Carmelite Church (Boppard)

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The Carmelite Church in Boppard
View from the opposite side of the Rhine
Floor plan of the Carmelite Church
Interior of the aisle of the Carmelite Church
Interior of the main nave of the Carmelite Church

The Carmelite Church in Boppard is a monastery church built around 1300 which belonged to the neighboring Carmelite monastery of Boppard , which was the third oldest Carmelite monastery in Germany. Between 1439 and 1444 the church was extended to the north by a side aisle. This received window glazing, which is now exhibited in museums in the USA and Europe, among other places. Today the monastery church belongs to the local parish of St. Severus and is used by this for church services.

location

The monastery church is located to the west of the city ​​center, which has been walled since Roman times, not far from the Rhine, but was located within the fortifications of Niederstadt that took place in the 13th century . The actual monastery borders to the south, while the hospital, which has existed since the 13th century, is to the west . Today's Karmeliterplatz in the north of the church was built over with 16 residential buildings until a major fire in 1867.

history

Around 1300 the Carmelites began building a single-nave church on the north side of the monastery. The building of the church was financed by numerous donations from the city nobility over the centuries. This led to a generous furnishing of the church, which is in contrast to the simple architecture. Atypical for the customs of a begging order, the church has a relatively spacious choir. This was possibly a concession to the wealthy citizens of the city who wanted to be buried in the choir. Some grave slabs can still be seen today. The construction of the choir took about ten years and was completed around 1330. After a lengthy construction stop, the nave was then built. As is customary with the Carmelites, the church was consecrated to Mary the Mother of Jesus and received (as is common with other mendicant orders ) instead of a bell tower, only a small roof turret from which the bell calls for prayer and worship.

Originally the nave had a flat roof, but it wasn't until 1430/1440 that it got the ribbed vault . In the years 1439 to 1444 an additional aisle was built to the north . This side aisle has a slightly smaller width, but is just as high as the main nave, so that a two-aisled hall church was created. In 1444 the aisle was consecrated by the titular bishop of Salona and the auxiliary bishop of Trier, Gerhard. Between 1440 and 1446 the side aisle received colored glass windows. The side aisle was vaulted with six groin vaults in 1454 by the Bacharach master Heintz Schmirling.

In the course of secularization in 1802, the Carmelite monastery was abolished and together with the monastery church fell to the city of Boppard. The organ of the Carmelite Church came to Niederspay . The organ of the Marienberg Benedictine convent , which had also been closed, was installed as a replacement . In addition, in 1818 the city sold the Gothic stained glass windows in the aisle, "whose importance was misunderstood by those in charge of Boppard." In exchange for the former Franciscan church , the Catholic parish of St. Severus Boppard received the Carmelite Church in 1856, while the monastery remained the property of the city. In 1875 the church was restored and subsequently used by the Old Catholic parish, which had been founded a few years earlier in Boppard and had had its own pastor since the previous year. In 1903 the organ, which originally came from the Marienberg monastery, was sold on to Bad Salzig , where it was installed in the Sankt Aegidius Church . In the following year, an organ with 16 registers was installed by master organ builder Christian Gerhardt.

During the Second World War , the west bay of the aisle was hit by a bomb in 1945. There was significant damage to the organ. In 1950 the church was consecrated again after the reconstruction. Further restoration work began in 1977 under the direction of Otto Spengler. The exterior plaster was renewed, some windows were re-glazed, the east window in the choir, which had been closed since the 18th century, was reopened and the interior with its paintings was restored. During this renovation work, severe fire damage occurred to the roof structure in August 1984. Their elimination dragged on until the summer of 1985 and could be covered by insurance benefits. In December of the same year the interior restoration and the renewal of the fourteen murals was continued. In the course of this renovation work, the organ was also sold to Ernst (Mosel) . The end of the renovation work was celebrated with an altar consecration on September 13, 1987 by Auxiliary Bishop Karl Heinz Jakoby.

Descriptions of individual objects

History of the former windows of the aisle

In the side aisle of the Carmelite Church, which was completed in the second third of the 15th century, there are seven windows. The five windows on the north wall and the window on the west wall are divided into an upper and a lower window by round-arched tracery in the middle. Each half consists of three window strips, each with six rectangular fields of around 49 cm × 66 cm in size and the closing head panes with tracery. The window on the east wall is smaller and in one piece due to the added sacristy . It consists of three lanes, each with nine fields and clover-leaf-arched head discs. Until 1817 these were mostly colorful windows that were created between 1443 and 1446, probably in a workshop in the Middle Rhine and a Lorraine region. The clients and donors included a bishop of Trier, various brotherhoods of Boppard and members of the regional nobility, who owned and administered the city.

In 1817 Lucie, daughter of the Prussian Minister of State Hardenberg , divorced Countess von Pappenheim, visited the Gothic windows and she interested her fiancé, Count (and later Prince) Hermann von Pückler-Muskau , in buying it. About six windows and another, presumably choir window, was a purchase contract of August 26, 1818 with which the city council, "at a ridiculous price" of 1200 Rhenish guilders (florins), plus 400 Fl. for the new glazing of the church, which Count Pückler sold to. The windows were "[...] in a miserable condition due to time and unforgivable disregard." The Prussian provincial government of Cologne, the Ministry of the Interior in Berlin and art experts were involved in the previous sales negotiations with objections and requests for changes. Before the purchase was approved by the authorities, the buyer began removing the windows and shipping them to Muskau. A neo-Gothic chapel (for the glazing of which the Boppard windows were intended) was not completed there due to financial problems. In addition, Pückler seemed to have lost interest in the purchase and feared new costs from cleaning and re-leading broken window elements. Except for one window, they were packed in wooden boxes and, after Pückler had to sell Muskau Castle in 1845, they came to his Branitz Castle . In 1871, after Pückler's death, the heirs made a repurchase offer to the city of Boppard, for which the city council only wanted to provide the purchase price from 1818. Even with the purchase recommendations of a Berlin conservator and the government of the Rhine Province, there was no buyback.

During the negotiations, the windows came to the Royal Institute for Glass Painting in Berlin that same year , where the heir had them restored for sale and their value assessed. At the end of 1874, with the exception of the Throne Salomonis window , the majority of the windows were sold for 10,000 Reichstaler to the dealer Charles Mannheim in Paris. At this point in time, it is unclear which and how many window elements were sold or sent.

In 1877, the Austrian Friedrich Spitzer, who lives in Paris, bought the collection, presumably consisting of four and a half windows, which was then cataloged for the first time and some of it was shown. After his death in 1890, the windows were again offered in the art trade and auctioned mostly in individual parts. The height of more than 10 meters of the lower and upper windows caused potential buyers difficulties with the exhibition of a complete window. Different collector interests released coats of arms, donors and saints from their original unity. Until the middle of the 20th century, parts of the window cycle changed hands in the art trade. Only in the museum The Cloisters in New York is the only one of the several times rearranged Boppard window (recently referred to as the Virgin Window ), presumably to be seen in its original entirety. Most of the remaining window elements are in museums and privately owned. So z. E.g. eight locations in the USA are named for individual parts of the root Jesse window . The Metropolitan Museum of Art in New York and its branch The Cloisters are perhaps the most prominent exhibition venues for examples of the Boppard windows. In Germany it is the Museum Schnütgen in Cologne and the Hessisches Landesmuseum Darmstadt , in Great Britain the Burrell Collection in Glasgow, Scotland .

Motifs and names of the windows

Two-field picture of the Madonna with Christ from the so-called Throne-Solomonis-Window . Height 101; Width 76 cm, Hessisches Landesmuseum Darmstadt

In 2013 a historiographical treatment of the Gothic window glazing was published for the first time , which was developed as a dissertation at the Johannes Gutenberg University Mainz and which "... allows for a more precise specification or even correction of earlier assumptions". Doubts about the previous representation of the original glazing are appropriate, since the Berlin workshop only partially followed the drawings of the windows that still existed at the time during the restoration and numbering, with "fatal consequences for the reconstruction of the original structure." So was z. B. from the incomplete inventory of the six windows by Pückler (five horizontally divided and one shorter undivided), five partly rearranged two-story.

There are only poor descriptions of the Carmelite church windows from the time before 1818, which can hardly be quoted in art history. After the expansion and sale, the cycle and later occupations with the topic "Boppard Carmelite church windows" were their finding and the at least theoretical restoration of their earlier ones Dedicated to the inventory situation. In 1969 the New York Museum of Modern Art published a possible composition of the individual windows according to formal criteria and gave the individual windows a name. Later art-historical treatises corrected various statements - also made possible through the identification of finds not previously known as “Boppard Glasses”. The local historical literature "... meanwhile repeated the usual information about the fate of the glazing."

With the reconstruction of six windows, J. Hayward recognized for the first time the representation of Our Lady, the Immaculata Conceptio , as the overriding window cycle theme. This was probably a requirement of the Carmelite community. The determination of the accompanying themes for the windows, on the other hand, may have been left to the donors. J. Hayward named five of the original seven windows. According to G. Datz, the windows were installed as follows: From the interior view from west to east, above the main entrance 1. the Pyrmont window (new: Ritter-F.), In the north side 2. a vermtl. unpainted window, 3. the Cloister window (new: Jungfrauen-F.), 4. the Ten Commandments window, 5. the Bourgeois window (new: Apostel-F.), 6. the Wurzel-Jesse window , 7. On the side above the small choir, the Throne Solomonis window. The Wurzel Jesse and the Ten Commandments windows were named after their pictorial program, the Cloister window is named after the museum in which it is kept and the name Bourgeois window goes to the art dealer Caspar Bourgeois who owns it Bought in Paris in 1893, returned. The Pyrmont window was named after its founders, Cuno and Margarethe von Pyrmont.

The Cloister Window (new: Virgins Window)

Lower half of the cloister (virgins) window

The Cloisters window is said to be the only completely preserved window. Both halves of the window are exhibited today in The Cloisters, a branch of the Metropolitan Museum of Art in New York, in a separate room, the "Boppard Room". The window got its name from the place where it was exhibited. The window was donated, according to recent studies of craftsmen's marks, obviously u. a. of the guild or brotherhood of coopers and tailors. Other donors could not be identified.

One saint is shown centrally on the window for each window half and lane. They are raised on pedestals under multi-storey housings with Gothic tracery with pinnacles , strut arches and decorative gables adorned with finials and crabs . The colors red, blue, white and gold alternate and create strong contrasts.

In the lower window, St. Catherine of Alexandria , St. Dorothea of ​​Caesarea and St. Barbara of Nicomedia are shown from left to right . The three virgins have loose hair, wear richly decorated robes and have been awarded the martyr's crown. In the lower part of the picture two angels hold a coopers coat of arms , a red shield with gold compasses and two silver mallets over a wine barrel. In the right picture path, two angels show the coat of arms of the city of Maastricht . At the lower end of the middle lane, the mercy seat , a symbol for the Trinity , is shown.

In the center of the upper half of the picture the Madonna is shown in the dress of the ears . She wears the garment decorated with ears and has long, loose hair. She keeps her hands folded in prayer. Mary is richly decorated with gold, which underlines her prominent position. It is flanked by two saints. On the left is Bishop Servatius of Tongeren . It can be recognized by the large sky key in the left hand. To the right of Maria, it is believed, is Saint Lambert of Liège . He wears a miter and staff . The Archangel Michael is depicted in the base zone below Servatius . He wears a white robe and a red cloak and is shown standing on a dragon as the victor. On the right track in the lower section of the window, James the Elder and Hubertus von Lüttich are shown , both with pilgrim staff and hat. Next to the two are heraldic shields. The right one is split and shows a pair of scissors, which indicates the guild of tailors. The coat of arms of the Diocese of Liège can be seen at the lower end of the middle lane.

The Pyrmont Window (new: Knight Window)

Detail from the knight's window (formerly also the Pyrmont window ): Cuno von Pyrmont and von Ehrenberg with sons. Salve Regina University Newport USA
Detail from the knight's window : wife Magarethe von Schönburg on Wesel with two daughters. Salve Regina University Newport USA
Today's location of the founder window: Villa “Ocher Court” on the grounds of the Catholic Salve Regina University in the USA

In 1969, in their reconstructions of the Carmelite window cycle, J. Hayward named a window after its donors Cuno von Pyrmont and his wife Margarethe von Schönburg auf Wesel . Through images that the collector Spitzer had already made in Paris for an inventory catalog, Mary and the child are standing on a crescent moon in a halo, St. Michael, the armed St. George as a dragon slayer, St. Bishop Kunibert, an unknown bishop, the prophet Jeremias and St. Quirin known for the upper window panels. The donor couple with children and their lost family coat of arms formed the lower window. As the founder of the window with a monumental Archangel Michael and St. Georg as a dragon slayer, the Boppard George Brotherhood and the brotherhoods of blacksmiths, bakers and weavers are accepted according to recent scientific research.

The New York banker Ogden Goelet bought the window at the auction in Paris in June 1893 . He left the two outside lanes and both donor fields in the stairwell of his Ocher Court country house in Newport . (Today Salve Regina University ).

Parts of the middle track not used by Goelet were auctioned and initially came into private ownership. The left panel of the upper window is now in the MH de Young Memorial Museum and the middle and right panel of the upper window was acquired by the Burrell Collection in Glasgow in 1939 from the collection of William Randolph Hearst . A monumental depiction of the Archangel Michael as a dragon slayer is in the Fine Arts Museum of San Francisco. The representation of the Virgin Mary has been in unknown private ownership since 1948.

The donor disk shown above on the right (created between 1442 and 1444) is the lowest image of the left panel of the lower window. The young knight Cuno von Pyrmont and von Ehrenberg and his three sons kneeling behind him can be seen. Opposite the knights, originally separated by a double coat of arms, is the field with the wife Margarethe (Greta) von Schönburg (Oberwesel) and two daughters.

The Ten Commandments Window

The first evidence of the ten commandments window was found in a sales advertisement from 1874, the cycle contained u. a. a window for "the ten commandments". In 1912 the Cologne Museum of Applied Arts showed the lower half of this window ( Schnüttgen Museum since 1932 ). In 1961, the Burrell Collection in Glasgow showed the middle section from the upper half together with a subsequently added donor field. In 1989 the side panels of the upper half were "rediscovered" in the Salve Regina University in the USA.

The main character of this window is a representation of St. Elisabeth handing a robe and bread to beggars. It is crowned by two little angels with green wings. It is flanked by two angels each showing the Boppard city coat of arms with the imperial eagle. Earlier window descriptions called the window “Kaiserfenster” and interpreted the coats of arms as imperial coats of arms and the figure of the saint as the daughter of Emperor Sigismund and wife of King Albrecht II , Elisabeth of Hungary, although neither of them could be linked to Boppard. The position of the window in the line of sight opposite the pulpit and, as a special issue, the Mosaic legislation, suggest that there were high-ranking donors. G. Datz suspects a German king from the Palatinate-Wittelsbach line, possibly King Ruprecht III. and wife Elisabeth von Hohenzollern. The upper part of the window shows the scenic representations of the Ten Commandments.

The Bourgeois Window (new: Apostle Window)

The window, previously named after the collector Caspar Bourgeois from Cologne, was donated to glorify saints and apostles of the Catholic Church. Art historians have repeatedly reconstructed the hypothetical composition of the entire cycle. Several discs with the apostles Johannes (d. Evangelist), Jacobus (d. Elder), St. Agatha and a previously unidentified donor couple, in possession of the Hessisches Landesmuseum in Darmstadt since the 1930s , were the few clues alongside vague descriptions, inventory lists and catalog images from the Paris auctions of 1893 and 1904.

St. Norbert von Xanten, presumably St. Gerhard von Csanad and certainly also a depiction of Mary are ascribed to the "Apostle Window", which is said to have already had the basement missing when it was sold to Paris in 1871. A great loss for this window was a mausoleum on a 1957 fire at the "celebrity graveyard" of Hollywood in the u. a. the central window painting of the apostle and patron saint of pilgrims, James the Elder , was destroyed.

The Root Jesse Window

A first indication of the motif of this window is a sale advertisement of the heirs of Prince Pückler from the year 1874 - it shows "the life and suffering of Christ." Previous research confirms the theme of this window, which shows the life stages of Jesus from the announcement of his birth to on his death and a rare depiction of Peter before the risen one . The division into many individual scenes may have been the reason for the rapid division of the window to collectors and dealers in France, Switzerland and the USA after the first auction in 1893.

In 1990, the discovery of a previously missing passion scene made it possible to provide an almost complete description of the window. With the exception of the eponymous figure - Jesse lying stretched out on a rocky ground and two grapevines growing out of him - most of the cycle has been preserved. However, distributed among several museums and privately owned in the USA.

The councilor Cuno von Pyrmont and von Ehrenberg and his wife Margarethe geb. von Schönburg auf Wesel donated this window in 1444.

The Throne Solomonis Window

The window, known by this name since 1878, was probably in the side choir of the church, in the east wall of the aisle. It was one, not two-story like the other six windows. Archbishop Jakob I von Sierck von Trier and a previously unknown couple are said to have been the founder . Only the depiction of the Madonna and Child from the middle section of the window is still preserved. It has been part of the Hessian State Museum in Darmstadt since 1931 .

According to the most recent reconstruction, further representations from the central track were the enthroned King Solomon, a crucifixion group and the Man of Sorrows , a picture of the suffering Christ with a scourge and bundles of rods in the crooks of both arms. The central panel was flanked by images of prophets and female saints with banners in their hands.

Already at the end of the 19th century, the lower donor fields (possibly privately owned) and the Madonna were missing from this window. Reorganized and put together in this way, it was delivered by the Berlin Institute for Glass Painting to Prince Pückler's successor, Count von Arnim, and installed in his neo-Gothic burial chapel in Muskau Park . At the end of the Second World War in 1945, the chapel and with it the window were destroyed.

Lost window elements

The collector and art dealer Friedrich Spitzer (died 1890) - who with 4,000 objects "owned the largest private collection that has ever existed" (according to the Zeitschrift für Bildende Kunst 1893) - had ordered that his collection of Boppard window elements should be sold as a whole should be. However, after he himself had already regrouped and the buyers were interested in either figurative or heraldic representations, the windows were increasingly traded individually over the next few decades. As a result, some knowledge about their connection was lost.

The crucifix of the Wurzel-Jesse window has been missing since the auction in 1893, as have several scenes of Christ's ordeal for the crucifixion. Since 1905, glasses of the tracery have been missing, such as quatrains, rosettes with representations of prophets, trinity, crucifixions etc. The image of the Mother of God from the Pyrmont or knight window has been in unknown hands since an auction in New York in 1948. Until then, donor and coat of arms disks could also be identified, as well as guild coats of arms of blacksmiths, bakers and weavers.

At the beginning of the 21st century the number of lost fields is given as 22. 282 are said to have been originally up to 1817, of which 217 can be described. 42 fields are known to have been destroyed.

Altars

High altar

The high altar dates from the time the church was built and is made of gray sandstone. The two-storey top made of partially gilded walnut wood was donated in 1699. In the middle of the first floor there is an oil painting showing Our Lady handing the scapular to St. Simon Stock . St. Teresa of Ávila can be seen in the oval picture in the middle of the upper floor . This picture is flanked by two wooden sculptures depicting two kneeling angels. Between the two altarpieces there is Friedberg's coat of arms, which is held by a lion, and the inscription "THE HIGH AND WELL-DRILLED FREY FREULEIN MARIA THERESIA VON FRIEBBERG (sic!) VND HEYDECK HAS GIVEN THE ALTAR 1734". In the lower part of the wooden top there is a tabernacle in the middle .

In 2013 the altar was restored.

Altar of the aisle

In the side aisle, a baroque altar of St. Severus and St. Paul was set up. This was the high altar of the St. Severus Church until 1841 and was restored in 1992. The altar case dates from the middle of the seventeenth century. On the right side is a figure of St. Severus, on the left that of Paul. The large altarpiece from 1739 shows the Lord's Supper scene and the picture above shows the birth of Christ.

Cross altar

The so-called cross altar is located on the rearmost pillar between the main and side aisles. A six-part crucifixion group was set up in this neo-Gothic winged altar . This originally comes from a pilgrimage chapel in Hagnau on Lake Constance . Franz Reuter auf Schöneck is said to have acquired the group in 1846 . This is why the crucifixion group came to the Kreuzberg chapel in Boppard . From there it was transferred to the Carmelite Church at the beginning of the 20th century. During the church robbery in 1970, the figures of Maria Magdalena , St. John the Apostle and the Madonna of Tears were stolen from the cross altar . The figure of Maria Magdalena was seized by the police a few days later. The statue of St. John was bought back on April 8, 1971 by members of the church council in Brussels from an art collector for DM 27,000. The most valuable figure, the weeping Maria made from wood in the workshop of the Ulm artist Nikolaus Weckmann around 1510 , could not initially be procured again. The parish of St. Severus in Boppard received offers to buy back the figurine for 500,000 DM or for even higher amounts of money, but they refused. In September 2013, a woman from Belgium gave the Madonna of Tears to the Dorotheum auction house , which then turned the public prosecutor on. Since possession of the sculpture was legal under Belgian law (and the right to its handover was also time-barred in Germany), the building association of the church then reached an out of court agreement with the owner to buy the figure from her for € 28,000 and received it on April 27, 2015 back.

Choir stalls

The choir stalls on the north wall of the choir
Detail of the choir stalls on the south wall with the Evangelist Johannes

The choir stalls of the Carmelite Church were made between 1460 and 1470 . It is the most richly equipped on the Middle Rhine . The oak stalls are located on the two side walls of the choir and consist of two rows each. The back rows each have nine seats and are raised by a base. The front rows have eight seats, instead of the fourth seat from the west there is a passage.

The choir stalls have a high back wall with rich tracery consisting of keel arches over smaller clover-leaf arches . In the spandrels are pointed arches and four passes to see. Above it is the roof in the form of a half-barrel with a (renewed) hanging arched frieze and openwork tracery crowning. The coat of arms of Schöneck is attached to this tracery on the north side and the coat of arms of Boos von Waldeck on the south side . These are the coats of arms of the donors of the stalls. The armrests, the cheeks and the misericords are richly decorated with sculptures. On the high cheeks of the back rows, the four evangelists are depicted with their symbols under canopies in the upper half . Among the evangelists, the Virgin Mary, St. Berthold of Calabria (he is venerated as the founder of the Carmelite order), Christ and St. Simon Stock are depicted in relief . The reliefs on the front cheeks show St. Paul of Tarsus , St. Nicholas of Myra , St. Sebastian , St. Catherine, St. Barbara of Nicomedia and St. George . On the eastern cheeks there are also depictions of St. Apollonia of Alexandria and St. Simon Peter . On the front cheeks above the saint, prophets with tapes, peasants arguing and a couple riding a mythical creature can be seen as sculptures. The misericords are adorned with leaf ornaments, masks, parrots and mythical creatures. The cheeks of the individual seats have veneered quatrains on the foot pieces and the outer cheeks of the front rows bear representations of mythical creatures in the foot area.

In September 2012, restoration work began on the choir stalls, which lasted until 2013.

Communion bench

The communion bench, like the high altar, comes from the late baroque era and is therefore probably made around 1700. In 2013, in connection with the high altar and the choir stalls, the communion bench was also restored.

As a docking railing, it spans the entire width of the choir and separates the apse from the rest of the choir. In the middle there is a two-winged passage and on the north side next to the entrance to the sacristy there is a single-winged passage. The upper board end and all balusters were made of walnut wood. The frame segments are equipped with oak veneer on both sides . These veneers are designed on the front at the top of the frame as a continuous tendril frieze and the upright frame pieces as looped volute tendrils in acanthus leaf shape. On the rear upright frame segments there are forged ground anchors, which are designed as horned masks towards the top. The knee bench , which is located in front of the dock railing, is designed as a solid oak board.

Organ loft

The organ gallery is located at the western end of the main nave and is only accessible from the former cloister. As a work of Rhenish late Gothic, it is attributed to the period 1460/1470. The gallery is supported by a four-bay cross vault. The three southern bays are covered with pear ribs , on the northern one, which protrudes into the aisle, these are only painted on. The east-facing front of the gallery is divided by three keel-arched openings so that four grooved octagonal pillars support the vaulted ribs. Curved creeping flowers and crabs decorate the keel arches. Finials that extend into the gallery balustrade adorn their tips. There are consoles with overhanging canopies above the pillars. Until 1970 there were four figures there. The left and right figures represent bishops, the left has a church model. In the middle there were two figures, which were presumably put together to form an annunciation scene . The figure of Mary holding an open book dates from the first half of the 15th century. The kneeling angel that lost its wings was created around 1480.

Mount of Olives Group

The late Gothic Mount of Olives group was created in 1437 and consists of four sculptures. Today it is located on the north wall of the side aisle of the Carmelite Church.

Originally they were placed in the cemetery in front of St. Severus Church. When the cemetery was moved to the Säuerling, these figures were also rebuilt there. After the cemetery was moved to the Buchenau district of Boppard , the group came to the inner courtyard of the electoral castle . After negotiations between the city and the parish in 2003, the sculptures were returned to the parish on October 21, 2003, which owned the cemetery in the Middle Ages. The parish set up the Mount of Olives Group in 2004 in the Carmelite Church.

Grape Madonna

The Gothic Madonna of the Grapes

In a niche in the northern outer wall of the sacristy near the side portal between two buttresses stands a figure of Mary with the baby Jesus. This sculpture is called the Grape Madonna and there is always a light burning in front of it. It owes its name to an ancient custom. From the first grapes that the Boppard winemakers harvest in Bopparder Hamm , the best are "given" to the grape Madonna. This figure is a copy of the original. In 2017, the Boppard Transport and Improvement Association, in cooperation with the Heersträßer neighborhood, acted as a care sponsor, cleaned up the figure and niche and refreshed the color.

The Grape Madonna was created around 1330 and is 105 cm high. The crown was added later. The head veil falls to the shoulders and the robe and cloak show rich folds. Our Lady holds her clothed child in her left hand.

Graves and tombstones

Epitaph for Conrad Kolb

The epitaph for the nobleman Conrad Kolb, who died in 1393, was set into the south wall of the choir. It is 222 cm × 113 cm and is made of red sandstone. On the epitaph there is a life-size frontal relief of the deceased, who stands with both feet on a lion with his head turned backwards. He wears a knight's armor with a pointed basin hood , an open visor and a helmet well . Attached to the deep belt, the sword sits on the left hip. The upper body is shown with a laced loin . In his right hand the deceased carries an inward-pointing dagger and in his left hand he holds the coat of arms of Kolb von Boppard in relief. This is also in a smaller version on the chest. Above the relief of the deceased there are keel arches set with crabs and flanked by pinnacles. Except for the mouth of the deceased, the epitaph is relatively well preserved.

The inscription of the memorial plaque reads: ANNO D (OMI) NI M CCC LXXXX TERTIO XXVII DIE MENSIS MARCII OBIIT CONRADIUS KOLB [.] IN BOP (PAR) DIA ARMIFER C (UI) US A (N) I (M) A REQUIESCAT IN PACE AMEN. Translated this means: In the year of the Lord 1393 on the 27th day of March, Conrad Kolb von Boppard, a noble servant whose soul rests in peace, died.

Epitaph for Siegfried von Schwalbach

Epitaph of Siegfried von Schwalbach. Left: Around 1900, the damage caused by working off the pubic capsule can still be seen (old postcard), right: today

Siegfried von Schwalbach was the Elector of Boppard in 1484/85 and fell in the Boppard War in 1497 together with one of his servants in the defense of the courtship gate against the men of Archbishop Johann II of Trier. It is extremely well preserved, only the pubic capsule was probably already before 1840 because of its appearance which is too suggestive for later viewers and later replaced by a chain mail (see illustration).

The inscription reads: "Anno d (omi) ni 1497 vf dinstag na (ch) sa (nk) t Iohan's day bapt (ista) / died de (r) vest sifort / va (n) schwalbach dem got genaedig sy amen." Translation: In the year of the Lord 1497 on the Tuesday after the day of Saint John the Baptist (June 27, 1497) the brave Siegfried von Schwalbach, to whom God be gracious, amen, died.

Wall grave of Johann von Eltz and his wife

The wall grave of the knight Johann von Eltz and his wife Maria von Breidbach is a major work of the German Renaissance

Johann the Younger von Eltz was the son of Johann the Elder von Eltz and Margarethe von Helmstatt. Since May 1496 he was married to Maria von Breitbach, the eldest daughter from the marriage between Johann von Breitbach and Loretta von Schöneck . Since 1519 at the latest, Johann and his wife have been living in the Eltzer Hof von Boppard, his family's ancestral home. He died in 1547, his wife in 1545.

The couple's wall grave is under the south-eastern window of the choir. A three-part aedicule made of gray sandstone serves as the grave slab. The raised middle section, closed by a basket arch , shows in relief the baptism of Christ in the Jordan with John , the Holy Spirit in the form of a dove and an angel. In the two outer axes there are life-size relief representations of the deceased in shell niches. They are shown kneeling and looking towards the center. In the left axis Johann von Eltz is shown in armor; the right axis shows Maria von Breitbach in a long robe with a bonnet and rosary. In the arched spandrels of the lateral axes there are tendrils and in the spandrels of the central part there are prophetic busts with empty tapes. In the entablature above the central axis there are praying angels. The frame pilasters have tendrils in the middle of which there are disks with male and female pictorial busts. A tablet with the year 1548 can be seen under the second pane from the right.

Copy of the tombstone of Johann Philipp Anton von Eltz

The base, which is also divided into three axes, bears the relief of the Johanness bowl in the middle . It is held by two torch-bearing angels and has the inscription CAPVT SANCTI IOANNIS BAPTISTE IN DISCO. Below Maria von Breitbach is an empty field of inscriptions in the form of a half-rolled parchment that is fastened with nails. Under the figure of Johann von Eltz there is a field in the same shape with the following inscription: IN IAIR 1547 THE 4 NOVEM (BRIS) DIED THE EDEL VND ERNVEST IOHAN HER ZV ELTZ WHICH COUNTERWORK CHRISTIAN WORK GOT THE ALMIGHTY ZV PRAISE VND TWO SELEN ZV VND GEDECHTNVS IN SINEM LEBEN MAKE ZV LAISSEN REGULATED HAIT DEM GOT G [E] NADT.

Parts of the cornices and entablature, the inscription fields in the middle and under the figure of Maria von Breitbach, thus the head of the dove and parts of the angel were added in 1903. According to the inscription, the otherwise well-preserved tombstone was commissioned by Johann von Eltz during his lifetime. The monument, which has received much attention from the history of art, can be attributed to the sculptor because of its details such as the medallions filled with portrait busts, the shell niches and the tablet dating from Hieronymus .

Gravestone for Philipp Anton von Eltz

On the south side of the westernmost pillar is the tombstone of Philipp Anton von Eltz, who died as a child in 1693. The tombstone is made of black Lahn marble and is 76 cm × 56 cm in size. There are five coats of arms on it. Three of the coats of arms belong to the noble family von Eltz , one from Hohenfeld and one from Metternich . Under the coat of arms there is a drapery under which the inscription D (OMINO) O (MNIPOTENTI) M (AXIMO) ANNO DOMINI 1693 4 DIE NOVE (MBRIS) OBYT PRAENOBILIS ET PERILLVSTRIS DOMINVS D (OMINVS) IOANNES PHILLIPPVS AN BARTONIVS ELIBTIVS CVM QVATVOR MENSIBVS VIXISSET stands.

Death shields

Death shields of Johann von Eltz and Philipp von Flersheim.jpg

In the choir hang 14 death shields of nobles who were buried in the church. There are two groups: semicircular heraldic shields and circular or octagonal panels with inscriptions and coats of arms.

The first group includes:

  1. two shields with the coat of arms Kolb von Boppard (black lion on silver with a silver belt buckle on the lion's shoulder; one of them: belonging to the tomb of Conrad Kolb von Boppard)
  2. a shield with red crossed keys on silver or gold (probably gender "Husilstam")
  3. a shield with the Ehrenberg coat of arms (a golden cupboard in blue, each with nine golden lilies)
  4. a shield with the Schöneck coat of arms (red crossbar in gold; possible belonging to the now lost grave monument for the couple Philipp II von Schöneck and Irmgard von Braunshorn )
  5. two shields with the Schwalbach coat of arms (squared: 1/4. Schwalbach (in red a golden sloping bar covered with three black swallows), 2/3. Arsburg (divided seven times by gold and black)). They each contain inscriptions, so it can be determined which member of this gender is involved:
    1. the death shield of Wilhelm von Schwalbach
    2. the death shield of Siegfried von Schwalbach
  6. two shields with the arms of Boos von Waldeck (in red three diamond-shaped silver spur buckles placed diagonally on top of each other)

The second group includes:

  1. the death shield of Maria Zandt von Merl, wife of Johann Boos von Waldeck († August 19, 1543)
  2. the death shield of Johann von Eltz d. J. († November 4, 1547)
  3. the death shield of Johann Richard von Eltz († September 16, 1568)
  4. the death shield of Philipp von Flersheim († October 24, 1572)
  5. the death shield of Johann Boos von Waldeck († May 9, 1575)

According to sources, there were other death shields in the church that are now lost. It is a matter of

  1. the shield with the coat of arms of Peltz von Boppard (sloping bar on a black field; belonging to the also lost tomb of Johann Peltz von Boppard; still present at the end of the 1980s.)
  2. a shield with the coat of arms Ehrenberg / Pyrmont (squared: 1/4. Pyrmont (in white (silver) a diagonally right red zigzag bar), 2/3. Ehrenberg (in blue a golden cupboard, surrounded by golden lilies)); the shield was in the meantime on the epitaph of Margarethe von Eltz born. from Helmstatt.

Another sign of the Bassenheim family is mentioned in 1952/53, but cannot be proven otherwise.

Columbarium

Since representatives of the parish of St. Severus assume that the diocese of Trier will not financially support two churches per parish in the long term, it was decided in 2012 to set up a columbarium in the Carmelite Church . This was also seen in the tradition of the church as the burial place of bishops, nobles and wealthy Boppard citizens and the facility was initially planned in the aisle of the church. The proposal from Wandel Lorch Architects won an architectural competition . According to this plan and in contrast to the original considerations, the columbarium should now be built in the main nave below the organ loft, as this area is less important in terms of spatial perception. For around € 300,000.00, 1,100 urn spaces could be set up. The columbarium was consecrated on the Assumption Day on August 15, 2017. The facility is unique in the Diocese of Trier, as it is located within the open church space and the church continues to be used for services.

Carmelite monastery

Carmelite monastery with today's main entrance to the city administration (2012)

The Carmelite Church was the monastery church of the neighboring Carmelite monastery. This was built in the 13th century and almost completely replaced by a new building in the 18th century.

Monument protection

The Carmelite Church and the neighboring building of the former monastery have been part of the UNESCO World Heritage Upper Middle Rhine Valley since 2002 . In addition, these two buildings are protected as a registered cultural monument within the meaning of the Monument Protection and Maintenance Act (DSchG) of the state of Rhineland-Palatinate.

literature

  • Heinz E. Missling: Boppard. A guide through the city . Dausner Verlag, 1993, ISBN 3-930051-00-1 .
  • Eberhard J. Nikitsch (Rally & editing.): The inscriptions of the Rhein-Hunsrück district I . Academy of Sciences, Mainz 2004, ISBN 3-89500-346-8 .
  • Rüdiger Becksmann : The Throne Salomonis window from the Boppard Carmelite Church - a foundation of Archbishop of Trier Jakob von Sierck (1439–1456) . In: Art in Hesse and the Middle Rhine . NF 2, 2006, p. 7-22 .
  • Gepa Datz: Partenheim versus Boppard. History and reconstruction of two late Gothic glazings on the Middle Rhine . urn : nbn: de: hebis: 77-35140 (Dissertation. JG University, Mainz [2013]).
  • Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungs-Verein Boppard 1872 e. V. Boppard 2012.
  • Johann Christian von Stramberg : Memorable and useful Rhenish antiquarian ... Middle Rhine, II. Department, Volume 5. Coblenz 1856, p. 515–537 ( books.google.de - detailed description of the history and furnishings of the Boppard Carmelite monastery and church from the middle of the 19th century).
  • Willi Nickenig: Monasteries and religious orders in Boppard . Ed .: Verkehrs- und Verschönerungs-Verein Boppard 1872 e. V. Boppard 2019.
  • Achim Machwirth, Heinz Kähne, Berthold Neubauer: The choir stalls of the Carmelite Church . Ed .: Verkehrs- und Verschönerungs-Verein Boppard 1872 e. V. Boppard 2020.

Web links

Commons : Carmelite Church  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b History Association for Middle Rhine and Vorderhunsrück (ed.): From the old Boppard - A continuous chronicle for the years 1855 to 1876 by Wilhelm Schlad . Rhedruck, Boppard 1989.
  2. ^ A b c d State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 330-331 .
  3. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungsverein Boppard 1872 e. V. Boppard 2012, p. 14 .
  4. ^ Monasteries and religious orders in Boppard, accessed on April 10, 2018
  5. ↑ a b c Boppard - former Carmelite Church. Retrieved November 29, 2012 .
  6. ↑ G. Datz: Partenheim versus Boppard ... p. 112.
  7. ^ Bernhard Kahl: The Catholic parishes . In: Heinz E. Missling (Ed.): Boppard. History of a city on the Middle Rhine. Third volume . Dausner Verlag, Boppard 2001, ISBN 3-930051-02-8 , pp. 458 .
  8. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine.
  9. ↑ Achim Machwirth: The stained glass of the Carmelite Church. Traffic and Beautification Association Boppard 1872 e. V., Boppard 2012, pp. 17-18.
  10. ↑ LHA Koblenz, Order 618, No. 2182.
  11. ↑ A personal assessment and a. by Christian von Stramberg from 1856 on: ( limited preview in google book search)
  12. ^ Christian von Stramberg: Rheinischer Antiquarius. (Title abbreviated), Volume 5, Middle Rhine, Coblenz 1856.
  13. ^ Pückler's niece Marie Countess von Seydewitz, represented by her husband, the Chamberlain and Major von Pachelbt-Gehag.
  14. ^ Meanwhile Heinrich Graf Pückler
  15. ↑ G. Datz: Partenheim versus Boppard ... (PDF), p. 98 ff.
  16. ↑ A German translation of the description of Historia Provincia des Father Yes, written in Latin around 1680 . Milendunck in G. Datz: Partenheim versus Boppard ... p. 180 ff.
  17. ↑ Jane Hayward. Stained Glass Windows from the Carmelite Church at Boppard-am-Rhein, Metropolitan Museum Journal 2, New York 1969.
  18. ↑ G. Datz: Partenheim versus Boppard ... p. 103.
  19. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungsverein Boppard 1872 e. V. Boppard 2012, p. 23 .
  20. ↑ G. Datz: Partenheim versus Boppard ... p. 168.
  21. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungsverein Boppard 1872 e. V. Boppard 2012, p. 41-50 .
  22. ^ G. Datz: Partenheim versus Boppard ... The reorganization of the Boppard windows. P. 170 and 124 ff.
  23. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungsverein Boppard 1872 e. V. Boppard 2012, p. 61 .
  24. ↑ EJ Nikitsch: Inscriptions ... p. 83 ff.
  25. ↑ Achim Machwirth: The Carmel at Boppard on the Rhine. The stained glass of the Carmelite Church . Ed .: Verkehrs- und Verschönerungsverein Boppard 1872 e. V. Boppard 2012, p. 62-63 .
  26. ↑ G. Datz: Partenheim versus Boppard ... p. 167.
  27. ↑ Description of images in G. Datz: Partenheim versus… pp. 138–151.
  28. ↑ EJ Nikitsch: The inscriptions ..., p. 81.
  29. ^ Privately owned in Newport, USA, Seaview Terrace
  30. ↑ G. Datz: Partenheim versus ... p. 168.
  31. ↑ G. Datz: Partenheim versus… plates 69/70.
  32. ↑ Details on the course of the auction and results from G. Datz, p. 128 ff.
  33. ↑ G. Datz: Partenheim versus ... p. 136.
  34. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 344 .
  35. ^ High altar of the Carmelite Church, Boppard. Retrieved November 23, 2014 .
  36. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 345-347 .
  37. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 394-395 .
  38. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 347-349 .
  39. ↑ Is the Madonna of Tears returning to Boppard? Retrieved November 29, 2014 .
  40. ↑ tears Madonna back in Boppard. In: All about Boppard. No. 18, 2015, pp. 1, 4.
  41. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 356-359 .
  42. ^ Ralf Hofmann: Renovation of the choir stalls Nov. 2012. Parish of St. Severus, October 30, 2012, accessed April 20, 2020 .
  43. ↑ a b Choir stalls of the Carmelite Church, Boppard. Retrieved November 23, 2014 .
  44. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 359 .
  45. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 352-353 .
  46. ↑ www.sankt-severus.de: The Mount of Olives Group in the Carmelite Church. Accessed on January 31, 2012.
  47. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 366 .
  48. ^ A b State Office for Monument Preservation (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 374 .
  49. ↑ a b Eberhard J. Nikitsch: DI 60, No. 55 . urn : nbn: de: 0238-di060mz08k0005502 ( inschriften.net ).
  50. ^ "Unfortunately, senselessly distorted by exaggerated prudery", Wilhelm Schlad, Chronick der Stadt Boppard, LHAK Order 618 No. 608.
  51. ↑ Eberhard J. Nikitsch: DI 60, No. 117 . urn : nbn: de: 0238-di060mz08k0011706 ( inschriften.net ).
  52. ↑ Eberhard J. Nikitsch: DI 60, No. 196 (†) . urn : nbn: de: 0238-di060mz08k0019608 ( inschriften.net ).
  53. ^ State Office for the Preservation of Monuments (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 384 .
  54. ^ A b State Office for Monument Preservation (ed.): The art monuments of Rhineland-Palatinate . tape 8 : The art monuments of the Rhein-Hunsrück district. Part 2. Former county St. Goar, the first town of Boppard I. . Deutscher Kunstverlag, Munich / Berlin 1988, ISBN 3-422-00567-6 , p. 386 ff .
  55. ↑ On the Husilstamm family (also Huysselstam, Husetstam), which together with Conrad provided a lay judge in Boppard between 1393 and 1425, see the records of the archivist Beyer: LHAK 700, 30, 668; Archivist von Eltester describes the coat of arms as gold, see Eltester's coat of arms collection in the LHAK
  56. ↑ In the Bode Museum in Berlin there is a grave slab of Heinrich Bayer von Boppard, which contains the coat of arms of the Bayer (lion) as well as that of the crossed keys. See: Eberhard J. Nikitsch: DI 60, No. 43 . urn : nbn: de: 0238-di060mz08k0004309 ( inschriften.net ).
  57. ↑ Eberhard J. Nikitsch: DI 60, No. 45 † . urn : nbn: de: 0238-di060mz08k0004505 ( inschriften.net ).
  58. ↑ Eberhard J. Nikitsch: DI 60, No. 96 (†) . urn : nbn: de: 0238-di060mz08k0009602 ( inschriften.net ).
  59. ↑ Eberhard J. Nikitsch: DI 60, No. 116 . urn : nbn: de: 0238-di060mz08k0011608 ( inschriften.net ).
  60. ↑ Eberhard J. Nikitsch: DI 60, No. 220 . urn : nbn: de: 0238-di060mz08k0022003 ( inschriften.net ).
  61. ↑ Eberhard J. Nikitsch: DI 60, No. 195 . urn : nbn: de: 0238-di060mz08k0019509 ( inschriften.net ).
  62. ↑ Eberhard J. Nikitsch: DI 60, No. 212 . urn : nbn: de: 0238-di060mz08k0021202 ( inschriften.net ).
  63. ↑ Eberhard J. Nikitsch: DI 60, No. 219 . urn : nbn: de: 0238-di060mz08k0021900 ( inschriften.net ).
  64. ↑ Eberhard J. Nikitsch: DI 60, No. 222 . urn : nbn: de: 0238-di060mz08k0022209 ( inschriften.net ).
  65. ↑ Eberhard J. Nikitsch: DI 60, No. 91 † . urn : nbn: de: 0238-di060mz08k0009107 ( inschriften.net ).
  66. ↑ E. aus'm Weerth: Dated tombs of the Middle Ages in the Rhineland . In: Association of friends of antiquity in the Rhineland (ed.): Yearbooks of the association of friends of antiquity in the Rhineland . tape 57 . Self-published, Bonn 1876, p. 151 .
  67. ^ BJ Kreuzberg: To the tombs of the Boppard Carmelite Church . In: Association for history and art of the Middle Rhine (ed.): Yearbook for history and art of the Middle Rhine and its neighboring areas . 4th / 5th Volume (1952/1953), p. 62 .
  68. ^ Columbarium: solution found . In: Rhein-Zeitung , June 4, 2016
  69. ↑ www.rhein-zeitung.de: Columbarium in the Karmeliterkirche is a pilot project in the diocese , accessed on February 6, 2018.
  70. ↑ www.rhein-zeitung.de: Columbarium inaugurated , accessed on February 6, 2018.
  71. ^ Boppard Columbarium , accessed February 6, 2018.
  72. ^ General Directorate for Cultural Heritage Rhineland-Palatinate (ed.): Informational directory of cultural monuments - Rhein-Hunsrück district. Mainz 2019, p. 9 (PDF; 1.7 MB).

Coordinates: 50 ° 13 ′ 57 ″  N , 7 ° 35 ′ 18.4 ″  E