestant preaching room. Galleries and boxes encompassed the community, which was oriented towards the large pulpit that dominated the room , while the baroque main altar in front of the east window was moved to the end of the room. Two crossed barrel vaults stretched from outer wall to outer wall formed a crossing at the intersection of the four arms of the cross , over which the large roof turret rose in the outer image of the church .
The splendid baroque furnishings were a conscious modern contrast to the Gothic churches in neighboring Hamburg, which could only offer something similar to the St. Michaelis Church, built in Hamburg's Neustadt from 1750 onwards . Old pictures of the interior only hint at the splendor and harmony of architecture, sculpture, stucco and painting in the sense of the baroque total work of art. Only minor changes were made to the church in the years that followed. It was not until 1897 that the originally sober tower facade was redesigned with neo-baroque decorative elements.
The main church of St. Trinity was one of the places of worship where Altona pastors and other clergymen read out the Altona Confession on January 11, 1933 . In view of the Altona Blood Sunday, this was essentially designed by Hans Asmussen . Asmussen had been pastor of the second pastor of the main parish from 1932 until he was forced into retirement in February 1934 because of his resistance to the church regiment of German Christians .
Pastors
Chief pastors
- Johann Bolten 1737–1757
- Adam Struensee 1757-1759
- Georg Ludwig Ahlemann 1767–1787
- Jakob Friedrich Feddersen 1788
- Georg Christian Adler 1791–1804
Pastors / preachers
- Johann Frisch 1661–1692 (deacon)
- Eustasius Friedrich Schütze 1741–1758
- Friedrich Wilhelm Wolfrath 1781–1789 (adjunct)
- Johann Adrian Bolten 1782–1807
- Nikolaus Funk 1791–1840
- Carl Nicolaus Kähler 1855–1871
- Hans Asmussen 1932-1934
- Ernst Wallroth 1892-1900
Destruction and rebuilding
The church, which is now almost isolated, was once integrated into the ensemble of the Altona old town, in which it formed the focal point with the old Altona town hall just a few streets away . Both buildings together were a fine example of 18th century baroque urban architecture. It was almost completely destroyed in July 1943 by the bombing of Operation Gomorrah . The interior of the church burned out completely, the spire collapsed, only the outer walls and the stump of the tower survived the firestorm .
Between 1954 and 1969 the church was rebuilt. In the mid-1960s, the preservation authorities pleaded for the restoration of the original external shape, even if the tower front was given a reduced appearance and the decoration from the turn of the century was dispensed with. Inside, a modern solution was chosen. With this in mind, the architects Horst Sandtmann and Friedhelm Grundmann directed the reconstruction from 1963 to 1969. The protruding main cornice and the shape of the cross barrel were adopted from the old interior. Below the central point of intersection there is now a new altar in the center of the room and not far away in the choir, surrounded on three sides by stalls for the community. The fourth side forms a baptismal font, and in the choir the space for the singers, the orchestra and the large new organ develops behind a semicircular gallery parapet . In the axis between the altar and the organ, the only historical piece of equipment preserved in the room, the crucifix from the Middle Ages , was erected on a newly created cross column. The smiling Christ of Altona is unique in its shape in Europe.
The entire artistic redesign comes from the Freiburg sculptor Peter Dreher . The artistic interior design and the colors show a commitment to tradition, which was translated into the language of the 20th century using artistic means. In 1970, the reconstruction was awarded the Hamburg Architecture Prize as an exemplary building for combining old and new.
Siegfried Detlev Bendixen's painting from 1823 with the life-size representation of St. Ansgar had been relocated before the church was destroyed and then forgotten. After its discovery in the depot of the Altona Museum , it was thoroughly restored and returned to St. Trinitatis on February 5, 2006.
organ
The organ was built in 1972 by Detlef Kleuker and completely overhauled by Claus Sebastian from November 2010 to July 2011 . The instrument has 45 registers with a mechanical action mechanism and an electrical control mechanism.
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- Normal coupling : I / P, II / P, III / P, II / I, III / I, III / II
- Loading system: slider drawer
- Action action: mechanical
- Stop action: electric
- Playing aids: 4 free combinations, 1 free pedal combination, crescendo roller, roller off
literature
- R. Hootz (Hrsg.): Picture manual of the art monuments Hamburg & Schleswig-Holstein , Deutscher Kunstverlag, 1981
- F. Grundmann, T. Helms: When stones preach - Hamburg's churches from the Middle Ages to the present , Medien Verlag Schubert, 1993
Web links
Individual evidence
Coordinates: 53 ° 32 ′ 54 ″ N , 9 ° 57 ′ 1 ″ E