Assumption of Mary (Roden)

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Church of the Assumption of Mary in Roden, neo-Romanesque facade by Heinrich Latz and Toni Laub
View inside the church

The Church of the Assumption of Mary is a Roman Catholic church in the Saarlouis district of Roden (Saar) . The church belongs to the parish community on the right of the Saar, founded in 2011 . The parish community consists of the Saarlouiser districts Fraulautern , Fraulautern-Kreuzberg , Roden and Steinrausch with their churches Holy Trinity (Fraulautern) , St. Josef (Fraulautern-Kreuzberg), Assumption of Mary (Roden), Christkönig (Roden) and St. Johannes ( Stone rush). The parish community is assigned to the diocese of Trier . The patronage festival of the Roden Marienkirche is the ecclesiastical solemnity of the Assumption of the Virgin and Mother of God Mary , which is celebrated on August 15th.

history

The church building

The church building in its present form

The current church building with its Romanized double tower facade was created by the reconstruction of the war-destroyed neo-Gothic Roden church from 1898 to 1900 by the Saarwellingen architects Heinrich Latz and Toni Laub in the years 1949 to 1950. An early modern predecessor church, built around 1500, had an approximately 25 meter high Church tower and a 15 meter high nave . A baroque church was built in 1750 and expanded in 1828. After Julius Wilhelm Imandt had become pastor in Roden in 1888 (until 1912), he had the old baroque church on today's Roden market square torn down in 1904 and initiated the construction of the new parish church of the Assumption in the form of one in the years 1898–1900 neo-early Gothic basilica based on plans by the architect Wilhelm Hector from Roden . The historicist new building was on April 29, 1902 consecrated . This neo-Gothic church was built in World War II during the heavy urban warfare between US troops and the German Wehrmacht badly damaged during the winter 1944/1945 and rebuilt powerfully transformative in the postwar period.

The first mention of the parish

The parish Roden (Rodena) is in a document of the Trier Archbishop Theodoric II. Von Wied called (term 1212-1242) from the year 1222, in which the parishioners, like other parishes in the Saar area are obliged every year a pilgrimage to Mettlach to Church of the Holy Sepulcher of St. Liutwin in what is now the Old Tower of Mettlach Abbey . The document from 1222 refers to older documents from the Trier bishops, which are no longer available today.

The list of parishes in which Roden is mentioned is a literal reproduction of a document from the Archbishop of Trier, Albero von Montreuil (term of office: 1131–1152), in which he guarantees the Mettlach monastery an already existing pilgrimage privilege. Since the Alberos document no longer exists, its latest date of creation must be assumed to be 1152. The Alberos document, for its part, refers to an even older document from Archbishop Ruotbertus of Trier (931–956). The original document of Archbishop Ruotbertus, like that of Albero, is no longer available. The year 956 must be assumed as the latest date of origin of the Ruotbertus certificate. Roden could have been a pastor as early as the 10th century. However, it could also be that the parish of Roden came into being later and was then added to the existing list of parishes that were obliged to take part in the Mettlach pilgrimage.

The donation of 995

The aristocratic Berta and her husband Volkmar donate the Rodena royal estate to the Mettlach Monastery as a pious foundation, gold relief on the back of the Mettlach Staurothek from the 13th century

In a Latin deed of donation from the year 995, Roden is mentioned as a place, but not as a parish. Here the noble Berta hands over the royal estate Rodena, which her husband Volkmar had bought during her lifetime, as a pious foundation to the Mettlach monastery:

“Since every temporal possession passes like smoke and shadow, it will still be useful for the owner if he has decided to use his property for the good of his soul. The gracious deity is to be admired and praised very much, because with the consent of her great grace we can always acquire perishable eternity, which I, Berta, have resolved with a firm will for my and also my deceased husband Volkmar's salvation and that for his order made during lifetime. He rests near the Mettlach monastery, where St. Lutwinus is buried, which he built in the strongest manhood in honor of the holy apostles Peter and Paul and St. Andrew. Everything that I have received from my husband at the Rodena farm in Saargau, in the County of Wallerfangen, as a permanent dowry in my own possession, namely 15 lifts apart from the manor, and what is added in the form of forests, meadows and river areas, I hand over to the Mettlach monastery, Of course, in such a way that the monks there from today on may regard it as property and can freely dispose of it. And so that it may be made known to everyone how outrageous a contradiction is to this donation, I explain the true facts and confirm it by the signature of several witnesses that my husband mentioned above once bought this allodial good from his king's hands at a high price and without any contradiction on the part of the law or based on a very firm tradition. Therefore, whoever wants to assert claims here, may incur the wrath of God, the flaring up of which he himself is responsible. May he also repay the royal treasury as much as anyone who disobeys and breaks the law owes. Done at Mettlach Monastery on the fifth calendar day of March (25 February) in the year 995 of the Incarnation of the Lord, in the presence of the Archbishop and Lord of this place Ludolphus . The bearers are Uodilo and Heckinrich, Uuetel, Helidrich and his brother Henno are the guarantors. Witnesses are Count Vetel and his nephew Wetel, Cuono, Gerunc, Bruonicho, Frizzo, Winigo, Friderart, Mazzo, Cuono, Gozichin, Hupichin, and Thederich. "

The importance of Roden for the Mettlach monastery is also shown in the fact that on the back of the Mettlach cross reliquary from 1230, the donation of Roden to Mettlach by Count Volkmar and his wife Berta is symbolically represented, while Christ as the enthroned world ruler blesses the scene. On June 20, 1591, the Mettlach Abbey, which had got into a financial emergency, had to sell its rights to Roden for 3,000 francs to Lantwein Bockenheimer, Lantwein Bockenheimer, the ducal-Lorraine rentmaster in Wallerfangen .

Medieval remains

The oldest surviving remnant of a medieval church in Roden probably dates from the end of the 11th or the beginning of the 12th century. It is a Romanesque sandstone capital with a depiction of a dove, which was found in 1936 when the old market square was redesigned. In addition, there is a Gothic statue of the Madonna from around 1350, the so-called "Madonna with the gem ring". The seated Madonna with the baby Jesus on her lap is kept in the Church of the Assumption today.

Medieval pastor

As the earliest recorded pastor of Roden, a Rorich from Roden is named in 1220. Other medieval pastors mentioned are:

  • Arnoldus (1237)
  • Gerhard (1289)
  • Walter (1310)
  • Ludovicus (1323)
  • Heinrich (1344)

Patronage monasteries

The Abbey of St. Mauritius in Tholey had patronage rights over the parish of Roden in the Middle Ages, probably since the 11th century, documented since 1246. Apart from a short break of about 50 years (1687–1739, patronage by the abbey St. Maria in Wadgassen ) these patronage rights remained with Tholeyer Abbey until the French Revolution . In addition, Roden was assigned as a parish to the Archdeaconate Tholey and within this to the Merzig Regional Chapter .

Visitations

Visitations of the parish are mentioned for the years 1330 ( Taxa generalis of the Archbishop of Trier Baldwin of Luxembourg ), 1569, 1618, 1680 and 1739. The visitation report of the year 1618 contains three altars, two chalices, a ciborium and a monstrance for the church in addition to the property of the parish of Roden . The visitation report of the year 1680 gives the pastor and schoolmaster Peter Simonis (term of office: 1666–1691) a bad testimony: he is negligent and addicted to drinking . In the visitation report of the year 1739 the patronage of the parish of Roden is mentioned for the first time : Assumption of Mary.

Pastor of the early modern period in Roden

The names of the Roden pastors from the late Middle Ages and the early modern period have only partially survived:

  • Nikolaus Textoris: 1569
  • Laurent Collin: 1595-1606
  • Andreas Bockenheimer: 1618–1622
  • Jakob Metzinger: 1636
  • Peter Simonis: 1666-1691

After the death of Peter Simonis, the Premonstratensian Fathers of Wadgassen Abbey performed the parish services in Roden. In the years 1687–1739, Wadgassen had the right to appoint pastors in Roden. As a monk pastor from Wadgass worked in Roden:

  • Vincenz Ruwer: 1692-1696
  • Josef Hemmel: 1697–1721
  • Domenikus Schmitt: 1721-1739

Church fires

The Roden parish church burned down in 1635 , presumably caused by imperial troops during the Thirty Years' War . Another church fire is documented for 1667. At that time the rectory and the surrounding houses also burned down. These fires were facilitated by the fact that the Roden houses and the church were still thatched at that time. After the fire of 1667, the Roden church was only repaired and covered with straw again . Due to a lack of money due to the prevailing turmoil of the war, the rectory in Roden could no longer be built and the Roden pastor Peter Simonis therefore took an apartment in Wallerfangen with his local colleague Peter Varcolier.

New construction of the parish church

Roden, Assumption of Mary, baroque church from 1749/1750, tower from 1755, extension of the church in 1828, demolition in 1904, the church stood on today's Roden market square, archive of the Saarlouis Municipal Museum

In the years 1749–1750 a new parish church was built and consecrated on June 26, 1750 by the Trier auxiliary bishop Johann Nikolaus von Hontheim . The church tower could only be completed in 1777. This new baroque church remained in place until it was demolished in 1904. Pastors at that time were:

  • Nikolaus sculptor: 1756–1763
  • Johann Altmeyer: 1763–1794

Devotion to Donatus and customs

In connection with the consecration of the Roden parish church, the Roden custom of worshiping the weather saint Donatus is mentioned for the first time , the originator of which was probably the Wadgasser Premonstratensian monks in the years 1691 to 1739. St. Donatus is still venerated in Roden by a procession on the second Sunday in July. During the Donatus procession that takes place after the high mass, the local priest takes a Donatus reliquary with him. It is carried through the streets of Roden next to the figure of the saint. As a result, Saint Sebastian , who had been venerated by a brotherhood in Roden until then, took a back seat .

In the 18th century, on Donatustag in Roden, so-called "Donatus Slips" were distributed to the faithful, touched on the Donatus reliquary and used by the people as amulets against lightning and hail.

The original Donatus reliquary, set in gold and silver, was stolen during the French Revolution. Today's statue of Donatus dates from 1784. A tradition in Roden that is connected to Donatus customs is the “first grain bin ”, which is always erected on the evening before Donatus day. Tradition tells that a Roden priest, surprised by a sudden storm during the Donatus procession, was once able to take refuge in such a grain box with the Donatus reliquary. He pleaded to the weather saint that the storm would stop soon. His prayer was answered so that no further harm was caused to him or the people of Roden at that time.

Prohibition of Christianity in the French Revolution

With the introduction of the so-called cult of reason in 1793/1794 during the French Revolution , previous Christianity was suppressed and persecuted. The then Roden priest Johann Altmeyer had already refused in 1791 to take the oath of allegiance to the revolutionary French constitution. He was then removed from office. Altmeyer stayed in Roden until 1794, but then had to flee. The Roden parish church lost all of its properties and was plundered. The revolutionaries dragged statues of saints out of the church and burned them near the parsonage. The precious Donatus reliquary was also lost. Only with the Concordat of 1801 was Christianity officially approved again.

Kulturkampf and new church building

Roden, Mariä Himmelfahrt, neo-Gothic church by the Roden architect Wilhelm Hector, built in the years 1898–1900, destroyed in the Second World War, rebuilt in 1949–1950 heavily modified by the Saarwellingen architects Toni Laub and Heinrich Latz, archive of the Saarlouis Municipal Museum
Roden, Mariä Himmelfahrt, interior of the neo-Gothic church by the Roden architect Wilhelm Hector around 1900
Clearance, Assumption of Mary, tower front of the destroyed neo-Gothic church after the bombardment by the US artillery, archive of the Saarlouis Municipal Museum

During the anti-Catholic culture war in the Kingdom of Prussia , to which Roden had belonged since the Congress of Vienna , the Roden priest was deprived of the local school inspection until 1889. Confirmations could no longer take place in the Roden parish church between 1878 and 1889. This mainly affected Pastor Johann Philipp Thirion (term of office: 1838–1888). During this time, the Roden confirmants were taken to Villingen in Lorraine, where the sacrament was administered to them. The election results of the Catholic Center Party in the region skyrocketed, as the majority of the Catholic population in the Saar supported the church leadership. In 1888, Roden got pastor Julius Wilhelm Imandt (term of office: 1888-1912), a clergyman who was at the height of the Kulturkampf when he was clergyman in the neighboring communities of Roden in Dillingen / Saar ( St. Johann ) and leases ( St. Maximin ) was arrested and had to flee Germany because he had violated the so-called May Laws.

Under Pastor Imandt, the neo-Gothic church on Rodener Schulstrasse was built between 1899 and 1901, as an extension of the old baroque Roden parish church completed in 1828 had hardly remedied the space problem. A church building association had already been founded in 1891. The construction site for the new church in Schulstrasse was decided in 1896. The cornerstone was ceremoniously laid on Whit Monday in 1899. On April 29, 1901, the inauguration of the new sacred building was celebrated. The costs of the neo-Gothic new building were borne by the Roden community and some donors from Saarlouis. The basis of the financing was a foundation in the amount of 40,000 marks by the Saarlouis citizen Louis Theis. The interior of the church could only be purchased gradually. A new organ was installed in 1914 under Pastor Wilhelm Linn (term of office: 1912–1921).

Against the protest of a citizens' initiative founded by the former Roden teacher Anna Franz, the old baroque church was demolished in October 1904 by resolution of the church council and the building materials and furnishings were auctioned. In the period after the Second World War, however, the then Roden priest Karl Thiel (term of office: 1947–1974) was able to repurchase numerous pieces of equipment from the former baroque parish church from private individuals and transfer them to today's church.

First and Second World War

During the First World War , the parish had to give up its church bells and organ pipes to be melted down in 1917. In 1925 new bells were hung in the church tower. During the Second World War , these bells had to be returned for war purposes in June 1942. Likewise, in August 1943, a total of 23 candlesticks and the gong were given to be melted down. There were numerous tensions between Pastor Jakoby and Roden Rector Wagner regarding the National Socialist conformity of the Roden youth. During the heavy fighting between the German Wehrmacht and the US Army in the winter of 1944/1945, the Roden church tower was so shot at on December 9, 1944 that it collapsed. The Americans had suspected a German observation post in the tower. The house-to-house war in Roden did not end until March 16, 1945. Almost 90% of Roden's houses, the church and the rectory were destroyed, so the so-called Menkes Plan (based on the French town planner Edouard Menkes, 1903-1976), developed between 1945 and 1947, provided for Roden to be completely abandoned as a place and at his Place to create an industrial area. Over 460 men from Roden had been killed as soldiers in the war, 140 were missing and around 100 civilian casualties were to be mourned. In addition, numerous Roden residents died after the end of the war due to the detonation of explosive devices.

Reconstruction of the parish church

The first service of the people of Roden after the end of the war was held on April 15, 1945 in the Saarlouis hospital chapel. The hospital chapel was used as a replacement church in Roden for four months. After that, a former labor barracks served as a parish church and a prison barracks as a parsonage. The first Holy Mass in the barracks took place on August 19, 1945. When Pastor Thiel took over the Roden parish on May 30, 1947, he immediately began planning the construction of a new church. The clearance work was done by volunteers from Roden. A collection campaign in the neighboring communities of Roden brought in 600,000 francs for the reconstruction of the parish church, which was destroyed in the war. The church council commissioned the architects Toni Laub and Heinrich Latz (father of the landscape architect Peter Latz ) from Saarwellingen with the reconstruction of the Roden church. The construction work was led by contractors Hans Geimer and Johann Gergen. Numerous auxiliary services and trades were done by the people of Roden, from schoolchildren to pensioners. Instead of the neo-Gothic ribbed vault, an approximately 1000 m² wooden ceiling was installed. Compared to the previous building, the room height was reduced.

The topping-out ceremony was celebrated in November 1948, the first service on Easter 1949 and on the patronage day of the church, the feast of the Assumption of Mary, the Trier bishop Franz Rudolf Bornewasser celebrated the new consecration of the church on August 15, 1949 in the presence of the Saarland Prime Minister Johannes Hoffmann and Saarland Interior Minister Edgar Hector . The pews were installed in December 1949. The new church towers were only started in late autumn 1950. The last structural work on the church was completed in the summer of 1952. The rose window of the westwork was a donation from Prime Minister Johannes Hoffmann. The completion of the reconstruction work was celebrated in the days from June 21 to 30, 1952 as part of a large-scale 1000-year celebration of the parish of Roden. In the following years the church was plastered inside and out, the tower clocks installed and the windows glazed. On March 28, 1954, the new bells were installed in the two church towers. The ring now consisted of six bells. The municipality of Saarlouis assumed the main costs for the bell. By the end of 1955, the stained glass windows were in place, the painting work was completed and Joachim Pathen's Way of the Cross (Roden) was created.

Branch establishment

After the population of Roden had exceeded 10,000 in the course of the 1950s, planning began for the establishment of a branch in the existing parish in order to divide up the parish area. On April 1, 1964, work began on the new construction of the Christ the King 's Church with the attached community center on the Roden station forecourt. In 1968 the construction work according to plans by the Trier architect Günter Kleinjohann (* 1926) was completed. The church was consecrated on October 26, 1968. The overall completion, however, dragged on until the early 1980s.

Pastor:

  • 1947–1974: Karl Thiel (? –1978)
  • ? –1992: Karl-Heinz Horbach (* 1929)
  • 1993–2007: Peter Frisch (1942–2009)
  • 2007–2010: Martin Münster
  • since 2010: Hanskurt Trapp

architecture

Neo-Gothic church

Exterior

The architect Wilhelm Hector, who was born in Roden, designed the new Roden parish church of the Assumption as a three-aisled basilica with a transept and a facade tower in neo-Gothic style. The early Gothic repertoire of forms predominated.

The outer skin of the church was made of ashlar, with wall surfaces and buttresses made of yellowish sandstone with a rough surface. The cornices, cloaks, tracery and buttress covers were made of smooth-hewn red sandstone. The roofs were slated .

The 60 meter high church tower on a square floor plan was divided into five floors, which were visually separated from each other by cornices. The corners of the tower were accentuated in each of the three lower floors by a diagonal buttress, which jumped back twice and was crowned at the top - in the upper half of the second tower floor - by an aedicula with a pinnacle . This corner design continued on the bell storey with a halved pinnacle. A stair tower with a conical roof was built on the left side of the two lower tower floors.

The entrance gate in the tower served as wimpergbekröntes stepped portal with figure- and blendmaßwerkgeschmücktem tympanum decorated. The portal was flanked by a sculpture niche. There was also a figure niche to the left and right of the eyelash. Directly above, the tower opened into a large tracery window with an overlap profile, which had a four-lane tracery in the lower part and ended in a glazed rose window with eight spokes. The cornice above took up the eaves height of the nave, the transept and the apse.

Further up, on the third floor of the tower, there were two small notch windows. The fourth floor of the tower - the bell floor - opened on all four sides in two large lancet windows, which were optically connected in the pointed arch area with an overlay profile.

The fifth and last tower floor only rebounded slightly. It was divided into three parts on all four sides by pilaster strips . While the outer sections each contained a notch window, the middle, gable-crowned section accommodated the tower clock. The four gables continue the pilaster strips upwards with a rising pointed arch frieze. The gable tops culminated in finials . The upper corners of the tower below the tower eaves were accentuated by tracery galleries. The slated church tower roof was designed as a double retracted, high, octagonal bent helmet.

The nave closed on the entrance side with a cross-sectional facade, to which buttresses were placed at right angles at the outer corners. The sloping roofs of the aisles were covered with stone slabs and connected to the facade tower. In front of the aisles there was a polygonal chapel on the left and a chapel with a broken corner section on the right. Every corner of these two chapels was studded with buttresses.

The yokes of the nave and the corners of the transept as well as those of the choir were emphasized by supporting pillars. The structure of the outer wall by buttresses corresponded to the yoke division inside . The first yokes had side entrance portals on both sides of the church. The walls of the aisles opened in simple coupled lancet windows. The buttresses of the side aisles jumped back at the level of the surrounding cornice, in the uppermost area they only rested on the wall in the depth of the pilaster strips. In the area of ​​the upper aisle, the wall was broken through by wide and low tracery windows. Here, too, the wall was divided by buttresses. The side aisles closed off with pent roofs .

The transept stepped at both ends in a buttress-accentuated polygon with 3/8 key over the dimensions of the aisles. It had the same eaves height as the central nave and the apse and opened in three tracery windows. Two additional side portals adorned with eyelashes were located in the sloping sides of the transept polygon facing the nave below the windows.

The choir bay had three aisles. The middle apse had a 5/8 end, buttresses at the corners and tracery windows. The aisles of the choir bay closed flat, had buttresses set diagonally at the corners and were covered with hipped roofs. The sacristy was on the right in the corner between the choir bay and the main apse.

Interior

The rectangular cross rib vaults of the nave corresponded to almost square yokes in the aisles. The floor plan of the crossing was a square. The floor plan of the central nave choir yoke and that of the choir flank chapels were rectangular. All yokes - with the exception of the star-vaulted crossing - were vaulted with cross ribs. The apse and transept arms had a six-pointed rib vault. The vault in the nave rested on slender round pillars with rich foliage capitals . The motif of the round pillar arcades was part of the frequently used repertoire of Hector's neo-Gothic architecture.

The nave was structured by five bays. Of the pillars of the dividing arcades up to the nave walls round services up, on which the belt and diagonal ribs were the central nave. The capitals of these circular services were at the height of the apex of the arcades of the central nave. In the side aisles, the vaults rested both on the capitals of the round pillars of the separating arcades and on pilasters on the walls.

The crossing was delimited by round pillars. Four chamfered pilasters, flanked by circular services, rose above their capitals, which visually conveyed the transverse arches of the crossing. In the apse and the two transept polygons the vaults rested on services decorated with capitals. A sill cornice ran through the apse and transept below the windows.

Post-war construction

Dominikus Böhm: Facade of the Gerleve Abbey Church, 1937–38, possible source of inspiration for the design of the Roden church facade by Toni Laub and Heinrich Latz

The original neo-Gothic three-aisled round pillar basilica with a sweeping three-icon complex , side choirs opening to the choir and transept and a high tower with a tracery rose and an octagonal pointed helmet in front of it was rebuilt after the severe war destruction in the urban warfare of the winter of 1944/1945 as a beamed step hall in the style of a massive, abstract, double-tower facade - Historicism rebuilt.

The neo-Gothic vaulting of the long and side aisles was not restored during the reconstruction. The upper aisles , illuminated by pointed arched windows , were also given up. The tracery of all pointed arch windows were knocked out. The original cross rib vault only exists in the side choirs. The ribs end on small pillars with flower capitals. In the nave, round pillars support the five yokes of the ships. In the fighter zone, the round cross-section is transformed into an octagon. Originally the capitals were lavishly decorated with leaf ornaments. The pointed arched dividing arches are profiled by fillets and round bars. The side walls of the side aisles still show the wall templates that once supported the vaults. The dark stained beam ceiling is also heavily shaded by the lack of upper cladding windows.

The massive two-tower facade from the 1950s is architecturally related to early and high Romanesque west works . The square, pyramid-roofed towers with round arches as sound openings are divided into four floors by sandstone cornices and flank a slightly recessed middle section extending over two floors with a monumental colossal niche that accommodates three portals and a large tracery rose. An eight-part round arched gallery opens above it. The eaves of the transverse saddle roof is emphasized by a block frieze . The middle section of the facade with a colossal niche, tracery rose and arcade gallery seems to be inspired by the architectural design of the neo-Romanesque middle section of the so-called Saardome in the neighboring town of Dillingen / Saar . In its overall architectural cubature, the post-war facade of the Roden church Maria Himmelfahrt by Toni Laub and Heinrich Latz is based closely on the redesign of the originally neo-Romanesque facade of the Gerleve Abbey by Dominikus Böhm in 1937 and 1938 .

Furnishing

High altar

Neo-Gothic high altar

With the new building of the neo-Gothic Roden parish church, a high altar and two side altars were made by the Trier workshop of the sculptor Karl Frank. Due to the effects of the Second World War and the new building measures, only a few parts of these altars have survived. Today's large neo-late Gothic high altar in the apse was also created by Karl Frank in the years 1899–1901 as a neo-Gothic winged altar for the pilgrimage church of the Visitation of the Virgin in the Saarburg district of Beurig. As part of the underestimation of historicist works of art in the period after the Second World War, the altar in Beurig was dismantled and stored in the fund of the Diocese of Trier. It was discovered here that it was thematically and art-historically suitable for the refurbishment of the Roden parish church, Maria Himmelfahrt, and was transferred here in 1972.

The altar is listed as an individual monument in the Saarland monuments list. The sculptor Karl Frank (1868–1942), who originally came from Kaiserslautern and was based in Trier, came to Trier towards the end of the 1880s, where he initially worked in the workshop of another sculptor. In 1897 he set up his own business by founding the “Atelier for Church Art Karl Frank”. Up until the First World War he produced a large number of mainly neo-Gothic and neo-Romanesque sacred inventory items of a high technical and artistic level.

The altar from Beurig shows the birth of Mary above in the left wing and Mary's temple passage below . The right wing deals with Mary's visit to Elisabeth in the upper field , and in the lower field the discovery of Jesus by Mary and Joseph in the temple . The back of the wing was designed by the Trier painter Peter Thomas (1854–1935). They show in intense colors the descent of the Holy Spirit in tongues of fire on Mary and the disciples of Jesus in the event of Pentecost, as well as the assumption of Mary into heaven. The disciples surround the empty tomb of the Blessed Mother, from which roses grow up, while the Most Holy Trinity sits on a bank of clouds and crowns the kneeling Mary Queen of Heaven .

The predella shows the proclamation of the birth of Jesus by the Archangel Gabriel to Mary on the left and the birth of Jesus on the right . In the burst you can see a crucifixion group , assisted by the banderole busts of the four Old Testament prophets King David , Jeremiah , Isaiah and Jesus Sirach . According to the ecclesiastical tradition of prefiguration theology, the four Old Testament personalities should be interpreted as hidden clues to the mysterious incarnation of Jesus through the Virgin Mary:

  • David: In the psalm ( Ps 89,29-38  EU ) David is promised the eternal continuation of his ruling family. In the Gospel of Luke ( Lk 1.31–33  EU ) the archangel Gabriel takes up this promise and prophesies to Mary: “You will become pregnant and you will give birth to a son; you shall call him Jesus. He will be great and will be called the Son of the Most High. The Lord God will give him the throne of his father David. He will rule over the house of Jacob forever and his rule will never end. "
  • Jeremiah announces the Messiah from the house of David ( Jer 23,5-6 EU ): “Behold, the days are coming - sayings of  the Lord - when I will raise up a righteous scion for David. He will reign as King and act wisely and do justice and justice in the land. In his day Judah will be saved, Israel can dwell in safety. He will be given the name: The Lord is our righteousness. ”In the passion of the life of Jeremiah and his submission to the service of God, the fate of Jesus Christ is heralded for Christian theologians in the sense of the prefiguration theology.
  • Isaiah prophesies the promise of the virgin birth of the Messiah as a descendant of David ( Isa 7,14  EU ): “That is why the Lord himself will give you a sign: Behold, the virgin has conceived, she gives birth to a son and will give him the name Immanuel. “In addition, he announces the atonement of the Messiah: ( Isa 52: 13–15  EU to Isa 53: 1–12  EU ).
  • Jesus Sirach describes the wisdom of God as the "mother of beautiful love" ( Sir 24.18  EU ). The invocation of Mary under this title in the Lauretanian Litany is derived from the self-designation of divine wisdom .

The blasting tower of the altar contains a figure of Mary flanked by figures of angels. The central retable shows from left to right St. Catherine of Alexandria , St. Joseph with the baby Jesus , John the Baptist and St. Elisabeth of Thuringia . The exposition niche is flanked by statues of angels and crowned by a pelican who sacrificed himself to his young as a sign of devoted love. The middle part of the columned, stone altar substructure shows the Lamb of God in a gold aureole with the Easter victory flag.

Vasa sacra

Roden, Church of the Assumption of Mary, Baroque monstrance

The following has been preserved on the historical altarpiece:

  • The parish church has a late Gothic silver monstrance with rich figural decorations.
  • There is also a baroque halo monstrance (height: 75 cm, material: copper) with a wreath of grapes and ears of wheat, a representation of the apocalyptic lamb with the book with the seven seals and the three cross nails as well as the Assumption of Mary. The lunula is flanked by two adoring angels. Above it are depictions of God the Father and the Holy Spirit under a canopy . The monstrance was recovered from the rubble of the church that was destroyed in World War II. The monstrance could be restored by the Trier goldsmith Jung by 1948 from donations of jewelry and wedding rings by the parishioners.
  • A richly chased rococo chalice made of copper and gold-plated silver
  • A baroque copper reliquary ( weather blessing ) with a particle that is said to come from the true cross of Christ .
  • Six baroque candlesticks (height: 85 cm, foot width: 30 cm) made of silver-plated copper with grape patterns that could possibly come from secularized abbeys (perhaps Mettlach Abbey or Wadgassen Abbey ) in the area.

Paraments

The parish still has several richly embroidered vestments (choir cloak, chasuble, Levite robes) from the 18th century, which come from the previous Baroque church that was demolished in 1904.

Figure and picture decorations

Roden, Church of the Assumption of Mary, Madonna with the gem ring
  • The so-called “Madonna with the Gemmenring” shows, in a high Gothic manner, a crowned figure of Mary sitting on an armchair, on whose knees the baby Jesus stands. The child grabs the mother's right hand and puts a gem ring on her finger.
  • The baroque figure of Immaculata on the crescent moon stood on the high altar of the previous baroque church (height: 1.10 m). After the old church on the Roden market square was demolished in 1904, it was auctioned off to a Roden family. It was destroyed in the Second World War and for a long time lay under the rubble of the Bies house on Lindenstrasse. The remains found during the clearing of rubble were donated to the parish and put together again by the restorers P. Geßner and W. Dick.
  • A baroque figure of Mary with baby Jesus (height: 1.50 m) shows Mary as the queen of heaven with the paradise snake at her feet. Before World War II, the statue had a stretcher for processions with a rococo canopy.
  • Baroque figure of St. Sebastian (height: 1 m) from around 1750 (restoration in Trier in the immediate post-war period of the Second World War)
  • Baroque figure of St. Donatus von Münstereifel (height: 1 m) with the attributes of lightning and sword from around 1750 (restoration in Trier in the immediate post-war period of the Second World War)
  • After the demolition of the old church on the Roden market square in 1904, the statue of Joseph was auctioned off to a Roden family who returned the statue to the community.
  • An early modern panel painting depicting the adoration of the baby Jesus by the three kings
  • The altars created in 1963, the ambo from 1965 and the baptismal font also made in 1965 come from the Ahlhelm company (Saarlouis-Roden) .
  • The altar in the Marienkapelle is the work of the sculptor Heinz Oliberius ( St. Wendel ).
  • The Stations of the Cross in sgraffito technique were created by the painter Joachim Pathen (Saarlouis-Roden).
  • The numerous statues in the church are made by the sculptors Karl-Heinz Kohl (Saarlouis-Roden), Ernst Brauner from Lebach -Landsweiler (created 1958) and Albert Johannes Zapp from Beckingen (created 1961).
  • The sculptor Wilhelm Tophinke , as a donation from the Roden-born priest Peter Korne-Buch, created a Pietà from two hundred year old oak that was taken from a house that was destroyed in the war.
  • The window rose above the portal was designed by the painter Peter Gitzinger (* 1899 in Tettingen , 1977 in Munich ), with the company Wenzel (Saarbrücken) being responsible for the execution.
  • A stone from the Holy Door of St. Peter's Basilica , donated by Prelate Ludwig Kaas of the parish in the Holy Year 1950, was inserted above the central church portal .
  • The painter Rudi Schillings (1925–2003, Trier ) made two windows in the transept , made by the Dornoff company (Trier).
  • The painter Keck designed two smaller windows on the side altars. The Dornoff company was also responsible for the execution. Like the Tophinke Pietá, the windows are a donation from the Roden-born priest Peter Korne-Buch.
  • The hand-forged offering box was created by architect Heinrich Latz from Saarwellingen.

organ

View towards the gallery with the prospectus of the Mayer-Gaida organ
Organ prospectus with rose window

The organ of the church was built in 1957 by the Hugo Mayer company ( Heusweiler ). In 2006, organ builder Thomas Gaida ( Wemmetsweiler ) made a change and expansion of the disposition and renewed the action and console . The cone chest instrument set up on a gallery has 38 stops and numerous transmissions and extensions , distributed over three manuals and pedal . The playing and stop action is electro-pneumatic and electric. The disposition is as follows:

I Hauptwerk C – g 3
1. Drone 16 ′
2. Principal 8th'
3. Wooden flute 8th'
4th Gemshorn 8th'
Vox coelestis 8th'
5. Octave 4 ′
6th Reed flute 4 ′
Vox coelestis 4 ′
7th Fifth 2 2 ⁄ 3  ′
8th. Principal 2 ′
9. Mixture 6–7f
Trumpet 32 ′
Trumpet 16 ′
Trumpet 8th'
Trumpet 4 ′
II Positive C-g 3
10. Dumped 8th'
11. Quintatön 8th'
Vox coelestis 8th'
12. Principal 4 ′
13. recorder 4 ′
Vox coelestis 4 ′
14th Nasat 2 2 ⁄ 3  ′
15th Bavaria flute 2 ′
16. third 1 3 ⁄ 5  ′
17th Cymbel 4f
18th Hugonette 8th'
Tremulant
Trumpet 16 ′
Trumpet 8th'
Trumpet 4 ′
III Swell C – g 3
19th English principal 8th'
20th Gaidalino 8th'
21st Salicional 8th'
Vox coelestis 8th'
22nd Far principal 4 ′
23. Night horn 4 ′
Vox coelestis 4 ′
24. Sesquialter 2f
25th bassoon 16 ′
26th Tromba 8th'
27. Schalmey 8th'
28. Clarine 4 ′
Tremulant
Bombarde 32 ′
Trumpet 16 ′
Trumpet 8 ′
Trumpet 4 ′
Pedal C – f 1
29 Bassus magnus rodensis 32 ′
30th Principal bass 16 ′
31. Sub bass 16 ′
Dacked bass 16 ′ (Transm. I Bourdon 16 ′)
32. Quintbass 10 2 ⁄ 3  ′
33. Octave bass 8th'
34. Dacked bass 8th'
35. Major third 6 2 ⁄ 5  ′
36. Choral bass 4 ′
37. Backset 5f
Bombard 32 ′
Wooden trombone 16 ′
38. Nursing trombone 16 ′
Trumpet 8th'
Clarine 4 ′
Singing Cornett 2 ′
Sandralino 1'
  • Pairing :
    • Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P
    • Sub-octave coupling: II / I, III / I, II / II, III / II, III / III
    • Super octave coupling: II / I, III / I, II / II, III / II, III / III, I / P, II / P, III / P
  • Playing aids : typesetter, I level position down, II level position down, III level position off, register crescendo step, transposer (± 12 HT), sostenuto, cymbalum nixum torquendum 72-fold
Remarks
  1. ↑ a b c d e f single tone row in the sill; playable in 8 'and 4' positions on all manuals
  2. ↑ a b c d e f g h i j k l m n o p q single tone row; playable in different pitches on all keyboards
  3. ↑ collective move of the registers Principalbass 16 ′, Quintbass 10 2 ⁄ 3  ′, Major third 6 2 ⁄ 5  ′

Towers and bells

The two approximately 30 meter high, neo-Romanizing church towers from the 1950s flank the three-part main portal of the church. The clockwork is located in the left tower , whereby both church towers are each equipped with three dials. In the right tower there are all six bells , which form the bells with the greatest total weight (12,150 kg) in the entire Saarland. The bells were cast in 1954 by the Saarlouiser bell foundry in Saarlouis-Fraulautern, which was founded by Karl (III) Otto from the Otto bell foundry in Bremen-Hemelingen and Alois Riewer from Saarland in 1953.

No. Surname volume Casting year Foundry, casting location Weight
(kg) 		Diameter
(cm) 		inscription
1 St. Michael g sharp 0 1954 Otto, Saarlouis 4800 198 You have led the fallen in the war to heaven, those who are still in the distance, give back to their homeland.
2 Maria Assumpta h 0 2800 167 The sanctuary emerged from the ruins to you, patroness! Graciously shield them from the heavenly throne with a blessing hand.
3 St. Joseph cis 1 1950 148 Those who laboriously earn their bread in the sweat of work, take your protection, Josef, the work patron.
4th St. Donatus e 1 1200 124 For faith you, Donatus, sacrificed your life, pure as a lily preserving our youthful spirit.
5 St. Sebastian f sharp 1 800 111 You fell fatally with an arrow, Sebastian. Help that blessed death end the earthly course.
6th St. Anthony g sharp 1 600 99 This bell proclaims the name of the great Anthony, we ourselves will one day become citizens of the heavenly world.

Bobbin crash 2005

On April 2, 2005, the death bell for Pope John Paul II, who died on the same day, took place. The clapper of the Donatus bell tore off while it was ringing and fell into the bell tower . The clapper was replaced by a new one in the same year. When it fell, it did not damage any other bells, only the floor of the bell storey . The fallen clapper was then exhibited in the porch of the church together with documentation of the incident.

Parish community

The parish of the Assumption of Mary belongs together with the Saarlouis churches Christkönig ( Roden ), Hl. Dreifaltigkeit ( Fraulautern ), St. Josef ( Fraulautern-Kreuzberg ) and St. Johannes ( Steinrausch ) within the Saarlouis deanery to the parish community Saarlouis right of the Saar .

Others

Next to the church there is a parish library , the parish home named after the former priest Karl Thiel and the parsonage which together with the actual church forms the parish center Maria Himmelfahrt .

literature

  • Hans-Berthold Busse: Wilhelm Hector (1855–1918) . In: Saarland pictures of life . tape 4 . Saarbrücken 1989, p. 138 .
  • Georg Dehio, Hans Caspary (edit.): Handbook of German Art Monuments, Rhineland-Palatinate - Saarland . 2nd revised and expanded edition. Deutscher Kunstverlag, Munich / Berlin 1984, ISBN 3-422-00382-7 , p. 871 .
  • Philipp de Lorenzi: Contributions to the history of all parishes in the Diocese of Trier . Trier 1887, p. 563 f .
  • Ceremony on the occasion of the 90-year foundation festival of the men's choir "Cäcilia" 1878–1978. Roden 1978.
  • Ferdinand Rupp: On the history of the Rodener churches . In: Festschrift of the church choir "Cäcilia" of the parish Maria Himmelfahrt (125 years Musica Sacra) . 1968, p. 33-34 .
  • Marc Finkenberg: Roden, traditional village and modern district (=  history of the district town of Saarlouis . Volume 6 ). Saarlouis 1997.
  • Kristine Marschall: Sacred buildings of classicism and historicism in Saarland (=  publications by the Institute for Regional Studies in Saarland . Volume 40 ). Saarbrücken 2002, p. 313-314, 549 .
  • Agnes Marx, Wilhelm Müller, Hermann Zangerle: The parish church of the Assumption of Mary in Saarlouis-Roden. A guide through the house of God . Ed .: Catholic parish office Maria Himmelfahrt. Saarlouis-Roden 2000 (published on the occasion of the 1050th anniversary of the parish of Roden).
  • L. Sudbrack: The Catholic Saarland, Home and Church, Saarbrücken 1954–1956 . Ed .: A. Jakob. No. II / III , 1954, pp. 13 .
  • Willi Weyres, Albrecht Mann: Handbook on Rhenish architecture of the 19th century (1800–1880). Cologne 1968, p. 211.
  • Walter Zimmermann: The art monuments of the Ottweiler and Saarlouis districts. 2nd edition, Saarbrücken 1976, p. 267.
  • Kath. Pfarramt Saarlouis-Roden (Hrsg.): 1000 years parish Roden. Saarlouis 1952.

Web links

Commons : Maria Himmelfahrt (Roden)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland. (Publications of the Institute for Regional Studies in Saarland, Vol. 40), Saarbrücken 2002, pp. 313-314.
  2. ↑ a b c Information on the parish church of the Assumption of Mary On: www.kunstlexikonsaar.de, accessed on August 21, 2014
  3. ↑ State Archives Koblenz, Department 143, No. 8.
  4. ↑ State Archives Koblenz, Section 143, No. 8.
  5. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 31-33.
  6. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 33-36 and 38.
  7. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, p. 55.
  8. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 45-46.
  9. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, p. 468.
  10. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, p. 46.
  11. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 66-67.
  12. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 67-68.
  13. ↑ Marc Finkenberg. Roden, traditional village and modern part of town, (= history of the district town Saarlouis. Volume 6). Saarlouis 1997, p. 68.
  14. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 83-87.
  15. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 95-96.
  16. ↑ Karl Kammer (ed.): Trier Kulturkampfiester, selection of some prominent priest figures from the time of the Prussian Kulturkampf, based on authentic reports with a short life of the Blessed Bishop Matthias Eberhard and an introduction. Trier 1926, pp. 53-58.
  17. ↑ Manfred Kostka: History of the Parish Dillingen from its beginnings to the division in 1935 , in: Katholisches Bildungswerk Dillingen-Nalbach eV (Ed.): 100 years Saardom, Holy Sacrament Dillingen, 1000 years Parish Dillingen, commemorative publication for the anniversary of the church consecration on 25. April 2013, Dillingen / Saar 2012, pp. 17–65, here p. 58.
  18. ↑ Lehnert, Aloys: History of the City of Dillingen Saar , Krüger printing works, Dillingen 1968, pp. 178–179.
  19. ↑ Dillingen City Archives: Report from the mayor of Fraulautern to the Saarlouis district administrator from June 25, 1874 .
  20. ^ Dillingen City Archives: Minutes of the Dillingen / Saar municipal council from November 21, 1879 .
  21. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 120-123.
  22. ↑ http://www.kuenstlerlexikonsaar.de/architektur/artikel/-/menkes-edouard/ , accessed on June 28, 2015.
  23. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 140-145, p. 183, p. 189, p. 191, p. 205.
  24. ^ Agnes Marx, Wilhelm Müller, Hermann Zangerle: The parish church Maria Himmelfahrt in Saarlouis-Roden. A guide through the house of God. Ed .: Catholic parish office Maria Himmelfahrt. Saarlouis-Roden 2000 (published on the occasion of the 1050th anniversary of the parish of Roden), p. 7.
  25. ↑ Marc Finkenberg. Roden, traditional village and modern part of town, (= history of the district town Saarlouis. Volume 6). Saarlouis 1997, pp. 210-212, pp. 216-223.
  26. ^ Agnes Marx, Wilhelm Müller, Hermann Zangerle: The parish church Maria Himmelfahrt in Saarlouis-Roden. A guide through the house of God. Ed .: Catholic parish office Maria Himmelfahrt. Saarlouis-Roden 2000 (published on the occasion of the 1050th anniversary of the parish of Roden), pp. 5 and 7.
  27. ↑ Archived copy ( memento of June 30, 2015 in the Internet Archive ), accessed on June 28, 2015.
  28. ^ Institute for Current Art in Saarland, archive, holdings Saarlouis, Christkönig (Dossier K 575).
  29. ^ Marc Finkenberg: Roden, tradition-conscious village and modern district. (= History of the district town of Saarlouis. Volume 6). Saarlouis 1997, pp. 210-212, pp. 244-247.
  30. ^ Agnes Marx, Wilhelm Müller, Hermann Zangerle: The parish church Maria Himmelfahrt in Saarlouis-Roden. A guide through the house of God. Ed .: Catholic parish office Maria Himmelfahrt. Saarlouis-Roden 2000 (published on the occasion of the 1050th anniversary of the parish of Roden), pp. 5 and 7.
  31. ↑ Hans-Berthold Busse: The architect Wilhelm Hector, church building around 1900, Regensburg 2018, pp. 205–209.
  32. ↑ Hans-Berthold Busse: The architect Wilhelm Hector, church building around 1900, Regensburg 2018, pp. 205–209.
  33. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland. (Publications of the Institute for Regional Studies in Saarland, Vol. 40), Saarbrücken 2002, pp. 313-314 and p. 549.
  34. ↑ List of monuments of the Saarland, sub-monuments list Mittelstadt Saarlouis ( Memento from August 9, 2014 in the Internet Archive ) (PDF), accessed on August 21, 2014
  35. ↑ Entry on Karl Frank in the Rhineland-Palatinate personal database , accessed on March 19, 2017 .
  36. ^ Agnes Marx, Wilhelm Müller, Hermann Zangerle: The parish church Maria Himmelfahrt in Saarlouis-Roden. A guide through the house of God. Published by the Catholic Parish Office Maria Himmelfahrt on the occasion of the 1050th anniversary of the parish Roden, Saarlouis-Roden 2000, pp. 9–11.
  37. ↑ a b 1000 years of the Roden parish, ed. from the Catholic rectory Saarlouis-Roden, Saarlouis 1952, pp. 31–38.
  38. ↑ Catholic Parish Office Maria Himmelfahrt (ed.): The Parish Church of the Assumption of Mary in Saarlouis-Roden, a guide through the church, writing on the occasion of the 1050th anniversary of the parish of Roden, Roden 2000, p. 15.
  39. ↑ Thomas Gergen: A door to another time, the graphic artist and painter Joachim Pathen and his work in Saarlouis-Roden. In: Saar history (s). Issue 2/2012, pp. 30–35.
  40. ^ District town Saarlouis (ed.): Art in the church area Saarlouis 1100–1980. Exhibition catalog, Städtisches Museum Saarlouis 1980, catalog texts by Michael Thome, Saarlouis 1980, pp. 55–57.
  41. ↑ http://www.kunstlexikonsaar.de/artikel/-/gitzinger-peter/ , accessed on June 28, 2015.
  42. ^ Institute for Current Art in Saarland, archive, holdings: Gitzinger, Peter (Dossier 5578).
  43. ↑ http://www.volksfreund.de/nachrichten/region/trier/Heute-in-der-Trierer-Zeitung-Zeichen-der-emotionalen-Verbundenheit;art754,2219249 , accessed on June 28, 2015.
  44. ↑ Source: Institute for Current Art in Saarland, archive, holdings Saarlouis-Roden, Maria Himmelfahrt (Dossier K 78)
  45. ↑ Kath. Pfarramt Saarlouis-Roden (Hrsg.): 1000 years parish Roden. Saarlouis 1952, pp. 31-38.
  46. ↑ Organ of the Church of the Assumption of Mary in Saarlouis-Roden On: www.organindex.de, accessed on August 21, 2014
  47. ^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, in particular pages 89-95, 370-373, 567 .
  48. ↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, in particular pp. 105–112, 331–333, 517 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).
  49. ↑ https://web.archive.org/web/20131104085822/http://cms.bistum-trier.de/bistum-trier/Integrale?MODULE=Frontend&ACTION=ViewPage&Page.PK=8922 accessed on June 28, 2015.

Coordinates: 49 ° 19 ′ 56.2 "  N , 6 ° 44 ′ 57.1"  E