St. Johannes Evangelist (Cappenberg)
The collegiate church of St. Johannes Evangelist is a listed church building in Cappenberg , a district of Selm in the Unna district ( North Rhine-Westphalia ). It was the church of the Cappenberg monastery until secularization and today serves as a Catholic parish church.
History and architecture
The former collegiate church of the Cappenberg monastery stands north of today's castle, near the highest point on the castle plateau. The Romanesque transept basilica with a square choir and recessed, Gothic polygonal apse is, besides the collegiate church in Freckenhorst, the only large, largely unchanged Romanesque church building from before the mid-12th century in Westphalia.
Construction began as a non-vaulted church with a square choir, flat transept apses and two-story west building was probably 1122. The straight choir closure was replaced by a retracted apse during the construction process. The roof structure was completed around 1130 according to the results of a dendrochronological examination. Then the building was painted and furnished. The west building was demolished in an unknown time. Its appearance was not finally clarified after excavations in 1940. In the 14th century at the latest, two-bay chapels were added to the front wall of the north transept and in the corner between the south transverse arm and the nave. At the end of the 14th century, the choir apse was replaced by a 5/8 end and the apse on the north transverse arm by a flat rectangular niche with a large window. The windows in the aisle were partially enlarged and the entire building was vaulted . This work was probably completed around the middle of the 15th century. From 1492 to 1511 the south transept apse was replaced by a sacristy . In 1830 all extensions were demolished. A low, free-standing bell tower was erected in the middle of the 19th century to the north of the choir made of crushed stone . From 1882 to 1886 the facility was extensively renovated. The west wall, including the foundation and buttresses, was largely renewed. A stair tower was added to the north side of the choir and a neo-Gothic sacristy was added to the south transverse arm . In the interior, the Romanesque room setting was renewed according to the findings. In 1935 Gothic vault paintings were uncovered, the plaster was removed from the pillars and the interior of the room, which was restored in the 19th century, was painted over. The walled aisles were opened from 1958. The north transept apse was reconstructed on the old foundation in 1963. The foundations and masonry were secured until 1967. A new sacristy was added to the south cross arm in 1967. From 1988 to 1989 the building was renovated.
The building made of ashlars and hammer-right quarry stone stands on a circumferential two- to three-fold stepped base, which was changed in the 19th century on the north side of the nave . The exterior presents itself without any plastic architectural decoration. The arched openings of the upper aisle and aisle windows are cut smoothly into the wall with almost no bevel. The Gothic renovation around 1400 was more complex. Three -lane apse and choir windows, as well as tracery with spherical triangles and squares, filled with three-leaves, were installed. The three-lane side aisle windows are similar, but less complex.
inner space
The interior is characterized by the contrast between the smooth, unprofiled forms of the Romanesque arcades and crossing arches and the delicate, deeply drawn vaults and multi-part tracery windows of the choir. The spatial effect is largely determined by the choir stalls that have been preserved at their original location in the crossing . In the nave there are seven narrow arched arcades on square pillars. The encircling fighters are only profiled on the three eastern pillars and on the flat crossing templates. The upper facade windows of the originally flat roofed, much higher room are not arranged axially over the arcades. In the vault in the east and west, two arcades and a window were combined under a ribbed vault . In the middle there is a star vault spanning three arcades and two windows .
The contrast between stone-covered arcades and crossing arches and light-colored plastered walls contradicts the original condition of the upper aisle walls; Significant remains of the Romanesque architecture have been preserved above the vaults. They were last cleaned and secured in 1989. Other remains of the frame were uncovered in the north transept between 1969 and 1970; they were added to the north and west walls to form a coherent spatial image. A bricked-up Romanesque window with a wooden frame and remains of the muntin was uncovered and preserved in 1969.
Vault paintings
The depiction of the Last Judgment with Deësis in the crossing is a work from the end of the 14th century. It was discovered and supplemented in 1935. Remains of late Gothic tendril paintings were uncovered in 1970; they date from the second half of the 15th century to the beginning of the 16th century. They were executed from east to west and added in grisaille . The fifth vault yoke from the west in the south aisle was completely painted around 1530 and added in 1935.
Furnishing
Head reliquary (Cappenberger Barbarossakopf)
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Probably the best known piece of the church treasure is the head reliquary , also called Cappenberger Barbarossakopf , a bust based on ancient images of rulers. The gilded bronze work was made after 1155, possibly in Aachen. It is iconographically unique and is referred to in the deed of foundation as an imperial portrait. It was given by Emperor Friedrich Barbarossa to his godfather Otto, Gottfried's brother and co-founder, together with a silver bowl, the so-called baptismal bowl Barbarossa, and bequeathed it to the pen. The eyes made of niello in silver inlay were replaced by brownish soft resin after the destruction. The figure wears inscription ribbons around its neck. The letters of the inscription ribbons were already laid out in the casting, thus the original purpose as a reliquary is proven. The head stands on an octagonal base on four animal head feet, with supporting angels, towers and battlements. The subset was part of it from the start. A previously existing fourth base figure was lost.
Altars
- The retable wing with pictures from the Passion and the Life of Mary was painted by Jan Baegert in tempera and oil on oak wood after 1513 . The central panel shows a multi-figure crucifixion, in front of which the founder, canon Dietrich von Schwansbell, kneels.
- The altar retable with winding columns and a painting showing a scene from the founding legend of the Premonstratensian: St. Augustine gives St. Norbert the rule of the order. The picture is labeled Herm (ann) Veltm (ann) Coesfeld 1696.
Triumphal cross
The so-called Cappenberg crucifix hangs as a triumphal cross under the western arch. The smaller than life-size body made of poplar wood has an extremely high-quality frame, which was exposed between 1952 and 1953 and restored in 1977. The arms and feet were added. The figure is a work of extraordinary delicacy. The body is hardly noticeably curved and the head is slightly inclined. The loincloth falls diagonally, in soft, elegant folds, up to above the knee. It is held in place by a wide, artfully knotted fabric belt. The striking physical presence of the figure is also due to the enamel - like appearance, which especially gives the skin areas a lifelike appearance. The oak cross was created around 1210/20, its ends have been renewed.
Choir stalls
The choir stalls , marked 1509 and 1520, are considered the richest in Westphalia. Arranged in two rows with a high dorsal , it stands in a free setup between the crossing pillars. The canopy-like attachment is covered with tracery. The rear stables are L-shaped, with a central passage to the nave, there was originally another seat on each side. Around 1700 two stalls were removed for each of the passages to the transverse arms. The abundance of figural carvings and coats of arms, the small figures of the morris dancers and the drolleries are considered unique.
On the back there are cabinets that, according to a dendrochronological study, were made around 1300. Judging by the dimensions, they were made for this location and probably taken over from the previous stalls at the same location.
Note: The use of the choir stalls is currently prohibited due to the pollution detected (6/2019).
Otto and Gottfried von Cappenberg
- The small, kneeling stone donor figures depict Gottfried and Otto von Cappenberg as knights wrapped in cloaks with coats of arms and the church model. They were made of stone in 1540 and originally stood on gilded columns on the sides of the main altar. Today they stand on consoles in the south transept. They were donated by the canon Dietrich von Schwansbell.
- The grave slab, probably from the end of the 13th century, with a reclining figure of a knight dressed in great detail, traditionally interpreted as Gottfried von Cappenberg, is located under a pinnacle-framed arched arcade crowned by angels. The figure is larger than life and is in a strictly frontal, motionless position. A lion is depicted at the feet. The cross-shaped base in the right hand was probably intended for a lost church model or as a base for the head reliquary that may have been placed there. In this case, Otto von Cappenberg is more likely to be represented.
- The relief plate of the former double grave for Otto and Gottfried von Cappenberg from around 1320/30 hangs in a baroque frame on the choir wall. The brothers are depicted as young knights under canopies, standing on lions. Together they hold a Gothic church model. The figures are half facing each other in an elegant posture.
Southern transept with the grave of Gottfried von Cappenberg and the cabinet with the head reliquary
Testament of Otto von Cappenberg (replica), head reliquary and baptismal bowl (replica)
Grave slab of Gottfried von Cappenberg (around 1300) in the south transept
View of the chancel and the triumphal cross
Triumphal Cross (around 1200)
Late Gothic choir stalls
Grave slab of Count Gottfried and Otto von Cappenberg in the choir (around 1320)
Late Gothic sacrament and reliquary cabinet in the choir (around 1520)
Bronze lion head (12th century) on the inside of the entrance door
Organs
The organ from 1788 comes from the Westphalian organ builder Caspar Melchior Vorenweg . The instrument was extensively restored in the years 2002-2004 according to the historical model. It has 28 stops on two manuals and a pedal . The historical grinding chests of the manual works have been preserved.
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- Coupling : manual coupler (sliding coupler, divided into bass and treble), I / P, II / P
- Remarks
- N = reconstructed register (2004)
- E = supplemented register (2004)
- (B / D) = bass or / and treble side
Since 2005 there has been a modern choir organ in the collegiate church from the Manufacture d'Orgues Muhleisen (Strasbourg). The instrument is arranged in the old French style. It has eleven registers on two manuals and pedal, the drone 8 'can be played in both manual works and the treble of the soubasse 16' is generated from the drone 8 '.
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- Coupling : II / I, I / P, II / P (as trains and steps)
Other equipment
- The three-part stone reliquary cabinet from around 1520 stands on a base with tracery cladding.
- The cylindrical font is unadorned.
- In the apse services there are sculptures of the Madonna and Saints John, Stephen and Laurentius under canopies; they are works from the end of the 14th century.
- A row of apostles painted on wood is labeled 1625, a stylistically based row of apostles on canvas is labeled 1706.
- The lay chairs with carved cheeks were made in the second half of the 17th century and restored from 1969 to 1970.
- The organ front and the gallery were built in 1786 in restrained baroque forms by Jodocus Freytag.
- The organ was built by Caspar Melchior Vorenweg in 1788, it was changed several times and restored in 2004.
- Two three-armed candlesticks from around 1500 stand on stone plinths , they are decorated with a man of sorrows and a crucifix hanging like a cross on the candlestick fork.
- The seated Madonna made of stone from around 1330 holds the standing child with dove in a graceful gesture on the left knee. Remnants of the original version were uncovered from 1970 to 1971.
- The two stone reliefs from 1520/30 in Renaissance frames each combine several multi-figure Passion scenes.
- Several figures of Christ and saints made of wood and stone from the 15th to 17th centuries complete the overall impression.
literature
- Dehio, Georg , under the scientific direction of Ursula Quednau: Handbook of German art monuments. North Rhine-Westphalia II, Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 .
- Gerd Dethlefs (Ed.): The Cappenberg choir stalls 1509–1520. Publishing house for regional history, Bielefeld 2009, ISBN 978-3-89534-873-0 .
Web links
- History and photos ( Memento from December 9, 2013 in the Internet Archive )
- 360 ° panorama image from the Church of St. Johannes Evangelist (Cappenberg) in the Westphalia Cultural Atlas (requires Flash player )
Individual evidence
- ↑ More information on the historic organ of the collegiate church ( Memento from August 28, 2012 in the Internet Archive )
- ↑ More information on the Mühleisen organ ( Memento from August 28, 2012 in the Internet Archive )
Coordinates: 51 ° 39 ′ 3.1 ″ N , 7 ° 32 ′ 20.7 ″ E