Holy Cross (Mönchengladbach-Westend)

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Holy Cross from the north

The Catholic Church Heilig Kreuz is located in the middle of Mönchengladbach 's Westend district on the corner of Luisenstrasse and Alexianerstrasse.

history

The religious center of the predominantly Catholic population in the Westend and of the St. Josef Schützenbruderschaft, founded in 1870, was the Alexian Monastery of St. Josef, inaugurated on December 19, 1859 by the city dean Alexander Halm , to which initially a prayer hall, and from 1869 a neo-Gothic church belonged (construction began in 1866, Architect: Hugo Schneider , who was also involved in the completion of the Cologne Cathedral and the neo-Gothic redesign of the bell tower of the Aachen Cathedral).

On August 14, 1857, the motherhouse of the Alexians in Aachen had received permission from the Archbishop's General Vicariate in Cologne to maintain outpatient nursing in Mönchengladbach. For this purpose, the three friars Aloys Speck, Alexius Adams and Alphons Houben moved into a poor little house next to the minster church . The brothers first had to gain the trust of the population in their poor and sick care in order to be able to maintain their small settlement with donations. Out of gratitude for his care, which Rector Aloys Speck had taken over, Ludwig Liesen gave the Alexian Brothers on December 31, 1858 a plot of 3 ¾ acres on the Blumenberg for an annual pension of 40 thalers.

In addition to the monastery built on this property, the Alexian Hospital, a psychiatric sanatorium and nursing home (founded in 1862/63), was built. Until the First World War, the coherent real estate on Luisenstrasse and Alexianerstrasse, which stretched westward between Blumenberger and Dahlener Strasse (today Aachener Strasse), as well as the monastery and hospital buildings, which since 1882 also included a separate utility building, were steadily expanded . In 1900 there were 31 professed brothers living in the monastery; 233 sick people were cared for as inpatients, while 2-3 brothers worked in outpatient care. During the First World War, the new extension of the house served as a hospital for around 85 wounded.

The Westend initially formed the pastoral care district of St. Josef of the inner city parish of St. Maria Himmelfahrt and was looked after from 1870 to 1900 by chaplain Adolf Oehmen (1840–1900). Oehmen was temporarily head of District IV of the city's poor administration. He lived at Luisenstrasse 53 and was also the chaplain of the Alexian monastery. (The order of the Alexians , which is primarily dedicated to nursing the sick in the sense of active charity, emerged from the pre-Reformation, medieval lay movement of the beguines and begarians and therefore usually does not have its own priests.) The popularity of the chaplain is reflected in this Last Supper Shrine, which Adolf Oehmen donated to the Mönchengladbach parish from the donations received for his 25th anniversary as a priest in 1895. The gilded shrine in the style of Gothic reliquaries from the Rhine-Maas area, the work of the local goldsmith Wilhelm Narings, is considered an “outstanding work of the minster's treasure.” The tablecloth of the Last Supper, a fragment of fabric from the 2nd century, is venerated as a relic. At his personal request, Oehmen remained chaplain for 30 years - until his death - and renounced promotion to pastor in order to remain active in the Westend.

Carl Sonnenschein (1878–1929), who lived from 1906 to 1919 at Dahlener Strasse 159 (now Aachener Strasse) right next to the monastery grounds, also regularly read early mass in the Alexian monastery church . Sonnenschein set up a student bureau in the private residence. While working at the headquarters of the Volksverein for Catholic Germany, he headed the secretariat of social student work. Carl Sonnenschein considered the students of his day to be too conceited to be able to adequately exercise their later professions as doctors or lawyers, and urged them to get involved in parishes in working-class neighborhoods, to visit industrial plants and to attend industrial seminars.

The old school on Luisenstrasse (opened in 1868) was renamed the Carl-Sonnenschein-Schule in November 1952. (The extension of the school - today the primary school - was inaugurated on March 23, 1964.)

The Alexians experienced the darkest period during National Socialism. In the course of Action T4 ordered by Hitler , the heads of the Alexian hospitals had to fill out questionnaires about the length of stay and the ability to work of the disabled people entrusted to them. A few weeks later, the prison directors received lists of the names of the people who were to be 'transferred' to other facilities for flimsy reasons. In fact, they were taken to other sanatoriums to be killed in red, later painted gray, buses of the Reichspost. The bereaved received a short telegram message about the fictitious cause of death and the wrong place of death. Even after the sensational sermon of the bishop of Münster Clemens August Graf von Galen on August 5, 1941 against the " euthanasia " program, the killing continued. In 1943, 254 patients from the Alexianer hospitals in Mönchengladbach, Krefeld and Neuss were transported to murder institutions. The Alexian Brothers, who were accused of being homosexual by the Nazis several times and who were therefore under surveillance by the Gestapo, had to look on helplessly.

The monastery became largely uninhabitable due to the air raids of September 10th and 19th, 1944, in which Brother Vinzenz Rütz and 13 sick people were killed. The choir of the church was completely destroyed, so that rebuilding the church was no longer an option. The Catholics of the Westend, who returned from the evacuation after the war, found their religious home again during the Sunday service in the monastery dining room, which had been converted into an emergency church. On April 28, 1946, the first First Communion after the war was held there.

In 1949 Wilhelm Ruland (1911–1989) took over the post of rector of the pastoral care district of St. Josef (later Holy Cross). He received the order from the bishop to build a new church.

In 1950 the church building association was constituted. From 1952 to 1977 he collected a total of 255,000 DM for the church building, tower, organ loft, organ and interior fittings. The sum came from the willingness of many Westend residents to donate and collect, but also from the support of the industrial companies in this quarter.

Also in 1950, at the suggestion of Rector Ruland, the church choir of the Rectorate St. Josef was brought into being. On Trinity Day 1952, the groundbreaking ceremony for the Holy Cross Church was carried out by Wilhelm Ruland, and on August 24th the foundation stone was laid by the Aachen Auxiliary Bishop Friedrich Hünermann , who also took part in the first pontifical mass on May 3, 1953 (feast of the discovery of the cross) made the consecration of the new church and the altar (with relics of the Cologne saints Gereon and Ursula ).

On the occasion of Wilhelm Ruland's 25th jubilee as a priest, Holy Cross was elevated to a parish church on March 12, 1961 by Josef Kauff, provost of the main parish church of St. Mary's Assumption, and Wilhelm Ruland was appointed pastor. The actual monastery building, which had been abandoned by the Alexian brothers in 1956, was demolished in 1967. Around 1970, 90 homeless families still lived in the poorly repaired patient wing, including 51 large families. The total of 426 people were temporarily accommodated in 161 rooms. This part of the building was finally demolished in November 1974 after replacement living space had been created for the residents. The neo-Gothic stone sculpture of St. Josef, which originally stood above the main portal of the monastery and was attached to the old building of the Carl-Sonnenschein-Schule in 1980. Parish patron of the Church of the Holy Cross was St. Hermann Joseph. A relic of the saint was removed from his grave in Steinfeld in 1960 and given to the parish of the Holy Cross.

In the years 1963 to 1967, row houses were built next to the church to accommodate the rectory, rectory, chaplaincy and organist's apartment. A ground floor apartment in a historicist house opposite the church was used as a Catholic public library and later as a meeting place. The premises served the diverse club life in Hl. Kreuz. The parish kindergarten was on Blumenberger Strasse.

architecture

The simple brick building was designed by the Mönchengladbach architect Konrad Bayer, who was one of the first architects in Mönchengladbach after the Second World War and who played a key role in the reconstruction of the former Benedictine Abbey Church of St. Vitus ( Mönchengladbach Minster ), which was destroyed in the war . The main idea behind the building of the church is taken from the parable of the Good Shepherd in the Gospel of John: “I am the door! If someone goes in through me, he will experience salvation. He will go in and out and find pasture. ”(Jn 10: 9) The church building symbolizes the Christian's way of life as a 'church on the way' - from the baptismal font next to the portal to the altar to the“ atrium of heaven ” the church (Luisenstrasse) you can see the large archway behind the main altar in the west. This archway, with a cross hanging in its fighting zone, is caught behind by the front wall of the choir. The slightly shaded wall of the archway contrasts with the light front wall, which receives even daylight from above via a ribbon of glass.

The ground plan of the church is reminiscent of the type of the square choir , which is often found in Romanesque village churches. The retracted choir room is connected to the nave with a straight end. What is special about this modern adaptation is that the choir arch with the triumphal cross, which separates the nave from the choir in medieval churches, is placed behind the altar.

The gently sloping gable roof, the wooden beams of which are exposed in the interior, continues without a break from the nave into the choir. The collar beams of the rafter roof rest on pillars on the side walls of the nave.

The lower aisle with a flat ceiling on the north side takes up about a third of the height of the nave. At times the side aisle was used as a cenacle (Upper Room), where worshipers could gather in a small setting around the oblong table. Between the side aisle and the vestibule of the east side door is a candle chapel with a Fatima Madonna.

The nave receives daylight on both sides through four roughly square upper clad windows, the choir area through a room-high southern side window. On the opposite, northern side of the choir there is a gallery which was later converted into a rehearsal room for the church choir. The function of this gallery was taken over by the organ gallery, which was drawn in over the eastern main portal in 1960 (consecration of the organ in 1961). The aisle has four small windows between the pillars of the nave. The main portal is covered by a high window with a segmented arch that extends to the gable zone. To accentuate the simple outer walls of the nave, a small porch with a side entrance and the church tower with attached bell cage and top (wooden structure clad with slate) were added on the south side (towards Alexianerstraße). The bell from 1601, which hangs in the open, brick-built bell cage on the north side of the choir room, bears the inscription GOTTES X BLESSEN X MACHT X VNS X REICH XHXPX 1601 X. The initials presumably stand for the bell founder Hans Pamberger from Schweidnitz (Polish. Świdnica). Today the bell from Silesia also calls the Polish community to the Polish mass in Heilig Kreuz.

Furnishing

When entering the church, the sacred mood is largely determined by the triumphal cross (H. 240 cm) on the high, free choir wall. The Triumphal Cross was created by the Mühlheim artist Ernst Rasche (born 1926), who studied at the Düsseldorf Art Academy from 1947 to 1950 . Ernst Rasche is one of the most important artists for sacred art, for which he was awarded the Order Pro Ecclesia et Pontifice by Pope John Paul II in 1990 .

The church interior also lives from the equipment with impressive glass windows. Starting in 1953, they were made in the Heinrich Oidtmann workshops in Linnich, based on designs by Ernst Jansen-Winkeln (born in 1904 as the son of a shoemaker in the village of Winkeln near Mönchengladbach-Hardt) . The artist's studio and apartment were located at Rheydter Strasse 58 in Westend from 1920 until his death in 1992.

For the hatch between the sacristy and the choir, the small window with the crucifixion was created in 1953 in a balanced triad of the basic tones yellow, red and blue, which is surrounded by the Eucharistic symbols grapevine and ear of wheat. In terms of style, Jansen-Winkeln ties in with his early graphics: the curved, dynamic lines of the lead crack are reminiscent of his late Expressionist woodcuts, which also include the Way of the Cross in the Church of the Holy Cross, which was commissioned in 1945 by Aachen Bishop Johannes Joseph van the Velden for furnishing destroyed churches and emergency churches was created after Jansen-Winkeln and his family, who had been evacuated to Württemberg in 1944, returned to their house in the Westend, which had been destroyed in the war. The woodcut cycle is still directly influenced by the suffering of the war that Jansen-Winkeln experienced as a soldier on the Eastern Front.

In the same year as the sacristy window, the stylistically similar north-western cliff window of St. Laurentius von Rom , whose 'head' (a piece of the skullcap) verifiably has been kept as a relic in the (former) Benedictine abbey church of St. Vitus since the end of the 15th century and shown to this day (most recently in 2014) as part of the Mönchengladbach sanctuary tour that takes place every seven years becomes. The early Christian Roman deacon and martyr, who was burned on the grate - the licking flames impressively on the glass window - represents on the window those who were “persecuted” for the sake of their righteousness at the eighth Beatitude of the Sermon on the Mount (Mt 5: 1–12).

The seven other stained glass windows in the upper storey were not made until 1963 to 1966 and represent the seven other Beatitudes, which are now represented by scenes or parables from the New Testament:

south side of the nave (from west to east):

  • Blessed are the hungry and thirsty - Jesus and the Samaritan woman at Jacob's well (Jn 4: 1–42)
  • Blessed are the meek - the good shepherd (Jesus' parable "I am the good shepherd" - Jn 10:11, 14)
  • Blessed are the mourners - The risen one appears to Mary Magdalene (Joh 20.11–18; Mk 16.9–11).
  • Blessed are the poor in spirit - Peter, initially of little faith, walks across the water (Mt 14: 22-33).

north side of the nave (following the Laurentius window):

  • Blessed are the peacemakers - Jesus appears to the apostles and disciples in the room in Jerusalem (Jn 20: 19-23; Lk 24: 36-34; Mk 16:14)
  • Blessed are the pure of heart - the wise virgins who, unlike the foolish virgins, have kept the oil of their lamps in anticipation of the 'bridegroom' Christ (Mt 25: 1–13).
  • Blessed the merciful - the good Samaritan according to the well-known parable of the New Testament (Lk 10: 25-37), as an appeal to active charity.

Stylistically, these windows with motifs from the New Testament also differ from the Laurentius window: The curved lead lines - and thus the figurative representations from the New Testament - are traced back to a calm, orthogonal 'framework'.

In 1973 the windows of the aisle were built with the symbols of the three Christian virtues faith, hope and love (cf. 1 Thess 1,3; 1 Cor 13,13): cross, anchor and heart. In bright red, the symbols, which have been reduced to a strict form, each stand out from a deep blue 'frame'.

The colored glazing of the wall-high side choir window with the Last Judgment took place in 1976. The figurative representation is clamped in a gray framework against a white background. The resurrected one appears in the upper half as an enthroned judge of the world in front of the red cross, symbol of redemption. Christ is surrounded by four groups of angels blowing trumpets, who announce his second coming (Mt 24:31). At his feet lies the sea of ​​glass (Rev 4: 6), and below it is the firmament, under which the few have gathered to greet him.

The window cycle by Jansen-Winkeln was completed in 1991 with the two windows above the north and south side entrance. Two representations from the end-time vision of the Secret Revelation of John are inserted into a strictly orthogonal network of gray and blue tones: the Lamb of God, symbol of the crucified and risen Christ - the crown of thorns appears above the lamb, from whose side wound a glowing red blood stream flows - and the heavenly Jerusalem as a walled, circular ideal city with four main and eight secondary gates (= twelve tribes of Israel, cf. Rev 21: 11-15). At the entrance to the church are the two symbolic windows for the transition from this world to heavenly paradise.

The wall hanging over the sediles in the choir was also made to a design by Ernst Jansen-Winkeln. The wall hanging shows the coat of arms of the Holy Cross: on a white background a dark blue cross, the center of which is a gold-colored chalice, from whose cup three rose petals grow. The symbolism points to the basic ecclesial features: The cross stands for martyria, the testimony of Jesus' death and resurrection; the chalice refers to Leiturgia, the presence of Christ in the celebration of the Eucharist. The rose petals are symbols of diakonia, the service to one's neighbor that is to grow out of the Eucharist; at the same time they stand for the Passion and in their threefold for the Trinity.

The altar painting of St. Hermann Joseph von Steinfeld in the side aisle (oil on canvas, around 1960) is by Heinrich Dieckmann (painter) (1890–1963), who was mainly active in church monumental art, above all as a glass painter. Dieckmann, son of a deaf-mute teacher from Kempen, attended the Krefeld crafts and arts and crafts school under Jan Thorn Prikker (artist) from 1908 to 1910 . From 1930 to 1953 - interrupted by the time of National Socialism - Dieckmann worked as a professor and director at the craft and applied arts school in Trier. He then lived in Mönchengladbach.

Stylistically, the altar painting can be classified in Dieckmann's late work on glass: As in the lead network of the colored glass windows, the stylized figurative representation is made up of strict geometric shapes. The mystical marriage of St. Hermann Joseph (born around 1150 in Cologne), who entered the Steinfeld monastery in the Eifel at the age of 12 , with Maria, who here in the medieval type of the crescent moon Madonna (based on the pregnant woman above the moon in Rev 12,1 -5) appears. The attribute of the saint in the white habit of the Premonstratensian Canons is the apple that Hermann Joseph is said to have given the Madonna in St. Maria in the Capitol as a child . As the patron saint of the Holy Cross, he holds the model of the church in his arms. The Romanesque monastery church of Steinfeld appears in the background. - The veneration of the saint became particularly popular at the end of the so-called Marian Age (1850–1950). His canonization, requested by the Archbishop of Cologne and the Emperor as early as 1626, did not take place until 1958 under Pius XII.

The colored Madonna next to the choir should be highlighted in the sculptural figurative decoration of the Church of the Holy Cross. The wooden sculpture from the Riemenschneider circle (beginning of the 16th century) was acquired for the new church in 1953. (The unmounted wooden figure of an enthroned bishop - called St. Suitbertus - in the style of the 14th century was stolen from the church in the 1980s and replaced by a carved wooden sculpture of St. Elisabeth in the style of Riemenschneider.) The processional cross (baroque body , 18th century) was given to the community by the St. Matthias Brotherhood.

The three figurative carved relief fields, each framed with a 'lying' quatrefoil - Christ and the Samaritan woman, the meal at Emmaus, feeding of Elijah by the angel (1 Kings 19: 7-8) as a prefiguration (model from the OT) of Eucharistic meal - on the side aisle wall come from the former, neo-Gothic communion bench of the Alexian monastery.

Next to the tabernacle, which is set with precious stones, which are supposed to remind of the Manna miracle in the desert (Ex 16.15ff.), There is the modern bronze figure of St. Joseph. He has put the carpenter's ax down next to him. Like the wooden sculpture of St. Johannes Nepomuk on a pillar of the side aisle by the sculptor Adolf Westergerling (born 1932), a student of Ewald Mataré at the Düsseldorf Art Academy .

Picture gallery

 Info about the audio file
Morning bell

  • West view

  • Choir room

  • Fatima Chapel

  • Tower cock

  • Emergency church of the Alexian monastery

  • Coat of arms of the Holy Cross

  • Wall hanging with the coat of arms of Holy Cross, Mönchengladbach

Great personalities

literature

  • Bange, Hans: The minster to M. Gladbach . In: Neuss, Wilhelm (ed.): Rheinische Kirchen im Wiederaufbau , M. Gladbach 1951.
  • Beckers, Hans Georg: Karl Joseph Lelotte. A pastor in a time of political and social upheaval. Church service in Gladbach from 1864 to 1892 , Mönchengladbach 1995 (contributions to the history of the city of Mönchengladbach. Vol. 34).
  • Episcopal General Vicariate Aachen (ed.): Handbuch des Bistums Aachen , 3rd edition, Mönchengladbach 1994.
  • Clasen, Carl-Wilhelm: Mönchengladbach , Düsseldorf 1966 (The monuments of the Rhineland).
  • Damblon, Albert et al. a. (Ed.): A little closer to heaven. The treasure chamber of the Munster Church in Mönchengladbach , Mönchengladbach 2013.
  • Doért, Friedel: Carl Sunshine. Pastor, theological publicist and socio-political activist in a church and social upheaval situation , Münster 2012.
  • Festschrift 25 Years Parish Church Heilig Kreuz Mönchengladbach. In May 1978 , Mönchengladbach 1978.
  • Feuerstein-Praßer, Karin: 800 years of passion. The history of the Alexians from the beginning to the present , 1st edition, Münster 2015.
  • Parish mirror Heilig Kreuz , 1st edition, December 1982.
  • 25 years church choir "Heilig Kreuz" Mönchengladbach. 1950 - 1975. Sunday, October 5, 1975, festive mass. Sunday, October 26, 1975, gala concert , Mönchengladbach 1975.
  • 40 years of the church choir "Heilig Kreuz" Mönchengladbach. 1950 - 1990. Sunday, October 21, 1990, Festhochamt. Sunday, October 28, 1990, gala concert , Mönchengladbach 1990.
  • 50 years of the church choir Heilig Kreuz Mönchengladbach. 1950 - 2000. Sunday, October 22, 2000, Festhochamt. Sunday, October 29, 2000, gala concert , Mönchengladbach 2000.
  • 50 years of interest group Westend. Construction, development and design of a district. A review in the Spiegel der Presse , Mönchengladbach 2003.
  • Joggerst, Monika: Heinrich Dieckmann. Life and Work 1890-1963 , Diss. Univ. Bochum 2002.
  • Jubilee Communion April 28, 1946, Alexianerkloster, Mönchengladbach - April 28, 1996, Heilig Kreuz, Mönchengladbach , Mönchengladbach 1996.
  • Klinkenberg, Norbert: Social Catholicism in Mönchengladbach. Contribution to the topic of the Catholic Church and the social question in the 18th century , Mönchengladbach 1981 (publications of the Episcopal Diocesan Archive Aachen. Vol. 38).
  • Norrenberg, Peter: History of the parishes of the deanery M. Gladbach , Cologne 1889 (History of the parishes of the Archdiocese of Cologne. Bd. 21).
  • Ruland, Wilhelm (ed.): The Way of the Cross of our Lord Jesus. Prayers and songs of the Holy Cross. Per crucem ad lucem - through the cross to the light! Dedicated by Dean Wilhelm Ruland as a thank you to the parish. 1949 - May 20 - 1974 , Mönchengladbach 1974.
  • Schütte, Annette: The graphic artist, wall and glass painter Ernst Jansen-Winkeln , Diss. Saarbrücken 1983.
  • Schütte, Annette: Mönchengladbach. 700 years of glass painting , Mönchengladbach 1988.
  • Spies, Britta: Schützen-Glanz und Gloria. The silver treasure of the rifle brotherhoods in Gladbacher Land , Mönchengladbach 2009.
  • Wiegers, Ignatius: The Aachen Alexian Brothers. Their history and their religious spirit. A contribution to the charity of the Catholic Church , Aachen 1956.
  • Zangs, Christiane (Red.): Testimonies of Faith. Sacred art from Mönchengladbach parishes. Exhibition at the Rheydt Castle Museum, Mönchengladbach from March 24 to June 4, 1990 , Mönchengladbach 1990.

Web links

Commons : Heilig-Kreuz (Mönchengladbach)  - Collection of images, videos and audio files

Remarks

  1. ↑ See Spies, Britta: Schützen-Glanz und Gloria. The silver treasure of the rifle brotherhoods in Gladbacher Land , Mönchengladbach 2009, p. 189.
  2. ↑ See Beckers, Hans Georg: Karl Joseph Lelotte. A pastor in a time of political and social upheaval. Divine service in Gladbach from 1864 to 1892 , Mönchengladbach 1995 (contributions to the history of the city of Mönchengladbach. Vol. 34), p. 124.
  3. ↑ See Siegers, Ignatius: The Aachener Alexianerbrüder. Their history and their religious spirit. A contribution to the charity of the Catholic Church , Aachen 1956, pp. 76–78.
  4. ↑ See Klinkenberg, Norbert: Social Catholicism in Mönchengladbach. Contributions to the topic of the Catholic Church and the social question in the 19th century , Mönchengladbach 1981 ( publications of the Episcopal Diocesan Archives Aachen . Vol. 38), p. 112f.
  5. ↑ See site plan 1912, in: Wiegers (see note 3), p. 148.
  6. ↑ See Siegers (see note 3), p. 149.
  7. ↑ See Siegers (see note 3), p. 215.
  8. ↑ See Becker (see note 2), p. 307.
  9. ↑ Römer, Lisa / Krämer, Martin: Last Supper Shrine . In: Damblon, Albert u. a. (Ed.): A little closer to heaven. The treasure chamber of the Münster Church in Mönchengladbach , Mönchengladbach 2013, p. 138.
  10. ↑ See Doért, Friedel: Carl Sonnenschein. Pastor, theological publicist and socio-political activist in a church and social situation of upheaval , Münster 2012, p. 301.
  11. ↑ Vgl.Norrenberg, Peter: History of the parishes of the deanery M. Gladbach , Cologne 1889 ( history of the parishes of the Erzdiöcese Cologne Vol 21st.), P.241.
  12. ↑ See Feuerstein-Praßer, Karin: 800 years of passion. The history of the Alexians from the beginning to the present , 1st edition, Münster 2015, p. 128.
  13. ↑ See Feuerstein-Praßer (see note 12), pp. 120f.
  14. ↑ See Siegers (see note 3), p. 298.
  15. ↑ See 50 years of interest group Westend. Construction, development and design of a district. A review in the Spiegel der Presse , Mönchengladbach 2003, p. 40.
  16. ↑ Cf. Bange, Hans: Das Münster zu M. Gladbach . In: Neuss, Wilhelm (Ed.): Rheinische Kirchen im Wiederaufbau , M. Gladbach 1951, p. 38.
  17. ↑ Cf. Bischöfliches Generalvikariat Aachen (ed.): Handbuch des Bistums Aachen , 3rd edition, Mönchengladbach 1994, p. 146.
  18. ↑ Cf. In the footsteps of the sculptor Ernst Rasche (born November 24, 1926) in the art and culture city of Mülheim an der Ruhr http://kunststadt-mh.de/index.php/auf-den-spuren-von-ernst - quick /
  19. ↑ Fig. In: Foundation Research Center for Glass Painting of the 20th Century eV http://www.glasmalerei-ev.net/pages/b72/b72.shtml ; see Schütte, Annette: Mönchengladbach. 700 years of glass painting , Mönchengladbach 1988, p. 38.
  20. ↑ See Schütte, Annette: The graphic artist, wall and glass painter Ernst Jansen-Winkeln , Diss. Saarbrücken 1983, p. 117.
  21. ↑ See Schütte (see note 20), p. 334.
  22. ↑ See Zangs, Christiane (Red.): Witnesses of faith. Sacred art from Mönchengladbach parishes. Exhibition in the Städtisches Museum Schloß Rheydt, Mönchengladbach from March 24 to June 4, 1990 , Mönchengladbach 1990, p. 146.
  23. ↑ See Joggerst, Monika: Heinrich Dieckmann. Life and Work 1890-1963 , Diss. Univ. Bochum 2002, p. 486 (cat. No. 197, work no. 1006).
  24. ^ Carl-Wilhelm Clasen: Mönchengladbach (= The monuments of the Rhineland ). Düsseldorf 1966, p. 55f.

Coordinates: 51 ° 11 ′ 26.8 "  N , 6 ° 25 ′ 27.7"  E