Maria-Hilf chapel (Trier)
The Maria-Hilf-Chapel is a chapel of the Barmherzigen Brüder von Maria-Hilf in Trier .
history
The Maria-Hilf-Chapel , built in 1814/15, has stood for over a hundred years as a nationally important, popular Marian pilgrimage site in Koblenz-Lützel above the left bank of the Moselle. Even Peter Friedhofen (1819-1860), founder of the Congregation of the Brothers of Charity of Mary Help, was there to their regular visitors. For this reason, the chapel was moved from its original location in Koblenz to the garden of the Trier motherhouse in 1926 . In 1928 it also took up the grave of the founder of the order and thus became - at the latest since his beatification in 1985 - the central place of the Peter Friedhofen adoration.
Description of the Maria-Hilf-Chapel
The chapel has existed in its current form since 1989/90, when it was fundamentally redesigned again on June 23, 1985 due to the increased space requirements after the beatification of Peter Friedhofen. According to plans by the Trier architect Karl Peter Böhr , a new building was built based on the proportions of the old chapel and was inaugurated on May 6, 1990. The new prayer room is spanned by a three-lane groin vault, the low-hanging keystones of which give the impression of a three-aisled complex. The old gothic pillars from 1845/46 serve as supports to the right and left of the choir arch. The side walls are completely dissolved into slender, glazed arcades, taking up the round arch motif of the old chapel. The polygonal corner turrets and the vestibule-like porch, on which the two cast-iron columns of the old vestibule were reused, imitate elements of the older building.
The old chapel room, which today serves as a choir, has been restored to its original color (Petra Schreyögg, Leutesdorf). The ornaments of the protruding wall panels make specific reference to the Marian patronage: In stylistic forms of the early 20th century, which in turn imitate late medieval wall coverings made of brocade fabrics, one recognizes stylized irises and rose buds in a system of oval laurel tendrils. Since the 13th century at the latest, the rose has been the symbol of Mary par excellence, which embodies innocence, purity and perfection. Irises, on the other hand, were considered in medieval flower symbolism as images of the seven sorrows of Mary and were therefore closely related to the veneration of the painful Mother of God. The walling of the lower half of the apse was removed and the miraculous image was placed freely on a high base. The hanging lamps created in 1928, which had been removed in the meantime, were reinstalled.
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The iconography of the new interior is entirely dedicated to the person and the work of Peter Friedhofens: The supporting console stones of the vault illustrate the most important stages in his life in colored reliefs (Willi Hahn, Trier). Starting in the front left corner of the room, the sequence runs counterclockwise along the walls: childhood - Peter Friedhofen as a young boy in front of a sculpture of Mary -, the chimney sweep apprenticeship with his brother, the wandering, the support of his sister-in-law and her children, the Construction of the little monastery in Weitersburg, the clothing, the early monastery life with the first brothers, nursing, death and beatification. As a counterpart to these consoles, the deeply drawn-down, supporting keystones of the vault are decorated with the gold-plated symbols of the four evangelists.
The steep vaulted caps are painted with stylized grapevines (Petra Schreyögg, Leutesdorf), each of which extends from the consoles and keystones. As a central Eucharistic symbol, the vine refers to Christ, whose message the Gospels proclaim, following which the life of Peter Friedhof is shown on the consoles. In addition, they recall the Word of Christ: “I am the vine, you are the branches. Whoever remains in me and in whom I remain brings rich fruit; for apart from me you cannot accomplish anything ”(Jn 15,5). The word Jesus addressed to his disciples can also be used as a life balance sheet to refer to Peter Friedhofen and his followers of Christ. At the same time it can be understood figuratively as an invitation to the friars to follow the ideals of their founder. Due to the large number of vines, the vault painting also arouses associations with the parable of the workers in the vineyard (Mt 20).
The design of the windows (Petra Schreiögg, Leutesdorf) directly illustrates a statement by Peter Friedhofen about the character of his community: On the left, various shades of blue condense into non-representational shapes on a clear background, while on the right, red-yellow flame structures lick upwards. This is the exact implementation of the letter passage: "[...] this work is supposed to give a work which is to be erected from a new fire and a new spirit."
The center of today's chapel is the grave of the founder of the order at the transition between the new and the old chapel. Its centerpiece is the altar (Ulrich Henn, Leudersdorf), which was commissioned in 1985 on the occasion of the beatification, with the Peter Friedhofen Shrine inside. In order to be able to present it visibly, all four supporting sides of the bronze altar block are openwork. Their decoration consists of a naturalistically designed rosary, which is set with golden flowers and five round medallions. These show the secrets of the painful rosary on the front and those of the joyful rosary on the back. In an interesting way, the Marian patronage of the chapel - with the rosary as a pronounced instrument of Marian devotion - is connected with a strong christological aspect that encompasses the entire history of salvation. The passion scenes of the painful rosary on the front of the altar, which culminate in the crucifixion, are in the foreground and thus establish a close relationship with the Eucharistic sacrifice. The emphasis on Christ is continued on the left side by five of his miracles: starting at the top left, one recognizes the miraculous multiplication of bread, the wedding at Cana, the washing of the feet, the awakening of Lazarus and the healing of a lame man, counterclockwise. The Works of Mercy correspond with them on the opposite page: In the same reading direction, a hungry person is fed, a thirsty person is given water, a naked person is clothed, a prisoner is visited and a sick person is cared for. This comparison also addresses the active following of Christ by actively obeying the commandment to love one's neighbor and recalls the word of Jesus: “What you did for one of the least of my brothers, you did it to me” (Mt 25:40).
Through all four sides of the altar one can see the shrine with the bones of Peter Friedhof, created by Brother Numerian in 1928. It appears framed by the rosaries designed as real plants. Even the early Christians saw the rose as the flower of paradise and the saints. In this way the status of the blessed is visualized. At the same time, each of the four pages refers to Peter Friedhofen in terms of content by showing the most important topics of his life: Adoration of the Virgin Mary, following Christ, active charity and passion.
In front of the altar, which was moved from its original location in the center of the old chapel under the choir arch, is the old Koblenz grave slab from 1926. It can be seen primarily as a reminder of the old burial site from which the The bones of the beatified were raised 'to the honor of the altars'. This reference to authentic earthly life is supplemented by the portrait of the founder of the order, which was placed above the choir arch in an axis with the grave slab and the shrine. Similar to the image of the grace of Mary or the two historicist sculptures of St. Joseph - as the patron saint of the religious order - and of St. Augustine - the rule father of the community since 1850 - it is not just a reminder of the founder, but also gives those who pray more direct access to him. The portrait is surrounded by the explanatory inscription: “Blessed Brother Peter Friedhofen * February 25, 1819 † December 21, 1860 - founder of the Barmherzigen Brüder von Maria-Hilf - beatified June 23, 1985 by Pope John Paul II. - A sign of the Hope for the poor and the sick "
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Coordinates: 49 ° 45 '48.79 " N , 6 ° 38' 18.45" E