You are bidding on one Transcript from 1851 out of Berlin.
Issued and signed from the theologian Johann Friedrich Arndt (1802-1881), preacher at the Parochial church Berlin.
For the teacherGustav Hinneberg (1827-1888) at the Parochial church school in Berlin, father of the historian and publicist Paul Hinneberg (1862-1934), who was Organizer and publisher of the major encyclopedic work “The Culture of the Present” and the “Deutsche Litteraturzeitung” became known.
DatedBerlin, 1. July 1851.
Transcription:"I hereby certify that Mr. Hinneberg, the teacher, has been teaching in the various classes of the parochial church school to my complete satisfaction since February of this year, but that he has practiced teaching and discipline as lovingly as he is seriously, and that he has earned the affection and trust of his colleagues as well as that the devotion and obedience of schoolchildren."
Signed "Arndt, preacher at the parochial church."
With a nice stamp from the community.
Format: 34x21cm.
About the recipient: Gustav Hinneberg was on the 16th December 1827 in Bruchhagen near Greiffenberg (Uckermark) as the son of the teacher and sexton Carl Ludwig Hinneberg and Charlotte, née. Voigt was born and attended the school teacher seminar in Potsdam. From 1848 to 1850 he was 4th. teacher at the city school in Greiffenberg (Uckermark) and tutor for the local pastor Gustav Fittbogen (1808-1885); he also worked there as an organist and choir director. In 1850 he moved to Berlin and taught for a few months as a substitute at Dr. Carl Julius Gerlach (1811-1886); In 1851 he taught at the Parochial Church School in Berlin and from 1852 at the Johann Christian Hennig Boys' and Girls' School in Berlin, Schumannstr. 9. In 1853 he passed the organ examination in the Köpenick seminar.
In October 1852 he married Ida Paulick (née) in Berlin. on 2. July 1832 in Görlsdorf / Angermünde, died. 3. June 1905 in Berlin), daughter of the art gardener Georg Paulick.
From New Year's Day 1855 he was a teacher and sexton in Felchow near Angermünde and returned to Berlin in the 1860s, where he worked as a newspaper forwarder 14. Died in December 1888.
The historian and journalist Paul Hinneberg (1862-1934) was his son.
Condition:document folded; Paper browned, slightly creased. bplease note the pictures too!
Internal note: Hinneberg Novooo Autograph Autograph Religion
About Johann Friedrich Arndt, the recipient's son and the Parochialkirche Berlin (source: wikipedia & NDB):
Johann Friedrich Wilhelm Arndt (*24. June 1802 in Berlin; † 8th. May 1881 ibid) was a German Protestant preacher.
Life:Arndt came from a simple family of craftsmen. Supported by his teachers and provided with a scholarship, Arndt was able to study theology in Berlin from 1820. Here the court preacher Gerhard Friedrich Strauss was his teacher.
Through his intercession, Arndt got a job as an assistant preacher at Magdeburg Cathedral immediately after completing his studies in 1829. In 1833 he moved to the Parochialkirche (Berlin) in Berlin as "Second Preacher" and seven years later advanced to "First Preacher" there. He held this office until his retirement in 1875. As one of the most important preachers of the 19th century. At the end of the 19th century, Arndt had great influence at the royal court.
At the age of 78, Johann Friedrich Wilhelm Arndt died on August 8th. May 1881 in Berlin.
factories
Johann Arndt, former general superintendent of the Principality of Lüneburg. A biographical attempt. Oehmigke, Berlin 1838.
Morning sounds from God's Word. A book of edification for every day of the year. (1843)
Evening sounds from God's Word. A book of edification for every day of the year. (1841)
The Sermon on the Mount of Jesus Christ. Sermons during the Trinity period in 1837 and 1838 given by Friedr. Arndt, preacher at the Parochial Church in Berlin. (1839)
Paul Hinneberg (*16. March 1862 in Felchow near Angermünde; † 21. April 1934 in Berlin) was a German historian and journalist.
Live and act:Paul Hinneberg studied political science and philosophy in Berlin. In 1888 he received his doctorate in Halle on the philosophical foundations of historical science. Since 1885 he worked as Leopold von Ranke's private secretary. After his death he published the seventh volume of World History. Hinneberg found his position in life in 1892 when he took over the publishing of the Deutsche Litteraturzeitung, an important review magazine.
Today, Hinneberg is best known as the organizer and editor of the major encyclopedic work The Culture of the Present, which appeared in numerous volumes from 1905 to 1926. He also founded the monograph series The Scientific World View.
Due to the various editorial functions and based on his personal connection to the ministerial director Friedrich Althoff, Hinneberg exerted a not insignificant degree of influence on German science and university policy in the Empire.
Works (selection)
The philosophical foundations of historical science. In: Historical magazine. Jg. 63 (1889), p. 18 ff. (Dissertation, Halle, 1888)
Hinneberg, Paul, scientific editor, * March 16, 1862 Felchow near Angermünde, † June 20, 1934 Berlin. (evangelical)
genealogy:V Gustav, sexton and teacher in Felchow near Angermünde;
M Ida Paulick.
Biography: H. studied political science and philosophy in Berlin (PhD in Halle 1888), was Ranke's employee since 1885, gave 7th place. volume of its world history (1886) and in 1892 joined the editorial team of the “Deutsche Literaturzeitung” (DLZ), which can be traced back to 1880 as a scientific review magazine under various editors (Roediger). Under his editorship (since 1892) and under the supervision of a commission from the German scientific academies, the DLZ (including an extensive bibliography of new publications) appeared as a “weekly for criticism of international science” and gained a worldwide reputation. – In addition to his work for the DLZ, H. realized his big plan for a scholarly encyclopedia around the turn of the century: “Contemporary culture, its development and its goals”. The edition, which consisted of more than 40 volumes, was taken over by the Teubner publishing house in Berlin and Leipzig. The aim was to provide a systematically structured overall representation of the culture of the time. The great scholars of the time were recruited as collaborators. F. Paulsen and H. Diels, among others, worked on the introductory volume: “The General Foundations of Contemporary Culture” (1906, ²1912). A. von Harnack, G. Bezold, U. von Wilamowitz-Moellendorff, F. Morf, W. Meyer-Lübke contributed to further volumes. The 1st World War II prevented the work from being completed. After the war years and inflationary difficulties, H. renewed this plan to present contemporary culture by publishing a new series of monographs under the title “The Scientific World View,” which was published by Quelle and Meyer in Leipzig. However, the death of the editor, who had made a name for himself as a scientific organizer, brought the company to a premature end.
factories
More W The phil. Basics d. History, Diss. Hall 1888 (partial version, continued. in: HZ 63, 1889).
The parochial church in the Berlin Stadtmitte church district is a church of the Evangelical Parish of St. Petri-St. Marien in the Mitte district of Berlin. The building, built in 1695, is the oldest church in Berlin's Reformed community.
Location: The church and the associated churchyard are located between Klosterstrasse, Parochialstrasse and Waisenstrasse directly behind Berlin's old city wall, parts of which have been preserved at this point. On the church grounds is the historic churchyard with a number of old grave crosses and plaques. Behind it, the three-story community center of the former Evangelical Georgen Parish limits the area. In 1968, the previously independent parish merged with the Georgengemeinde, which was finally merged into the Mariengemeinde in 2003. There is also a baroque building that was built in 1708 and served as a community center and hospital, but in the late 1990s it housed part of the Humboldt University's theological faculty.
History: The Parochial Church is the first place of worship in Berlin that was built specifically for the followers of the Reformed Church. The Reformed community in Berlin and Cölln came into being after the Elector of Brandenburg, Johann Sigismund, converted to Calvinism in 1613. She had been using the Lutheran cathedral church in what was then Cölln and the associated burial ground since 1632 and in 1694 she asked Elector Friedrich III, later King Frederick I of Prussia, for permission to build her own church in Berlin. For this purpose, the Privy Councilors Eberhard von Danckelmann, Georg von Berchem and Joachim Scultetus von Unfried (1638–1705) acquired the property between Klosterstrasse and Waisengasse on behalf of the parish, on which the property of the former electoral alchemist, chemist and glassmaker Johannes Kunckel stood. The Elector confirmed the purchase and approved the construction of the church for the personal community without an associated parish, i.e. without its own municipal area, which emerged from the followers of the Reformed Church of the cathedral community. From the beginning, the community members of the first century included important representatives of Berlin politics and culture such as the ministers Johann Kasimir Kolbe von Wartenberg and Samuel von Cocceji, the master builder Johann Boumann, the porcelain manufacturer Wilhelm Casparwegely and the scholar Wilhelm von Humboldt. The former New Reformed City and Parish Church has had its current name since the Church of the Old Prussian Union was formed in 1817.
The plans for the first construction of the parochial church were delivered in 1694 by the master builder Johann Arnold Nering, the Friedrich III. on the 18th was commissioned with the construction in June of that year. As Electoral Brandenburg's chief architect, he was responsible for the entire construction industry in the Mark of Brandenburg. The choice of this man as the church's builder made the importance of the building project particularly clear. Nering's works, including the Köpenick Palace Chapel, were strongly characterized by Dutch and Italian influences. His design for the Parochial Church is considered one of the architect's most mature works; it combined both styles. The main inspiration was obviously the Nieuwe Kerk in The Hague by Pieter Noorwits (1649/1656) and the church of Santa Maria della Consolazione in Todi (from 1508). Like these churches, his building project also represented a simply structured main room with four spacious conches, which were to be arranged in a cross shape. In front of it there was a portico with a gable supported by columns, which contained an entrance hall. Nering planned copper-covered domes as the roof structure, which sit above a high attic and in the center of which rises the three-story, columned tower of the church. The outer facade was given a beautiful structure by Corinthian columns, and cornices and an attic crowned with vases were also planned. The concavely curved parts of the wall between the columns were to have arched windows. An interior gallery was not planned so that the sermons could take place in the center of the building.
On the 15th August 1695, Frederick III. the foundation stone for the church building, which was sunk together with a copper engraving of the floor plan, a Bible and a catechism. Master builder Nering died in the same year, on the 21st. October 1695.
The construction work on the parochial church was handed over to Nering's successor Martin Grünberg. He tried to carry out the construction with a lower budget than the plans had envisaged and drew up a new plan that was based on the existing foundation and had the same floor plan. Grünberg reduced the size of the entire building by reducing the area, but remaining with the basic structure of the four-cone hall. The dome vaults were lowered and the roofs were replaced with hipped roofs, the walls lost their concave shapes and were smoothed. The attics and cornices were also omitted, and the Corinthian columns were replaced by simpler buttresses for stabilization. Grünberg retained the basic design of the tower, but he placed it on a vestibule that replaced Nering's portico, instead of in the center of the building. Contrary to what Nering had planned, Grünberg built a gallery into the main room. The laying of the foundation stone again in 1695, in which the elector couple also took part, involved great ceremonial effort.
On the 27th. In September 1698 the almost completed vaulted roof collapsed. After necessary replanning, in which the architect Andreas Schlüter was also involved, and further construction, the church building was finally able to be opened on August 8th. Inaugurated in July 1703. The Prussian ruling couple, now endowed with royal dignities, also took part in this. In 1705 the construction was completed with the exception of the tower; it just reached the height of the roof and only consisted of the first floor; there was no spire. The building finally built by Grünberg is a baroque building with light plaster. The facade is broken up by high arched windows, and a high portal forms the entrance, also with a round arch at the top, which is flanked by two mighty pilasters. Other decorative elements and windows of various shapes were found primarily on the tower of the church and in the roof area. In 1705 a pulpit was built based on designs by Georg Gottfried Weyhenmeyer.
Organs: In 1732, a positive by Joachim Wagner was installed in the church, which was later sold to the Berlin poor and orphanage for 35 Reichstaler. The new organ, which was also a work by Wagner, was inaugurated in 1733. The 34 registers with 1660 pipes were distributed over two manuals and a pedal. The price was 3061 Reichstaler. Well-known organists and composers rated the sound of this organ as excellent. At intervals of around 30 years there were renovations with adjustments to the respective tastes of the time. In 1819, the Berlin organ builder Buchholz redesigned the instrument in the spirit of romantic aesthetics. The organ now had 38 registers. In 1903, organ builder Sauer (Frankfurt/Oder) carried out another major renovation after the organ had grown to 45 registers on three manuals and a pedal. High Romantic organ music such as that of Max Reger, Charles-Marie Widor and others could now be heard authentically. In 1931, organ builder Walcker from Ludwigsburg suggested installing a choir organ behind the altar. It was realized and the main organ was rebuilt again by Orgelbau Sauer, owned by Oscar Walcker. It was difficult to agree on the sound, but in the end we oriented ourselves back towards Joachim Wagner's original concept. Both organs were destroyed in the war year 1944.
The tower construction and the “singing clock”:In 1713, King Frederick I donated a carillon (bell chime) to the Parochial Church, which was cast by Johann Jacobi between December 1700 and 1704 and was intended for the Berlin Mint Tower. Of its original 37 bells, whose tone sequence probably began with a Bourdon (low) es0 and continued from fis0 to f4 with the then usual omission of the next two semitones, two were now missing.[1] After the mint tower collapsed, this carillon was supposed to find a new place. In order to be able to install it, the King gave Jean de Bodt the order to complete the unfinished tower by Martin Grünberg and to equip it with a separate floor for the carillon. Jean de Bodt used his unrealized design for the new cathedral church from around 1706.
However, the construction was carried out by Philipp Gerlach, who was commissioned by Friedrich Wilhelm I. Deviating from the design, in which de Bodt had planned to crown the tower with a polygon, Gerlach added a slender, obelisk-like spire, otherwise he largely adopted the plans.
The bell floor is open and surrounded by four corner columns, which are associated in the literature with both the Roman architecture of Carlo Rainaldi at Sant'Agnese in Agone in Rome and with British architecture by Christopher Wren on the tower of St. Vedast in London . The tower was decorated with stone carvings by Johann Georg Glume, Johann Gottfried Weyhenmayer and Johann Conrad Koch, including four lions. These were under the spire and seemed to support it. On the 24th The construction of the tower was completed in April 1714, after which the carillon was installed, which sounded for the first time in 1715. The Garrison Church in Potsdam, designed by Philipp Gerlach, was also built between 1730 and 1735 on the orders of King Frederick William I of Prussia and is very similar to the Berlin Parochial Church.
Because of the slightly unclean sound, a new carillon was commissioned from the bell founder Jan Albert de Grave. He made it between 1714 and 1717 from 37 bronze bells, the largest of which came from Jacobi's first casting. A complicated mechanism controlled by a clockwork built into the tower drove the carillon. The bell melodies were very variable and rang every hour. The roar of the lions concluded each game. The melodies were changed 14 to 15 times a year for the various church holidays. The carillon received the name “singing clock” among the Berlin population and soon became known throughout Europe. At the beginning of the 1930s there were even radio broadcasts of the glockenspiel, especially with the organist Wilhelm Bender.
Because the entire top of the tower was destroyed in World War II, the original lions are probably lost forever. After the war began, the bells were taken to a reserve warehouse (in Hamburg); but they were not melted down.
Changes in the 19th century Century: In the 19th In the 19th century, some minor renovations were made to the church, especially to the interior. The gallery built by Grünberg was replaced by a new one in 1837/1838. This was removed together with the installations in the sacristy area in 1884/1885 by Gustav Knoblauch and Hermann Wex[6] in order to create the spatial impression originally desired by Nering. The north and southeast sides received small extensions that were intended to accommodate the sacristy and a classroom. The central pulpit was later moved to the southeast pillar, and a new gallery for the organ was built in the west area on iron supports. The vaulted ceiling and walls were given an ornamental painting, and the baroque stone elements were removed. The windows were structured with sandstone. The glass was colored and the choir windows were decorated with grisaille painting.
In an Allied air raid on the 29th In May 1944 firebombs hit the church, burning out all the interior except for the surrounding walls and causing the upper parts of the tower with the carillon to collapse into the nave. In 1946, the tower stump received an emergency roof and the preserved tower hall above the vestibule could be set up as a church service room. During the GDR era, the church had a slate roof that corresponded to its original condition from 1950/1951. In 1961, Fritz Kühn made an iron cross from scrap parts found in the church, which was hung in the chancel. On 20. The last service took place in the church in August 1961, a week after the Berlin Wall was built. The building was then initially used for exhibitions and concerts, and from 1970 onwards as a warehouse for furniture.
On the occasion of the upgrade of the old town area to celebrate Berlin's 750th anniversary, the building received a new roof in 1988.
Comprehensive renovation since 1990
Main building and furnishings: With the reunification of the city, an intensive renovation and restoration process began in Berlin's historic city center, which also included the gradual restoration of the Parochial Church from 1991 onwards. Work on the porch and tower stump was completed in 2001 and on the nave in 2004. The only surviving original flame vase was placed on the attic of the vestibule along with five copies.
As part of the work, the main room of the church was restored to such an extent that it can be used safely. The monument preservation plan by the architects Kuehn and Malvezzi[8] rejected a reconstruction of the interior and left it in a ruinous state, so that the walls are unplastered as a shell and the ceiling is open to the roof structure. Hand-blown glass was installed in the windows of the church and the scrap cross from the workshop of the blacksmith Fritz Kühn was placed in the east conche. The anteroom is also largely empty. The gravestones of former community members Georg von Berchem, Friedrich Ludwig Hermann Muzell and August Ludwig Carl Graul hang on the walls as epitaphs. A simple staircase leads to the upper floor. In addition to rare church services on special occasions, the church space primarily serves as an exhibition space for art projects and other events. Donations are being collected for further construction and possible reconstruction. In 2022, the exhibition The Great Masters of the Renaissance: World-Famous Works of Art in Berlin was installed in the church.
The Denk mal an Berlin association initiated a donation collection in the summer of 2008 for the desired reconstruction of the war-damaged spire and the carillon. The construction costs for the reconstruction of the church tower - including the restoration of the carillon - were estimated at 3.5 million euros.
The architect Jochen Langeheinecke from Werneuchen drew up the plans for a new tower in the contours of the original one. The tower has a wooden top above a bell chamber and a room for the carilloneur and has been clad with gray copper sheeting. In August 2015, the Eijsbouts bell foundry received the order and on August 22nd. The bells were tuned in February 2016. The topping out ceremony for the new church spire and the carillon took place on January 1st. July 2016. On the occasion of the inauguration on the 23rd In October 2016, the carilloneur Wilhelm Ritter from Kassel gave a concert. The new carillon now consists of 52 bells and is driven electro-pneumatically. The total weight is given as 8,600 kg, with the largest bell weighing 1,490 kg and the smallest 8 kg. Their tuning goes from d1, e1 to f#5.
Two bells from the old de Grave carillon remained intact. They were hung in their own wooden belfry on the belfry floor as bells for church services. The smaller bell is rung for prayer every day at 9 a.m., 12 p.m. and 6 p.m. The carillon also sounds at the same times, but also at 3 p.m.
Churchyard and crypt
Parochialkirchhof: The churchyard is one of the oldest preserved church cemeteries in Berlin. Like the church, it was inaugurated by King Frederick I and his wife Sophie Charlotte in 1705. It was the first churchyard of a Reformed community in Berlin, which until then had buried its deceased in the burial ground of the cathedral church. The first burials in the parochial churchyard are documented from 1706. In addition to the very limited burial area, so-called side vaults were set up. Despite the small area, 5,338 burials in the field and 247 in the vaults are documented. One of the most famous people of the 18th century and 19. Century who were buried here include the theologian and scholar Daniel Ernst Jablonski (1660–1741), the Chamber Turk Friedrich Aly (approx. 1666–1716), the royal governess Auguste Henriette Bock (1762–1845) and the founder of the first Berlin porcelain factory, Wilhelm Casparwegely. The cemetery was officially closed in 1854, after which only a few burials took place. The last people buried here were two war dead from 1945. In 1888, today's Parochialstrasse was widened after Parochialkirch-Gasse was included in it in 1862. Some of the grave areas were cleared and built over; some of the bodies were placed in the common crypt in the churchyard.
What stands out in the churchyard are the preserved iron crosses and tombstones from the 19th century. century in the eye. The rear wall is also decorated with epitaphs from the early 18th century. Century equipped. Two larger mausoleums, whose back walls also extend onto the wall, have also been preserved. One of these can no longer be assigned to a family and is therefore simply called Mausoleum II. The other is the baroque hereditary burial of Director Brink from the 17th century. Century, which is characterized by a chapel building from the 19th century. Century was expanded in the late classicist style and is unique in Berlin. Particularly striking graves are the “Ankersheim” and “Pistor” grave monuments as well as the Bock table grave, which was designed by August Stüler. A figure of an angel also decorates a larger communal grave in the center of the small churchyard.
There were major redesigns of the churchyard around 1936, especially in the immediate area around the church and the community center. When the church was destroyed in 1944, the churchyard was also affected and restoration was very slow. It was not until 1988 that restoration of the church began, and from 1999 the churchyard was secured. Funds from the special monument program “Roof + Fach” 1999/2000 were used for this purpose. From 2001 to 2003, the mausoleums were conserved and restored as well as the historical path and vegetation structures were restored using funds from the German Class Lottery Berlin Foundation. The interior of Mausoleum II was conserved and restored from 2001 to 2005.
The crypt houses 147 coffins. The 25 remaining wooden doors to the burial chambers were already built when the church was built at the end of the 17th century. Built in the 19th century and thus form “the largest inventory of original baroque burial chamber doors in Europe”. The extensive crypt complex has good mummifying properties thanks to a well thought-out ventilation system. The burials from the 18th century and 19. The centuries have not survived unscathed. Most of the changes and disturbances caused by human activity date from the period after the Second World War. Nevertheless, the mummies represent a unique ensemble. From October 2000 to January 2001, an inventory was carried out by specialists from several disciplines. In the 110 opened coffins (closed coffins were not examined) there were 87 mummies or the disturbed remains of them, distributed across 69 coffins. Some coffins contained several individuals, but they were only put there later. The contents of 32 coffins contained stray bones. Only nine coffins were boneless. 52 individuals were apparently complete. 35 buried people were destroyed. More recently, 25 dead people had their heads cut off. The degree of mummification varied between individuals and was related to the time of year in which burial took place. The majority (42 buried) are only partially mummified, 32 were well mummified and 13 were completely skeletonized. The organic tissues were colored differently depending on the degree of mummification and Spektrum from yellowish to dark brown. Partial purple discoloration was found in nine individuals, the cause of which could not be clarified.