St. John the Baptist (Piesbach)

from Wikipedia, the free encyclopedia
Church of St. John the Baptist in Piesbach: The church building is located on the grounds of the 16th century desolate fallen village Theter. The name is “Auf dem Schank”, as the area was donated in 1393 by Vogt Nikolaus von Kastel and his wife Margarethe to the Trier St. Simeon Monastery in the Porta Nigra . The monastery gave this donation to the parish of Nalbach in 1701.

The Church of St. John the Baptist is a Catholic parish in Piesbach bed city , in the municipality of Nalbach in the Saarland district Saarlouis . The church is assigned to the diocese of Trier . The patronage festival is the ecclesiastical solemnity of the birth of John the Baptist ( St. John's Day ) on June 24th. As part of the 2020 structural reform in the Diocese of Trier, the parish community of Nalbach was established on September 1, 2011 with the independent parishes of St. Peter and Paul in Nalbach, St. John the Baptist in Piesbach, Herz Jesu in Bilsdorf and St. Michael in Körprich .

Building history

Nalbach mother church

The Nalbach parish church of St. Peter and Paul was the only parish church in the Nalbach valley until the beginning of the 20th century. The parish church of St. Peter and Paul is the mother church of all six surrounding villages in the Nalbach Valley: Diefflen , Piesbach with Bettstadt, Bilsdorf and Körprich , the Nalbach settlement of Bierbach and also the historical, submerged settlements of Heuchlingen, Theter, Heisterbach and Heynschiet.

Nalbach was first mentioned as a parish in the 11th century.

The St. Simeon Abbey in Trier owned the basic jurisdiction , the right to levy taxes and the right to fill the parish in the Nalbach Valley .

Piesbach chapel and makeshift arrangements

  • Piesbach, historical view of the baroque chapel around 1900 (archive of the municipality of Nalbach)

  • Piesbach; The rebuilt former baroque chapel before demolition

  • Piesbach, tower cock of the former baroque chapel within a green area that was created at the location of the former chapel

In the 18th century there was a small baroque chapel in Piesbach with the patronage of St. John the Baptist or St. Wendelin was built. The chapel was a simple hall building with a three-sided closure. The small baroque sacred building with a simple roof turret stood between Bachstrasse and Litermontstrasse on Piesbacher Hauptstrasse. The chapel was sold to private individuals by the parish of Nalbach in 1920, since the service was now being celebrated in the Piesbacher Gasthaus, which was temporarily converted into an emergency church. In 1934 a butcher from Piesbach set up a slaughterhouse in the former chapel . After the butcher's business was closed in 1975, the baroque chapel was used as a garage . The former Piesbach chapel from the 18th century (main street No. 129 a) was demolished in 1979. In 2011/2012, the Nalbach community created a green area at the old chapel site. The surrounding walls of a flower bed indicate the foundations of the old chapel. The old tower cock of the chapel was placed in the green area.

A church building association was founded before the First World War . The outbreak of war in 1914 made a new building impossible. Therefore, the local Hartmann inn was converted into a provisional church service room. From 1920, the former inn was used for the Sunday mass celebrations on Sundays and two masses on weekdays. The first pastor to officiate was the previous Nalbach chaplain, Bernhard Brand, who was introduced to his office on February 27, 1921. The Trier diocese administration raised Piesbach with effect from March 7, 1922 to the parish vicarie of Nalbach. In 1921, the Piesbach civil administration established a new cemetery in the “Auf dem Schank” area. So far, all of the dead had been buried in the Nalbach churchyard. For the purpose of building a new church in Piesbach, the civil parish provided a plot of land "Auf dem Schank".

Church building

St. John the Baptist (Piesbach), cornerstone of the church

In the years 1922–1924 a new church was built by the architects Ludwig Becker & Anton Falkowski from Mainz . The groundbreaking ceremony for the new church was done on October 29, 1922, and the foundation stone was ceremoniously laid on June 17, 1923 (the inscription on the foundation stone of the southern choir wall reads: “Lapis primarius positus est Anno Domini MCMXXIII June 17”). On August 29, 1924, a ring of three bells had been hung in the bell tower. The new church was solemnly consecrated on August 31, 1924. Almost at the same time, the architectural community built the church in the neighboring village of Körprich in Piesbach and expanded the mother church of the Nalbach valley, St. Peter and Paul in Nalbach.

Parish separation from the Nalbach mother church

In 1922, Piesbach and Bettstadt were separated from Nalbach as the parish vicarie. The elevation to the parish took place on October 1, 1927. Vicar Brand was thus appointed pastor of Piesbach. The old Piesbach chapel from the Baroque period had meanwhile been converted into a residential building and demolished in 1979. On April 16, 1929 the consecration of the sacred building was carried out. The sacred building together with the attached rectory suffered severe damage from artillery fire by the US Army in the war winter of 1944/1945. The choir area, the window glazing and the organ were particularly affected.

Building design

Exterior

  • Piesbach, church on the bar

  • Piesbach; Church tower with a slate, neo-baroque dome

  • Piesbach Church, portal front with symbol reliefs on the facade

  • Piesbach, Mariengrotte in front of the church

  • View over the church to the Saar polygon

The nave of the plastered and painted church building has three bays . An expansive, lower transept adjoins the nave . The corners of the transept are rounded between flat pilaster strips in a baroque style . The apse of the church is separated from the choir in height and width and closes in a semicircle. The exterior of the apse is structured by flat blind niches that are divided from one another by pilaster strips.

The building is loosened up on the slope side towards the west and on the main entrance side by different side rooms. To the right of the main entrance is a side chapel that closes on three sides. On the left is a side entrance similar to a dwelling, the gable roof of which extends to the eaves of the main nave .

The church tower is designed as a choir flank tower and cleverly connects the church and rectory . The entrance facade of the church is designed as an eye-catching main view. The upper floor of the tower and the other roof areas are covered with slate . The helmet elements of the tower look like pillows and give the component a baroque look. The bell storey with the tower clock is slate, the sound windows are just closing.

A few architectural decorative elements (oval, convex chapel windows, slightly bent roofs) give the entire building a baroque swing. The octagonal pillars of the west vestibule and the flat arched niche above, which frames the large, stepped arched window, refer to the design forms of the 1920s. The wall surfaces of the main entrance facade are decorated with Christian symbols (left: Christ monogram ☧ with dove and lamb, right: column with triangular symbol of the Trinity and five doves).

Interior

  • Piesbach, St. John the Baptist, interior view with transept

  • Piesbach, parish church, neo-baroque pulpit

  • Piesbach, St. John the Baptist, interior against the apse

  • St. John the Baptist, high altar with style elements of Art Deco during the Passion time

  • St. John the Baptist, entrance to the sacristy, above a small oratory

architecture

The interior of the church has a barrel vault . Belt arches that subdivide the yokes rise above pilasters . Side choirs open up in round arches to the deep fore-choir yoke and to the transept . The apse is retracted. As in the outside area, the interior apse is structured by flat pilaster strips. Profiled cornices underline the solemn, baroque character. The rear wall has no windows.

apse

Due to the lack of windows on the rear wall of the apse, the gilding of the altarpiece catches the little light and thus creates highlights around the tabernacle . On both sides of the exposition niche, deer refresh themselves at a spring in shiny gold metal drifting, an illustration from the 42nd Psalm: "As the deer cries for fresh water, so my soul, God, cries to you." The dove of the Holy Spirit sends in the apse calotte emits rays and thus refers to the gifts of the Holy Spirit .

Neo-baroque design language

The design with paintings and figurative decorations all in all cites the Baroque formal language.

Entrance area

An oil painting of the Fourteen Holy Helpers hangs from the main entrance to the left under the organ gallery . The small chapel to the right of the main entrance contains a Pietà , a resurrection savior and the mission cross from 1929 (inscription: First Holy Mission May 19 - June 2, 1929).

Church window

The nave windows to the left of the main entrance point towards the apse St. Elisabeth of Thuringia with the rose miracle and St. Anthony of Padua . The nave windows to the right of the main entrance point towards the apse St. Vincent de Paul and St. Niklaus von Flüe . The windows of the left transept show St. Agnes of Rome and St. Aloisius of Gonzaga . The windows of the right transept show St. Therese von Lisieux writing her biography, and St. Gertrud von Helfta with a cross. The window inscriptions come from the Beatitudes (Makarisms) of the Sermon on the Mount in the Gospel of Matthew 5,3-12 EU .

Right side chapel

The painting above the side chapel to the right of the altar deals with the Assumption of Mary . In the chapel there is a statue of St. Joseph of Nazareth with the baby Jesus.

Left side chapel

Speyer, Josephskirche, side altar, model of the Piesbacher "Herz-Jesu-Bild" (Franz Michael Ronge, Munich)
Piesbach, parish church, painting "The adoration of the Sacred Heart of Jesus by all estates" (Franz Michael Ronge, Munich)

The painting above the side chapel to the left of the altar depicts the adoration of the Sacred Heart of Jesus . The painting was created by the Munich painter Franz Michael Ronge (1853–1925). The model for the Piesbach painting is the large Sacred Heart painting by the same artist in 1914 in St. Joseph's Church in Speyer , for the design of which architect Ludwig Becker, who also designed the Piesbach Church, provided the plans. While the Speyr model comes up with a festive golden sheen, the Piesbach painting is covered with an imaginary gray veil. The posture asking for help, the wistful facial expression and the selection of the people shown differ from the Speyr model. The events of the First World War are likely to have been reflected in the Piesbach painting. There is a statue of the Immaculate Conception in the chapel . To the left of the entrance arch to the chapel is a metal stamping of Mary, mother of good advice .

pulpit

The pulpit on the left chancel arch pillar shows in a baroque style the patrons of the Nalbach mother parish St. Peter and Paul , Petrus and Paulus , whose patronage points to the emergence of Nalbach as a medieval fishing settlement.

dome

The oval paintings in the dome deal with scenes from the life of the patron saint John the Baptist:

Sculptures

In the nave on the left there is a statue of St. Anthony of Padua and on the right a statue of St. Anna, teaching her daughter Maria . To the left of the apse is a statue of St. Barbara of Nicomedia , on the right a Sacred Heart statue. On the pillar opposite the pulpit is a statue of the church patron John the Baptist in a preaching posture with a staff of the cross and the banderole that points to the Lamb of God .

organ

St. John the Baptist (Piesbach), inside the church with a view of the organ gallery

The Wallerfanger Augustinian Monastery Church used as a parish church was founded in 1843 by Carl Philipp Stumm (* August 17, 1783; † November 23, 1845) and Franz Heinrich Stumm (* August 8, 1788; † January 26, 1859), representatives of the fourth generation of renowned Hunsrück organ builder family Stumm , equipped with an organ for the price of 760 thalers. The order had already been placed on December 13, 1840. Before the Gothic monastery church was demolished, the organ was sold in 1861 for 450 thalers to furnish the Lisdorf church of St. Crispinus and Crispinianus . The organ builder Johann Schlaad (born November 11, 1822 in Kestert , † November 16, 1892 in Waldlaubersheim) from Waldlaubersheim took care of the transfer to the nearby village. In Lisdorf, the Wallerfanger Stumm organ was enlarged to 15 / II by the organ manufacture Dalstein & Haepfer . In 1943 the instrument was sold to Piesbach to equip the church of St. John the Baptist.

Today's, box-like, modern organ on the gallery, which swings out slightly in the middle section, is not based on the Baroque style of the overall building and covers the large window of the entrance facade.

The organ was built by the company Hugo Mayer ( Heusweiler ) in 1981. The slider chests -instrument has 14 registers , spread over two manuals and pedal . The action mechanism is mechanical, the stop action is electrical. The pitch is 440 Hz. The temperature (tuning) is equal . The disposition is as follows:

I Hauptwerk C – g 3
1. Principal 8th'
2. Reed flute 8th'
3. octave 4 ′
4th Forest flute 2 ′
5. Mixture IV 1 1 ⁄ 3  ′
6th Trumpet 8th'
II breastwork C – g 3
7th Wooden dacked 8th'
8th. recorder 4 ′
9. Principal 2 ′
10. Sesquialter II 2 2 ⁄ 3  ′
11. Scharff III 2 ⁄ 3 ′
Tremulant
Pedal C – f 1
12. Sub bass 16 ′
13. Principal bass 8th'
14th Choral bass 4 ′

Bells

The three cast steel bells (Ø 143 cm, 126 cm, 101.6 cm) were manufactured in 1923 by the Bochumer Verein bell foundry .

Pastor

St. John the Baptist (Piesbach), rectory on the bar

The following pastors worked in Piesbach:

  • Bernhard Brand: 1921–1935
  • Nikolaus Hein: 1935–1972
  • Piet Plouvier: 1972-1979
  • Leo Simon, who was pastor in Nalbach from 1976 to 1981, administered the parish in 1981
  • Albert André , the regional dean of the Saar-Hochwald region, moved into the Piesbach rectory in 1981 and, from October 1981, took on the administration of the Piesbach parish as an additional task.

graveyards

Piesbach, cemetery

In the Middle Ages, all the dead in the Nalbach valley were buried in the Nalbach churchyard . Burials at the Körprich Michaelskapelle took place for the first time in the years 1695 to 1705, when Körprich, which of all Nalbach valley communities was the furthest away from the Nalbacher St. Peter and Paul , was striving for greater church independence from Nalbach. When the Gothic Nalbach church was demolished in 1762 in favor of a new baroque building and the Nalbach churchyard was therefore not verifiable, all the dead in the Nalbach valley were buried in the churchyard of the Körprich chapel for four weeks. Subsequently, however, the Nalbacher Kirchhof was used again until 1867, when the own chapel cemetery was used again in Körprich and the current cemetery was established in Nalbach between Fußbachstraße and Galgenberg in 1868. This cemetery was designed as a cemetery for Nalbach, Piesbach, Bettstadt, Bilsdorf and Diefflen. He lost this function with the establishment of his own cemeteries in the individual villages of the Nalbach valley in connection with the church's separation from the Nalbach mother parish. The centuries-old churchyard at the Nalbacher church was leveled in the following period. It was not until 1921 that a cemetery was laid out next to today's Piesbach church. In 1969 a morgue was built.

literature

  • Hans Peter Buchleitner: Cultural Reconstruction in Saarland, 1945–1955, A text and picture work, Volume I, Reconstruction, new and extension of churches, chapels, monasteries, parish and youth homes, community houses, etc. in the state capital as in the Districts Saarlouis and Merzig-Wadern, Saarbrücken 1955, p. 79.
  • Bernhard H. Bonkhoff: Historical organs in Saarland. Regensburg 2015, p. 114.
  • Georg Colesie: History of the Nalbach Valley, a Saarland local history. 2nd edition, Nalbach 1990.
  • The Catholic Saarland, Home and Church, Ed .: L. Sudbrack and A. Jakob, Volume II / III, Saarbrücken 1954, p. 43.
  • Gertrud P. Fels and Wolfgang Fels: Franz Michael Ronge (1853–1925), a rediscovered painter of late ecclesiastical history, in: Das Münster, magazine for Christian art and art history, 1, 2019, 72nd year, Regensburg 2019, p. 3 –24, here p. 18.
  • Festschrift on the occasion of the 50th anniversary of the Piesbach-Bettstadt parish, 1977, pp. 35–53.
  • 60 years of the parish of St. Johannes Baptist Piesbach, Saarlouis 1987.
  • Kristine Marschall: Sacred buildings of classicism and historicism in Saarland. (Publications of the Institute for Regional Studies in Saarland, Vol. 40), Saarbrücken 2002, p. 303.
  • Saarforschungsgemeinschaft (Ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd unchanged edition of the first edition from 1934, Saarbrücken 1976, p. 247.

Web links

Commons : St. John the Baptist (Piesbach)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Georg Colesie: History of the Nalbach Valley, A Saarland local history. 2nd edition, Nalbach 1990, pp. 122-125.
  2. ↑ Georg Colesie: History of the Nalbach Valley, A Saarland local history. 2nd edition, Nalbach 1990, pp. 46-52.
  3. ^ Johann Spurk: Parish chronicle of St. Josef Diefflen 1900–1975. Saarlouis 1975, pp. 23-24 and 351.
  4. ↑ Saarforschungsgemeinschaft (Ed.): The art monuments of the Ottweiler and Saarlouis districts , edited by Walter Zimmermann , 2nd unchanged edition of the first edition from 1934, Saarbrücken 1976, p. 247.
  5. ↑ Commemorative plaque of the Nalbach community at the location of the chapel
  6. ↑ a b c d e Georg Colesie: History of the Nalbach Valley, A Saarland local history. 2nd edition, Nalbach 1990, p. 219.
  7. ↑ Festschrift on the occasion of the 50th anniversary of the Piesbach-Bettstadt parish, 1977, pp. 35–53.
  8. ↑ Hans Peter Buchleitner: Cultural Reconstruction in the Saarland, 1945–1955, A text and picture work, Volume I, Reconstruction, new and extension of churches, chapels, monasteries, parish and youth homes, community houses etc. in the state capital as in the districts of Saarlouis and Merzig-Wadern, Saarbrücken 1955, p. 79.
  9. ↑ Kristine Marschall: Sacred buildings of classicism and historicism in Saarland. (Publications of the Institute for Regional Studies in Saarland, Vol. 40), Saarbrücken 2002, p. 303.
  10. ↑ 60 years of the parish of St. Johannes Baptist Piesbach. Saarlouis 1987.
  11. ^ The Catholic Saarland, Heimat und Kirche , eds .: L. Sudbrack and A. Jakob, Volume II / III, Saarbrücken 1954, p. 43.
  12. ^ The art monuments of the Ottweiler and Saarlouis districts. edited by Walter Zimmermann, 2nd edition, Saarbrücken 1976, p. 247.
  13. ↑ Gertrud P. Fels and Wolfgang Fels: Franz Michael Ronge (1853-1925), A rediscovered painter of late ecclesiastical history, in: Das Münster, Zeitschrift für Christian Kunst und Kunstwissenschaft, 1, 2019, 72nd year, Regensburg 2019, p. 3–24, here p. 18.
  14. ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland. Regensburg 2015, p. 114.
  15. ↑ Organ of the Church of St. Johannes dT In: organindex.de, accessed on July 27, 2014.
  16. ↑ Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, p 132nd
  17. ↑ Georg Colesie: History of the Nalbach Valley, A Saarland local history. 2nd edition, Nalbach 1990, p. 196, pp. 227-228.

Coordinates: 49 ° 23 '24.7 "  N , 6 ° 48' 22.1"  E