The early Renaissance Hartenfels castle dominates the town of Torgau. It is the residence of the Saxon electors and the political and administrative centre. The castle chapel was designed especially for Protestant worship services and was consecrated by Martin Luther himself.
The fortification already stood on the banks of the Elbe during the Slavic period. It was developed into a castle in the mid-10th century. In the late 15th century Hartenfels evolved, step by step, into an early modern castle.
In 1485, Torgau fell to the Ernestine Electorate of Saxony, the focus of whose reign increasingly shifted to Torgau. From 1525, a time in which the Reformation began to prevail, Torgau became the most important residence, and hence the political centre, of the land that devoted itself most vehemently to the doctrine of Martin Luther, establishing its state and manorial self-conception on this basis. The reformers and scholars of the University of Wittenberg often spent time here, assisting the elector and his counsellors in matters of theology and religious policy, but also in practical issues of church organisation. Luther alone is documented to have stayed in Torgau on roughly 60 occasions.
The castle was damaged on several occasions, particularly in the Thirty Years War, and has been restored several times since the 1990s. Most recently, in 2014, the large stone spiral staircase, the ‘Wendelstein’ was returned to its original colour scheme, and the magnificent gallery of coats of arms was restored. The former electoral chambers with a direct spatial and historical relationship to the castle chapel, are currently undergoing restoration. In early 2017, these rooms will be made accessible to the public as part of a permanent exhibition.
Hartenfels Castle consists of five unequal wings, four of them enclosing the large courtyard in the form of an irregular rectangle. The fifth wing, an addition dating to the 18th century, traverses the moat and extends towards the city. The high, for the most part three-storey buildings, in combination with eight towers, numerous gables and bay windows, lend the structure contours that are lively and yet monumental. Architectural highlights of the complex consist of the magnificent stone spiral staircase, the Große Wendelstein in the main wing, the ‘Beautiful Bay Window’ in the electors’ former living quarters, the castle chapel and the tower known at the Hausmannsturm. A representative gate from the late Renaissance provides access to the castle from the city. This is flanked by a slender bell tower.
The new castle chapel, a hall surrounded by two-storey lofts and located beneath a ribbed vault with net and star figures, was built as the first extravagant hall was constructed as the first sacral building destined exclusively for Protestant worship services. With it, the Saxon Elector John Frederick professed his commitment to the teachings of Luther and underscored his leadership role in the Protestant alliance. Luther consecrated the chapel himself in 1544, in an act of state of great political significance that was precisely planned by the elector. In keeping with the central role of preaching in Protestant worship services, the pulpit moved to the centre of the space, here at the northern long side, clearly visible from all sides.References:
The Cathedral of Limburg is one of the best preserved late Romanesque style buildings. It is unknown When the first church was built above the Lahn river. Archaeological discoveries have revealed traces of a 9th-century church building in the area of the current chapel. It was probably built in Merovingian times as a castle and the chapel added in the early 9th century.
In 910 AD, Count Konrad Kurzbold (cousin of the future King Konrad I) founded a collegiate chapter of 18 canons, who lived according to the rule of Bishop Chrodegang of Metz, on the hilltop site. The original castle chapel was torn down and a three-aisled basilica was built in its place. The foundations of this basilica have been found beneath the present floor.
The construction of current cathedral is dated to 1180-90. The consecration was performed in 1235 by the archbishop of Trier. It seems certain that the cathedral was built in four stages. The first stage encompassed the west facade, the south side aisle, the choir and the transept up to the matroneum. This section forms the Conradine church. The second stage consisted of the addition of the inner pillars of the south nave. In this stage the bound system was first introduced. In the third phase, the matroneum in the southern nave was built. The fourth stage included the north side of the transept and the choir matroneum. By this stage Gothic influence is very clear.
The interior was destroyed by Swedish soldiers during the Thirty Years War (1618-48) and reconstructed in a late Baroque style in 1749. The Baroque renovation was heavy-handed: the surviving medieval stained glass windows were replaced; all the murals were covered up; the ribs of the vaults and columns of the arcades were painted blue and red; the capstones were gilded; the original high altar was replaced. The colorfully painted exterior was coated in plain white and the central tower was extended by 6.5 meters.
The collegiate chapter of Limburg was dissolved in 1803 during the Napoleonic period, but then raised to the rank of cathedral in 1827 when the bishopric of Limburg was founded. Some renovations in contemporary style followed: the walls were coated white, the windows were redone in blue and orange (the heraldic colors of the Duke of Nassau) and towers were added to the south transept (1865).
Further changes came after Limburg was incorporated into the Kingdom of Prussia in 1866. It was now the Romantic period and the cathedral was accordingly restored to an idealized vision of its original Romanesque appearance. The exterior stonework was stripped of all its plaster and paint, to better conform with the Romantic ideal of a medieval church growing out of the rock. The Baroque interior was stripped away and the wall paintings were uncovered and repainted.
Further renovations came in 1934-35, enlightened by better knowledge of the original art and architecture. Art Nouveau stained glass windows were also added. A major restoration in 1965-90 included replastering and painting the exterior, both to restore it to its original appearance and to protect the stonework, which was rapidly deteriorating while exposed to the elements.
The interior is covered in medieval frescoes dating from 1220 to 1235. They are magnificent and important survivals, but time has not been terribly kind to them - they were whitewashed over in the Baroque period (1749) and uncovered and repainted with a heavy hand in the Romantic period (1870s) before finally being restored more sensitively in the 1980s.