St. Hedwig (Bielefeld)
St. Hedwig is a Roman Catholic parish church in Bielefeld - Heepen , North Rhine-Westphalia . The church and congregation belong to the Bielefeld-Ost pastoral network in the Bielefeld-Lippe dean's office in the Archdiocese of Paderborn .
Location and municipality
The St. Hedwig Church is located on Hillegosser Straße in the center of Heepen. The catchment area includes Heepen , Altenhagen , Brönninghausen and Oldentrup . The total population of these places is 23,012, of which 3551 are Catholics of the parish (as of 2010; increasing tendency, as this is an influx area).
history
Early Church (1000–1536)
During the Saxon Wars around 800, the Frankish king, Charlemagne, carried the teachings of Christianity into the last corner of the Saxon territories. The area of the mission and original church parish was cared for in pastoral care from Oerlinghausen in the 9th century. The first churches were built. The beginnings of the church in Heepen are between 800 and 1000 AD. After the time of the original parish, it is assumed that there was initially a wooden church that served as a baptismal and missionary station. The Peter and Paul Church seems to have been built around 1000 by Bishop Meinwerk . It was a Romanesque stone building; the church had a single nave with a west tower, transverse arms and an apse (vault). Bishop Meinwerk transferred the Vorwerk in Heepen to the main courtyard Gut Niederbarkhausen to Busdorf Abbey in 1036 . Heepen is one of the oldest parishes in the Diocese of Paderborn and, along with Schildesche, one of the original parishes in the Ravensberger Land .
The church of St. Peter is mentioned as the mother church of Bielefeld in 1236, when the chapel in Bielefeld parish rights and the pastor of Heepen received an obolus (= ½ denarius) from every head of household on All Saints' Day . Altenhagen, Brönninghausen, Lübrassen, Schelpmilse, Eckendorf , Hillegossen, Oldentrup, Sieker and Stieghorst also belonged to the parish of Heepen . It was under the patronage of the Paderborn Cathedral Thesaurus. From 1536 the first Protestant pastor worked in the parish of Heepen. Several old chapels in the area of the parish of Heepen no longer exist.
After the Reformation, the area of today's St. Hedwig parish belonged to the parish of St. Jodokus .
Foundation of the cath. Parish 1946
After the construction of the Marienkapelle in Sieker (Elpke) in 1905, pastoral care took place from there. In 1910 there were 49 Catholics in Heepen, 18 in Oldentrup and 8 in Ubbedissen. In 1910 the pastoral care position at the Marienkapelle in Sieker was not occupied again, so that the few Catholics were again looked after by St. Jodokus and, from 1934 on, by the newly established Liebfrauengemeinde in Bielefeld. The number of Catholics in Heepen rose abruptly due to evacuation and other war events. Since the end of 1942, St. Mass offerings celebrated in the Protestant parish hall. After the end of the war, increasing numbers of Catholics poured into the district of Bielefeld from the eastern regions . In the area of today's St. Hedwigs municipality alone, the population rose by 1730 to 9246. It should be mentioned that Pastor Mischkowsky, as a trek leader, came to East Westphalia with 2/3 of the residents of Hemmersdorf / Silesia. From the 1st Easter holiday in 1946 onwards, the evangelical churches in Heepen and Ubbedissen provided regularly on all Sundays and public holidays, from which the east expelled pastor Herbert Mischkowsky from Wroclaw, who was assigned to the Liebfrauengemeinde to look after the expellees, received St. Mass celebrated. In 1948, after the Hillegossen curate was set up, Heepen, Oldentrup and Brönninghausen were looked after by the Bonifatius parish in Sieker by the parish vicars Weichert, Sandmeyer and Kraft.
The Hedwig Church
Construction of the St. Hedwig Church
On February 1, 1952, the pastoral care districts were reorganized. The Heepen Curate with the districts of Heepen, Brönninghausen, Oldentrup and Ubbedissen with Dingerdissen was established, and Pastor Herbert Mischkowsky was appointed curate. After all the makeshift arrangements, a solid church should now be built. By far the largest group of believers came from Silesia, so it made sense to elect the patron saint of Silesia, St. Duchess Hedwig , as patroness of the community and the church. Your picture in the round window of the tower chapel, designed according to the Schlackenwerther Codex from 1353 Fig. 01, is the visible sign, plus one of the windows in the nave of the church. At this point in time the parish had around 1750 members. As early as 1953, an almost ideal building site of 2770 m² was acquired on Hillegosser Strasse. In 1954 the St. Hedwig Heepen church building association was founded. On April 1, 1955, the two Kotten Zieglerhaus (Tichelhaus Fig. 1) and Kaddenreff located on the property, dating from 1653, were demolished. The parishioner, the Silesian woodcarver Bartsch from Oldentrup, created the expressive wooden cross from the oak framework. The body measures 160 cm, the arm span 150 cm. Since these houses date from 1653, one must assume that the oak tree from which the cross was made was planted around 1550, i.e. 450 years ago. Until the completion of the crypt in 1996, the wooden cross was in the tower chapel. (Fig. 7–8)
Immediately after the demolition, construction of St. Hedwig's Church began according to the plans of the architects Potthast and Schmidt. The foundation stone was laid on June 19, 1955. The foundation stone from the destroyed St. Hedwig's Cathedral in Berlin (Fig. 3) is a gift from Berlin's Bishop Wilhelm Weskamm . On August 2nd the topping-out ceremony of the church was celebrated with the congregation. (Fig. 4–5). The Benedictines from the Abbey of Maria Laach , the Benedictines from Abbey Herstelle and the Silesian glass artist Richard Süssmuth gave the church its own face . On January 29, 1956, the Sunday of Septuagesima, she was designated (blessed) by Mr. Dean Sunder. The first solemn service was held by Pastor Blöink from the Liebfrauen mother parish in Bielefeld. In May the rectory was ready to move into. A major event was the consecration of the church on June 30, 1956 by Archbishop Lorenz Jaeger (Fig. 6). With effect from January 1, 1957, the parish vicarie St. Hedwig Heepen, which is financially independent, was established.
architecture
View from the northeast of the three-aisled basilica of St. Hedwig, built on a rectangular floor plan with a retracted choir. The hipped roof is covered with tiles, the outer walls are plastered white. The narrow, high arched windows are cut into the side walls. In the east the three-part portal with tall rectangular doors. At the northern (right) corner of the east wall the foundation stone (see detailed photo Fig. 4). In the south-east of the square-shaped bell tower crowned by a cross. On the upper floor, three lancet arches are cut into each side as acoustic arcades. Under the high altar was the parish room that was used until the Bishop Meinwerk House was built in 1985.
Fig. 2 Tichelhuis from 1653
Fig. 3 Foundation stone from the destroyed Hedwig Church in Berlin
4th topping-out ceremony August 2, 1955
5th topping-out ceremony August 2, 1955
St Hedwig Church 1958
6. Consecration by Archbishop Lorenz Jaeger in 1956
7. Wooden cross from the half-timbered beams
8. Detail of the wooden cross
9. Altar relic
Fig. 10 Representation of angels on the intermediate door
Church window
How the work of Richard Süssmuth came to Heepen can no longer be proven. But the assumption is that the pastor Herbert Mischkowsky knew the artist and his work from Silesia. It is therefore obvious that he sought the way to this Silesian glass artist and commissioned him to manufacture the church windows and the entrance doors. The following works by Süßmuth are or were in the St. Hedwig Church in Heepen:
In the basement of the tower (see picture above) accessible from the church there is a chapel, which is dedicated to the namesake of the church St. Hedwig. Süßmuth created an impressive arched window that gives the room a very special atmosphere. Hedwig, the patron saint of the Silesians, is shown oversized in the arched window. The window is semicircular. It is 3.40 m wide and has a height of 2.10 m at the top. From the outside, the window is secured with a protective grille, but has no protective glazing. The incoming light from the south emphasizes the colors. The glass picture of Saint Hedwig looks very lively.
The 6 windows in the chancel with the representation of the sacraments were removed during the church renovation in 1975 and are now on permanent loan to the Süßmuth Museum in Immenhausen.
All 9 church windows in the nave have the same artistic structure, ornamental glazing in lead. The external dimensions of the windows are 3 meters high and 90 cm wide. A strut made of flat steel with a width of 40 mm divides the windows three times. Each window is framed by two glass borders. The outer one is very narrow and made of white ornamental glass, the inner one has several faint red tones in the glass (pastel-colored light red, light yellow orange and light purple magenta). The glazing that encloses the figure of the saint is 11 cm × 19 cm. The discs are pastel-colored, light purple in different color intensities. This gives the saints figures even more charisma due to their strong colors. The saints are 190 cm high and 50 cm wide. In the lower part of the window the name of the saint is everywhere.
Description of the picture on the left: The Virgin Mary is depicted as the Madonna in protective cloak. She wears a red robe and over it a blue cloak, which is designed as a protective coat. Under her coat she is protected by a couple of parents with their child. Maria has turned her head sideways to the left and looks at the children standing in front of her. Your hands rest comfortably on the parents' heads. The family is protected by the blue coat. The mother and the child are deeply absorbed in prayer. Seeking help and pleading with arms outstretched, the father raises his arms to receive consolation.
- Church window of St. Hedwig's Church
Sacrament of Baptism. Depicted the Trinity
St. Elisabeth
St. Hedwig, the namesake of the church
St. Katharina (back left)
St. Heinrich
St. Liborius
St. Boniface
St. John
St. Bernhard
Interior decoration
Baptismal font
Father Theodor Bogler OSB from Maria Laach created the altar, the ambo and the baptismal font from a reddish sandstone from the Kyll . The snake is carved on the baptismal font below: it is the symbol of evil, calamity and falsehood. The dove, which symbolizes the Holy Spirit, hovers above it. It is supposed to remind of the baptism of Jesus in the Jordan by John. Matthew writes: “When Jesus was baptized, he immediately got out of the water. Then the sky opened up; He saw the Spirit of God float down like a dove and come over him and a voice cried: This is my son, the beloved, in whom I am well-pleased. "(3.16 17)
As after the flood, the dove is the messenger of God's peace for humanity rescued from destruction. Above all stands the consecration prayer of the water of baptism on Easter vigil: Let the power of the Holy Spirit descend into this fountain spring abundance.The bronze lid is crowned by the old symbol of Christ: Chi Rho, the Greek first letter of the name of Christ, which is also used in our representation the cross is indicated.
Altar cross
The altar cross hanging above the tabernacle comes from the Ars Liturgica of the Benedictines from Maria Laach. Christ is not depicted here with the crown of thorns, but appears here as a transfigured Lord. That is why it is also called the Triumphal Cross.
The simple Latin wooden cross is covered with sheet bronze. The beams are framed by frame strips. Two or three semi-precious stones are mounted in simple settings (amethyst, opal, rose quartz and rock crystal) at the ends of the bar. The body is made of solid cast bronze. Christ is nailed to the cross with four nails. The body is erect, the head tilted slightly to one side. Eyes and mouth are closed. The body is angular, the representation is schematic. The knee-length loincloth lies close to the body and is only structured by a few, flat folds. The back of the cross is simply and smoothly polished.
altar
The large altar plate, made of reddish sandstone, was supported by four stipes blocks. The evangelistic symbols of the bull and eagle are drawn on the front by two stipes. In the center of the altar plate, the relics of Stae are in a lead box . Casti aliorum (Gastus and Companions) and by Pius X. , as the documents of June 30, 1956 and April 21, 1956 prove (Fig. 8)
monstrance
- Material: silver, gold plated;
- Dimensions: H .: 49 cm; E.g .: 32 cm
- Date: 1962
- Master: Father Theodor Bogler Maria Laach
Rectangular foot arched up in the middle with rounded corners. The surface is polished smooth. Centrally round shaft, strongly tapering towards the top, with smoothly polished walls. Four lancet-shaped “leaves” with green-yellow-blue enamel are soldered to the front on each side . The leaves are surrounded by a wide, flat frame of gilt silver on each side. The monstrance is stamped under the foot on the edge: "S - a crescent moon - a crown - 925" (see detailed photo). A couple from Wansen had hidden several gold pieces in a walking stick before fleeing from Silesia. On the occasion of her silver wedding anniversary, she gave it to the community for a monstrance. Pastor Herbert Mischkowsky personally donated the missing money. Description: General view of the front of the monstrance, s. Photo.
Shot from the back of the monstrance. The surfaces of the four lancet-shaped leaves on each side of the round, strongly tapering shaft are enamelled green-yellow-blue. The hinged back of the round viewing vessel, enclosed by a wide, oval frame with a smoothly polished surface, is decorated with a raised, smoothly polished cross.
organ
The organ was built in 1968 by the Speith-Orgelbau company from Rietberg .
| I. Manual (main work) | II. Manual (breastwork) | pedal | Couple |
|---|---|---|---|
| 1. Principal 8 ′ | 7. Holzgedackt 8 ′ | 12. Sub-bass 16 ′ | Manual coupling II / I |
| 2nd reed flute 8 ′ | 8. coupling flute 4 ′ | 13. Beard pipe 8 ′ | I pedal coupler |
| 3rd octave 4 ′ | 9. Principal 2 ′ | 14. Piffaro 4 ′ + 2 ′ | Pedal Coupler II |
| 4. Hollow pipe 2 ′ | 10th October 1 ′ | 15. Bassoon 16 ′ | Slider chests |
| 5. Mixture 4 to 5 times | 11. Sesquialter 2-fold | ||
| 6th trumpet 8 ′ | Tremulant |
Bells
The first bell, which was ordered from the Bochum cast steel factory " Bochumer Verein " at the same time as the construction of the Hedwig Church began , was consecrated by the dean Sunder on the 1st of Advent in 1955. It was named “St. Liborius ”, it is the smallest of the three bells and tuned to“ G sharp ”. The new year 1956 was rung in by hand for the first time. The bell was rung manually until the 1st of Advent 1966 and then an electric bell was installed.
To complete the chime, two more bells were ordered from the same bell foundry in 1968. The belfry in the tower was already there and set up for three bells. These are the octave bells, tuned to “D flat” and “F sharp” (G sharp) with a diameter of 1425 and 1180 mm. (The timbre is empirically determined by the ratio of the diameter to the height, which requires a lot of experience.) When determining the pitch of the bells of St. Hedwig , strict care was taken to ensure that they do not form any disharmony with the bells of the Evangelical Church when they ring .
The bells are not, as might be assumed, made of bell bronze, but of cast steel. Bell bronze is 6 to 8 times more expensive than cast steel; however, there is hardly any difference in sound when the bell cage is properly prepared. That is why the belfry is walled up with lattice bricks. The sound of the bells must be dampened so that their sound beauty can really come into its own.
The weight of the bells is approx. 1730 kg, the weight of the accessories (clapper, iron axles with bearing, bell lever and counterweight) approx. 500 kg. The bell consecration of two new bells took place on September 8, 1968 by the current dean Wydra. The big "dis" bell was named St. Maria, the "fis" bell was named St. Hedwig.
The consecration of the bell in 1956
Bells consecrated on September 8, 1968
Bells consecrated on September 8, 1968
in the bell tower
1st renovation in 1975
The renovation initiated by Pastor Georg Hermesmann brought about major changes in the church interior.
- The sacrament windows in the chancel (Fig. 10) and the glass doors with angel motifs (Fig. 9) have been removed. (These are located in the Süssmuth Glass Museum in Immenhausen).
- The altar was reduced in size and the Gospel figures on the stipes of the altar were destroyed.
- Ambo changed in height
- The coke heating was replaced by the warm air heating
- The sanctuary was lowered one step.
- The interior of the church was simply painted white.
- New acquisitions through or after the renovation
Altar back wall
The “meditation wall” in the church was created in 1975 by the Berlin artist Hans Beyermann. Fourteen colored enamel panels were put together to form this space-dominating "meditation wall", with the various cross motifs and the tree of life in the middle in bright yellow colors. It invites you to meditate, to look at, to contemplate, whereby one experiences that a spiritual force is released in us, based on the image, which opens up the possibility of living prayer, because meditation creates a calm in us flows in, which creates the space of prayer in us. Because only peace and freedom from the hectic pace of everyday life are the actual prerequisites for speaking with God, who wants to be close to us. Every worship service, every stay outside of the worship service in the church, should allow this closeness to God in us. Because only through the strength of closeness to God we are able to live our lives (writes Pastor Hermesmann in the festival magazine 1977).
(After the 2nd renovation, the Catholic parish in Lwów Ukraine was given the altar back wall, tabernacle and church facilities from St. Elisabeth in 2008.)
Piéta
The Pieta, also called Vespers, is the representation of Mary with her dead son on her lap on the evening of Good Friday. The statue of Josef Rikus is the image of deepest human pain, at the same time also an image of heavenly consolation. The body of Jesus lies in Mary's lap as if laid out. Christ and Mary almost become one figure. Mary, the mother, becomes, as it were, the throne for the crucified, who redeemed the world through his death.
Maria is seated on a bench facing the viewer. The cloak, spread out over the elbows and falling to the floor without creases, forms the frame of the figure. The head is level, the face is smooth and even. Eyes and mouth are closed. The hair hangs straight down to the shoulders. Christ lies on her lap with his legs bent. The limbs are angular, fingers and toes not worked out. Ribs and shoulders protrude bony. The oval, smooth face with the long, narrow nose and the closed eyes forms a certain contrast to the lean body.
Sculpture Maria
- Material: red clay, brown glaze.
- Dimensions: h .: 124 cm w .: 43 cm
- Core: hollow.
- Date: 1975
- Master sister Agape Thielen Manufacture
Maria is standing, facing the viewer, on a rectangular base plate with rounded corners. The figure stands on a horizontal stainless steel plate anchored in the wall. She is dressed in a floor-length coat that envelops the figure and a long dress that creates numerous horizontal parallel folds in front of the breast. The head is covered with a veil. She carries the seated child on her right arm, who is also facing the viewer. The child is holding an apple in her left hand, which Maria grasps with her left hand. The faces of Mary and the Christ Child are even and typified. Characteristic is the straight long nose and the almond-shaped, not fully developed eyes. The figure is not signed. Artist, provenance and dating according to festschrift. Since the last restoration, the figure has been caught by a blue vertical stripe that is continued on the north wall of the central nave.
Way of the Cross
- Illustration: 6th station
- Material: red clay, colored glaze
- Dimensions: h .: 27 cm, w .: 33 cm, d .: 2 cm
- Date: 1975
- Provenance Abbey Manufacture
Rectangular: panel with rounded corners and slightly curved sides. On the back there is an oval stamp, covered by a ball with a cross and the name of the provenance "Manufacture" (in capital letters). The outlines of the figures are carved into the clay. The grooves are glazed brown. The representation is limited to the essentials, both in terms of the number of people and objects as well as the people themselves: the robes are smooth, rarely divided by a few straight parallel folds. The heads are typified: the oval faces are dominated by the straight, long noses. The root of the nose and the eyebrows form a unit. The eyes are almond-shaped. The background is glazed white. The robes of the acting people are kept in green, blue and gray tones. Christ wears a blue robe.
crypt
After completion of the Bischof-Meinwerk-Haus on May 27, 1985, the architect Wolfgang Krause was commissioned to plan the crypt and to lead the renovation. A side entrance from the church to the crypt had to be created. The altar, ambo, tabernacle, sideboard and eternal light were designed by Cassau, Paderborn. For the 40th anniversary of the parish fair, the St. Hedwig parish received a crypt after almost four years of construction, which was inaugurated on Sunday, October 20, 1996.
2nd renovation in 2003
By the KV decision of September 3, 1998, application for recognition of the building needs for the renovation of the St. Hedwig Church to the EGV in Pdb. the architect Wolfgang Krause was commissioned with the construction management. The artistic design was entrusted to Mr Tobias Kammerer , Rottweil. The theme of the renovation: " More color in the church ". The KV was and is convinced that the amalgamation of the old building fabric and the preservation of the essential sacred features complement each other well with the painting of the church. Pastor Gerhard Pietzonka gave the painter and glass artist the task of placing the wall watercolor in the chancel under the motif "Resurrection".
The basic idea here was to make the church interior appear more holistic through the wall design. The color scheme of the room is based on warm tones, creating a warm, harmonious impression of the room. Overall, the different pieces of equipment should be captured and put together by the color scheme in order to relate to the space. This makes it clear that they are part of the architecture and not individual pieces leveled in space. In particular, the wall design in the ship should form a frame for the existing windows, which in their current state stand hard on the gray, dreary ground. The warm, light ocher and red tones should create a harmonious and flowing transition.
Wall painting in the choir room
The crucifix that hangs in the choir is to be optically integrated into the overall picture through the wall painting. The wall painting describes the resurrection. As an expression of the Easter event, the heavenly empyreum, the divine fire heaven, lights up behind the cross. Angels populate the bright yellow area. They are symbols and messengers of the light that shines through them. The color appears as a bright golden yellow, which develops to purple on the inner sides facing the cross. The purple can only develop when exposed to light and is also absolutely lightfast. That is why it is also considered a light symbol and color of eternity. This creates a bridge between the cross, as a symbol of the passion and death of Christ, and the wall painting, with the reference to the resurrection.
Venetian smoothing technique in St. Hedwig
Based on ancient traditions, the smoothing technique is one of the finest surface designs. By placing several layers of filler on top of and next to one another, the result is a smooth porcelain surface. The execution can be done with mineral ( Stuccolustro ) or dispersion leveling compounds. It gives surfaces dignity and festivity through the interplay of light reflections, with deeper layers of color and reflections on the surface. This procedure is used in three places in the church: in the left and right lower area of the altarpiece and in the right aisle on the Marian column. The church windows were particularly emphasized by the horizontal, irregular bands in yellow tones on the walls of the central nave.
The Stations of the Cross are located on the walls of the aisles (see Fig. 13). These are hung on flat stainless steel steles covered with silver foil. The stele of the first station (far left), like that of the Crucifixion, is covered with black foil. The stele behind the entombment is covered with gold foil.
A stainless steel plate was embedded in the floor under the baptismal font, the altar, the ambo, the tabernacle and the sediles in order to highlight these places in the sanctuary and to clearly define their location. This is also supported by the respective shadow gaps of 20 mm between the noble panels and the floor panels. The sacred objects are given a floating expression that comes out of the ground.
Pastoral care in St. Hedwig
Since the re-establishment of the Catholic parish in Heepen on February 1, 1952 and its elevation to a parish on July 1, 1983, pastoral care has been incumbent on the following clergy:
| 1952-1967 | Pastor Herbert Mischkowsky |
| 1968-1983 | Pastor Georg Hermesmann |
| 1983-2007 | Pastor Gerhard Pietzonka |
| 11.2007 - 11.2012 | Pastor Achim Babel |
| since July 1st, 2013 | Pastor Bernhard Brackhane |
| 07/05/2014 - 06/30/2019 | Vicar Christof Graf |
See also
literature
- Erwin Matulla: A look into history . 2002.
- Erwin Matulla: From the beginning to the present . 1988.
- Festival magazine 25 years St. Hedwigs-Gemeinde Heepen . 1977.
Web links
Individual evidence
- ↑ Explanatory text on the subject: Resurrection of the wall painting designs by Tobias Kammerer
Coordinates: 52 ° 1 ′ 49 ″ N , 8 ° 36 ′ 16.8 ″ E