St. Chrysanthus and Daria (Bad Münstereifel)
The former collegiate church of St. Chrysanthus and Daria is the main Roman Catholic church in Bad Münstereifel . The well-preserved Romanesque basilica is an important architectural monument that deviates from the conventional scheme in a characteristic way.
history
The Benedictine monastery (Latin: monasterium ), to which Münstereifel owes its origin and name, was founded in 830 from Prüm . In 844 it received the relics of the Roman martyr couple Chrysanthus and Daria , which made it considerably more important. The present basilica was built in the 11th century. After the abolition of the monastery in 1803, it began to deteriorate. In 1872 the northwest flank tower collapsed. Reconstruction and restoration were completed in 1890. After the Second World War , which the collegiate church survived with minor damage, further interior and exterior renovations and the adaptation of the furnishings to the post-conciliar liturgy followed.
Building description
The three-aisled vaulted basilica is not faces east , but northeast north-facing. The three-bay nave of the bound system is continued in a three-part long choir , which is built over a five-nave crypt . The most striking component of the church is the three-tower westwork , which is designed based on the model of St. Pantaleon in Cologne . A two-story central tower rises above the crossing on a square floor plan, which is closed off by a flat pyramid roof. The bell storey above a surrounding cornice has blind niches on each side with coupled sound openings and slender central columns. Round windows are set in below the cornice on the north and south sides to illuminate the central area. The southern circular window is now walled up and is covered by the south wing, which was widened in 1584. The crossing tower is surrounded on three sides by two-storey cross wings. The west wing is dominated by a large, barrel-vaulted vestibule. Under the gable, three arched windows are embedded in a large arched screen, the middle one of which is elevated. The arched portal with stepped walls inside has corner pillars with square bases and cube capitals .
The crossing tower is surmounted on both sides by two slim, four-story flank towers with a conical roof. The towers are divided into floors of different heights by surrounding cornices, which taper slightly towards the top. The two lower floors are round and the same height, the third octagonal and significantly higher and the top floor round and low. While the lower three floors have small arched windows, the top one has larger arched windows with walls.
The nave is covered by a gable roof, which is continued over the seamlessly adjoining long choir. The roof rests on a flat ceiling with protruding beam heads. The side aisles and the side choirs have monopitch roofs , the apse of the long choir has a hipped roof . The upper storey originally had simple round arched windows that were evenly lined up throughout, four of which have been preserved in the area of the nave. The upper storey windows in the choir area were bricked up in the 19th century and instead three pairs of round arched windows were broken into. In the choir gable and in the gable of the westwork there is a small, coupled, arched window in a panel. In the 19th century, the side rooms of the choir received arched windows and buttresses . The simple semicircular choir apse is illuminated through three arched windows. The church still has a total of 67 windows today, all of them are stained glass windows that were created by Franz Pauli in 1968 and 1969.
On the east side aisle, a rectangular porch with a tent roof serves as a "south portal". The original Romanesque portal is walled up, but still partially visible. The pointed arched stone doorway from the late Gothic period leads into a groin vaulted vestibule.
Inside, the vaults have been renewed secondarily. In the apse arch there are significant remains of the original figurative painting, which were only rediscovered in 1912. The central area of the crossing opens up to the ship in large round arches. The two-bay transverse wings have round arches on square pillars on both floors. Century. The side aisles have arched arcades on square pillars . A round triumphal arch opens the long choir to the central nave.
Furnishing
High altar
The high altar with a bricked altar block is from the first decade of the eleventh century. The cover plate is made from the lime sinter of a basin of the Roman Eifel aqueduct , in which the jointed wall of the Roman canal has left a mark. The attachment was made from gold-plated silver and brass by W. Moers from 1905 to 1912. It has the shape of a reliquary on the model of late Romanesque shrines in Aachen and Cologne. The richly carved antependium comes from the former cross altar, it was donated by Scholaster Wery around 1700 . It was revised later.
Sacrament house
The tower-shaped sacrament house was donated in 1480 by canon Friedrich Rohr. The head of the donor figure above the pillar has been renewed. The rectangular case with the figures of the church patrons and a three-sided projecting, richly articulated tower canopy is based on the model of the sacrament house in Münstermaifeld.
Tomb of Gottfried von Bergheim
Gottfried von Bergheim, died in 1335, was lord of the castle in Münstereifel from 1323. He was the brother of the nargrave Wilhelm von Jülich . The sandstone tumba from 1340, with a Gisant , probably originally stood in the middle of the church. Since 1970 it has been housed in the central area of the westwork . The reclining figure shows the deceased in a semi-rigid plate armor under a canopy. A lion lies at his feet. There are prophetic figures in the side niche strips. In the Blendarkatur the mourners and a bishop who reads the funeral Mass are. The type comes from the French tomb art and shows motifs and stylistic similarities with the grave of Landgrave Otto in the Elisabeth Church in Marburg.
crypt
In the grave room of the crypt there is a house-shaped, Gothic shrine housing . It was probably made for a lost silver shrine, in which the mortal remains of the church patrons were raised from their originally stone sarcophagus to the denominational altar in the upper church. A wooden frame covered with iron, with remnants of painting, is closed by wrought-iron grille. The tomb was redesigned in 1698. The reliquary, a provincial carved chest-shaped box, also dates from this time.
Miraculous image
In the main apse, on the altar of grace, in an essay from the 19th century, is the image of the Virgin Mary , a standing figure of Our Lady from around 1320/30. The figure comes from Cologne. It was carved out of walnut, the frame was lost. A relic pulcrum is embedded in the head . In type and style it is reminiscent of the Parisian court art. A mounted copy is shown in a wrought iron candlestick crown in the upper church.
Treasury
Since 2019 there has been a small treasure chamber in the south aisle next to the choir, which can be viewed on Sundays from 12:30 p.m. to 1:30 p.m. The following objects are worth a visit:
- A small painted triptych was painted around 1470 around the master of the life of Mary ( Cologne School of Painting ). Hans M. Schmidt assumes that this, as well as the triptych in the parish church in Sinzig and the "Tabula artis bene moriendi" in Aachen, are the same artist who is referred to as the painter of the Sinziger Calvarienberg ( click on the picture ) , acts. The Lamentation of Christ can be seen on the central panel . The church patrons Chrysanthus and Daria are depicted on the inside panels of the wing, and the secondary patrons Peter and Paul on the outside panels.
- In the chamber there is also a triptych with Christ carrying the cross from the Netherlands from the 16th century and another work from the Cologne School of Painting: Mary with another saint in front of a starry sky, painted on lime sinter. The triangular empty space between the figures suggests that it was once part of a larger work of art. Lime sinter as a painting base in the Cologne painting school is more than unusual, as the artists were sign painters. The frame dates from the 19th century.
- In the treasure chamber there are also numerous paraments (chasubles, dalmatic and choir cloaks from the 15th - 18th centuries), chalices, two cibories , monstrances and candlesticks, as well as graduals (including two handwritten from 1456) and a Roman matron stone .
Other equipment
- According to the inscription, the baptism was donated by Mayor Reiner Froitzem in 1619. The basin was made of black marble, the wooden lid is richly carved and gilded. The wooden lid was hung on a rotatable, wrought-iron wall arm.
- A bluestone holy water font is the remainder of a round baptismal font with two fully plastic heads. The basin is said to date from the 14th century.
- A three-seat from the 14th century is decorated with drolleries on the hand knobs and in the volutes of the side cheeks.
- The carved dorsal and the reliquary box with carvings, fastened above it like a canopy, date from the beginning of the 16th century. The box contained the heads of the church patron. Until 1970 it was placed in the southern wall field of the apse.
- In the choir there are eight paintings on canvas with scenes from the life of Saints Chrysanthus and Daria. They were purchased around 1720 together with an attachment for the high altar. The altarpiece with the depiction of martyrdom has been preserved from this
- The wooden sculpture of Christ carrying the cross from the first half of the 15th century was made in the 19th century.
- A crucifix , on the corresponding cross with a Gothic second version, above the celebration altar dates from around 1500.
- A small standing figure of Our Lady with remains of an old gold setting is from the beginning of the 17th century.
- A standing figure of St. Francis from the second half of the 17th century comes from the circle of J. Geisselbrunn. It was added later, the version has been lost.
- Two life-size standing figures of Saints Peter and Paul from the second half of the 17th century are also from the vicinity of J. Geisselbrunn.
- The type and style of the two life-size wooden figures of Saints Crysantus and Daria from the high altar, acquired in 1720, are reminiscent of the Dutch-influenced Cologne sculpture of the early 18th century. The gold frames are in excellent condition.
In the southern side apse there is a wooden Vesper picture , it dates from around 1350. The original frame with decorative edging using embossing technology has been preserved. It belongs to the group of Vespers with the body lying diagonally.
organ
The previous organ was built in 1883 by the organ building company Schorn (Kuchenheim). The instrument stood behind the organ loft in the tower chapel, which thus served as a kind of sound room. The organ originally had 24 stops on two manuals and a pedal . In 1970 the organ builder Seifert (Kevelaer) expanded the disposition to 31 registers. The instrument had mechanical key actions and electrical stop action .
In 1976/1977 the Rudolf von Beckerath Orgelbau company built a three-manual organ with 36 registers for the organ hall, room 109 of the Cologne University of Music. In 1993 the Beckerath instrument was comprehensively refurbished and received an electric console and a setting system . An expansion of ten registers followed in 2009. The organ was auctioned off in a public auction in 2017, as the university received new organs.
The parish of St. Chrysanthus and Daria was awarded the contract, so that the organ was dismantled in Cologne from January 2018 and rebuilt in the collegiate church. The organ building company Hubert Fasen from Oberbettingen made a rescheduling, switched to electric action and re-intoned the instrument to the requirements of the Romanesque collegiate church.
The organ now has 45 registers, 43 of which are sounding, as well as a transmission and an extension. The old Schorn organ was sold to Langenfeld (Eifel) .
The disposition of the Beckerath Fasen organ is as follows:
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Pairing :
- Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P
- Super-octave and sub-octave couplings: II 16 ′, II / I 16 ′, III 4 ′, III 16 ′, III / I 4 ′, III / I 16 ′, III / P 4 ′
- Playing aids : typesetting system with sequencer function, transponder chips for typesetting combinations, key / register cuff, transposition function, register swell with activation via pistons, adjustable tremulants
literature
- Georg Dehio , Magnus Backes (arr.): Hessen . In: Handbook of German Art Monuments . First volume. Deutscher Kunstverlag, Munich, Berlin 1966.
- Ruth Schmitz-Ehmke : The architectural and art monuments of the district of Euskirchen. City of Bad Münstereifel. (= The architectural and art monuments of North Rhine-Westphalia I. Rhineland , 9.1). Gebr. Mann Verlag, Berlin 1985, ISBN 3-7861-1403-X .
- J.- M. and B. Ohlert: The collegiate church of Bad Münstereifel. 2nd edition, Verlag Schnell & Steiner GmbH Regensburg, Art Guide No. 1894, 2000, ISBN 3-7954-5613-4
Web links
Individual evidence
- ↑ Schmitz-Ehmke: The architectural and art monuments of the Euskirchen district. 1985, p. 21.
- ^ Collection of photos of the stained glass windows of St. Chrysanthus and Daria. Research Center for Glass Painting of the 20th Century, accessed on March 3, 2020 .
- ↑ Schmitz-Ehmke: The architectural and art monuments of the Euskirchen district. 1985, p. 22.
- ↑ Schmitz-Ehmke: The architectural and art monuments of the Euskirchen district. 1985, p. 24.
- ↑ a b Dehio: Handbook of the German Art Monuments. 1966, p. 38.
- ^ Dehio: Handbook of German Art Monuments. 1966, p. 101.
- ^ Dehio: Handbook of German Art Monuments. 1966, p. 102.
- ^ Predecessor organ of the collegiate church , accessed on March 1, 2019.
- ^ Von Beckerath Organ in Cologne , accessed on March 1, 2019.
- ^ Organ in Münstereifel , accessed on March 1, 2019.
Coordinates: 50 ° 33 ′ 16.7 " N , 6 ° 45 ′ 46.3" E