St. Heinrich and Kunigunde (Neuhaus Castle)

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St. Heinrich and Kunigunde in Paderborn Castle Neuhaus

St. Heinrich and Kunigunde is a listed Catholic parish church in the Paderborn district of Schloß Neuhaus in the Paderborn district , North Rhine-Westphalia . Church and congregation belong to the pastoral network of Schloss Neuhaus in the Paderborn deanery in the archbishopric of the same name . In addition to the choir, the Phillip Neri Chapel and the Ulrich Chapel are built to the north and south.

history

Southeast view 1892
Two tombstones for former priests

In 1437 a church in Neuhaus was first mentioned in connection with a property sale. The first patron was Ortisei. In 1532 there was a pastor in the parishes of Elsen and Neuhaus, who probably held both pastoral positions. On August 26, 1582, the cathedral chapter asked the prince-bishop for a new priest for the vacant pastorate in Neuhaus. The first named pastor in Neuhaus was Johannes Forsterus (Förster) in 1598. From 1650 to 1661, Bishop Dietrich Adolf von der Recke planned the construction of a Franciscan monastery at the St. Ulrich Church in Neuhaus. In 1665 the old parish church was too small with 200 seats and Bishop Ferdinand von Fürstenberg had a new church built by 1668. The architect was probably Ambrosius von Oelde . The substructure of the tower was preserved from the old church . The new church was dedicated to Emperor Heinrich II and his wife Kunigunde . Ulrich has remained a secondary patron to this day. In 1803 the church was extensively renovated. From 1934 to 1936 the church was expanded. The old 3/6 choir was demolished and the church received a transept and a choir with a 5/8 end . The new choir closure was held in a Gothic style. At the same time the tower was raised and in 1945 the St. Joseph branch was founded in Mastbruch . In 1962 it was raised to an independent parish. In 1956 and 1956 the baroque interior of the church was restored and the interior was repainted. Further renovations followed in 1973, 1975 and 1983. In 1993 and 1994 the foundations of the nave were strengthened with 4-meter-deep concrete bases. The vaults with sandstone ribs were renovated. In 2002 the parish merged with St. Joseph in Mastbruch to form the pastoral association of Schloss Neuhaus . In 2004 the previous pastor Matthias König was appointed auxiliary bishop in Paderborn and titular bishop of Elicroca by Pope John Paul II . Extensive refurbishment and renovation work was carried out by 2010, and the construction management was carried out by the architect Leo Köhle. The architect Eberhard Mündelein carried out the planning. Around one million euros have been invested to brighten and refresh the church. The steps to the altar and the altar area have been expanded and now offer new possibilities for liturgical design. The new baptismal area was laid out in the form of an octagon . The new color version was applied based on the original condition.

Building description

portal

The church was built as a single - nave three-bay church. Since the expansion, the transept has joined this with the 5/8 end. The cross vaults are set with ribs and keystones. They rest on buttresses on the ship. The windows of the church are ogival with tracery . The sound holes in the tower are arched and coupled. The portal on the north side is adorned with the coat of arms of Bishop Ferdinand von Fürstenberg and bears an inscription from 1666. In total there are 15 coat of arms of Ferdinand in the church. The portal is accessed via several steps and the door is framed by ears. The accompanying columns with Ionic capitals are kept smooth. The bases are decorated with masks. Mighty lions stand on the curved segment gables, they hold the princely coat of arms with their paws. The coat of arms with crest decorated and foliage and crowned the symbols of spiritual and temporal power. The cartouche bears the inscription (translated) To promote worship, for the salvation of souls and for the public good .

The altar front looks like a large theater stage and attracts attention in its center is the high altar.

The Ulrichskapelle was created by converting the parish hall and is used as a weekday church. The name is supposed to remind of the Ulrichskirche, which stood here until 1665. The furnishings in the chapel, with the exception of the anvil, come from the archbishopric's fund.

The gothic ribbed vaults span the hall, the ribs resting on pilasters on the wall are covered with 1147 gold stars on a blue background.

Church window

Nikolaus Bette made the drafts for the windows in 1973, he also designed the new windows for the Paderborn Cathedral . The designs were based on the former medallion windows. The window in the front left of the nave shows Ulrich with the Ulrich's cross , Liborius with the attributes of a book with stones, peacock and crosier, and Meinolf as a symbol of the early Christianization of this area. The rear window shows Anna herself, accompanied by the holy women Elisabeth and Catherine of Siena . The rear window on the right-hand side, the so-called founder window, shows the church founder Ferdinand von Fürstenberg with a model of the church. Ferdinand's left is the author of the Annals before Paderborn , the historian Nikolaus Schaten. Schaten was buried in the church. Law Philip Neri , the reformer shown. He has the attributes children and music sheet. The window near the pulpit shows Andreas with the Balkenkreuz, Rochus, the patron saint of plague sufferers, and Friedrich Sertürner , who was born in Neuhaus and who discovered morphine . The outer windows of the transept show the coats of arms of the bishops residing between 1361 and 1803 and the coats of arms of Confessing Bishop Konrad Martin , Caspar Klein and Lorenz Cardinal Jaeger . The coat of arms was supplemented in 2002 by the coat of arms of Cardinal Degenhardt and the Archdiocese of Paderborn.

Furnishing

Interior view 1892

The church is one of the most important in the Paderborn Monastery because of its uniform baroque furnishings and its historical significance .

Altars

High altar

The high altar is in two parts, consisting of a cafeteria and a predella with a tabernacle . The altar is shaped like a portal with an aedicula. The altarpiece, which extends beyond the entablature, was made by Carl Ferdinand Fabritius in 1667/68 and shows the ordeal by fire of the church patroness Kunigunde in front of King Heinrich II sitting on a throne. According to legend, Kunigunde was seduced by the devil and had to see her as proof of her innocence Spouses walk over red-hot iron. Kunigunde is dressed in regal regalia. The scenery is accompanied by soldiers, children and many other people. Angels float in front of a golden sky, holding wreaths in their hands. In the image of the aedicule the holy family is represented, above which a dove hovers as a symbol of the Holy Spirit. The image is determined by the colors gold, blue and red. The painting is a heavenly vision in an almost impressionistic manner. The black frame of the reredos is traversed by white and gold veins, the decorative strips are gold plated. Putti with trumpets and golden horns of plenty are attached to the segment gables, they are supposed to establish a connection to heaven. The altarpiece is accompanied by a figure on both sides. They represent the diocese saints Kilian and Liborius. These are late works (around 1760/1770) by Heinrich Joseph Stratmann, who was a younger brother of Anton Joseph Stratmann. These high-quality figures work through their dynamism and the creases and garment surface. The client had Prince-Bishop Ferdinand put his coat of arms above the altarpiece. The tabernacle and canteen stand free in front of the reredos, the tabernacle was made in 1742, the trapezoidal cafeteria in 1803, it bears the tabernacle, which has a mighty architecture. In shape and color it corresponds to the late Baroque, the defining colors are white and blue. The expositorium rises above a two-tiered base with a shell niche. The niche is rotatable and can be changed depending on the liturgical requirement. Two candlestick angels kneel on volutes to the side. These angels are removed during the times of penance. The structure is crowned by allegorical female figures. They stand for the virtues of faith, hope and love. The figures sit on a mountain of white clouds and carry a red flaming heart, a child in their arms and an anchor. The host above the chalice is surrounded by rays. The group seems very moved.

Side altars

The two side altars from 1667 are adapted to the main altar and designed as portal altars. In terms of color, they are similar to the main altar and form an ensemble. The altar leaves are accompanied by gilded spiral columns. The assistant figures are more recent and were made by Johann Phillip and Johann Heinrich Joseph Stratmann. The altarpieces were painted by Carl Ferdínand Fabritius, who served as prince-bishop from 1664 to 1666. On the picture of the right altar Ulrich is shown, he is walking through a group of sick people and is accompanied by acolytes. Phillip Neri is depicted on the left altar panel, he is wearing a chasuble made of golden brocade and kneeling before the apparition of Mary in heaven. The book lying on the floor is decorated with a lily.

Celebration altar

The celebration altar was built from splendidly carved parts of the former communion bench.

Pietà

The impressive Pietà is a work by Johann Theodor Axer , the exact year of manufacture is not known. The Mother of God looks into the distance with empty eyes, the tears on the cheeks are vividly depicted. She carries the dead Jesus on her lap, she holds his left arm horizontally in front of her chest. With her right hand she holds the corpse under her armpit, the arm of the dead man falls down. The thighs of Jesus appear animated, his head turned towards the viewer bends downwards, the face seems extinguished. Maria supports her upper body with her left leg. The folds of her undergarment fall straight down. The red lined blue coat sinks down to the right with many folds. The center of the group of figures is the wound on the side of Jesus, from which plastic drops of blood run down.

Baptismal font

The baptismal font from 1612 was already in the former Ulrichskirche, for which it was donated by the royal court servant Ludwig Schmidt in 1612; it is the oldest piece of furnishings. An angel holds a heraldic shield with the initials I and S on the stone bowl . The shaft and the base of the basin are decorated with fittings in the style of the Renaissance .

  • In the tower hall there is a picture to commemorate those who fell in the First World War, it was painted in 1922 by an artist Schumacher from Munich.
  • The sculptor Neustifter from Eggenfelden made some sculptures that can be seen in the nave. The brother Konrad (1936), Josef (1937), Elisabeth and Antonisus (both 1937–1938) were shown.

organ

The organ gallery in front of the arcades of the west wall is supported by Tuscan columns. The prospect rises behind a parapet with balusters, it was built in the second half of the 17th century in baroque forms. The coat of arms of Prince-Bishop Ferdinand is emblazoned on the middle pipe tower, and it is crowned by a prince's hat. The prospectus is set in red and gold and adorned with magnificent foliage, horns of plenty, cherub heads and fruit bunches. The two pointed towers on the outside are supported by atlases.

Other equipment

  • The magnificent pulpit is named after a designation in the coat of arms on the back, a work from 1668, it is crowned with a figure depicting the dragon slayer Michael in the garb of a centurion. The basic colors of the basket and sound cover are Fürstenberg red and gold. The niches of the basket are filled with figures of Christ, Peter and Paul.
  • The Rochusgruppe was created by the court sculptor Johann Heinrich Pütt (1731–1784). It originally stood in the Rochus Chapel.
  • A Vespers picture hangs on the east wall; it originally stood in a Rochus Chapel, which was built around 1700 because of a plague epidemic.
  • The double Madonna is surrounded by a halo, it hangs in the vaulted yoke in front of the organ stage and dates from around 1670. The Madonna has the baby Jesus in her arms, who presents the globe. With her feet she crushes the head of a snake on the crescent moon. In the lower part, angel heads look at the viewer between clouds. A pomegranate that has cracked forms the bottom, it symbolizes life.
  • The confessionals are named 1668.
  • The organ prospect is marked 1680 in Ferdinand's coat of arms.
  • In the Ulrichskapelle hangs a large oak cross with a body, it is from 1783 and used to stand on a plinth on the outer wall of the choir.
  • In the Philipp Neri Chapel and the Ulrich Chapel there are old paintings that may have come from the Abdinghof Monastery, which was closed in 1803. They were painted by Anton Joseph Stratmann and show: the Saints Peter, Paul, Felix, Blasius and Stephanus. The painting depicting Nepomuk is dedicated to Fridericus Musgard et Anna Sibilla Romer dedit Anno 1716 , the painting depicting the flagellation of Christ is unspecified.
  • The four bronze bells sound in c ′, f ′, g ′ and a ′ and were cast in the Junker bell foundry in Brilon. The two small bells were made in 1946 and the two large bells were cast in 1947.

Burials

Plaque

As was customary in the past, the church also served as a burial place. The plaque of honor for the Jesuit and historian Nicolaus Schaten (1608–1676) has been preserved. It was handed over on March 6, 1930 by the board of the Association for History and Archeology of Westphalia to Pastor Hermann-Joseph Wurm . Vicar General Laurentius von Dript died in 1688, his grave slab has been preserved. The coat of arms of Anna Magdalena von der Recke, b. Baroness von Wolff-Metternich. She was the sister of Prince-Bishop Franz Arnold and died in 1714. The tombstones for Pastor Otto Jodokus Denker (1724–1755), the Temme couple, who died in 1743 and 1745, and Benedictine Abbot Hieronymus Schröder are in front of the exit. The sculptor Valentin Köppfle died in the 18th century, and his grave slab has also been preserved.

Pastor of the parish

List of pastors:

  • Johann Förster 1598–1637
  • Johannes von Peckelsheim 1632–1633
  • Georg Langbein 1633–1634, 1638–1642, 1651–1658
  • Heinrich Gärtner 1634–1638
  • Konrad Ulenberg 1642-1651, 1659-1677
  • Christopherus Cramer 1677-1685
  • Konrad Cobokem 1685-1686
  • Kaspar Fabri 1686-1692
  • Balthasar Hanebrink 1692–1693
  • Jodukus Junfermann 1693-1724
  • Otto Jodokus Dencker 1724–1755
  • Friedrich Gonzalez 1755–1758
  • Heinrich Knepper 1758–1762
  • Heinrich Cramer 1762–1781
  • Franz Anton Krammen 1781–1795
  • Gottfried Ewers 1795-1815
  • Joseph Derenthal 1815–1842
  • Ludwig Krewet 1842–1888
  • Joseph Hachmann 1889–1910
  • Franz Shuddered in 1910
  • Hermann-Joseph Wurm 1911–1941
  • Josef Wittler 1941–1967
  • Gerhard Rustemeyer 1667–1969
  • Hubert Nitsche 1969–1996
  • Matthias König 1996–2002
  • Peter Scheiwe since 2002

literature

  • Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 .

Web links

Commons : St. Heinrich and Kunigunde in Neuhaus Castle  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f Baroque beauty, innovative community, Der Dom 44/2010 ( Memento from February 21, 2014 in the Internet Archive )
  2. ^ Community membership
  3. ↑ a b c d e Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 . Page 273
  4. ↑ a b About the community of St. Heinrich and Kunigunde
  5. ↑ a b c Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 . Page 274
  6. ↑ a b c d e f The Parish Church of St. Henry and Gwendolyn and their equipment ( Memento of 21 February 2014 Internet Archive )
  7. ↑ a b Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 . Page 275
  8. ↑ a b Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 . Page 277
  9. ↑ a b c Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 . Page 279
  10. ↑ Appendix to the Brilon Bell Book . Brilon 2019, p. 307-308 .
  11. ↑ Memorial plaques in the church

Coordinates: 51 ° 44 ′ 37 "  N , 8 ° 42 ′ 47"  E