St. Joseph (Marienloh)
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St. Joseph is the parish church of the Roman Catholic parish of St. Joseph in Paderborn , Marienloh district . It is on Detmolder Strasse in the center of Marienloh. The parish church is also a pilgrimage church to the "mother of seven joys".
The parish of St. Joseph and eight other parishes make up the pastoral area of An Egge and Lippe.
History of the parish church
The first reference to a chapel in “Mergenloh” comes from 1565. In that year, Bishop Rembert incorporated the Klokenhof chapel into the Busdorf Stift in Paderborn. At the time it was in the hands of noble landlords and completely derelict.
At the initiative of Vicar General Laurentius von Dript, the construction of the chapel began in 1678. The chapel was rebuilt according to the dimensions of the holy house in Loreto . Two years later, Auxiliary Bishop Niels Stensen was able to consecrate this in honor of the Virgin Mary to the Snow .
The neighboring town of Neuenbeken has been a pastor for the residents of Marienloh since time immemorial. Therefore, there were no regular services in the Loreto Chapel . The Paderborn Franciscans alone celebrated the Holy Trinity Festival every year in Marienloh.
Only in the years from 1833 to 1840 was there a regular service in the chapel. In a letter dated October 15, 1833, the Vicariate General of Paderborn granted the pastor of Neuenbeken revocable permission to keep the Holy of Holies in the chapel. As early as 1835 the vicar responsible complained that barely a third of the residents of Marienloh could find space in the chapel and that the priest in front of the altar was so close to the people that he could hardly turn around. A first attempt in 1838 to get a new building failed.
In the years 1846 and 1847, a former canon at the Busdorfstift von Paderborn, Herrmann von Hartmann (1787–1860), planned a new chapel, the financing came from his private fortune. The larger chapel required more space, especially since von Hartmann was also planning to build a rectory with a garden. It was found where the parish church still stands today. On March 28, 1848 the foundation stone for a new building was laid and the first mass was celebrated in the new church on November 16 of the same year. It can be assumed that the church received the patronage of St. Joseph when it was consecrated . It remains unclear why Marienloh ( renamed from Bendesloh to ad Sanctum Mariam in the Lo ) did not receive a Marienkirche.
Canon von Hartmann pursued his plan for an independent parish with determination and persistence . After considerable resistance, the episcopal authority of Paderborn finally gave in. Friedrich Johann Hartmann began his ministry on May 16, 1858, becoming the first cleric to reside in Marienloh and responsible for pastoral care.
The Marienloh Church initially remained a branch church of Neuenbeken. The low core number and the Abpfarrung associated financial issues the establishment of a delayed own Parish to 1894 addition.
Even the larger church building at the beginning of the 20th century no longer met the requirements of a grown community. "On Sundays and public holidays there was a frightening abundance in the house of God" (church chronicle). In the summer of 1935, work began on an extension, and on December 22nd, 1935, the renovated and enlarged church was inaugurated. The desire to rebuild the church in a quieter place because of the heavy traffic on the immediately located Reichsstrasse failed due to the financial possibilities.
The old church was a 9.5 m long structure with a row of three windows on the south side and a roof turret for the bell . The architect extended the church by adding a transept of 9 by 14 meters and a choir rectangle of 5 by 7 meters in front of the old building to the east. This doubled the interior space and also received plenty of light through the installation of additional windows. The small roof turret gave way to a bell tower measuring 5 by 5 meters. Three bells were cast in Brilon for the parish church. They have the notes e, g and a.
The parish church has remained unchanged in its external dimensions except for two smaller extensions.
History of the pilgrimage site Marienloh
The parish church of St. Joseph is also a pilgrimage church . Believers from near and far come to pray in front of the miraculous image of the “mother of seven joys”.
The name of the place, which was originally called Bendeslo, but was called Marienloh as early as 1340, suggests a medieval cult of Mary in Marienloh. So at that time there must have already been a devotion to the Virgin Mary and presumably an image of grace must also have been present.
A chapel from Klokenhof in Mergenloh is mentioned in a document in 1565 when it was incorporated into the Busdorfstift in Paderborn by Bishop Rembert (1547 - 1568) . H. is incorporated. Until then it was in the hands of noble landlords. In the period that followed, the deans of the monastery did a great job promoting the cult of Mary in Marienloh.
In a report from 1674, the chapel is described as completely derelict. It was canceled in 1678. But now the Vicar General Lawrence of Dript and the pastor Kriger of was at the expense Neuenbeken a new chapel in the same place built, after the example of the Holy House in - - Marienloh belonged until 1894 to the parish Neuenbeken Loreto , therefore also Loretokapelle called.
The Marienloh Loreto Chapel was consecrated on August 1, 1680 by the famous, now beatified Auxiliary Bishop Niels Stensen on behalf of Prince-Bishop Ferdinand von Fürstenberg .
Now the pilgrimages started again . The dean of the Busdorf Foundation, Theodor Holter, addressed Pope Clement XI in 1714 . the request to approve the mass of the transfer of the Holy House in Loreto in this chapel for December 10th, since the chapel was built according to its model and is particularly busy by the people on Marian feasts. A procession went to this Loreto chapel on Pentecost Tuesday from the parish of Neuenbeken, to which, as mentioned, Marienloh belonged until 1894 . Pilgrims from Paderborn, Schloss Neuhaus and other neighboring towns then flocked to Marienloh and a procession was held through the town. This procession was abolished during the Enlightenment , in 1785, at the request of Pastor Kösters von Neuenbeken.
The Prince-Bishop Friedrich Wilhelm von Westphalen , who regulated the processions in the parishes, approved the decision of the pastor to stop the procession entirely and not to move it to the following Sunday, as is otherwise generally prescribed, because "by such petitions the country people the most necessary instruction that they would have to receive on the holidays from the sermons and afternoon explanations of the Christian doctrines and morals in their parish churches is withdrawn ”.
The Loreto Chapel fell into disrepair and was replaced by a new one on what is now Detmolder Strasse from 1848 to 1850. This chapel was rebuilt in 1935 to become the current parish and pilgrimage church. A stone stele on Detmolder Straße, exit Marienloh, right towards Bad Lippspringe reminds of the approximate location of the Loreto Chapel.
The miraculous image with its wooden garb survived the Enlightenment period, but otherwise shared the fate of other miraculous images. The worship of the image and the pilgrimages ceased. The miraculous image itself was placed in a dark niche in the back wall of the main altar of the new chapel.
Pastor Stracke, pastor in Marienloh from 1934 to 1955, had the image restored. It was given a name on September 8, 1934, on the feast of the birth of the Virgin Mary , and was placed on the right side altar of the parish church, the Marienaltar. Since then the veneration of the old miraculous image has been revived; there are closed pilgrimages from the near and far and also many individual visitors. Hardly a day goes by without silent prayers coming and kneeling in front of the picture. The main pilgrimage season is in May and October.
architecture
Outside
The Marienloh parish church is oriented to the north due to its location on the through road (now Detmolder Straße) from Paderborn to Detmold . It is a single-nave building with a retracted transept. The walls surrounding the nave are still standing from the original construction of 1848 . All other components were expanded and renovated in 1934, 1996 and 2013. The exterior structure follows a simple rectangular shape for the main nave, on which the transept is inscribed. A small chapel-like room was built on the east side of the transept, which is closed off by a glass partition towards the nave. So the miraculous image “Mother of the Seven Joys” can be visited without having to enter the main nave of the church. A confessional chapel was added to the west side of the transept during the last renovation in 2012/2013. A simple arched portal offers entry into the church. In the small niche above is a sculpture of St. Nepomuk , to the right of the portal is a stone relief of the apocalyptic lamb on the book with the seven seals, which comes from the high altar, which was built in 1900 but has now been destroyed; to the left of this is an inscription, dated 1693 and partly composed as a chronogram.
inner space
tour
The interior opens up as a wide rectangular hall. The structure of the room is emphasized by an 80 m² ceiling painting. The choir is somewhat narrower than the rest of the church. Deep, ceiling-high niches are hidden in front of it, in which the sculpture of the church patron St. Joseph stands in the west and the image of grace in the east . The shape of the arched niches is taken up in the arched frame of the plastic crucifixion group in the center of the rear wall of the choir, which optically forms an axis with the altar and tabernacle .
In front of the altar are the graves of Canon Herrmann von Hartmann (1787–1860), founder and builder of the church, and of Vicar Johannes Pollmeyer (1802–1893).
The church renovations in 1996 and 2012/2013 create a harmonious atmosphere that allows visitors to worship undisturbed.
The liturgical furnishings of the choir room with altar, ambo and tabernacle shrine were created by the brothers Christoph and Michael Winkelmann in Möhnesee-Günne.
The altar is carved from stone and takes on late antique forms in the design of the actual altar plate with the volute-like foothills on the right and left. The face to the nave shows Mary and the baby Jesus, to whom the three kings bring their gifts, as figurative ornamentation. The right narrow side is decorated with a relief with the emblem of the Blessed Pauline von Mallinckrodt , a niece of the church founder Canon von Hartmann; on the left the coat of arms of the Blessed Auxiliary Bishop Niels Stensen, who consecrated the altar of the Loreto Chapel.
In the center of the back wall is the tabernacle shrine, which takes up the volute shape of the altar, in combination with a crucifixion group . The wood carving of the tabernacle was also done by the Winkelmann brothers and shows the Lamb of God as an apocalyptic lamb, surrounded by the precious stones from the city wall of the Heavenly Jerusalem and the Greek inscription (light - life).
The ambo completes the liturgical furnishings of the choir room. Apart from the relief of the rooster on the front, an iconographic detail on the narrow left side of the book edition is remarkable. In flat relief work you can see a man who holds his nose and raises his hand in warning. The pious listener of the proclamation is meant, who - here without words, but constantly admonishing - means to the preacher that he himself stands under the claim of the word of God and should not expect his listeners to do more than he is ready to do himself.
Deep, floor-to-ceiling niches are hidden in front of the choir. In them stand the miraculous image in the east and the sculpture of the church patron St. Joseph in the west. The octagonal baptismal font made of blue-gray sandstone with its neo-Gothic decorations stands in front of the statue of Joseph . It dates from 1894 and was part of the original equipment of the church. A wooden lid created by the Winkelmann brothers closes the baptism. His grip shows the prophet Jonas in a ravishing swing, with arms spread out as if in prayer, as he has just been spat out by the whale (Jon 2:11) and welcomes the regained daylight.
The Easter candlestick , which is also wooden, like the baptismal lid, carved from oak and framed in color , was created in 1997, and its scenic design is reminiscent of great medieval models (Hildesheim, Rome).
Ambo
Baptismal font
Easter candlesticks
Double Madonna
organ
Intercession book
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Half of a double Madonna from around 1500 hangs from the ceiling of the central aisle. Maria, traditionally wrapped in blue and red robes (color version and double cast replaced in 1994), stands on the crescent moon and is surrounded by a halo. The baby Jesus sits on her right arm, the left one holds a scepter.
The organ is a two-manual work by the Speith company, Rheda-Wiedenbrück. The prospectus is adorned with a representation of King David playing zither. Gold-framed veil boards with baroque tendrils accentuate the prospectus .
Image of grace "Mother of seven joys"
Not much is known about the origin and age of the image of grace. A legend, which is not unusual for images of grace, tells that the image of grace stood in a hedge one morning.
For a long time it was assumed that the miraculous image had a Gothic core. Today, however, it is assumed that it was carved by the Paderborn artist Gertrud Gröninger and was built around 1678 when the Loreto Chapel was built. The image of the Mother of God is described as miraculous as early as 1752. That year, the Franciscan brother Christoph Böger from Brakel addressed a refused request to Prince-Bishop Clemens August to build a hermitage near the chapel and to settle there as a hermit and give the children lessons. He also writes that there is a miraculous image of the Virgin Mary in the chapel, to which pilgrimages are made by individuals and by entire village communities, as the pastors of the whole area could testify.
Mary and the baby Jesus are shown frontally to the viewer. The Mother of God wears her brown hair open and is crowned with a separate bow crown . The child Jesus, who is also crowned, greets those who pray in front of the picture with his right hand and promises divine blessings. With his left hand he holds the globe with the cross on it.
The crown of the baby Jesus and his mother as well as the precious fabrics of their clothing indicate their high dignity and the admiration that has been shown to them for more than 2000 years. However, while baroque images of grace are often clothed with fabric, the garment of the Marienloh image of grace is carved with great mastery, as can easily be seen. The abbreviation MRA for Maria, Queen of Angels = Maria Regina Angelorum has been adopted from the image of grace in the coat of arms of Marienloh .
In the miraculous image of the “Mother of Seven Joys” the first five secrets of the joyous and the last two of the glorious rosary are venerated as the seven joys:
- Annunciation
- Visit of Mary to Elisabeth
- Birth of jesus
- Presentation in the temple
- Pilgrimage of the 12 year old Jesus to Jerusalem
- Assumption of Mary into heaven
- Coronation of Mary.
Ceiling painting
The circular, approx. 80 m² ceiling painting is of outstanding importance. It was painted by the Berlin artist Peter Schubert , who worked in the church from December 2012 to January 2013.
According to his own statement, the artist wanted to paint the sky as a spiritual quantity. In the dramatic version there are dark parts that seem to be in combat with the light ones or want to cover them up. The bright, bright parts win. In this way, a virtual dome is created in the crossing of the flat-roofed church space in the style of the Baroque.
Schubert paints abstractly, but also includes motifs that are on the margins of figurative painting in the representation. The painting is intended to suggest familiar things, but not to depict them.
Choir back wall
By Peter Schubert , the painting of the choir wall comes after the Crucifixion. The color scheme of the church ties it together to form a unit; the designed ceiling painting received a corresponding addition and is therefore not a foreign body. Here the artist left out the dark colors of the ceiling painting and only picked up the light ones. The bright colors of the back wall of the choir can make it so clear that the crucifixion of Jesus was not the last stage of his life, but was followed by the resurrection.
literature
- Dr. Hans-Walter Stork: Tour, in: Catholic parish church St. Joseph Marienloh. Edition 1999, published by Kunstverlag Josef Fink, Lindenberg, 1.
- Engelbert Meyer: Bendesloh Marienloh 1036–1986. Published on behalf of the Marienloh district, 1986. Bonifatius-Druckerei Paderborn GmbH.
Web links
Coordinates: 51 ° 45 ′ 55.4 " N , 8 ° 47 ′ 19.8" E