Weinbergkirche (Dresden)
The Protestant vineyard church "Zum Heiligen Geist" is a baroque village church in the Pillnitz district of Dresden . The name goes back to the location in the royal vineyard.
The sacred building was built from 1723 as a replacement for the Pillnitz Castle Church, which was demolished for the expansion of Pillnitz Castle . It is the first church to be built by Matthäus Daniel Pöppelmann , the architect of the Dresden Zwinger , and is considered the “landmark of the Pillnitz landscape”. The building, which fell into disrepair, particularly during the second part of the last century, was extensively restored in the 1990s. The Weinbergkirche is a listed building and is part of the Dresden Elbe Valley cultural landscape .
history
The predecessor
Pillnitz was since the beginning of the 16th century Hosterwitz gepfarrt and trained since the Reformation , the parish Hosterwitz-Pillnitz. The inhabitants of the village of Pillnitz went to the Schifferkirche Maria am Wasser for the service . After the later thigh of the elector Christian I and councilor, Christoph von Loß (1548–1609), had acquired the Pillnitz manor in 1569, conflicts soon arose with the pastor of Hosterwitz. In 1579, Christoph von Loß turned to the senior consistory of the Evangelical Church in Dresden to enforce the construction of an "independent private church as a place of worship and burial". The foundation stone for the so-called Pillnitz Castle Church "Zum Heiligen Geist" was laid on May 8, 1594. A late Gothic building with a 30 meter high tower was built in 1596. The then Dresden Superintendent, Polykarp Leyser, consecrated the first church in Pillnitz . The village of Pillnitz now formed a parish independent of Hosterwitz.
The founder Christoph von Loß died in 1609 and was given a larger than life epitaph in the church. Other members of the von Loß family, such as Joachim von Loß († 1633) and his eldest daughter Sophie Sibylle Loß, married von Bünau († 1640), were buried in the castle church. Sophie Sibylle's husband Günther von Bünau († 1659) and his second wife Elisabeth von Löser († 1649) donated the church's altar in 1648 on the occasion of their marriage and the end of the Thirty Years' War . Under Günther von Bünau the parishes of Hosterwitz and Pillnitz were reunified - both parishes still form the Evangelical Lutheran parish of Dresden-Hosterwitz-Pillnitz today.
In 1694 the Saxon Kurhaus received Pillnitz from Günther von Bünau's son Heinrich, who in return was awarded Lichtenwalde . From 1707 Pillnitz was in the possession of Countess Constantia von Cosel , before August the Strong began building Pillnitz Castle on the property on which the castle church was located from 1720 . The upper consistory of the Evangelical Church in Dresden only approved the demolition of the church on condition that the church be rebuilt in Pillnitz. On May 11, 1723, August the Strong, who had initially considered expanding the Maria am Wasser church as an alternative, gave the order to build a new church on a plot of land in the Royal Vineyard. For this, building materials as well as the altar, bells and organ of the old castle church should be reused in the new church building. The construction costs of the new church in the amount of 2000 thalers were taken over by the Saxon construction department. The castle church "Zum Heiligen Geist" was demolished in May 1723. The temple of Venus , which burned down in 1818 , was built in its place , a dining room in which portraits of court ladies and mistresses hung. Today the location of the former church would be between the New Palace and the "Löwenkopf" on the Elbe.
Construction of the Weinbergkirche
August the Strong had instructed that the "building of another [church] not far from the village on the Weinbergs-Press" should take place. The then Oberland master builder Matthäus Daniel Pöppelmann was commissioned with the design, while the construction was carried out by Christoph Schumann , who had also worked on the renovation of Moritzburg Castle and the Japanese Palace . In the presence of, among others, Valentin Ernst Löscher , August Christoph von Wackerbarth and sculptor Johann Benjamin Thomae , the foundation stone of the new vineyard church was laid on June 24, 1723, which was also called the New Castle Church "Zum Heiligen Geist" , based on the previous building . The vines were raised in May, and in July the remains were transferred from six tombs of the old church to the vaults of the new church, which were completed at the beginning of July. With the erection of the tower and the raising of the bells of the old castle church on the day of the Reformation in 1723 - after only five months of construction - the external construction of the church was completed. The interior construction of the church lasted until 1725. The church was consecrated on November 11, 1725. Until 1918 the Weinbergkirche served both the Protestant members of the prince and royal court and the community as a place of worship.
The Weinbergkirche until 1990
The church was rebuilt in the 18th century. Minor renovations to the roof structure took place in 1800 and 1839. During the first major renovation from 1852 to 1853, the pulpit was relocated and the chairs in the chancel were removed. In 1876 the church received the clock tower. The installation of a new organ in 1891 required a reconstruction of the western galleries with new side entrances. After the purchase of a stove to heat the church, the Weinbergkirche received a chimney around 1900. In 1910 a new furnace was moved to another location. Access to the sacristy had to be relocated to move the stove .
The preservation of the church was in the hands of the Saxon court until 1918 , as the (Catholic) king had promised at the time of construction. With the end of the monarchy , the building was transferred to the state domain administration . When, in 1930, the Ministry of Finance and the Evangelical Lutheran Regional Church finally agreed on cost sharing, roof repairs followed in 1932. Already at this time the slow deterioration of part of the church was lamented, such as the location of the valuable grave monuments on the damp church walls and the faded colors of the church.
With the land reform in 1945 , the Weinbergkirche became the property of the Evangelical Lutheran Church of Saxony . The church was renovated in 1954, but gradually fell into disrepair. Its use for church services ended in 1976 when it was rededicated for Thanksgiving. The regional church, which did not have the means to maintain the church, applied for the building to be transferred to the state. In addition to decay-related defects in the roof, windows and plastering, further damage was caused by vandalism and theft. In 1983, after lengthy negotiations, the church became the property of the City of Dresden, which it appointed as the legal entity among the Dresden museums that were combined to form the State Art Collections . The church was partially secured and used as a storage room. Only after the fall of the Wall did the dilapidated Weinberg Church receive more attention again.
Restoration and current use
In 1990 the interest group Weinbergkirche Pillnitz e. V. with the aim of collecting donations for the restoration of the church. For example, the community organized benefit concerts and solicited funding. The first Elbhangfest under the title Von Bähr zu Pöppelmann in 1991 drew attention to the condition of both the Weinbergkirche and the Loschwitz church, which is currently being rebuilt . In June 1991, the roof turret, which had been reconstructed with donations since November 1990, was handed over to the Weinbergkirche. In 1992 the roof was re-covered and in the following year the exterior plastering of the church was renewed and painted in an illusionistic way to match the original color scheme in red and yellow tones . The exterior color restoration was completed in 1993. In the same year the church became the property of the Free State of Saxony . In 1994, the interest group's commitment to the Pöppelmann building was awarded the Silver Hemisphere of the German Prize for Monument Protection .
The restoration of the interior of the church followed, which was largely completed in 1995. The ceremonial handover of the restored church took place on November 12, 1995, the consecration of the restored Jehmlich organ took place on the occasion of the Elbhangfest 1997.
Since then, some services of the Evangelical Lutheran parish of Hosterwitz-Pillnitz have taken place in the Weinbergkirche. Otherwise the church is mainly used for weddings, concerts and exhibitions. Every year there is a spring festival around the church, a wine festival in October and a Christmas market on the third Sunday in Advent. The Weinbergkirche is also a "landscape-bound structure". It is a colored eye-catcher in the Great Royal Vineyard. which has been almost completely recovered since 1976. Müller-Thurgau , Traminer and Pinot Blanc have been grown since the 1990s .
Building description
First draft
The Weinbergkirche was “Pöppelmann's earliest church building”. He initially designed a building for a level location, "probably even in the flood area of the Elbe , since it puts four steps in front of the entrances (e)." In the initial design, the sacristy was connected to the altar area and lay on the narrow one - in relation to the executed construction - east side of the church. Opposite the altar, Pöppelmann planned a narrow organ gallery . In the completed construction, the sacristy was built into the slope on the northern long side of the church, whereas the main portal was on the south side instead of the north. Pöppelmann planned a richly decorated roof turret , which was ultimately implemented in a simpler form. During the renovation of the Weinbergkirche in the 1990s, there was also discussion about the color structure of the tower facade, which, however, was finally covered with copper in 1992.
The actual church type was subsequently also implemented in other Saxon church buildings, such as the church in Rammenau and the one in Röhrsdorf near Pirna.
Exterior
The Weinbergkirche was built on a rectangular floor plan. In the north, a sacristy was added to the sloping terrain, which was extended during the restoration of the church in the 1990s. The main entrance is on the south side, which is designed as a "show side of five axes". A double staircase leads to the portal of the Weinbergkirche. The only facade decoration is a sandstone sculpture made by Johann Benjamin Thomae between 1726 and 1727 . It contains a double cartouche with the Saxon and Polish coats of arms above a frieze in a blown gable . Above it is the monogram AR for Augustus Rex , King August II of Poland , and the royal crown. Cornelius Gurlitt mentioned an inscription above the portal, of which remains were visible despite being painted over around 1900. In the course of the restoration in the 1990s, it was preserved and covered with paint. A second access is possible via the west side of the church; A single flight of stairs leads to the unadorned entrance there. When the Weinbergkirche was built, vaults were created in the middle . The burial of the dead from the old castle church took place via an entrance under the southern main entrance. At first only the foundations of the church closed this entrance, later the stairs were built in front of it. The Weinbergkirche has a hipped roof with three dormers and a central, wooden roof turret . It has a square floor plan up to the ridge height and then builds up "in rough baroque forms [eight-sided]". It is closed by a helmet-like roof hood; At the top there is a weather vane on a tower ball with the inscription "ARPo 1723" for Augustus Rex Poloniae and a crown. The year 1723 refers to the time when the foundation stone was laid. The height of the church is 31.10 meters without the weather vane. The facades were originally "... as a substitute for precious outline of sandstone as stucco building designed with a illusion architecture , jambs with shadow edges Verdachungen and wall piers painted". The exterior of the church thus resembled Pillnitz Castle. However, the earliest drawings show the plastered facades of the church already in a whitewashed state, which remained unchanged until the 1990s. The original color of the facade was reconstructed and restored in the course of the restoration in the 1990s by examining the plaster.
Interior
The church interior measures around 20 by 10 meters and is eight meters high. Including the crypt vault, the height of the church is 9.90, the width including the outer walls 21.8 and the depth with the outer walls 12.6 meters. The floor is covered with sandstone slabs, the altar is raised by one step. The twelve high windows are closed in an arched arch and framed by sandstone walls . They were made on the model of the destroyed original windows and donated to the church in the course of the restoration in the 1990s. Two windows made of tinted glass, inserted on the east side at the turn of the century, were no longer preserved in the 1990s and have not been reconstructed. The flat ceiling is decorated with simple stucco moldings .
Behind the main portal, on the south side towards the east, there are ground floor boxes with a staircase to the galleries. They belong to the raised altar area that occupies the east side of the church. There is the altar, in front of it the baptismal font and on the north side the pulpit. Opposite the main entrance is the entrance to the sacristy. The rear part of the nave is occupied by three prayer rooms, above which the organ choir is located. In addition to the west portal, there are entrances to the galleries and the bell tower on the right and left.
During the restoration of the church, it was discovered through color tests that there were red curtains behind the altar and pulpit as early as 1725. You might want to highlight the white altar and pulpit in the church interior, which is also white. The restorers restored the painted curtain behind the altar. Since the pulpit was moved in 1853, the other curtain could not be restored in the original location. Today it would be partially covered by the extended galleries.
Seating
The church can accommodate 450 to 500 people. In the 18th century "the confessional, the church father's chair and two rows of men's seats" were placed in the chancel; other men's seats were in the galleries. The seating for women was in the nave and was also placed outside the chancel on the church wall. By 1728, three prayer rooms for wealthy Pillnitzers were built under the choir on the west side. They lay behind the "women chairs" under the organ gallery and had to be built by the owners at their own expense. In addition, a fee had to be paid to the church. The seating in the chancel was removed in 1853 when the pulpit was moved there. The side benches in the nave were removed in 1954.
Galleries
The galleries of the church were originally shorter than they are today. They first took the south and west sides; under the south gallery a court and was Herrschaftsloge in the altar area and also a box for court officials installed. The galleries were lengthened by a quarter during the renovation from 1852 to 1853 and since 1892 they have taken up half the north side up to the chancel.
When a new, larger organ was installed in 1891, the second west gallery was taken back to the depth of the organ, the organ choir on the first west gallery was enlarged and new lateral entrances to the west gallery were created. The galleries have two floors and stand on square columns; "The parapets are divided into long rectangular fields."
altar
The altar was created in 1648 by the Colditz sculptor Johann Georg Kretzschmar (1612–1653, son-in-law of the Dresden sculptor Sebastian Walther ) after the end of the Thirty Years' War. The back wall bears the inscription "Johann George Kretzschmer, bilthauer in Dresden, August 19th, anno 1648."
The sandstone altar is 2.70 meters wide and 5.85 meters high. Above the simple cafeteria is the predella with the coat of arms of the donor families von Bünau on the left and von Löser on the right. Both coats of arms, separated by a putti head , are colored. The predella is “ filled with inrushes and scrollwork ” and is bordered by two pedestals , on each of which stands a Corinthian column wrapped in vine branches .
Between the pillars in the middle of the altar, a 1.32 by 1.73 meter relief depicts the Last Supper with Christ and the twelve disciples, on the table are the Easter lamb and the wine goblet. A row of four columns on each side gives the relief depth; A chandelier is attached to a ribbed vault above the scene .
Two meter-tall apostle figures stand on console-like volutes next to the columns. The podium on the left carries Peter with a book and key, the right one with Paul with a book and sword.
The architrave and frieze above the figures of the apostles are interrupted by the ceiling representation of the relief, while the cornice is continuous. Two angel figures with instruments of passion sit cross-legged above the cornice . The one on the left is holding a sponge with vinegar by a pipe and a rod, the one on the right is holding a rod and a lance . In the pediment between the two figures there is a relief of Christ praying in the Garden of Gethsemane . The sleeping disciples are depicted in the foreground. The end of the altar is formed by a figure of the risen Christ, his right hand raised in blessing and the flag of faith in the left.
While Cornelius Gurlitt attested to the sculptor Kretzschmar at the altar "a strong, form-safe ability everywhere", Walter Hentschel saw the importance of Kretzschmar's work in 1966 only in the relatively good general condition:
“But that is all that can be said in praise of the work. The figurative is coarse and appears almost wild in the large relief of the Lord's Supper. Volutes, consoles, cartridges come close to the cartilage in some areas , are doughy and soft, but Kretzschmar is unable to achieve full freedom of this style [...] His art was provincial ... "
During the restoration of the church in the early 1990s, the figurative decorations on the altar were added, as the faith flag, the rods and the sword of the Paulus figure were already missing by 1900. The colors of the altar, which have largely faded or completely disappeared, were restored between 1993 and 1994. Besides the colored coat of arms in the predella, the sandstone altar is kept in white with gilded details.
Baptismal font
In front of the altar is the approximately one meter high baptismal font , which was probably built at the same time as the altar and is attributed to Johann Georg Kretzschmar. The structure is made of sandstone, the lid of wood. Above a profiled foot and a round base is the cylindrical cup , in which four black fields with biblical quotations in gold letters are set. The panels are enclosed by scrollwork . The eight-sided lid with angel heads bears a cross on top. In a description of the baptismal font by Ferdinand Ludwig Zacharias from 1826, no cross is mentioned as a conclusion, but the figure of John the Baptist. Like the altar, the baptismal font is white with gold decorations. Marbling was painted on the base as well as on the balustrades of the church .
pulpit
The sandstone pulpit , located in the altar area on the north side, is supported by a hexagonal column that merges into a bulging transition with a console cornice to the pulpit. The pulpit has the shape of a hexagon and is closed on four sides. One side is open and leads to the staircase, the sixth side forms the church wall.
The fields of the pulpit are bordered by Doric columns that stand between the pedestal and architrave . Round arches in the fields between the columns are squared at the sides. There are triglyphs in the continuous frieze .
The sound cover of the wooden pulpit is six-sided like the pulpit basket. Together with the parapet of the pulpit it belonged to an older structure from the 17th century and its coarseness corresponds to the style of the altar and the baptismal font. It is likely that these pulpit parts come from the old castle church.
Originally the pulpit was connected to the sacristy by a staircase and was located in the middle of the north wall opposite the main portal. During the renovation from 1852 to 1853, the pulpit was moved to the east. The new stairs to the sacristy were built at this time.
Epitaphs and monuments
In the vineyard church, numerous epitaphs and monuments remember members of the von Loß and von Bünau families. They were transferred from the old castle church to the vineyard church and attached to the church interior on the east and north sides.
East Side
Behind the altar there are three epitaphs next to each other. The 2.20 meter high right tombstone of Ursula von Loß, b. von Schleinitz, shows Christ on the cross, an inscription tablet and depictions of coats of arms. Ursula von Loß was the wife of Joachim von Loß and died in 1632. The epitaph in the middle, 2.30 meters high, consists of a life-size figure of Christoph von Loß the Elder († 1609) in full armor with a general's staff in his right hand. Gurlitt described the memorial as "noteworthy good work". The left, 1.85 meter high gravestone with numerous coats of arms and angel figures is that of Martha von Loß, née von Köckeritz . She married Christoph von Loss' third-born son Nicol and died in 1645. Her tomb "is neatly carried out in late Renaissance forms".
Above the epitaph Christoph von Loß 'the Elder there was originally a wooden death shield, which was made on the occasion of Günther von Bünau's death in 1659 and was later transferred from the old castle church. It shows in the middle the family coat of arms of those of Bünau and around this 16 other coats of arms of families that were connected to them. After the restoration in 1996, the death shield was moved to the middle of the north wall.
North side
The epitaph for Valentin Pflugk auf Knauthain († 1568), the father-in-law of Christoph von Loß the Elder, is on the north wall at the entrance to the pulpit. The substructure with the coats of arms of the von Pflugk (left) and von Schönberg (right) - Pflugk's wife came from the Roth-Schönberg family - above an angel's head is made of sandstone, the structure is made of alabaster . Five men kneel in profile on the left and five women on the right on the wide plinth. Two side pilasters each bear four coats of arms, including those of the Pflugk, Bünau and Schönberg families. Between the pilasters there is a partially damaged relief with the Resurrection of Christ . The middle part of the structure ends with an entablature in which Doric columns alternate with lion heads. The epitaph ends with a pointed gable. There is a relief of the Trinity in it . Depicted is the seated God the Father , who is holding Jesus in front of him and the dove is sitting on his left shoulder. Gurlitt assigned the epitaph to the Hans Walther school .
Under the pulpit is the 1.80 meter high tombstone of Günther von Bünau's first wife, Sophie Sibylle von Bünau , née. von Loß, who died in 1640. On the gravestone, the crucified Christ is depicted in an oval field with echoes of the Renaissance and Baroque.
The grave slab of Günther von Bünau, who died in 1659, is placed next to the sacristy door. The simple tombstone originally had an inscription in the middle. There are coats of arms reliefs on the edges.
To the west of this is the simple tombstone of Johann Albrecht Slavata von Chlum und Koschumberg , who died in 1654 , a cousin of Wilhelm Slavata who lived in exile in Pillnitz. In addition to the family coat of arms, the tombstone also contains an inscription. Especially the lower parts of the tombstone are badly damaged.
On the westernmost corner of the north wall is the 1.20 meter high epitaph of Anna Sophie von Bünau, who died in 1637 at the age of seven weeks. The relief shows the child in the shroud with folded hands, who is led by childlike angel figures. Anna Sophie von Bünau was the daughter of Günther and Sophie Sibylle von Bünau.
Lost church decorations
In 1904 Cornelius Gurlitt mentioned two paintings that were in the church at the time. One was a half-length portrait of Martin Luther in oil by Lucas Cranach from 1546. Gurlitt described the painting that hung on the balustrade of the organ gallery as "carefully carried out workshop work".
A second, damaged oil painting with a portrait of Philipp Melanchthon was probably “just a copy after Cranach”, was kept in the sacristy and later attached to the pulpit. The lack of both paintings was first noticed around 1931. A questioning of former pastors of the Weinbergkirche showed that "the Melanchthon picture ... had been missing since the turn of the century, the Luther picture since around 1920." Both paintings are lost.
organ
The first organ of the Weinbergkirche came from the old castle church. Their age and the builder are unknown. The instrument had 6 manual stops (C – d 3 : covered 8 ′, flute 4 ′, Gedackt 4 ′, principal 2 ′, fifth 1 1 ⁄ 2 ′, cymbal II) and a pedal register (C – c 1 : principal bass 8 ′) ; the manual could be coupled to the pedal . This organ was too small for the church interior and was described as "unworthy" of the church in a report by the organ building company Jehmlich .
In 1889 the Jehmlich brothers received the order for a new organ. The instrument cost 4,200 marks and was consecrated on July 19, 1891. It is one of the earliest pneumatic organs in Saxony (the first such instrument was consecrated in the church in Röhrsdorf in 1888 ). In 1907 the organ was repaired, cleaned and tuned. At the end of the First World War in 1918, the prospect pipes made of tin had to be handed in to be melted down; they were replaced by pipes made of zinc.
After the church was no longer in use in 1976, the organ remained in its place and fell into disrepair like the church. All the organ pipes were stolen, so that all pipes had to be reconstructed in 1997 during the restoration and reconstruction work by the organ builders Ekkehart Groß and Johannes Soldan . On June 29, 1997 the community celebrated the re-consecration of the Jehmlich organ with tube pneumatics.
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- Coupling : II / I, I / P.
- Playing aids : chorale work, full work, register crescendo .
- annotation
- (h) = originally preserved register
Bells
The Weinbergkirche had the three bells from the old castle church at the beginning. The big bell broke in 1780 and was replaced around 1800 by a new cast by Heinrich August Weinholdt . A second bell had to be replaced in 1873 by a new cast from the royal piece foundry J. G. Große , but was lost as a metal donation during the First World War . It was replaced in 2002 by a new casting from the Bachert bell foundry in Karlsruhe .
| No. | image | Surname | Casting year | Height diameter |
Keynote | Inscription jewelry |
|---|---|---|---|---|---|---|
| 1 |  |
Big bell | 1800 | 70 cm 86 cm |
b 1 |
Anno 1800 poured me. Heinrich August Weinholdt in Dresden Ornamental ribbon made of grapes, depiction of the Elector Friedrich August I. |
| 2 |  |
Medium bell | 2002 | of the 2nd |
Departure and rescue , in 2002 I was poured in Karlsruhe , God did not give us the spirit of fear but the spirit of prudence. Fist-shaped hangers, necks with tendrils |
|
| 3 |  |
Little bell | 1596 | 43 cm 57 cm |
f 2 |
anno MDXCVI sic transit gloria mundi tendrils with half-figures in renaissance forms |
literature
- Dehio Handbook of German Art Monuments. Dresden. Updated edition. Deutscher Kunstverlag, Munich / Berlin 2005, pp. 190–191.
- Dieter Fischer: On the history and restoration of the Pillnitz vineyard church "Zum Heiligen Geist". In: Dresdner Geschichtsverein eV (Hrsg.): Dresdner Hefte . Volume 11, Issue 34, Issue 2, 1993, pp. 84–88.
- Dieter Fischer, State Palaces and Gardens (ed.): The vineyard church "Zum Heiligen Geist" in Dresden-Pillnitz. A representation of their history up to the present restoration. Self-published, Dresden 1994.
- Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Hrsg.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, ISBN 3-930382-15-6 .
- Cornelius Gurlitt : Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony. Volume 26. Meinhold, Dresden 1904. (Reprint with unchanged text. Verlag für Kunstreproduktionen, Neustadt an der Aisch 2002, ISBN 3-89557-185-7 , pp. 159–168)
- Hans-Günther Hartmann: Pillnitz. Castle, park and village . Hermann Böhlaus successor, Weimar 1981, pp. 101-104.
- Hermann Heckmann : Matthäus Daniel Pöppelmann and baroque architecture in Dresden. Verlag für Bauwesen, Berlin 1986, ISBN 3-345-00018-0 , pp. 121–123.
- Walter Hentschel : Dresden sculptor of the 16th and 17th centuries . Hermann Böhlaus successor, Weimar 1966, pp. 97, 157–158.
- Hartmut Mai: Matthäus Daniel Pöppelmann's share in the Protestant church building of the baroque in Dresden. In: Harald Marx (ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger. VEB E. A. Seemann Buch- und Kunstverlag, Leipzig 1990, pp. 262–270, especially pp. 265–266.
- Folke Stimmel, Reinhardt Eigenwill and others: Stadtlexikon Dresden . Verlag der Kunst, Dresden 1994, p. 452.
Web links
Individual evidence
- ↑ Dieter Fischer, State Palaces and Gardens (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. A representation of their history up to the present restoration . Self-published, Dresden 1994, p. 31.
- ↑ Dieter Fischer, State Palaces and Gardens (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. A representation of their history up to the present restoration . Self-published, Dresden 1994, p. 4.
- ^ A b Hermann Heckmann: Matthäus Daniel Pöppelmann and the baroque architecture in Dresden . Verlag für Bauwesen, Berlin 1986, p. 121.
- ↑ a b Cf. facsimile of the letter of order from May 11, 1723 in: Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 22.
- ^ Hans-Günther Hartmann: Pillnitz. Castle, park and village . Hermann Böhlaus successor, Weimar 1981, p. 102.
- ↑ Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 49.
- ^ Dieter Fischer, interest group Weinbergkirche Pillnitz e. V. (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 58.
- ↑ See list of award winners on dnk.de.
- ^ Hans-Günther Hartmann: Pillnitz. Castle, park and village . Hermann Böhlaus successor, Weimar 1981, p. 104.
- ↑ Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 80.
- ↑ Hartmut Mai: Matthäus Daniel Pöppelmann's share in the Protestant church building of the baroque in Dresden. In: Harald Marx (ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger . VEB EA Seemann Buch- und Kunstverlag, Leipzig 1990, p. 266. Other church buildings carried out in Dresden were the Matthäuskirche and the Dreikönigskirche, which was completed after his death .
- ^ Hermann Heckmann: Matthäus Daniel Pöppelmann and the baroque architecture in Dresden . Verlag für Bauwesen, Berlin 1986, p. 122.
- ↑ color scheme see. Dieter Fischer, Interest Group Weinbergkirche Pillnitz e. V. (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 65.
- ↑ See Hartmut Mai: Matthäus Daniel Pöppelmann's share in the Protestant church building of the baroque in Dresden. In: Harald Marx (ed.): Matthäus Daniel Pöppelmann. The architect of the Dresden Zwinger . VEB EA Seemann Buch- und Kunstverlag, Leipzig 1990, p. 266; Photo of the church in Rammenau
- ^ Dehio Handbook of German Art Monuments. Dresden . Updated edition. Deutscher Kunstverlag, Munich and Berlin 2005, p. 190.
- ↑ a b c d Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 160.
- ↑ Dieter Fischer: On the history and restoration of the Pillnitz vineyard church "Zum Heiligen Geist". In: Dresdner Geschichtsverein e. V. (Ed.): Dresdner Hefte . Volume 11, Issue 34, Issue 2, 1993, p. 85.
- ^ Sibylle Badstübner-Gröger: From Loschwitz to Pillnitz . Deutscher Kunstverlag, Munich / Berlin 1997, p. 22.
- ↑ Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 159.
- ↑ Dieter Fischer: On the history and restoration of the Pillnitz vineyard church "Zum Heiligen Geist". In: Dresdner Geschichtsverein e. V. (Ed.): Dresdner Hefte. Volume 11, Issue 34, Issue 2, 1993, p. 88.
- ↑ Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 71.
- ↑ Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 41.
- ^ Dieter Fischer, interest group Weinbergkirche Pillnitz e. V. (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated. Michel Sandstein, Dresden 1996, p. 46.
- ^ Dieter Fischer, interest group Weinbergkirche Pillnitz e. V. (Ed.): The vineyard church "To the Holy Spirit" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 42.
- ^ Walter Hentschel: Dresden sculptors of the 16th and 17th centuries . Hermann Böhlaus successor, Weimar 1966, p. 158.
- ↑ a b c Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 161.
- ^ Walter Hentschel: Dresden sculptors of the 16th and 17th centuries . Hermann Böhlaus successor, Weimar 1966, p. 97.
- ↑ Ferdinand Ludwig Zacharias: Collection of historical, topographical and genealogical news about the Königl. Saxon. Cammerguth and Lust-Schloß Pillnitz. d 73.
- ↑ a b Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 164.
- ↑ Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 167.
- ↑ Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 166.
- ↑ a b Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 168.
- ↑ Dieter Fischer, Interest Group Weinbergkirche Pillnitz eV (Ed.): The Weinbergkirche "Zum Heiligen Geist" in Dresden-Pillnitz. History and complete restoration 270 years after the church was consecrated . Michel Sandstein, Dresden 1996, p. 45.
- ↑ a b quot. according to Ekkehart Groß: The history of the organs in the Weinbergkirche. In: The restored Jehmlich organ of the Weinbergkirche in Dresden-Pillnitz. Organ building Groß & Soldan, Waditz 1997, p. 9.
- ↑ Cornelius Gurlitt: Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Volume 26. Meinhold, Dresden 1904, p. 163.
Coordinates: 51 ° 0 ′ 40.7 " N , 13 ° 52 ′ 41.6" E
