St. Katharina (Wallerfangen)
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The Church of St. Katharina and St. Barbara is a Catholic parish church in Wallerfangen ( Saarlouis district ) in Saarland . The Church's patronage day is Catherine's Day on November 25th. The second day of the patronage is the feast day of St. Barbara of Nicomedia ( December 4th ). The church is assigned to the diocese of Trier . In the list of monuments of the Saarland, the church is a single monument listed. The current neo-Gothic church building from the early 1860s is the successor to the medieval Augustinian monastery church of St. Catherine.
history
Predecessor church
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"Walderuinga" was one of the places on pilgrimage to Mettlach Abbey to the grave of St. Lutwinus around the year 950 . The Kollatur had the lords of Warsberg , later the lords of Dillingen-Siersberg held. The first documented mention of the Wallerfang parish church, which was located on a flat, flood-free ridge within the local area, dates from the year 1222. This occurs in a document from the Archbishop of Trier Theoderich II von Wied . The church was rebuilt in the High Gothic style in the 14th century. When the city of Wallerfangen was conquered during the fighting during the Thirty Years' War under the Imperial Lieutenant General and Feldzeugmeister Matthias Gallas in September 1635, the church burned down with the other Wallerfanger houses. The place was sacked by Gallas' Croatian, Hungarian and Polish mercenaries. Presumably, until the church was rebuilt, the similarly high-Gothic Wallerfanger Augustinian monastery church ( demolished in 1861 in favor of today's neo-Gothic Wallerfanger parish church of St. Katharina and St. Barbara by the architect Franz Georg Himpler ) served as a substitute sacral building for the municipality. After Wallerfangen was destroyed in 1687 in favor of the building of the fortress town of Saarlouis, the following year 1688 the Wallerfang parish church of St. Peter and Paul was also torn down. The two church tower bells were brought to Saarlouis to be installed there later in the baroque church tower of the new Saarlouis church of St. Ludwig. Church tools and entablature were reused in Beaumarais. The last parish priest of Wallerfangs stayed in the destroyed place for the next few years and presumably served in the two remaining Wallerfanger monasteries of the Augustinians and Capuchins.
When in 2011 the traditional Wallerfanger "Gasthaus zum golden Schwanen" (Hauptstraße 26 - corner Villeroystraße), which was built in 1897 in the neo-renaissance style in the town center instead of a baroque predecessor inn while retaining the baroque vaulted cellar, was in favor of a puristic one When the new building of the Kreissparkasse Saarlouis was demolished, archaeological excavations by the State Monuments Office of Saarland discovered both the remains of the foundations of the south-east section of the Wallerfang parish church of St. Peter and Paul and well over fifty burial places in the former churchyard from a presumed period of 1000 years as well as numerous other objects. The inner area of the former Wallerfanger church building was not subjected to a city archaeological investigation.
The traces of the demolition work in the 17th century suggest a thorough approach. The excavation pit was found during the archaeological work filled with remains such as stone splinters, plaster and mortar residues that had accumulated during the cleaning of the stones for the purpose of reuse in the emerging Saarlouis. Particularly interesting finds were fragments of high Gothic window tracery probably from the second half of the 13th century, remnants of lead bridges for framing window glazing and shards of window glass with floral black solder painting . The finds suggest a relatively elaborate design of the Wallerfang sacred building. The area of the former churchyard was only systematically examined in a small area. The burial places showed numerous overlays, so that one can assume that older burials were disrupted when new graves were excavated. The arms of the dead were often bent in a prayer position. Numerous burial objects showed grave goods such as skulls, remains of the dead costume, jewelry as well as rosaries and medals. A clasp could be assigned to the Carolingian period. Ceramic shards date from the late Bronze Age through the Roman Empire and the Middle Ages to modern times. A model of a stove tile with a battle scene dates from the Renaissance. Of the 100 or so coin finds from the Roman period to the first half of the 17th century, a particularly well-preserved silver coin from the Archbishop of Trier, Baldwin of Luxembourg, from the first half of the 14th century stands out. Also found was a head part of a Late Bronze Age garment needle and part of a clay vessel, both from around 1000 BC. Chr.
A burial place from 1629 had already been discovered in the area in 1937.
The parish church was subordinate to the dean's office Perl and was thus assigned to the archdeaconate Tholey , one of the five archdiaconates of the Archdiocese of Trier. Due to rigorous measures by the Duchy of Lorraine , the Reformation did not find its way into the community. The branch church of the Wallerfang parish church St. Peter and Paul was the church of the Most Holy Trinity in Fraulautern-Kirchhofen, today's Apollonia chapel .
When construction work began on Saarlouis fortress, larger contingents of troops were quartered in Wallerfangen and on the Limberg from 1680 onwards. The Wallerfang pastor Johann Manderfeld was therefore supported by the Wallerfanger Augustinian Fathers and the French regimental clergy in exercising pastoral care. Manderfeld also provided pastoral care in Saarlouis until November 13, 1683, when this was taken over by French recollect fathers. With the order for the resignation of the city of Wallerfangen and its parish church, the church property was once again taken into account. The Archbishop of Trier, Johann VIII. Hugo von Orsbeck, regrets the destruction and relocation of the traditional Wallerfanger parish in a letter:
“In 1687 Walderfingen was razed to the ground. The inhabitants were threatened to emigrate under extreme military pressure. In the following year, to everyone's regret, even the parish church was turned into a pile of stones. Their best bells came to Saarlouis, the other church implements, at the behest of the secular authorities, to Beaumarais, a new place on the city's borders. After this destruction, a funeral service was held here and in several other churches. "
The two monasteries of the Augustinian canons and the Capuchins remained in Wallerfangen. Pastor Manderfeld then took over the newly founded parish of St. Peter and Paul in Beaumarais on June 29, 1692 . Manderfeld's pastor in Wallerfang was occupied by the Archdiocese of Trier by Jakob Jaquemin, who came from St. Johann on the Saar . When he wanted to get rid of his post in 1697, he is said to have been warned by Trier. On February 26, 1698, Trier installed Michel François as the new pastor in Beaumarais, who died after 32 years of service and was buried in the parish church of Beaumarais in 1729. Over time, Wallerfangen re-emerged as a village. The local Augustinian monastery church served as the parish church.
Wallerfanger monasteries
Wallerfanger Augustinian monastery
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The Augustinian monastery in Wallerfang, founded in 1306, was relocated to Saarlouis with half of the priests in 1691, while the original monastery continued to exist. The monks initially lived in some of the rooms in the pavilion in Saarlouis. The Trier diocese administration had given permission to move in a letter dated November 29, 1687. Administratively, the monastery belonged to the Cologne Order Province. The German monks were a concession to the German-speaking part of the population of the new fortress town, who mainly came from Wallerfangen, and who encountered language barriers with regard to the French-speaking pastoral care provided by the recollect fathers in St. Ludwig. In addition, due to its small building capacity, St. Ludwig also had to rely on an alternative church given the high number of people attending services at the time. The Augustinians built a four-winged monastery complex in Saarlouis, which was laid out around a gardened inner courtyard. The church and the convent were built between 1691 and 1695. The expansion work went beyond the year 1695. The French King Louis XIV made a donation of 600 livres to the convent in this regard. There were also numerous donations from the population. The appearance of the newly built facility is recorded in an engraving from 1720. The monastery church, which was laid out a little shorter in length than the St. Ludwig church, was consecrated to St. Nicholas of Myra . With the funeral of the only five-year-old Cornelius Mathieu on August 1, 1696, the first burial took place within the monastery church. King Ludwig XIV confirmed the new branch in Saarlouis in a letter in 1705, praising the quality of pastoral care and Latin lessons for the youth of Saarlouis ("Car tel est notre Plaisir").
On the orders of King Louis XV. However, the Wallerfanger and Saarlouis Augustinian monks had to leave their two monasteries in 1751 and were replaced by French-speaking monks. Also by royal order, this time by Louis XVI. , the Wallerfanger and Saarlouiser Konvent was merged with effect from July 22nd, 1777. The result was that the last Wallerfang monks now moved to Saarlouis. The wish to merge had come from the monks themselves. They continued to provide pastoral care in Wallerfangen, however, and the Wallerfang monastery church also continued to exist, while the other Wallerfang convent buildings were all torn down. The monastery library was brought to Saarlouis. The valuable book inventory was completely lost in the turmoil of the French Revolution.
In the wake of the French Revolution in 1790, all orders were abolished. The clerics who wanted to leave received a state pension with a temporary interruption in the Terreur phase, while those monks who wanted to continue living in a monastic community had to move to so-called "maisons de réunion". Nuns were allowed to live in their monasteries until 1792. Ordinary vestments were no longer allowed to be worn. As early as October 5, 1790, the Saarlouis district administration intended to set up administrative offices in the monastery building. Since February 18, 1791, the city council had been planning to set up a municipal teaching college in the rooms. The convent was abolished at the end of 1790. On November 20, 1791, the Saarlouis Jacobin Club turned the monastery building into its meeting room. The district administration intends to sell the monastery area. When no suitable buyer could be found, attempts were made to rent out the rooms from January 1792. After a short renovation, this happened on March 13, 1792 with the signing of a rental contract by a Saarlouis citizen, whereupon the remaining monks in the building were forcibly evacuated. The lease was terminated in 1793 and the monastery was converted into a prison.
The monastery church was demolished in 1806. The other cloister rooms were used as an imperial college during Napoleon's time until a royal Prussian high school was established in 1816. However, this educational facility was reduced to a single-class middle school in the following year. A hospital was built on the rest of the monastery grounds (today's Canisianum (Saarlouis) ). The last baroque parts of the building were removed in 1840 in order to build the new hospice house there by the Koblenz architect Johann Claudius von Lassaulx .
The associated hospital chapel was built in 1901 by the Trier cathedral builder Wilhelm Peter Schmitz in the style of Rhenish Neo-Late Romanesque.
After the city hospital was moved, the Jesuit order bought the property in 1929 . The order set up a student hostel here, which, however, had to close its doors again in 1931.
A comprehensive restoration of the complex took place between 1979 and 1980. Part of the premises served the Jesuit fathers living there as living and working areas, the rest was rented out as office and practice rooms. In 2007 the Jesuits gave up their previous branch in Saarlouis and the church was profaned . The building became the property of the city of Saarlouis again, which sold the church and the monastery building to an architect three years later in 2010. In the same year, he sold the divorced sacred building to a funeral home that wanted to use it as an urn burial site (columbarium) . The Old Catholic Church should be the sponsor , since according to the Saarland Funeral Act , only religious communities that are corporations under public law (KdöR) are allowed to set up cemeteries . The plans also envisaged the simultaneous use of the church by the Old Catholic community in Saarbrücken. However, since the city of Saarlouis did not approve this, the venture failed.
In 2012, through the mediation of the pastor of St. Ludwig at the time, Ralf Hiebert, and the mayor of Saarlouis, Roland Henz, the St. Petrus Society acquired the vacant church building at a price of € 150,000 in order to hold Holy Mass there every day according to the traditional Tridentine rite to celebrate. The reopening and benediction of the church took place on June 10, 2012. In the same year, the Peter Brotherhood was also able to buy the former Jesuit house adjoining the church and set up a priest's apartment and community rooms there.
In 2014 the inside of the church of the Canisianum was cleaned and occasionally missing parts of the historic painting were replaced. In 2016, the roof beams and the facade were renovated with the support of a specially founded association and the German Foundation for Monument Protection . In a second construction phase, the reconstruction of the apse and the opening of the bricked up blind windows are to take place.
Wallerfang Capuchin Monastery
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On the orders of the French King Louis XIV, the Capuchin monastery in Wallerfang (today the location of Villeroy Castle ) was relocated to Lisdorfer Au (Kapzinerschanze on a Saarfurt). The monastery in Wallerfangen was founded during the Thirty Years' War in 1628 with the economic support of Duke Charles IV of Lorraine . The monks were mainly active in nursing. As early as 1635, the still young founding of the monastery was severely destroyed during the conquest of Wallerfangen by the imperial lieutenant general and Feldzeugmeister Matthias Gallas . Reconstruction was slow, so the financially supported relocation to Saarlouis offered an opportunity. From 1741 onwards, Albert de Lasalle, Lord of Dillingen, built a mansion on the ruins of the Wallerfang monastery, which is now owned by the Villeroy family. 25 fathers from the Champagne region moved into the new monastery building in Lisdorfer Aue (Kapuzineraue) . The monastery building with walls and bastions could also be used as a citadel to protect the Saarfurt in the event of an attack. The monastery cellars were developed as casemates, in which soldiers could be accommodated if necessary. The monastery church was consecrated in 1718. In August 1790, the municipal council of Saarlouis informed the monastery management and the other monasteries in the area - the Wadgassen Abbey , the Fraulautern Abbey and the Saarlouis Augustinian Monastery - that they should draw up an inventory of their properties. In addition, the municipal council was empowered to release all members of the order who wanted to leave the monastery from their vows. In a petition sent by the monastery management to the municipal council, the Capuchins pointed out the necessity of the pastoral care they exercised for the population and thus hoped that the monastery could still be preserved. The last chapter meeting of the Capuchins took place on January 7, 1791. In June 1791, by decision of the department administration, the Carmelites from the monastery on the Limberg and Capuchins from Saargemünd were quartered in the monastery building. In July 1791 the department administration ordered the sale of the monastery inventory. When the monastery management resisted by pointing out that the monastery had not yet been dissolved, the monks were accused of being anti-revolutionary sympathizers and enemies of the civil constitution who, under the guise of religious practice, did seditious work against the state. The Capuchin monastery, which was located on the outermost border of France, where the prorevolutionary spirit had still sufficiently established itself, represented a danger to the security of the French nation. After a smear campaign against the monastery, the monastery church was initially closed. In June 1792 the monastery bell was requisitioned to be melted down. The monastery was finally vacated at the end of August and beginning of September 1792. The monastery inventory was auctioned and the monastery buildings came into the possession of the military administration, who used them as barracks and hospital. In 1795 the buildings were to be auctioned off to the public, but this did not happen. During the Prussian period in 1821 the monastery area was named "Fort Rauch". In 1889 the entire area was leveled.
Monastery church becomes parish church
The parish of Wallerfangen, which was re-established after 1800, took over the former monastery church of St. Katharina as parish church. The single-nave hall building of the 14th century was 120 feet long, 28.5 feet wide and 29 feet high. The medieval tower was replaced in 1822 due to disrepair with a new classicism- style tower 70 feet high. Since Wallerfangen grew rapidly in terms of its population due to the settlement of the stoneware factory (today's town hall area), the former monastery church could no longer meet the growing space requirements of the worshipers. From around the middle of the century, planning to expand the existing building was therefore considered. From 1858, the Wallerfang municipal council set aside 500 thalers a year as savings for the construction project. With the budget year 1858 the amount was increased by 250 thalers to 750 thalers. The parish council provided 150 thalers a year. In 1859 the amount had grown to around 4,000 thalers. Thanks to donations from parishioners, the sum of money increased to 13,000 thalers by the summer of 1860. As early as 1859, the architect Franz Georg Himpler was commissioned to draw up an expansion plan and the associated cost estimate. The old choir area of the former monastery church should be completely preserved. The nave was to be supplemented by two flanking, somewhat lower aisles. The central nave vaults should be 35 feet high. Aisles and aisles would have been combined as a stepped hall under a shared gable roof. The classicist tower should be removed and a new bell tower should be built on the west side of the converted sacred building. Architect Himpler put the cost of this measure at 18,000-20,000 thalers.
Neo-Gothic church
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Construction work
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Today's neo-Gothic church was built in place of the 14th-century high-Gothic Wallerfanger Augustinian monastery church, which was demolished in 1861, according to plans by the architect Franz Georg Himpler. In autumn 1860 the foundations for the planned aisles and the new west tower were dug. As the work progressed, however, those responsible began to have increasing doubts as to whether the extension would ultimately produce a satisfactory result. In particular, the low vaulting height and the very gently sloping future church roof caused headaches. After consultations on this, the honorary mayor of Wallerfangen, the co-owner of the local stoneware factory, Nicolas Adolphe de Galhau, agreed to assume all additional costs for a new church building. So architect Himpler was now able to plan a completely new and higher nave for the church. However, the Gothic choir area of the medieval Augustinian monastery church was to be retained. The medieval nave was then torn down at the end of February 1861.
After the demolition of the nave was completed, it became clear that the polygonal apse was initially not vaulted and only later was given a Gothic vault. However, the load-bearing wall pillars were not connected to the wall connections of the original building. The various components had imperceptibly separated from each other due to the arching and the setting of the foundation. When examining the vaults, it was found that the pillars of the apse vault were about a foot wide from the surrounding walls. Thereupon the decision was made to demolish the Gothic apse completely and to build a completely neo-Gothic replacement building by Himpler.
Work on the foundations and the rising masonry progressed so quickly that on May 26, 1861, Bishop Wilhelm Arnoldi of Trier stayed in Wallerfangen to bless the foundation stone. The church roof was already covered in autumn 1861. The vaulting and plastering work on the inside took place in 1862. Due to a lack of funds, the interior of the church was still being painted. However, the most important pieces of equipment such as the neo-Gothic high altar, the two side altars, the pulpit , the stone communion bench as well as the confessionals and the pews have already been created according to the designs by the architect Himpler . The high altar and the pulpit were made by the Trier sculpture workshop Theisen. The floor was covered with Mettlach mosaic tiles , the patterns of which had been specially made for the Wallerfang church.
consecration
The solemn consecration of the new church building was carried out on June 7, 1863 by the Trier bishop Wilhelm Arnoldi. The patronage of the former Augustinian monastery church was taken over. On the occasion of the consecration, the diocese organ "Eucharius" writes:
“According to the plan and under the direction of the capable architect Franz Himpler from Bitburg, executed in noble and strictly Gothic forms, this magnificent church is an ornament of our area, a new ornament of the Trier diocese and worthy of the most sublime creations of our newly awakened to be placed alongside Christian architecture ... "
Bishop Arnoldi is quoted when it says:
"I have to admit that of the more than 40 churches that I have consecrated during my twenty years of episcopal activity, hardly 3 or 4 have given me as much joy and pleasure as this magnificent church in Wallerfangen."
Pastor Joseph Schmitt also praises the new building, which was built without prior approval, in a letter to the Vicariate General:
“The whole building is a very worthy place of worship, a monument which, with cheap consideration for the given space and the means available, need not shy away from the strictest criticism. (...) Nor will the architect refuse his appreciation, who directed this building, whose invention the whole plan down to the smallest ornamentation, whose merit is the extraordinarily precise and clean execution. In terms of solidity, too, this church would seldom find its equals among the more recent such buildings. "
The celebration of the consecration of the Church published in the Eucharist Journal means that the spirit of Christianity and its Gothic art conquers dead matter and rhymes with this:
"And as a symbol of this doctrine
we see the Gothic building glowing in the sun
with buttresses, turrets and pinnacles
as a slim tree glowing towards the light ...
Christianity is now supposed to conquer,
spiritualize and transfigure the matter to the light.
And his art has achieved this goal in
the Gothic building, which breaks weapons:
it has conquered the dead in the matter
that spirit and life speak from the stone itself. "
Church furnishings
The neo-Gothic church furnishings were added in the following years. In 1866, for example, the Carl Walter workshop in Trier made the fourteen semi-sculptural stations of the cross from terracotta . The Trier organ building company Heinrich Wilhelm Breidenfeld supplied the organ in 1871, the case of which was made by the Trier carpenter C. Koch. Under the aegis of Pastor Karl Joseph Petry, a gilded and enamelled tabernacle door was built into the high altar in 1881, designed and made by the renowned Cologne goldsmith Gabriel Hermeling. The Villeroy family bore the costs of this work.
Painting
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The interior of the church was painted by the Merzig church painter Johann Georg Fröhlich from 1878 to 1882 . The commissioning is dated July 8th, 1878. Fröhlich framed the vaults in ultramarine blue and covered the surfaces with gold-plated stars nine centimeters in diameter. The choir area was decorated with carpet paintings. Fröhlich provided the window reveals, belts and services with colorful ornaments, some of which had gilding. The pillars of the central nave were tinted red. Its wall surfaces were also painted red up to the height of the capitals. Fröhlich provided the walls of the aisles with a colorful carpet pattern up to the height of the windows, while he painted the surfaces above with a block pattern. In the course of this measure, the church furnishings were also painted in a matching color and partially gilded. Overall, the Fröhlichs room setting wrapped the sacred space in a mystical, darkened, festive play of colors. In 1882, the then Wallerfang pastor Karl Joseph Petry reported to the Trier Vicariate General about the color scheme of the church interior: “Although the church is still new, as a result of the solid but rough plastering, such an amount of dust had settled on the walls , and in various places so blackened that the interior of the otherwise beautiful church lacked the dignity which is above all due to the house of God; I therefore considered it my duty to no longer pay attention to the objections that influential personalities raised against the decoration of the church in general ... and asked for voluntary contributions. "
This first painting was painted over in 1907 by the Merzig church painter Heinrich Klein on behalf of Pastor Georg Michael Hartz. Reasons for this could have been that the first version was in need of renewal. However, at the beginning of the 20th century there was a general tendency towards a simpler and brighter room setting for churches or public buildings than was the case a few decades earlier. On February 26, 1906, Heinrich Klein submitted a cost estimate for the new painting in Wallerfangen. On March 14, 1907, the church council commissioned Klein to create the new space. Klein delivered the final invoice on November 2, 1907. During the measure, the vaults were now painted white and the vaulted gussets and the area around the keystones were decorated with flower tendrils in the central nave. Klein set the ribs in a gray stone color with white grouting. In the choir area and the side aisles, the walls below the windows were once again decorated with a carpet pattern and the flanking wall gussets of the arcades were painted with floral tendrils. At the height of the capitals of the side aisles and the central nave, as well as in the choir area below the windows, Klein added a richly gilded ornamental frieze that visually divided the interior into two floors. The wall surfaces above were framed in white and covered with a block pattern. All window reveals and ribs were framed with a floral repeat pattern. The furnishings were re-polychromed and gold-plated. Overall, Klein's spatial arrangement emphasized the architectural elements of the church space to a greater extent and brightened it up in the spirit of the times.
Neo-Gothic glazing
In 1905 the Linnich company Glasmalerei Oidtmann re- glazed the church windows. The older glazing from the Altmeyer art glass factory in St. Paulin near Trier was removed.
Sacristies
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The neo-Gothic church had had a small, single-storey sacristy on the north side of the choir since 1872 . The neo-Gothic window rows are based on the medieval window shapes of the Moselle region, as they are common in Metz and Trier. In 1933, the Saarlouis architect Peters added an additional sacristy to the south side of the choir as an equivalent building in the same design language. In addition, a triumphal arch-like gate was built, in which a middle, straight-closing passage is flanked by two equally closing passages. The flat stepped gable of the central passage is crowned by a Christogram made of wrought iron .
Restoration after World War II
The parish church was restored between 1945 and 1954 .
Measures of the 1960s
In a visitation report from 1961, the Auxiliary Bishop at the time and later Bishop of Trier, Bernhard Stein, described the Wallerfang church as in great need of repair. In 1963, under the supervision of Pastor Josef Hoff, the neo-Gothic high altar from 1862 was broken down and replaced with a marble altar table. The church monument authority reprimanded this procedure on June 18, 1965 and criticized a "sensitive emptiness" in the choir room. The pulpit, also designed by Himpler, was also removed. The pews were also sawn up and replaced with modern benches. The painting from 1907 had already been painted over several times. The windows were designed in 1964 by the Tholeyer Benedictine Father Robert "Bonifatius" Köck and made by the Trier workshop Kaschenbach.
Restoration in the 1970s
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In the years 1976 to 1978 the entire church was subjected to another restoration during the tenure of Pastor Anton Franziskus. The gallery in the middle was extended by a three-sided cantilever and the choir room was rebuilt. The saints on the gallery represent St. Sebastian (arrows and tree trunk) and St. Nicholas of Myra (crosier, book, bread). Under the gallery is the coat of arms of the Trier bishop Bernhard Stein, who was in office at the time of the renovation (term of office: 1967 –1980), motto : "FIDES CARITATE ACTUOSA", faith that works through love ( Gal 5,6 EU ). The second coat of arms under the gallery shows the motto "CONFORTARE IN DOMINO" (Be strong in the Lord). It is the coat of arms of Trier Bishop Matthias Wehr (term of office: 1951–1966). His coat of arms is quartered according to classic design principles, fields 1 and 4: in silver a continuous red cross (Diocese of Trier), field 2: in blue, a golden ear of corn over three (1: 2) silver stones (rural origin of the family), field 3: in blue, diagonally to the right, a silver, golden-handled ax (martyrdom of St. Matthias, reference to the bishop's first name).
Coat of arms of the Trier bishop Matthias Wehr
Coat of arms of the Bishop of Trier Bernhard Stein
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At first only a renovation of the organ and a new interior painting had been considered. The plan to re-glaze the ten upper-storey windows, which had only had temporary glazing since the Second World War, based on the designs from 1905 by the Oidtmann studio in the parish archives, was supported by the church monument office under diocesan curator Franz Ronig .
When traces of an earlier color and gilding were found on the organ case, the Trier Office for Church Monument Preservation recommended that the interior of the church building also be examined for historical painting. It turned out that the historicist paintings of the church had survived under the later paintwork. When the plan was to restore the historicist wall paintings, the question arose as to which of the two spaces should be reconstructed. Three options were up for debate: on the one hand, the restoration of the room version from 1878 with preservation and overpainting of the version from 1907, the reconstruction of the paintings from 1907 or a combination of the versions from 1878 and 1907. Finally, the latter option was chosen and the Tholeyer company Mrziglod, which also colored the existing furniture according to the findings. The colorful pillars, wall templates, ribs and keystones were adopted from the first Fröhlich painting. The design of the vaults, the surrounding frieze and the window and rib frames were adopted from Klein's second room setting. The white painted lower wall surfaces in the choir area and the aisles have been added.
Measures of the 1980s
The choir room was redesigned between 1980 and 1981. The marble altar from 1963 was expanded and replaced by an altar by the Trier sculptor Willi Hahn. Hahn also created the tabernacle stele and the ambo.
Measures at the beginning of the 21st century
In 2000 the leaky slate roof was replaced. After a cable fire in the outdated electrical system, renewed restoration work was carried out in 2009/2010, which was carried out by the Mrziglod-Leiß ( Tholey ) company . The water damage caused by the extinguishing water had to be repaired at great expense. The ornamental carpet pattern of the second painting from 1907 was reconstructed in the apse. In the central nave and in the vault, the white plastered surfaces were repainted and the colorful ornaments were cleaned with silicone and wallpaper sponges. Finger-thick cracks in walls and vaults had to be closed beforehand. The reveals of the windows were decorated with leaf tendrils. Warm air heating replaced the underfloor heating of the 1960s. The new heating system should also help prevent the murals from getting dirty as quickly. The wheel candlesticks designed by Thomas Kluftigner from the restoration phase from 1977 to 1980, which previously only had a downward-facing lamp wreath, were increased in their luminosity by the Schmelzer Kunstschmiede Jenal with an additional upward-directed lamp wreath. All electrical systems and song indicators were renewed. The windows by Robert Köck from 1965 in the chancel (individual parts of the glazing 72 × 195 cm each) were cleaned by the Trier manufacturer Kaschenbach, whereby the panes were given a new lead. Dark brown panes were replaced by light brown ones in order to achieve greater brightness in the sanctuary. The costs were initially planned at € 360,000, but ended up being € 440,000. The renovated church interior was opened with a festive service on March 21st.
architecture
- Dimensions
- Total inside width: 18 m
- Internal dimensions of the tower hall without passages: 3.75 m × 3.75 m
- maximum vault height of the tower hall: 5.25 m
- Length of the apse: 12 m
- Length of the nave: 26.50 m
- Length of the tower hall with passages: 5.50 m
- Total internal length of the church: 44.00 m
- Width of the arcades of the gallery: 2.15 m
- minimum width of the aisles: 3.45 m
- minimum width of the central nave between the pillars: 8 m
- Arcade inter column: 4.20 m
- maximum arch height of the arcades: 7.40 m
- maximum vault height of the gallery hall: 4.30 m
- maximum vault height of the aisles: 7.75 m
- maximum arch height of the central nave: 15.00 m
- Tower height: approx. 50 m
With normal seating in the ship and on the gallery, the sacred space offers seating for approx. 400 people. The right central nave has no seats.
Structural structure
Interior
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The current church of St. Katharina and St. Barbara was built in the neo-Gothic style. The basic architectural form of the church building is a basilica with a transept-free nave , a high central nave and two lower aisles . The central and side aisles are divided into five bays . The first yoke seen from the tower portal is completely filled by the organ gallery. The gallery parapet reaches half the height of the arcades of the central nave. The separating arcades rise up to half the height of the room. A choir bay without aisle bays adjoins the nave at the same vault height . The apse of the same height is rounded in a five-eighth polygon. The side aisles end flat at the beginning of the choir bay. The ceilings of the ships are formed by diagonally arranged ribbed vaults. The yokes are separated from one another by dividing arches. The vault ribs rest on round pillars with slender round services. In the central nave, the capitals of the services are positioned at the height of the apex of the partition arcades and below the transom line of the central nave vaults, thus forming a stilted arch in the central nave. As a result, the vault caps are enlarged and the shield arches with the small upper windows are raised. Large wall surfaces without any structure lie between the upper windows and the separating arcades. The two-lane tracery of the upper clad windows are based in a simplified form on the tracery structure of the choir windows. The tracks end in Gothic pointed arches with set noses. Above it rise in alternating order lying and standing four-passes. The windows of the aisles are designed similarly. Here three-pass, lying or standing four-pass and five-pass vary in the upper pointed arch area.
Fine circular services take up the ribs of the apse vault, the caps of which are pulled down low. The keystones are decorated with richly reliefed and highlighted tendrils. The keystone of the apse shows a crowned coat of arms of the Galhau family: the shield is divided by a golden band on a blue background. Above it are three golden stars, including a golden crescent moon. In the Gothic sense, the high choir windows break up the wall surface in a large format, storming the sky and contribute to the increased brightness of the chancel. The choir windows are laid out in two lanes. The tracks end in Gothic pointed arches with set noses. The pointed arch above is adorned with a circle, inside of which there is a standing quadruple tracery. The bulges of the quatrefoil are widened again with an attached circle shape, so that a structure of 12 circle shapes is created. Eight approximate triangles fill in the gaps this creates.
Inside the church, church painter Johann Georg Fröhlich ( Merzig ) was responsible for the first painting in the years 1878–1882. In 1907 there was a new ornamentation, which was later painted over, but was exposed again in 1976 and restored in combination with the ornamentation of the first version. In the years 2009-2010 the painting was restored and supplemented by the company Mrziglod (Tholey).
Exterior
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A four-story tower with pointed arched windows of different sizes rises in front of the central nave. The edges of the tower are accentuated by multi-stepped supporting pillars that reach up to the free floor of the bell chamber, where they end in pinnacles decorated with crabs. The slated church tower roof is designed as an octagonal buckling helmet, on which four dormers with pointed roofs that appear to be suspended open. The shape of the tower roof cites that of the south-west tower of Trier Cathedral in an overstretched form . The fourth floor of the tower is characterized by a blind frame, which has an arcade of five Gothic arches with set noses on the upper side. Above that, a cornice adorned with foliage conveys the slate roof of the spire. In the basement of the tower, the portal takes up almost the entire wall surface. It cuts into the wall surface in four, unequal steps. Only the inner course of the arch forms a capital zone.
The neo-Gothic sacred building is clad with light-colored sandstone slabs. The decoration consists partly of terracotta. The yoke division of the interior is made visible on the exterior by slim support pillars. The supporting pillars of the south aisle have imaginatively designed gargoyles. The pillars of the main nave are accentuated by crab-studded pinnacles. The whole building is windowed through by two-lane pointed arch openings with different tracery fits. The funnel-shaped recessed tower portal shows St. Catherine in the mandorla in the tympanum, who is held by two angels. The pastor's patron saint carries the Bible in her left hand and holds the sword of her martyrdom in her right hand, while the torture wheel with sharp blades is visible to the side behind it. The crown and nimbus identify Katharina as having been taken to heaven. The depiction refers to the legend of Catherine, which says that the battered corpse of the saint was brought to Mount Sinai by floating angels after her martyrdom. The arched field is lined with ornamental ribbons with vegetal patterns in romanizing forms. The console stones and the lintel also have delicate foliage, here in Gothic form.
The architect designed the south side of the parish church as the main viewing area. The portal on the south side is the most elaborate. The funnel portal is flanked by columns, on whose capitals the statues of the old Wallerfanger parish patrons Peter and Paul stand under richly structured canopies. Both princes of the apostles carry the Bible in their left hand and hold the respective attribute of saints with their right hand: Peter the keys to heaven and Paul the sword of his execution. In the arched field, sitting on a bank of clouds and the rainbow, Christ appears as Pantocrator and apocalyptic judge of the world. His right hand is raised in warning, while he shows the open book of life with his left. Also seated on cloud banks, but positioned a little lower than Christ, the sculptor has depicted the Virgin Mary, the Mother of God, on Christ's right, and on his left is Christ's foster father, St. Joseph. As Queen of Heaven, Mary wears a crown bracelet and has folded her hands in adoration of the Son of God. Joseph's right hand grips a lily staff as a sign of his conjugal virginity. The inscription "AD 1861" is carved into the stone above the pointed arch.
St. Catherine, gargoyle
St. Catherine, gargoyle
Fellenbergschlösschen, gargoyles
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Elaborately designed, dog-like gargoyles with wide open jaws made of Mettlach stoneware terracotta enrich the buttresses on the south side of the church. In addition, the eaves are adorned by a circular leaf frieze made of ceramic. The architect Himpler had used the motif at the same time in the neo-Gothic extension of the Fellenbergschlösschen in Merzig on behalf of the Swiss manufacturer Wilhelm Tell von Fellenberg . It can be assumed that the statues of the Arch-Apostles Peter and Paul as well as the arched relief of the side portal also come from the Mettlach terracotta production. The Catherine relief of the tower portal is carved from sandstone.
Overall, the architecture of the neo-Gothic church building breathes a classicist spirit, similar to that of the Friedrichswerder Church by the architect Karl Friedrich Schinkel .
Dimensions and materials
The church measures 150 feet in outer length. The nave is 110 feet long and the choir area is 40 feet. The width of the central nave is 27 feet. The central nave vaults rise to a height of 50 feet. The aisles are 13 feet wide and 25 feet high.
The bell tower is 100 feet high to the eaves. The roof helmet measures 50 feet (about 16.5 m). The total height of the church tower without the cross is 150 feet (approx. 49.5 m).
The masonry, made up of regular rectangular slabs in continuous horizontal joints, is made of light-colored sandstone. Buttresses and sculptures were carved from Udelfang sandstone. Crabs, finials and leaf friezes were made from Mettlach terracotta in the color of sandstone.
Furnishing
Portals
In 1988, initiated by Pastor Anton Franziskus, the two-winged side portal and in 1989 the also two-winged main portal in the tower were designed by the Saarbrücken- based artist Willi Hahn , who is based in Trier . The bronze was made by the art foundry Plein in Speicher (Eifel) . The connection to Willi Hahn was established by the Trier diocesan master builder Alois Peitz , who recommended the artist to Wallerfangen.
Side portal
Side portal
Portal wing of the side portal
Side portal by Willi Hahn, detail
Side portal by Willi Hahn, detail
Side portal by Willi Hahn, detail
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Moses story
The side portal shows scenes from the Old and New Testaments as well as the formation of Jesus in the work of the church in six fields. In the lower left field, the artist depicts the story of the young Moses up to his visit to the Pharaoh : The field is divided into four. At the bottom right the artist creates the discovery of Moses. According to the narration in Ex 2.1–10 EU , Moses was abandoned on the bank of the Nile after his birth, Pharaoh's daughter found him and appointed a Hebrew woman - the birth mother of the child - as a wet nurse. After the nursing period, Pharaoh's daughter adopted the child as a son and named him Moses. The suspension of Moses is inserted into the framework of the killing of the male children of the Israelites ordered by the Pharaoh ( Ex 1.15f. EU ) and represented an attempt by his desperate mother to save the child.
In the neighboring field on the left, the viewer sees the slavery of the Hebrews in Egypt. Under the lashes of an Egyptian overseer, which drives them to work, Hebrew workers have to carry building stones on a stretcher. Two pyramids, in front of which a caravan passes, indicate the prestigious buildings of the Pharaonic rule. In the upper left part of the picture the revelation of God is shown in the burning bush ( Ex 3.2 EU ). According to the biblical narrative, God appears in Moses on Mount Horeb and there communicated his name to YHWH . In the portrayal of Willi Hahn, Moses, whose herd of cattle is looking for food, fell reverently on his knees in front of the flames. His sandals, which Moses stripped off out of consideration for the sanctity of the place, lie in front of the flame-riddled bush. Here Moses receives the order from God to free the Hebrews from the "slave house of Egypt" ( Ex 3.1-20 EU ):
“Moses grazed the sheep and goats of his father-in-law Jitro, the priest of Midian. One day he drove the cattle across the steppe and came to Horeb, the mountain of God. There the angel of the Lord appeared to him in a flame that struck up from a thorn bush. He looked: The thorn bush was on fire and yet did not burn. Moses said, I want to go there and see the extraordinary appearance. Why doesn't the thorn bush burn? When the Lord saw Moses coming closer to look at it, God called to him from the thorn bush: Moses, Moses! He replied: Here I am. The Lord said: Don't come any closer! Take off your shoes; because the place where you stand is holy ground. Then he went on: I am the God of your father, the God of Abraham, the God of Isaac and the God of Jacob. Then Moses covered his face; for he was afraid to look at God. The Lord said: I have seen the misery of my people in Egypt, and I have heard their loud complaint against their drivers. I know their suffering. I came down to snatch them from the hand of the Egyptians and to bring them up out of that land into a beautiful, wide land, into a land where milk and honey flow, into the region of the Canaanites , Hittites , Amorites , Perizzites , Hivites and Jebusites . Now the loud complaint of the Israelites has reached me and I have also seen how the Egyptians oppress them. And now go! I am sending you to the pharaoh. Bring my people, the Israelites, out of Egypt! Moses answered God, Who am I, that I could go to Pharaoh and bring the Israelites out of Egypt? 12 But God said, I am with you; I have sent you and you shall serve as a sign: When you have brought the people out of Egypt, you will worship God on this mountain. Then Moses said to God, `` Well, I will come to the Israelites and tell them, 'The God of your fathers sent me to you. They'll ask me: what's his name? What should I say to them? Then God answered Moses: I am the "I-am-there". And he went on: This is how you should say to the Israelites: The "I-am-there" has sent me to you. Then God said to Moses, Say to the Israelites: The Lord , the God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob, has sent me to you. That is my name forever and that is how I will be called in all generations. Go, gather the elders of Israel and tell them: The Lord, the God of your fathers, the God of Abraham, Isaac and Jacob, appeared to me and said to me, I have been careful of you and have seen what is being done to you in Egypt. I have therefore decided to bring you out of the misery of Egypt to the land of the Canaanites, the Hittites, the Amorites, the Perizzites, the Hivites, and the Jebusites, a land where milk and honey flow. If they listen to you, go with the elders of Israel to the king of Egypt; says to him: Yahweh, the God of the Hebrews, has met us. And now we want to go three days' march into the desert and offer sacrifices to Yahweh our God. I know that the King of Egypt will not let you go unless he is forced to do so by a strong hand. Only when I reach out my hand and strike Egypt down with all my miracles that I perform in its midst, will he let you go. "
In the upper right part of the image field, Moses is now standing in front of the Egyptian Pharaoh . The artist positions Moses lower than the Pharaoh, who was decorated with the Egyptian regal insignia. But the dove hovering over the head of Moses (left door knob ), which can be interpreted as a symbol of the holy spirit, and the ten plagues brewing behind Pharaoh's back , represented by locusts and snakes, indicate that the balance of power will soon be over will move in favor of the leader of the Israelites. According to the biblical tradition, the Pharaoh did not want to let the Israelites go after the conversation with Moses. After each renewed refusal of the stupid ruler, God then sent another plague over the land of the Egyptians. After the last plague, the slaughter of all Egyptian firstborns of man and cattle ( Ex 11.4 EU ), the Israelites finally moved through the Red Sea towards their God-promised freedom.
Consequently, the lower right field of the door also shows the events of the Paschal Night ( Ex 12.1-20 EU ). After the Egyptians refused to let the Hebrews go, God announced the killing of the firstborn by the strangling angel after nine terrible plagues that did not help the Israelites. In order to be spared, every Israelite family should slaughter a male, one-year-old flawless young animal of a sheep or goat, smear the doorposts of their homes with its sacrificial blood and then fry it and eat it together. The angel of death passed the houses marked in this way that same night (Hebrew pāsaḥ ) while he was carrying out God's cruel punitive action against Egypt. Pharaoh then urged the Israelites to leave the country, for which they were prepared according to God's instructions.
In the left part of the image field, Willi Hahn shows the passage of the Israelites through the sea when they left Egypt . While a group of Israelites is still hastily eating the meal while standing, others are already wandering through the water, the stylized waves of which tower up to the left and right. A dove (right doorknob) hovers above it as a symbol of the Spirit of God.
In addition to the passage scene, Willi Hahn depicts the revelation of the Ten Commandments on Mount Sinai at the top right in the same field of view. With waving beard and head hair and fluttering robe, Moses walks with the two tablets of the Law in his arms down from the Mount of Revelation to the people of Israel, who are at their feet of the rocky mountains. The Jews commemorate this revelation of the law on the feast of Shavuot , which is celebrated 50 days, i.e. seven weeks plus one day, after the Passover. The Christians also celebrate Pentecost on this festival as a reminder of the descent of the Holy Spirit on disciples in Jerusalem who were frightened after the crucifixion of Jesus. In this respect, the Holy Spirit dove of the door handle has again been symbolically positioned here by Willi Hahn.
The election and sending of the apostles
Willi Hahn has the two representations of the Old Testament election of Moses by God on the thorn bush in the left picture in the middle portal zone correspond with the representation of the election of the twelve apostles by Jesus. True to the iconography of the Good Shepherd , Jesus, who is oversized in relation to the other people, holds a shepherd's staff in his left hand and invites the disciples to follow him with his left hand. Lilies and grass sprouted from the ground around his feet. Hahn refers here to the word of Jesus in the Gospel of Matthew Mt 6: 28-34 EU :
“And why are you worried about clothes? Look at the lilies in the field, how they grow: they don't work, they don't spin either. I tell you that Solomon in all his glory was not dressed like any of them either. Now if God dresses the grass in the field like this, which stands today and is thrown into the oven tomorrow, shouldn't he do that much more for you, you of little faith? You shouldn't worry about that and say: What are we going to eat? What shall we drink What will we dress in? The Gentiles seek all of this. For your Heavenly Father knows you need all of these. If you strive first for the kingdom of God and for his righteousness, it will all fall to you. So don't worry about tomorrow, because tomorrow will look after its own. It is enough that every day has its own plague. "
In the upper field of the picture three disciples move towards Jesus with walking sticks, while one sits hesitantly with propped head under a tree. On the far left, three disciples approach the bank with their fishing boat. A pair of disciples are also moving towards Jesus. One of the two is holding a rope in his right hand while he is about to hook the other disciple on the upper arm. In the lower area of the picture, a disciple leaves his wife and their two children while he points to Jesus with his left hand. The representation refers to the word of Jesus from the Gospel of Matthew Mt 10,37-39 EU :
“Anyone who loves father or mother more than me is not worthy of me; and whoever loves a son or daughter more than me is not worthy of me. And whoever does not take up his cross and follow me is not worthy of me. Whoever wants to save his life will lose it; and whoever loses his life for my sake will find it. "
Another disciple approaches Jesus with a hat and walking stick, while another disciple leaves a fishing net. Here Willi Hahn refers to the calling history of Andrew and Peter in the Gospel of Mark Mk 1,16-18 EU :
“But as he was walking along the Sea of Galilee, he saw Simon and Andrew, Simon's brother, throwing their nets into the sea; because they were fishermen. And Jesus said to them, Follow me; I want to make you fishers of men! Immediately they left their nets and followed him. And as he walked a little further, he saw James the son of Zebedee and John his brother mending the nets in the boat. And immediately he called them and they left their father Zebedee in the boat with the day laborers and followed him. "
The artist also refers to the word of Jesus when the twelve were sent out in the Gospel of Mark Mark 6.7-9 EU :
“And he called the twelve to him and began to send them out two and two, and gave them power over the unclean spirits and commanded them not to take anything with them on the way but a stick, no bread, no bag, no money in the Belt, but probably shoes, and not two shirts to wear. "
The Pentecost event
The right panel in the middle portal zone deals with the descent of the Holy Spirit on the disciples at Pentecost Acts 2.1-41 EU as the content of the revelation of the Ten Commandments in the Old Testament. The event of Pentecost is also understood in the Christian tradition as the foundation of the church . Logically, Willi Hahn has expanded the depicted Jerusalem disciples - here 13 (!) Disciples and Mary - by a later group of people. The artist also integrates representatives of different ethnic and social groups into the Whitsun events: clockwise one can see the following people: a Chinese with an Asian conical hat , a black African with a lance, a North African Indian, a Latin American Indian woman with a hat, a woman with a loincloth and creole earrings , an Indian couple with a turban and sari , a man in pleading manner and tattered trouser hems, a woman with a headscarf, a bishop with a miter and crook , a priest with a biretta , a monk in a habit , a little girl, an Eskimo in fur-trimmed clothes and mittens , a mother with her child on her back, a pregnant woman and a man with a sombrero . A tongue of fire has settled over each figure. The radiant starting point of the spreading tongues of fire is a three-tongued flame above the four pillars as a symbol of the Trinity . The artist's signature is in the lower right corner of this image field.
The four pillars that protrude from the group of apostles on the relief tablet symbolize the four basic functions of the church:
- Testimony ( martyria ): testimony, proclamation and spreading of the gospel
- Liturgy ( Greek leiturgia ): Divine service, common prayer, especially celebration of the Eucharist
- Diakonie ( diakonia ): Service to people, for example the alleviation of need and poverty in the world
Since the Second Vatican Council a fourth basic dimension of the church has been described, the community (communio / koinonia), in which the Christian community also finds its expression.
The partial lack of a column base was intentionally designed by the artist. Instead of the bases, Willi Hahn positioned simple people whom he wanted to see represented as the base of the church.
The basic ecclesiastical practices
In the uppermost zone of the portal you can see on the left the basic functions of the church in the liturgy (celebration of the Eucharist and hymn), the diakonia (kindergarten, care for the disabled and the elderly) and in the preaching (Bible study group). The ecclesiastical sacraments of priestly ordination , marriage , baptism and reconciliation are shown in the upper right portal image. The sacrament of Confirmation is represented by the depiction of the Pentecost event. The artist did not depict the anointing of the sick . In the left area of this relief the artist has the crucified Jesus appear. His left leg and both arms have separated from the cross beam. He seems to want to intervene in the sacramental event in a blessing.
Tower portal
Catherine portal in the tower
Portal wing of the Katharinenportals
Portal by Willi Hahn in the church tower, detail
Portal by Willi Hahn in the church tower, detail
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Like the side portal, the Catherine portal is divided into six fields. In terms of design, the reliefs link the legend of the church patroness Katharina with German history during the National Socialist era .
Catherine proclaims Christianity
The lower left relief field bears the inscription "Katharina in discussion with the ideologies of her time" on the lower edge . Katharina, portrayed by the artist as a young woman with shoulder-length hair, speaks to numerous people. In an inviting gesture, the saint, who is positioned at the lower left edge of the relief, holds writings towards the people. While four people crowd around her, a man with a briefcase under his arm has already accepted a piece of writing from Katharina and is reading it as he leaves. All the figures in the relief wear clothing that can be assigned to the second half of the 20th century. A shopping basket, street clothing and hats indicate what is happening in public space. Above the group that Katharina turned directly to, there are five people who watch the young missionary's discussion from a distance. In the upper right relief field, the artist Willi Hahn has arranged people who consciously turn away from the action. They carelessly drop the writings given out by Katharina on the floor. A man even starts crumpling up the brochure. Two men mock Katharina by laughing disparagingly at her. One of the two taps his forehead disparagingly and makes a dismissive gesture with the other hand. In the lower right part of the relief, Willi Hahn shows two prison guards with pistols and batons in front of an indicated cell block with barred cell windows, which announce the imminent arrest of Katharina.
The legendary background of Hahn's account is that when the Roman emperor condemned Christians to martyrdom, Katharina opposed him and asked him why he did not convert to Christianity instead of asking Christians to offer sacrifices to idols. In a public discussion to which the emperor had summoned his best fifty philosophers and scholars, Katharina had put forward such plausible and learned arguments for Christianity that all fifty were converted to Christianity. Because they were unable to dissuade Katharina from her Christian faith, the emperor condemned all of them to be burned at the stake.
Katharina in court
The lower right picture panel shows the inscription "She leaves herself to those who judge unjustly". The saint stands in the center of the panel with her back to the viewer in front of a tribunal designed as a National Socialist People's Court . Seated spectators attend the court session. While two gunmen flank the scene, a witness points accusingly at Katharina. Three judges in their robes preside over the meeting. Her gestures hint at the charges against the saint. A barred window in the upper left area tells the viewer that there will be no way out for Katharina into freedom. A stele is set up to the right of the court podium. The base bears the abbreviation SPQR , the abbreviation for the Latin S enatus P opulus q ue R omanus (" Senate and people of Rome" or "the (Roman) Senate and the Roman people"). The base bears the bust of a devil figure that has been heard. Hahn shows the Roman state as an injustice state. The viewer can mentally associate the Satan's stele with the busts of Hitler at the People's Court. The artist has signed his work on the upper right edge of the relief.
Katharina in the dungeon
In the middle of the portal, Willi Hahn depicted Saint Catherine in the left relief amidst prisoners in the dungeon. Dungeon walls with flaky plaster and barred windows form the background of the scene. The saint, clad only in a loincloth, looks up in the left area of the relief and recognizes Christ crucified as a fellow prisoner beside her in the dungeon . Jesus turns his thorn-crowned face to Katharina. A dejected, shackled prisoner is on the other side of the crucified. Overall, Willi Hahn designed the group of three in such a way that it can be interpreted as a crucifixion group . To the right of the "crucifixion group" sits dozing a guard in uniform and rifle with a bayonet attached . In the right part of the relief stands a prisoner with crossed hands. Next to him, a prisoner who has only a cloth tied around her waist and whose breasts are slack, has her hands tied to iron rings above her head. According to the legend of Catherine, the chained woman can be interpreted as the wife of the Roman emperor. The legend tells that the Roman empress was so impressed by Katharina's intelligence and quick-wittedness that she went to her dungeon herself to convince her of the truthfulness of the ancient Roman religion in a joint conversation. But even the empress had been converted to Christianity by Catherine, whereupon the emperor had her thrown into dungeon and sentenced her to death. Katharina was then scourged for twelve days and kept without food. However, she received divine assistance from angels who anointed the wounds inflicted on the saints. In addition, a white pigeon brought her food. After all, Christ himself had come to Catherine in the dungeon to strengthen her faith and prepare her for martyrdom.
In the lower right part of the relief, Willi Hahn has consequently attached a door knob in the form of a fish, which can be interpreted as a symbol of Christ.
The inscription on the tablet, which relates to Paul's second letter to the Corinthians , reads "Christ is my strength". The overall context of the sentence is related to a revelation from Jesus to Paul (( 2 Cor 12,9-10 EU )):
“But he (Jesus) answered me: My grace is enough for you; for it shows its strength in weakness. I would much rather boast of my weakness, so that the power of Christ may come down on me. That is why I affirm my impotence, all abuses and hardships, persecutions and fears that I endure for Christ; because when I am weak, then I am strong. "
Katharina is tortured
The right panel of the central portal area bears the inscription "The time of my dissolution is near" (( 2 Tim 4,6 EU )), a quote from Paul's second letter to Timothy . The overall context of the Pauline text (verses 2–8) is:
“Proclaim the word, advocate whether you want to hear it or not; wisely correct, rebuke, admonish, in tireless and patient instruction. For there will come a time when you cannot endure sound teaching, but always look for new teachers who will please your ears according to your own wishes; and one will no longer listen to the truth, but rather turn to fables. But be sober in everything, endure suffering, preach the gospel, faithfully perform your service! Because I am now being sacrificed and the time for my dissolution is near. I fought the good fight, finished the run, stayed true. Already now the wreath of righteousness is ready for me, which the Lord, the righteous judge, will give me on that day, but not only to me, but to all who are longingly waiting for his appearance. "
Katharina, handcuffed by the hand, is tortured with a wheel in the depiction of the relief. According to the Katharinen legend within the Legenda aurea , it should have been four wheels lined with iron saws and pointed nails with which the saint was to be tortured to death. Two of them should be moved downwards and the other opposite upwards, thus tearing the saint. At Katharina's prayer, however, an angel came down from heaven and smashed the cruel instrument of torture. Willi Hahn lets the bike, on which the tied Katharina is standing, fall to destruction by flashing lightning bolts.
The artist connects Katharina's martyrdom with the mass murder in the concentration camps during the Second World War. The senseless and callous cruelty that people inflict on their fellow human beings has, according to the artist's picture statement, a timeless character. Next to the martyred saint, a long, barred train, laden with prisoners, drives towards her terrible destination under the guard of smoking and armed soldiers. The bars of the freight car seem to be modeled on the bunk beds of the concentration camps.
The doorknob below the torture wheel, which was designed as a fish by the artist, symbolizes the mysterious presence of Jesus among all the tortured and disenfranchised on earth.
Katharina is executed
In the upper portal area Willi Hahn shows the beheading of St. Catherine by a Roman legionnaire. The sunk saint humbly crosses her forearms over her chest and lowers her head to receive the fatal blow of her executioner. The artist supplements the ancient execution scene with a depiction of a Nazi death camp with barbed wire fences and a concentration camp watchtower. Camp inmates with emaciated bodies and hollow-cheeked faces gaze with deep-set eyes at the gruesome execution. Some have reached into the high-voltage wire and are dying to hang on the barbed wire, while a soldier with a rifle remains indifferent to watch. The plaque bears the inscription: "Slain for Christ and the truth's sake."
Catherine in the communion of saints
The upper right relief panel with the inscription "A seed is the blood of the martyrs" depicts the triumphal procession of Catherine and the Christian martyrs: bishops, kings, monks, nuns, children, priests, simple women and men. A seemingly endless stream of people breaks out of the ground like a seed as dead skeletons, takes on human form again and moves in an S-shaped winding towards a radiant, sun-like round gate, the Heaven's Gate. The inscription on the relief, which ascribes a qualitative and quantitative gain for Christianity to the blood of the martyrs, is a quote from the early Christian writer Tertullian ( Apologeticum 50:13). The redeemed carry in their hands the attributes of their execution or palm fronds as a sign of their victory over injustice and death. A decapitated martyr, for example, holds his severed head, or a hanged man wears his gallows rope around his neck. In the foreground of the procession of the saints, Katharina walks towards the light of heaven with a crown on her head and the torture wheel in her left hand. With her right hand she points to her neck as an indication of her decapitation. Above the head of Catherine walks in the procession of the community of saints, St. Barbara, the second parish patroness of Wallerfang, with a model of a tower in her hand, her attribute of saint.
Doorknobs
Willi Hahn trained the two doorknobs to be fish . The Eucharistic fish are a common motif in early Christian art and can be found as wall paintings ; one of the first works of this kind can be found in the Lucina crypts of the Roman Calixtus catacomb . The fish symbol and the sequence of letters ΙΧΘΥΣ (ICHTHYS) played an outstanding role as an acrostic and acronym even in early Christianity . Following on from this, the Eucharist in the wall paintings of the early Christian tombs was mostly illustrated as the miraculous increase of the five barley loaves and the two fish to feed the five thousand ( Jn 6: 1–15 EU ). For reasons of feel , the artist has attached the dorsal fin of the fish to their belly.
altar
Altar detail "Angels and devils in battle"
Martyrs grave and altar detail "Angel puts out the fuse of the bomb"
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The stone furnishings of the apse, which were made in 1980 by the Trier artist Willi Hahn (born February 7, 1920 in Saarbrücken , † September 18, 1995 in Trier) include the altar , the ambo and the tabernacle stele . All three sculptures are made of Eifel sandstone . The altar is modeled on the shape of the table with its overhanging canteen and emphasizes the meal character of the Eucharist , while the block-like stipes refers to the sacrificial character of the Lord's Supper. The side of the stipe facing away from the community contains a flat, rectangular, unadorned reliquary grave. The sculptor Willi Hahn has depicted a little devil on the narrow side of the stipe. With its tail raised high over its bulging rear end and a diabolical grin, it seems to push a ball bomb with an already burning fuse through the altar strip with destructive intent. However, a little angel sitting on a cloud bank on the back of the strip knows what to do: raindrops that well up from the cloud and a ray that splashes down between the splayed legs of the heavenly being put an end to the malicious activities of the horned Satan.
Tabernacle stele
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The tabernacle stele creates motifs on the subject of "Mountains of the Bible" in a primitive design language.
God's covenant with Noah
In the lower front area, the artist Willi Hahn depicts the end of the flood with the landing of Noah's Ark on Mount Ararat and Noah's exit from the ship together with the pairs of animals ( Gen 8.13 EU - Gen 9.17 EU ). The water of the flood has cleared, plants begin to sprout and the rainbow of the covenant with God arches over Noah's arms raised in prayer (Gen 9, 8-17):
“Then God said to Noah and his sons who were with him: I hereby make my covenant with you and with your descendants and with all living beings with you, with the birds, the cattle and all the animals of the field, with all the animals of the earth who came out of the ark with you. I have made my covenant with you: never again shall all beings of flesh be cut off by the waters of the flood; never again shall a flood come and ruin the earth. And God said, This is the sign of the covenant that I make between me and you and the living beings among you for all generations to come: I will set my bow in the clouds; he shall be the covenant sign between me and the earth. If I gather clouds above the earth and the arch appears in the clouds, then I remember the covenant that exists between me and you and all living beings, all beings made of flesh, and the water will never again become a flood, which all beings are made of Meat destroyed. If the bow is in the clouds, I will look at it and remember the eternal covenant between God and all living beings, all beings of flesh on earth. And God said to Noah: This is the sign of the covenant that I have made between myself and all beings of flesh on the earth. "
God's covenant with Isaac
The right side of the lower area of the tabernacle stele deals with the sacrifice of Isaac ( Gen 22.1–19 EU ). According to God's demand, Abraham tied his son and laid it on an altar made of stones with wooden clubs spread out over it. At the moment when Abraham wants to slaughter his son with an oversized knife and then burn it, the hand of God, which peeks out from the clouds, takes hold of the knife and Abraham's right wrist, thus preventing the killing of the child. Abraham's gaze is directed to heaven. His left hand is raised as a sign of excitement. Seven stars appear in the clouds above Abraham's head, symbolizing God's promise to his descendants (Gen 22, 15-18):
“The angel of the Lord called to Abraham a second time from heaven and said: I have sworn by myself - saying of the Lord: Because you have done this and have not withheld your only son from me, I will give you and your blessings in abundance To make offspring as numerous as the stars in the sky and the sand on the seashore. Let your descendants take the gate of their enemies. All peoples of the earth are to bless themselves with your descendants, because you have listened to my voice. "
Above the head of the bound Isaac, a ram is visible in the background, which is sacrificed instead of the child. The attempted sacrifice of Isaac is always understood in Christian art as a symbol of the crucifixion of Jesus, since the early church saw Isaac as the prototype of Jesus and interpreted the attempted act of sacrifice of Isaac as an anticipation of the execution of Jesus on the cross, interpreted by the church as a sacrificial death.
God's covenant on Mount Sinai
The left side of the lower area of the tabernacle stele shows the viewer the descent of Moses from the Mount of Revelation ( Ex 20.1–21 EU ). The artist depicts the summit of Mount Sinai surrounded by clouds and flashing wildly. Moses presents the tablets of the law in his two hands, on which the divine instructions are indicated in Latin numbers from 1 to 10. The dynamism of the descent of the prophet is made visible by the sculptor through the wide spread of his legs and the waving of his long hair. At the foot of the mountain, compared to the size of Moses, the wildly gesticulating people of Israel appears in a tiny perspective of meaning . Three huts indicate the situation of the desert migration.
The judgment of God on Carmel
On the back of the lower area of the stele Willi Hahn has depicted the divine judgment of the prophet Elijah on Mount Carmel ( 1 Kings 18.1-45 EU ). The occasion of the event is a long-lasting drought announced by Elijah on behalf of God, ( 1 Kings 17 EU ), since the northern kingdom of Israel was serving the fertility god Baal of Tire at that time . When the drought had dragged on for over three years, King Ahab had the prophet Elijah searched everywhere in order to kill him. Finally, Elijah is instructed by God to show himself to Ahab. When they meet, both blame each other for the drought ( 1 Kings 18.16-18 EU ):
“Ahab went to meet Elijah. As soon as he saw him, he exclaimed: Is it you, destroyer of Israel? Elijah replied: It was not I who plunged Israel into ruin, but you and your father's house because you broke the commandments of the Lord and followed the Baals. "
On Mount Carmel there is now to be a trial of strength between the gods Baal and Yahweh. Elijah had Ahab gather the people, 450 prophets of Baal and 400 prophets of the Holy Stake of the goddess Asherah . The representatives of the different faiths cut up one bull in each case, put it on wood and light the fire by the god of the respective prophet. While the prophets of Baal, under the mockery of Elijah, pray incessantly but unsuccessfully in gruesome rituals, Elijah himself lets his victim pour a lot of water and fills a self-made trench that surrounds the Yahweh altar that he has built with twelve jugs of water. After Elijah has prayed to his God, fire comes down from heaven, consuming the burnt offering, wood, stones, earth and water. The people now recognize that the Baal prophets are nothing but charlatans and are converted. At the direction of Elijah, the people kill all 450 Baal prophets in a massacre at the Kishon brook . Then the rain started again and the drought ended.
Willi Hahn shows the situation of the divine tongues of fire descending on the sacrificial bull, while Elijah sank down in prayer in front of the altar with hands raised to heaven. While the altar erected by Elijah is shown neatly joined by the artist, the Baal altar appears to be piled up from wildly thrown together, hulking fragments. In a wild dance and with open mouths and arms thrown up, the Baal priests, who are represented much smaller than Elijah according to the scheme of the perspective of meaning, cry out to their God, who, however, does not hear them.
Tabernacle Zone
The tabernacle zone protruding spatially over the base zone with its Old Testament themes leads to New Testament scenes in the upper area of the stele. Around the tabernacle , the sculptor Willi Hahn depicted the eschatological pilgrimage of the peoples to Mount Zion ( Isa 2.2-5 EU , also Mi 4.1-5 EU ):
“At the end of days it will come to pass: the mountain with the house of the Lord is firmly established as the highest of the mountains; he towers over all the hills. All the peoples flock to him. Many nations are on the way. They say: Come, we will go up to the mountain of the Lord and to the house of the God Jacob. He show us his ways, we want to walk on his paths. For the Lord's instruction comes from Zion, his word from Jerusalem. He speaks right in the strife of peoples, he rebukes many nations. Then they forge plowshares from their swords and winemaker's knives from their lances. One no longer draws the sword, people against people, and no longer practices for war. You of the house of Jacob, come, let us walk our ways in the light of the Lord. "
The bronze tabernacle door itself shows God's creative hand, from which grains of grain fall, begin to germinate in the ground, put down roots, sprout into stalks, bring rich fruit in full ears, in order to begin the cycle of growth and decay as grains of corn. The theme of Jesus' speech about the wheat grain is here
“Verily, verily, I say to you: if the grain of wheat does not fall into the earth and die, it remains alone; but when it dies, it bears abundant fruit. "
The text passage is related to the announcement of the Passion of Jesus by himself. The Gospel of John depicts Jesus as a consciously self-sacrificing sacrifice, whose cruel death on the cross will, however, have salvific consequences.
The eddies of water indicated by the artist indicate the life-giving power of the Holy Spirit at the beginning of creation ( Gen 1,1-2 EU ). Floods of earth that have cracked open due to drought that are hostile to life are transformed into fertile earth by the eddies of water of the Holy Spirit, from which seedlings sprout. A reference by the artist to the Whitsun sequence ascribed to Stephen Langton can be assumed. Here it says in relation to the divine spirit:
"Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium.
Flecte quod est rigidum, Fove quod est frigidum, Rege quod est devium. "
(German translation: Wash what is dirty, water what is dry, heal what is wounded. Bend what is rigid, warm what is cold, guide what has strayed.)
Depicted onions, as a symbol of the resurrection, break up hard ground in the right door area of the tabernacle. Their tubular leaves merge with the water vortices shown. The circle symbolism used indicates the infinity of God and the expected eternal life. The artist symbolizes God's connection with creation by taking network-like roots out of the wrist of the represented hand of the creator and seeming to interweave all living things. The plant motif of the bronze tabernacle door is taken up and continued by the artist in the surrounding sandstone through plant shoots.
The open tabernacle shows a painted Emmaus scene in the conche of its interior ( Lk 24 : 13–35 EU ). The Gospel of Luke reports that Cleopas and another disciple of Jesus went from Jerusalem to Emmaus in a depressed mood on the day after Passover and met the risen Jesus without recognizing him. The unknown companion had interpreted the scriptures for them and explained that the suffering and execution of Jesus had been necessary according to the promises of the prophets. When they arrive in Emmaus, they invite the travel companion to stay with them for the night. At the Lord's Supper they recognize in him the risen Jesus when he breaks their bread, whereupon however he disappears before their eyes. The two disciples then ran back to Jerusalem that same evening to tell the apostles and the other disciples about their encounter with the risen One.
In his painting, Willi Hahn shows Jesus with a nimbus around his head sitting at a table set for communion with a jug, chalice and bread bowl. Jesus' hands and feet show the wounds of the nails of the cross. The two disciples have taken their seats to the left and right of him and turn to the risen One who breaks the bread.
Tabernacle construction
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Compared to the dimensions of the tabernacle, the structure above it tapers steadily. Above the tabernacle, the sculptor Willi Hahn has depicted Jesus' Sermon on the Mount ( Mt 5–7 EU ). Jesus, who dominates the scene from an oversized perspective of meaning, has raised his hands to explain while the crowd seated around him listens to him. The listening crowd also encroaches on the sides of the tabernacle structure.
In the back relief, Willi Hahn designed the New Testament scene of the transfiguration of Jesus on a mountain that is generally identified with Mount Tabor . Jesus takes the disciples Peter , James and John aside and leads them to a high, unspecified mountain. There is a reference to the Old Testament Bible passage Exodus Ex 24 EU , in which Moses takes his brother Aaron , his nephews, the priests Nadab and Abihu and 70 elders of Israel with him in his ascent .
The Evangelist Luke says: “He went up with them to pray. And while he was praying, the appearance of his face changed and his robe became bright white ”( Lk 9.28-36 EU ). On the top of a mountain, Jesus is outshone (“transfigured”) by unearthly light (“ Tabor light ”) in front of the three disciples . In the Gospel of Mark it is written about it: “His clothes became brilliantly white, as no one on earth can make them bleach” ( Mk 9.2-9 EU ). The evangelist Matthew writes: "His face shone like the sun and his clothes became white as light" ( Mt 17 : 1-8 EU ).
Now, according to the New Testament narrators, the astonished disciples of Jesus, Moses and Elijah , who embody the law and prophecy of the Old Covenant , appear and speak to Jesus. The three apostles fall to the ground in terror. Peter suggests building three huts, so there is a reference to the Jewish Feast of Tabernacles . But a cloud appears from which a voice calls out: "This is my beloved son." This is to be understood as the proclamation of Jesus as the Son of God . The baptismal scene of Jesus ( Mt 3,13 EU ; Mk 1,9 EU ; Lk 3,21 EU ), where the voice from the cloud spoke the same words, is taken up again, with the heavenly voice still an imperative to disciples and readers adds: "You should listen to him."
Willi Hahn has divided the scene into two image zones: while the three disciples sank on the floor in awe and amazed posture, the bodies of the two Old Testament prophets Moses and Elijah as well as the figure of Jesus seem to be dematerialized by their lower bodies becoming contourless . Their heads are surrounded by broken crystalline nimbs from which rays emanate.
In the next higher zone of the tabernacle stele, the artist uses the motif of the Mount of Olives to depict Jesus' agony in the garden of Gethsemane before his capture. The Mount of Olives scene ( Mt 26.36-56 EU ; Mk 14.32-52 EU Lk 22.39-46 EU ) shows Jesus, desperately sunk in prayer, while the other three reliefs of the stele show the three sleeping disciples Peter , Representing John and James . A chalice appears above Jesus 'head, symbolizing Jesus' acceptance of suffering.
In the highest zone of the structure of the tabernacle, Willi Hahn depicts the crucifixion scene on Mount Golgota . On the front of the stele one sees the mother of Jesus and the disciple, who is generally equated with John. Between the two lies a collection of skulls that refer to the name of Mount Golgotha, the place of the skull. High priests who stand mocking, soldiers who distribute Jesus' clothes, and the Roman centurion on a horse who confesses Jesus as the Son of God complete the scene on the other pages. In addition, the sculptor depicted the disciple Judas, who betrayed Jesus in the garden of Gethsemane, over an abyss with the money wages for his betrayal.
The cross itself is missing as part of the crucifixion scene on the tabernacle stele. The artist positioned it as a metalwork of different colors with rock crystals over the stele, hanging from the vault. Originally it hung directly above the tabernacle stele and was intended to visually represent a theological context.
Ambo
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The red sandstone ambo by Willi Hahn thematizes the parable of the fourfold seed . The Jesus parable is narrated by all three synoptics , Mark, Matthew, and Luke. The version from the Gospel of Mark reads:
"Listen! A sower went to the field to sow. As he was sowing, some of the grain fell on the road and the birds came and ate them. Another part fell on rocky ground where there was little earth and immediately rose because the earth was not deep; but when the sun rose, the seeds were scorched and withered because they had no roots. Another part fell into the thorns, and the thorns grew and choked the seeds and they gave no fruit. Another part finally fell on good soil and bore fruit; the seed sprouted and grew upwards and bore thirtyfold, sixtyfold and a hundredfold. And Jesus said, Whoever has ears to hear let him hear! When he was alone with his companions and the twelve, they asked him about the meaning of his parables. Then he said to them, The mystery of the kingdom of God has been entrusted to you; but to those who are outside everything is told in parables; for they should see, see, but not know; they should hear, hear, but not understand, so that they will not be converted and they will not be forgiven. And he said to them: If you do not understand this parable, how are you going to understand all the other parables? The sower sows the word. The word falls on the way with those who hear it, but immediately Satan comes and takes away the word that was sown in them. It is similar with people who fall on rocky ground with the word: as soon as they hear it, they receive it joyfully; but they have no roots, they are impermanent, and when they are then harassed or persecuted for the sake of the word they immediately fall. With others the word falls in the thorn: they hear it, but the worries of the world, the deceptive wealth and the greed for all the other things spread and stifle it and it bears no fruit. The word is sown on good ground with those who hear it, receive it and bear fruit, thirtyfold, sixtyfold and a hundredfold. "
On the front of the anvil, Willi Hahn depicts nine grain stalks with full ears as well as two daisies that have broken up the soil as a bas-relief . In a crack in the floor the artist lets a little mouse scurry away. A butterfly rises above the stalks of plants, which is often depicted in Christian iconography as a symbol of the transformation of human existence and as a sign of the resurrection. The Trier sculptor visualizes negative growth developments on the two side parts of the anvil: the lower area on the right side shows a vigorously developing plant, which, however, has its roots in hostile debris. In the upper area of the side surface, the viewer can see their further development. The foliage, which used to be bursting with strength, has withered and falls withered on the sharp-edged rock. The dry scrub remains. On the other side you can see thorn bushes that make it impossible for the sown seeds to grow. A lying animal skeleton intensifies the viewer’s view of death and ruin. A bird flies over the dead branches that has picked the last grains and thus puts an early end to their further hopeful development.
Baptismal font
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The baptismal font was made in neo-Gothic style in 1849. The copper basin insert, which shows symbols that indicate the sacrament of baptism, was added in 1979. The neo-Gothic niche, adorned with pinnacles and eyelashes, behind the baptismal font depicts the baptism of Jesus in the Jordan by John the Baptist. John, standing on a rock pedestal surrounded by waves and clad in a shaggy camel hair coat, wears a cross banner as a reference to Jesus' death and pours Jordan water over the head of his new disciple. The figure of Jesus, clad only in a red cloth, has crossed his hands over his bare chest as a sign of humility. The dove of the Holy Spirit hovers over both men with golden plumage . The depiction of God the Father appears above a bank of silver clouds, blessing the scene with raised hands. An ornamental carpet pattern forms the background. The niche with the Baptist scene was originally located in the left mitred side of the apse next to the earlier neo-Gothic high altar. It corresponded to an ogival niche within the right miter surface of the apse. When wooden sculptures of the two female church patrons were attached to the two mitered surfaces after the high altar was demolished, the two niches had to give way. While the Anabaptist scene was placed in the neighboring field of the apse polygon, the ogival niche was walled up.
Eternal light
The silver, neo-Gothic eternal light traffic light was donated by Leonie von Galhau in 1885.
Easter candlesticks
The Easter candlestick from 1974 is designed as a stylized tree of life that bears the sacraments on 7 branches .
Wheel candlesticks
As part of the restoration work from 1977 to 1980, the Saarbrücken architect Thomas Kluftinger designed the polygonal wheel candlesticks in the nave .
Way of the Cross
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The fourteen stations of the cross were sculpted in terracotta by the Carl Walter workshop in 1866. Walter worked in Metz from 1862 to 1870 , and from 1871 he ran a workshop in Trier. The sculptures are donated by the widow Barbara C. Thiery (née de Lasalle), who also supported the rest of the neo-Gothic furnishings of the church with numerous donations. As part of the restoration in 1977/1978, the individual stations of the Way of the Cross were again colored true to the findings.
Church window
The window glazing in Wallerfanger Church was completely lost in the winter of 1944/1945 as a result of US artillery bombardment during World War II . In 1964, the convent member of the Benedictine Abbey of St. Mauritius in Tholey , Robert "Bonifatius" Köck , who had gained a reputation for art glazing in Saarland since the 1950s, designed new windows for the Katharinenkirche. The modern glazing of the early Gothic abbey church windows in Tholey is one of Köck's masterpieces. The windows of Georg Meistermann in the Sepultur at the Würzburg Cathedral in 1956 provided decisive impulses for clarifying one's own visual ideas . In addition, Köck also designed the large windows of the St. Andreas church in the Wallerfang suburb of Gisingen . The execution of Köck's designs for Wallerfangen were carried out by the workshop of the brothers Paul and Peter Josef Kaschenbach in Trier . The dark color of the glasses in earth tones was supposed to create a meditative, mystical darkness in the Wallerfanger Katharinenkirche, which was painted bright white at the time.
The theme of the Wallerfanger window by Robert "Bonifatius" Köck is the last public speech of Jesus before his execution, which contains the pictorial speech "from the grain of wheat", a parable of Jesus in the Gospel according to John in chapter 12:
“But Jesus answered them, The hour has come for the Son of Man to be glorified. Amen, amen, I say to you: Amen, amen, I say to you, if the grain of wheat does not fall into the earth and die, it will be alone; but when it dies it bears abundant fruit. Whoever is attached to his life loses it; but whoever has little regard for his life in this world will preserve it until eternal life. If anyone wants to serve me, follow me; and where I am, my servant will be there too. If someone serves me, the Father will honor him. Now my soul is shaken. What should I say: Father, save me from this hour? But that's why I came to this hour. Father, glorify your name! Then came a voice from heaven: I have already glorified him and I will glorify him again. The crowd that stood by and heard it said: It thundered. Others said: An angel spoke to him. Jesus answered and said, This voice was not for me, but for you. This world is now being judged; now the ruler of this world will be thrown out. And I, when I am exalted above the earth, will draw everyone to me. He said this to indicate how he would die. The crowd, however, countered him: We have heard from the law that the Messiah will remain forever. How can you say that the Son of Man must be exalted? Who is this Son of Man? Then Jesus said to them: The light will only be with you for a short time. Go your way as long as you have the light so that the darkness does not surprise you. Those who walk in the dark do not know where they are going. As long as you have the light with you, believe in the light so that you may become sons of light. "
The martyrdom of the church patrons Katharina and Barbara is placed in direct relation to the death of Jesus through the windows by Robert Köck. The example of their life and death should set an example for future generations and call for Christian commitment in this world. Suffering and death are not the desperate end, but the prerequisites for a new life. In the windows of the side aisles, Robert Köck depicts brown farmland, which as a result of the drought is beginning to break up like clods. "Lumps of light" made of clusters of lighter, milky glass indicate the change. Encrusted, outmoded, dead structures should also be broken open and lightened in human life in order to enable new life. In the apse area, round, golden discs, the seeds, fall into the dark field clods, which can also be interpreted as restricting, hostile wall connections that seal themselves off from the outside. An interpretation of the golden discs as manna rain ( 2 Mos 16 EU ) or symbols of the Eucharist is also possible.
Köck had initially made the areas of the field clods darker, because he wanted to take the harshness of the whitewashed room of the 1960s. However, when the historicist wall paintings of the Wallerfanger church were reconstructed, the church interior with the dark brown windows looked too heavily shaded in the opinion of many visitors. Robert Köck therefore redesigned the clods in 2010 in collaboration with the Trier Atelier Kaschenbach in lighter brown tones to take account of the changes in the interior. A sprinkled purple tint of the clods can be interpreted in traditional color iconography as an indication of transitory processes. In addition, Köck has inserted a wafer shape in the tracery pass of the choir axis window, which lights up against a golden yellow background, as a reference to Jesus' Last Supper, his death and the Eucharist. The golden yellow background is in the shape of an inverted square. It is supposed to symbolize both the "rich fruit", the abundance of the seeds, as well as the creation that has been restored and brought into balance through Christ's act of redemption. The seeds shown in the same golden yellow color in the brown paths, which can be interpreted as human life with its possibilities, are in direct color relation to the "light of Christ", they come from the "fullness of Christ", whereby Köck refers to the prologue of John's Gospel relates ( Joh 1,1-5 EU and 1,12-16 EU ):
“In the beginning was the Word, and the Word was with God, and the Word was God. In the beginning it was with God. Everything came into being through the word and without the word nothing came into being. In him was life and life was the light of men. And the light shines in the darkness and the darkness has not grasped it. (...) But to all who received him he gave power to become children of God, to all who believe in his name, not from the blood, not from the will of the flesh, not from the will of the man, but are born of God. And the Word became flesh and dwelt among us, and we saw his glory, the glory of the only Son from the Father, full of grace and truth. (...) From his fullness we have all received, grace upon grace. "
Köck also sees the seeds as "our fertility brought about by the Spirit of Jesus". Those who do not always revolve around themselves and are concerned about their own well-being, but can let go, leave their narrow limits and turn to the needy neighbor in selfless service, give up the old, "die" in order to gain new things and to live anew.
The round white pane of the window tracery hides a red glowing wound in its center. It stands for the side wound of Jesus on the cross caused by the stab of the lance, which can be interpreted as a symbol of God's love.
The two tracery passes of the flanking apse windows show golden glowing crosses, each formed from four ears of corn. The center of each of the four ears or cross bars is a seed. Köck interpreted these ear crosses, which combine deadly and life-affirming symbolism, as "signs of love, from the strength of which we can bear fruit."
In 1977, copies of the earlier glazing from 1905, which the Oidtmann glass studio in Linnich had designed at the time, were made for the upper facade windows .
Statues
The church has numerous statues of saints from the 18th to 20th centuries.
Side altars
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Both stone side altars in St. Katharina are roughly identical and still exude a strong classical spirit. The altar blocks with passion flower painted tendrils and have a standing in the center quatrefoil with three-quarter circle arcs on. The predella zone is divided into four simple rectangular frames. Above that there is a shelf for altar decorations, altar candlesticks or the canon tables that were customary up to the Second Vatican Council . In the middle of the predella zone, a tall rectangular tabernacle is positioned at the Marien Altar, and at the Joseph Altar a tall rectangular, eyelash-crowned pointed arch niche to accommodate an altar cross. The altar structure is in three parts. The soaring, ogival figure niche is framed by foliage. The two framing buttresses are crowned with fales. The crab-adorned eyelash above the figural niche is adorned by a four-pass tracery with three-quarter circular arches, surrounded by three pointed arches. The central niche is flanked by straight side parts, which are bordered on the outside by fial-crowned buttresses. The surfaces of the side parts are divided into three lanes by tracery. In the lower part of the lanes there are Gothic arches with noses in high rectangular frames, above standing four-passages with semicircular arches are arranged in square frames. The eaves line of the steeply sloping roof shows an inverted pointed arch pattern with noses and trefoil crowns.
Mary Altar
In the left aisle there is a stone altar of Mary. In the central niche there is a statue of the praying Madonna. The Virgin and Mother of God is dressed in a white robe. The red-lined coat shows a gothic gold ornament on a blue background. The trimmings are richly ornamented. The head of Mary is adorned with a golden lily crown over a white head veil. The upright rectangular tabernacle of the altar is decorated with a mandorla that includes two lilies (symbols of the virgin purity of Mary) and an ogival quatrefoil. The quatrefoil shows the Christogram and the Greek letters Alpha and Omega in the center . In the Revelation of John ( Rev 22:13 EU ) the exalted Christ describes himself as "the Alpha and the Omega, the first and the last, the beginning and the end."
Joseph Altar
In the right aisle there is a neo-Gothic Joseph altar. In the middle niche, crowned with eyelashes, there is a statue of St. Joseph with the baby Jesus in his arms. The foster father of Jesus wears a belted purple robe with simple gold braids. The green-lined coat has a brownish outer fabric color with gold-colored ornamentation and wide gold ornament braids. In his right hand the saint holds a staff of lilies as a symbol of his celibate marriage to Mary. Josef is shown as a bearded man with thinning hair. With his right hand he lifts the baby Jesus on the side of his heart. The baby Jesus is dressed in a white robe with gold braids and a red cloak with gold ornaments. While the divine child blesses the viewer with his right hand, he holds the cross-crowned cosmic sphere in the manner of an imperial apple with his left hand.
Mary icon
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In the back of the right aisle there is an icon of Mary. Candlesticks offer space for placing votive candles . The image of the Virgin Mary in a shrine-like, neo-late Gothic frame was originally attached to a pillar of the central nave opposite the pulpit. The icon is a copy of the miraculous image of Our Lady of Perpetual Help . The original from the 14th century probably comes from the island of Crete ( Cretan School ). After changing locations, the original was in 1867 by Pope Pius IX. entrusted to the Redemptorist Order for its Roman church of Sant 'Alfonso , where it has since adorned the high altar. The Redemptorists contributed significantly to the spread of the image through their popular missions . Popular missions were held in Wallerfangen in 1865/66, 1899/1900, 1910/11, 1920, 1933, 1950, 1961 and 1990. A mission cross with the statues of Mary and the disciple Johannes on the outside of the apse of Wallerfang's Katharinenkirche reminds of this. There is also a memorial plaque for killed Catfish soldiers during the First World War .
The Mother of God is shown on the icon inside the church in front of a gold background , which is supposed to symbolize the heavenly sphere. She wears a red undergarment and a dark blue, shiny upper garment with painted gold hatching. The veil of the Madonna is adorned with a golden star at the forehead level, which refers to the invocation of Mary as " Stella maris " (German sea star) of the Latin hymn Ave maris stella or as the morning star in the Lauretanian litany . The hint of nimbus adorned Mary's head is flanked by Greek abbreviations that identify her as "Mother of God". On her left arm Mary carries the baby Jesus, dressed in green and red and gold . The head of the child is surrounded by a nimbus , to the right of it the name "Jesus Christ" is abbreviated in Greek letters.
The buttocks of the baby Jesus are held in the mother's left hand and grab her right hand with both hands. His head, nestled in the crook of Mary's neck, is turned away from his mother. The gaze of little Jesus turns to a cross that the floating Archangel Gabriel carries with his hands covered as a sign of awe. As if by a gesture of anticipatory shock, the little sandal has come off one of the child's feet and is about to fall to the ground.
On the other side of the head of Mary hovers the archangel Michael , who also holds up the instruments of Christ's passion with covered hands . Greek letters mark the names of the two archangels depicted, which, according to the rules of the perspective of meaning , are depicted by the icon painter much smaller than the virgin with the child.
The frame adorned with branches shows lily and rose blossoms in numerous carved details as a sign of the virginal purity of Mary. A carved Gothic five-pass in the arch indicates the five-petalled nature of the original rose blossom and refers to the invocation of Mary as "Rosa mystica" (Eng. Mysterious rose) in the Lauretanian litany. Seven rose petals in the arched field can be interpreted as an indication of the seven sorrows of Mary .
Lourdes grotto
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On the occasion of Pope Pius XII. on September 8, 1953 by the encyclical Fulgens corona proclaimed the Marian Year , it was decided in Wallerfangen to build a Lourdes grotto on the outside of the Katharinenkirche in the angle between the tower and the left aisle. It recalls both the apparitions of Mary in Lourdes in 1858 and the centenary of the solemn proclamation of the dogma of the Immaculate Conception ( Immaculata ) in 1854 by Pope Pius IX. as well as that of Pius XII. in 1950 proclaimed the dogma of the bodily acceptance of Mary into heaven .
The Wallerfanger Lourdes Grotto is one of a number of similar structures in the Saarland that were built by the parish, civil parishes and private individuals. About 110 large Lourdes grottos are known in the Saarland. The oldest Lourdes cult site is likely to be in what is now Wallerfang's district of Düren . Here the Saarlouis local master builder Carl Friedrich Müller built a small village church to commemorate the apparitions of Mary in Lourdes between 1884 and 1886. A few years later, the pastor of the neighboring Niedaltdorf Built in the 1890s a first replica of the Grotto of Massabielle, where in 1858 the then fourteen year old Bernadette Soubirous the river Gave du Pau repeats the Mother of God to have appeared in the local parish church of St. Rufus . The inauguration of the local Marian memorial was inaugurated by the Trier auxiliary bishop and former pastor of the nearby Fraulautern , Heinrich Feiten . The construction of Lourdes grottoes in Saarland continued through the entire first half of the 20th century and reached its climax with the Marian year. In addition, the Marienbrunnen on the Great Market in Saarlouis , the Marian columns in Bous , Wadern , wayside shrine , Neunkirchen and St. Ingbert or the Marian complex of the Ensdorfer Hasenberg, the construction of the "Marienturm" of the parish church of the Holy Trinity , were built in Saarland on the occasion of the commemorative year in Fraulautern, the Marian station altar in the center of Beckingen and the Marian window cycle in the abbey church of Heiligenborn Abbey in Bous. The Saarland Post also issued a series of stamps depicting the Virgin Mary on the occasion of the Marian Year. In addition, the deeply religious Catholic Johannes Hoffmann was a Prime Minister in office who felt the promotion of the Christian faith to overcome the consequences of the anti-humanist Nazi dictatorship and as a protective shield against communist currents as an urgent political task. Thus the proclamation of the Marian dogma and the Marian year in Saarland fell on extremely fertile ground. Through the veneration of Mary, the religious creed was to be strengthened in the historically strongly Catholic country on the Saar and a certain "National Saarland identity" developed in the Saarland population.
When building the grotto in Wallerfangen, unlike when building many other grottos in Saarland, no volcanic rock was used, but red sandstone. Below the grotto niche with the statue of the Lourdes Madonna is the Occitan inscription “Que soy era Immaculada Conceptiou” (German translation: “I am the immaculate conception”) carved into the stone. Bernadette Soubirous had conveyed this alleged self-testimony of the apparition of Lourdes to her initially skeptical local priest Dominique Peyramale after the 16th apparition on March 25, 1858. Since Peyramale assumed that Bernadette, because of her inadequate education , could not have known about the dogma of the Immaculate Conception of Mary , which had only been promulgated four years earlier, the priest ruled out any attempts at cheating on the girl and began to defend the apparitions.
An altar-like deposit of the Wallerfanger Lourdes grotto contains the Latin inscription of the complex on its base: "ANNO SANCTO MARIAE IMMACULATAE MCMLIV" (German translation: In the Holy Year 1954 of the Immaculate Mary). Numerous votive tablets and floral decorations attest to the cultic use of the Marian place of worship.
American follow-up buildings by Himplers
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Himpler had studied architecture in the years 1859/1860 at the Berlin Bauakademie under the art historian Wilhelm Lübke , who had a strong influence on him. On June 13, 1863, he married Maria Magdalena Bier, born in 1839, in the Wallerfanger church he designed, and who gave birth to a daughter in 1864 and 1866. In 1867, Himpler's half-brother Franz Josef Karl, who was a locksmith by profession, killed the parsonage keeper Anna Maria Fisch while breaking into the rectory in Trierweiler . Franz Josef Karl Himpler was arrested and sentenced to death. Presumably out of shame about these events, Franz Georg Himpler broke all bridges in his home country and emigrated with his wife and two daughters to the USA, where he arrived in July 1867. Here he continued to work as a church architect.
In the USA, Himpler himself used his own plans of churches that he had built in Saarland in a slightly different form: While the Church of St. Joseph in Detroit (1870–1873) is an enlarged variant of the neo-Gothic Wallerfanger Katharinenkirche, the Marienkirche ( St. Mary of the Assumption) in Rome near New York represents a scaled-down version of the Wallerfang sacred building. Peter Joseph Schmitt, the pastor in Rome, knew Himpler from his chaplaincy in Germany and commissioned him to build it.
Himpler in Detroit gave up the basilical scheme of the Wallerfanger Church in favor of a stepped hall with very slim bundle pillars. In addition, the Wallerfanger Tower in Detroit, still breathing classicist spirit, was reinterpreted in neo-high Gothic style with an octagonal bell storey and the same spire. The vault painting in Detroit is decorated with gold stars on a midnight blue background. The original vault painting in Wallerfangen was designed by Himpler in the same way.
Himpler's Church of St. Mary of the Assumption (Mariae Himmelfahrt) also has an octagonal bell storey with a pointed spire. Unlike in Wallerfangen, Himpler added hip-roofed transepts in Rome.
Himpler's former Wallerfanger St. Joseph's Chapel
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The neo-Gothic St. Joseph Chapel in Mettlach was built by Himpler in Wallerfangen in 1864 . The client was Céphalie Thierry, née de Lasalle, who had the chapel built at the family seat in Wallerfangen - now known as "Villeroy Castle". The high-Gothic Sainte-Chapelle in Paris served as a model for the small sacred building . The chapel , however, was removed in the years 1878/1879 in Wallerfangen and by boat on the Saar to Mettlach translocated where it was built in 1882 with changes again. Since the spring of 2013 it has been accessible again after ten years of renovation.
organ
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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 .
The organ of the neo-Gothic Himplerschen church was built in 1871 with the first manual and pedal (19 / I) by the Trier organ building workshop Breidenfeld and Sons , financed by a foundation from Leonie von Galhau (née Villeroy) . The Trier workshop Koch supplied the neo-Gothic organ case. In 1884 the Lorraine organ building company Dahlstein-Haerpfer ( Bolchen ) added a second manual with eight parts. In 1891 the Bolchen company delivered a new blower with two magazine bellows for the Wallerfang organ. During the First World War the 33 pewter prospect pipes were requisitioned for war purposes. Wallerfang organ builder Julius Reimsbach (born August 30, 1895 in Niederlimberg, † July 12, 1970 in Wallerfangen, organ manufacture in Wallerfangen from 1934 to the late 1960s) added zinc pipes as an alternative. After completing his apprenticeship with the organ builders Franzen in Trier, Stahlhut in Aachen, Klais in Bonn and Hock in Saarlouis in Wallerfangen, Julius Reimsbach started his own business as a master organ builder. In the period before the Second World War, he rebuilt or expanded organs in the Saar area. After military service and imprisonment in World War II, he restored a number of Saarland organs or built new ones in the post-war period. At the end of the 1960s, he gave up his Wallerfang company for health reasons.
Haerpfer & Erman carried out renovations to the Wallerfanger organ in the 1950s and from 1976 to 1978. During the restoration in the 1950s, the original condition was changed significantly and adapted to the taste of the time. The game action , wind supply and individual registers were affected . In the course of the restoration in the 1970s, the tray in the second manual was replaced and the pedal tray was expanded from 20 to 30 notes. Two registers were exchanged, numerous pipe feet were renewed and the pipes in the prospectus were reconstructed in pewter. The upper manual received a swell box and the case was restored. The organ thus had 27 registers with mechanical action and romantic disposition. The organ case was also restored during the restoration in 1978. Old layers of lacquer were removed and the case was given a new color. During the most recent restoration in 1994/1995, the Hugo Mayer Orgelbau company ( Heusweiler ) restored the original historical substance of the instrument. The wind turbine and the pipework were overhauled. The pitch was lowered from 448 to 443 Hz. The organ now has 28 registers , divided into 2 manuals and pedal .
A sound document of the organ is available with the CD recording Andreas Cavelius plays on the Dalstein-Haerpfer organ in the parish church of St. Katharina, Wallerfangen, Bietigheim-Bissingen in 2003 by Andreas Cavelius.
The disposition is as follows:
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Bells
In 1808 a bell was cast by the Saarlouis bell founder Jacques Schmitz. In 1811, two bells by the Metz bell founder Jacques Theyssier were added. The inscription read: "Fondue a Metz l'an 1811 by Jacques Theyssier." The bells are not preserved. In 1880 the Goussel-François bell foundry workshop in Metz cast four bells (e 1 , 923 kg; fis 1 , 645 kg; gis 1 , 451 kg; h 1 , 372 kg). None of these bells have survived. The Brilon bell foundry Junker & Edelbrock manufactured three bells in 1923 (e 1 , 1200 kg, Ø 124 cm; g 1 , 750 kg, Ø 104 cm; a 1 , 490 kg, Ø 93.5 cm). This ringing was supplemented in 1928 by a new casting (c 1 , 2400 kg, Ø 157 cm) from the Mabilon bell foundry from Saarburg . For the so-called donation of the German people for the Führer’s birthday , the parish had to hand over three bells, so that only one of the bells from 1923 survived the Second World War.
In 1954, the Saarlouiser bell foundry in Saarlouis-Fraulautern, which was founded by Karl (III) Otto from the Otto bell foundry in Bremen-Hemelingen and Alois Riewer from Saarland in 1953, cast four bronze bells for the Katharinen Church with the chimes: cis' - e '- f sharp' - g sharp '. The four bells were purchased during the term of office of Pastor Josef Hoff in 1954 and solemnly consecrated on the last Sunday of Advent (December 19, 1954) by Dean Heinrich Unkel. The technical data of the bell (disposition, weight, diameter) are as follows:
| No. | Surname | Chime | Casting year | Foundry, casting location |
Weight (kg) |
Diameter (cm) |
| 1 | Christ | cis 1 | 1954 | Otto, Saarlouis | 1900 | 145 |
| 2 | St. Mary | e 1 | 1200 | 122 | ||
| 3 | St. Joseph | f sharp 1 | 800 | 110 | ||
| 4th | St. Catherine | g sharp 1 | 600 | 97 |
Pastor
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The following pastors carried out pastoral care in Wallerfangen:
List of pastors in Wallerfang until the place was destroyed:
- Friderich: 1380
- Peter Fonck von Bolchen: 1520/22/23
- Veirich: 1529
- Johann von Schwartzenholz: 1573
- Johann Holrich: 1597
- Philipp Templeto: 1606
- Nicola Rodenmacher: 1607
- Peter Ravio or Ranius: 1609/11
- Johann Kerriger or Küricher: 1613–1632
- Johann Aachen: 1636/37
- Bernhard Barradius (Augustinian Father): 1643
- Sebastian Didelot: 1644-1657
- Bernhard Saurbron: 1660
- Wilhelm Lutzenwald (Augustinian Father): 1661/63
- Peter Simon: 1663
- Peter Narcolius: 1663-1668
- Pierre Voisel: 1670-1676
- Johann Manderfeld: 1682–1695
List of pastors in Beaumarais after the destruction of Wallerfang:
- Michel François: 1690
- Laurentius Plitz (assistant pastor): 1691
- Jaques Jaquemin (assistant pastor): 1693
- Johann Hansiren (assistant pastor): 1697
- Michel François (assistant pastor): 1698
- Aegidius Collet (assistant pastor): 1780
- Augustin Wiltz (assistant pastor): 1722
- Jöe François (assistant pastor): 1726
- Johann Baptist de Saurbron: 1729
- Gerhard Bickendorf (assistant pastor): 1731
- Josef Wilhelm Thomé (assistant pastor): 1745
- Johann Baptist Schreiber (assistant pastor): 1748
- Weissgerber (assistant pastor): 1750
- A. Meily (assistant pastor): 1753
- Lefèbre: 1755
- Stein (assistant pastor): 1771
- Fissabre (assistant pastor): 1777
- PA Heinz (assistant pastor): 1783
- Halstroff (assistant pastor): 1785
- Adam (assistant pastor): 1793
- Pierre Lorraine (assistant pastor): 1796
List of pastors in Wallerfang since the revival as a parish:
- Franz Xaver Pfeifer: 1800–1803
- JP Lang: 1803-1808
- Mathias Hoff: 1808-1812
- JN Berger: 1812
- N. Lütgen: 1812-1817
- P. Frank: 1817
- Michel Hahn: 1817-1825
- J. Christian Kemp: 1825-1830
- Anton Binsfeld: 1830–1851
- Jos. Schmitt: 1853-1872
- Karl Jos. Petry, Dean: 1872-1893
- Maximini: 1893-1894
- Jakob Rausch: 1894–1903
- Michel Hartz, Dean: 1903-1935
- Peter Jost: 1935–1940, (born November 15, 1891 in Diefflen , † July 24, 1948 in Kobern-Gondorf )
- Josef Hoff: 1941–1966
- Hermann Wilhelmi: 1967–1974
- Anton Franziskus: 1974–1988
- Manfred Werle: 1988–2011
- Herbert Gräff: 2011- ad multos annos
graveyards
Medieval churchyard
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When in 1987 the house at Hauptstraße 28 (located next to the Gasthaus zum Goldenen Schwan, which was also demolished in 2011) was demolished and its courtyard was expanded to create a parking lot, large numbers of human bones came to light when the sloping terrain was cut. When the original Wallerfang parish church was razed with the other buildings of the fortress Walderfingen from 1687, the cemetery was abandoned. More medieval tombs came to light when the Gasthaus zum Goldenen Schwan was demolished in 2011.
In the course of the resettlement of Wallerfangen from 1705, the place belonged to the parish of St. Peter and Paul of the village Beaumarais, which was established with the fortress town of Saarlouis. The deceased in Wallerfangen, Niederlimberg and St. Barbara had to be buried since the Wallerfang cemetery in Beaumarais was closed. Since the transport of the dead to Beaumarais was difficult, the Wallerfangers laid a new cemetery around 1786 in front of the western entrance of the Augustinian monastery church, which was spared from the razing in 1687 and is now the parish church of St. Catherine.
Plague cemetery
For the epidemic deaths of the 17th century, a provisional cemetery was created outside the city walls from 1635. It was on the corner lot between Hauptstrasse and Estherstrasse. A plague cross still reminds of the catfish caught by the epidemics and buried here. Today's cross was erected by Nicolas Adolphe de Galhau. He had the originally narrow high cross supplemented with a niche and a base. He placed a Pietà in the niche . When the war memorial was erected in 1932, the cross was included in the complex. At that time the years 1635–1638 were also chiseled. After the Pietá picture was destroyed by vandalism in the post-war period, a Schöntatt picture ( Mater Ter Admirabilis ) was placed in the niche. Currently, a Pietà can be seen again in the barred niche.
In 1956, near the war memorial for the dead soldiers of the First World War , the Wallerfangen Cenotaph was erected in 1956 with financial support from the Saarland government under Prime Minister Hubert Ney . Seven steps lead to a platform on which the monument stands. A high pillar made of red granite (central stele: 5.20 × 1.10 × 0.50 m) names the years and the inscription "THE FALLEN / FOR EHR / THE LIVING / FOR WARNING" on its front on a protruding and raised projection . A bronze palm frond and an " iron cross " are applied as a sign of honor . Two smaller steles (each side: 1.00 × 0.32 × 0.32 m) with engraved Latin crosses flank the tall stele next to the stepped plinth. The execution was carried out by a stonemason from Fürstenhausen . The author of the monument is unknown.
Capuchin monastery cemetery
Another historical burial site was discovered during the construction of the Villeroysche Rentamt on the corner plot between Hauptstrasse and Sonnenstrasse (Zillkens Eck). On the ascent to Limberg, near the Saarengt at today's Villeroy Castle, several older farmhouses had to be demolished around 1900. Large numbers of human bones were found during the excavation. Presumably it was the cemetery of the Capuchin monastery, which stood on the site of today's Villeroy Castle from 1628 to 1692. During excavation work in 2008 on a new building behind the Villeroy Rent Office, construction workers again came across human remains. Archaeologists excavated numerous skeletons as part of a safety excavation. The finds could not be dated.
Community cemetery
Today's Wallerfangens cemetery was established in 1853 between the Lumpenbach and Kirchhofstrasse at the foot of the Limberg in the district of Niederlimberg, which has now grown together with Wallerfangen. Since the terrain towards the Lumpenbach is sloping, the difference in height had to be absorbed in terraces. After two expansions in the direction of the Sun Valley in 1958 (approx. 47 × 53 m) and 1986, the cemetery now consists of three parts and has an overall plan of an elongated rectangle. The small former cemetery chapel from the 1920s is located on the southern edge of the oldest part of the burial complex. It has been used as an economic area since 1961.
A new morgue was built with the cemetery expansion in 1958 and expanded in 1996, with a basement and a new concrete pile foundation.
In 2013, the Wallerfangen community erected a new memorial for the Wallerfang soldiers and civilians killed in the world wars of the 20th century on the site of a weathered former "hero memorial" with 27 graves. The cost was € 31,000.
Catfish catch, plague cemetery
Catfish catch, plague cemetery, wayside shrine in the foreground, war memorials in the background
Wallerfangen, plague cemetery, remains of the Wallerfanger Krieder monument in memory of those who died in the First World War
Wallerfangen, memorial to fallen soldiers from 1956 for those who died in the two world wars of the 20th century on the plague cemetery
War victims memorial in the community cemetery
War victims memorial at Wallerfanger municipal cemetery, sculptors Uwe Hassdenteufel & Willi Kasakow, 2013
Memorial to war victims at the Wallerfanger community cemetery
Wallerfangen, community cemetery chapel
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The modern memorial was created by the Saarlouis sculptor workshop Uwe Hassdenteufel & Willi Kasakow. The inscription on the stone reads: "In memory of our sons who died in the war of 1914-1918." Below are the names of 18 catfish catchers who fell as soldiers in the First World War. The list begins with Willi Witzmann (died November 26, 1914) and ends with Gustav Östreicher (died December 10, 1918). The historicizing hero memorial stele (light sandstone from Luxembourg; weight: 2.6 tons) seems to be demolished by a saw or sword blade made of rust-red oxidized Corten steel . The sculptors have positioned pieces of the "Heroes Memorial" on the floor of the green area. Each of the debris bears the names of Wallerfanger soldiers from the Second World War. To express the individuality of each person killed, the sculptors carved each of the nine names in a different script. The area of the facility, delimited with a steel frame, is 8.2 by 4.9 meters in size and is planted. Wallerfang pastor Herbert Gräff blessed the new memorial for the Wallerfang victims of the two world wars in a celebration in April 2014. The modern memorial is intended to question the pathos of the war memorials of the 1920s and encourage reflection on death, destruction and misery.
Parish kindergarten
The kindergarten building was erected opposite the tower portal of St. Catherine under the aegis of Pastor Anton Franziskus in 1974.
Parish home
In 1981, during the time of Pastor Anton Franziskus, the parish built a parsonage diagonally across from the side portal of the church instead of an earlier school building. An old imperial linden tree had to give way to the new building .
regional customs
Limberg procession
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The Limberg procession of the newly married couples from the parishes of St. Ludwig and St. Peter and Paul in Beaumarais , documented for the first time in 1687, took place every year on the first Sunday of Lent. The procession was led by the Saarlouis Maire, the aldermen, and the former Maires. The newlyweds and a large crowd of spectators followed. The young couples, who were obliged to take part in the procession under threat of a fine of two francs, carried bundles of straw, which they set up in the shape of the Lorraine cross at the summit of the 343 m high Limberg . The couple who were the last to marry were allowed to light the straw cross in the evening. The first stop of the pilgrimage was the place of the former Wallerfanger Capuchin monastery in Wallerfanger Engt, today the location of the Villeroy Castle. Then the procession continued up the mountain. The newlyweds paid a monetary fee to the city administration of Saarlouis, a jug of wine, white bread and a herring to the forester on the Siersburg and paid a small tax to the Duke of Lorraine. The pilgrimage of the newlyweds was abolished in this form in 1741. The custom may have been an older Wallerfang folk custom, which was then transferred to Saarlouis.
The Saarlouis fortress governor Thomas de Choisy had a chapel built on the Limberg for construction workers and soldiers of the fortress town to be built in 1680, in which holy masses were held by a Carmelite priest, but a small church cared for by monks had stood here since the Middle Ages . The Limberg was used by Choisy as a quarry for the Saarlouis fortress. The construction workers were housed in barracks on the mountain. On August 31, 1682, the archbishop's authority in Trier gave permission for the benediction of a new chapel on the Limberg, which was looked after by Franciscan hermits. With the end of the fortification work, the construction workers' settlement on the Limberg, including the makeshift chapel, was demolished. However, on the initiative of a hermit and various Saarlouis citizens, a stone chapel was built on the Limberg, which was looked after by the parish of Itzbach (renamed Siersburg in 1937 ) and Rehlingen .
In the years 1722 to 1727, the Metz stone sculptor Pierrar de Corail and his journeymen made a Calvary system with initially seven, then eight footfall stations on behalf of the hermit Claude Virion , which began at the foot of the Limberg with a mount of olives scene and at the summit of the Berges ended with a Holy Sepulcher Chapel . The stone groups of figures were almost life-size.
The hermitage on the Limberg joined the rule and way of life of the German congregation of the Hermit Brothers of St. John the Baptist. Every three years the Trier archbishop's authority carried out a visit to the Limberg Hermitage . The Holy Sepulcher Chapel was expanded to include a Chapel of Our Lady with a garden between 1738 and 1741. The sacred building had three altars (Mother of God high altar, side altars for St. Joseph and St. Anthony), confessionals, a bell, sufficient vasa sacra and paraments. The Holy Sepulcher was located in a crypt under the high altar of the chapel. However, the chapel, which increasingly developed into a pilgrimage chapel, never seems to have been consecrated. The chapel's patronage festival was April 16. In addition, some distance from the chapel was a station dedicated to St. Mary Magdalene . An allegedly miraculous spring was contained in this station, which girls and widows sought to solicit a husband. Small wooden crosses were left at the source as offerings. Since the path from Itzbach to Oberlimberg had turned out to be too long for the priest in charge, the Augustinian canons of Wallerfang increasingly carried out the services of worship.
According to the visitation protocol of 1741, the patron saint of the chapel was the Duke of Lorraine and former King of Poland, Stanislaus I. Leszczyński , who on June 30, 1751 summoned the barefoot Carmelites of the Lorraine Order Province to pastoral care on the Limberg. With the approval of the episcopal authority in Trier, a small hospice was established in the Hermitage on August 29, 1759, which was looked after by two priests and a lay brother. The Archbishop of Trier, Franz Georg von Schönborn , gave the complex the title "Maria vom Berge Karmel". The patronage day of this chapel was July 16, the feast of Our Lady on Mount Carmel , the so-called scapular feast .
The monastery on the Limberg was attached to the north side of the church. It had a basement and rose over two floors. Remains of the chapel have been preserved to this day in the barn of the former manor near the chapel from 1827. When the barn roof was re-roofed in the 1970s, the crypt under the barn was largely filled in with brick rubble by the construction workers, so that today it can only be accessed when bent over.
For the year 1783 the Itzbacher pastor Motte reports that there was more debauchery in the pilgrimages on St. Joseph's Day (March 19), the Annunciation (March 25) and the Birth of the Virgin (September 8) following the pilgrimages Corruption of the youth of both sexes and to the trouble of the good "had come. In 1784 the Carmelites gave up the settlement on the Limberg due to a lack of suitable offspring and the complex went into effect on December 18, 1788 by royal decree of Louis XVI. into the care of the Franciscan monastery in Sierck , which was founded in 1627 and belonged to the Cologne Order Province. But the Sierck monks had been pastoral care of the Limberg chapel since 1785.
In the course of the French Revolution, the facility on the Limberg with an area of about 10 acres was expropriated and leased in 1791 and the monks were driven out, with the leaseholder Poligny from Niederlimberg leaving the chapel open to pilgrims. On the other hand, the revolutionary district administration intervened and sold the area on March 16, 1792 for 3500 livres to the brothers Antonius and Matthias Capitaine from Felsberg , who let the buildings deteriorate and resold the land. During the anti-church struggle of the French Revolution , the eight sculpture groups of Pierrar de Corail and his students were smashed by revolutionary activists. The ruins are still on the Limberg after being secured in 1930. Sculptures of the sleeping disciples are kept in the Villeroyschen Gutshof on the Limberg, the other disciples and a Pietà in the barn on the Limberg plateau. The inscription "Corail fecit 1722" can still be seen on the torso of Our Lady. The destroyed group of the sleeping disciples of Jesus was made by Corail's pupils in the years 1726/1727. The name given to the Wallerfangers "Beim Kloster" and "Kapellenberg" reminds of the religious history of the place.
The Order Province did not give up the claim to the complex during the revolution and continued to appoint superiors: until 1794 this was Father Ananias Helbron from Hilringen and in 1797 Father Chrysostomus Jansen from Oberleuken was appointed. In 1802 the order province itself was dissolved.
It was not until 1827 that Louis Villeroy had the chapel that still exists today built for his estate on the Limberg. In 1840, the Louis Villeroy family also built a new Way of the Cross. Between the ninth and tenth stations of the cross there is a neo-Gothic crucifixion group. In the war winter of 1944/1945, the group of sculptures was badly damaged in the heavy fighting between the German Wehrmacht and the US Army. A white marble plaque is attached to the base of the crucifix in a neo-Gothic frame. Its French inscription, which is based on Mt 11.28 EU , reads: "Venez à moi vous qui êtes affligés MDCCCXXXX" (German translation: Come to me who are saddened, 1840.) The crucifixion scene thematizes a passage from the Passion story according to the Gospel of John ( Joh 19,25-27 EU ):
“At the cross of Jesus stood his mother and his mother's sister, Mary, wife of Clopas, and Mary of Magdala. When Jesus saw his mother and with her the disciple whom he loved, he said to his mother, "Woman, see, your son!" Then he said to the disciple: See your mother! And from that hour on the disciple took her to him. "
While the mother of Jesus gazes at the floor with interlocking fingers at waist height, sunk in pain, the crucified Jesus turns to her. The young disciple standing next to the cross, who in the Christian tradition is identified with the favorite disciple John , looks up to Jesus with a sad look and has his hands folded in front of his chest.
Another stone cross, the so-called "Great Lord God", stands on the Limberg plateau on the forest path from Oberlimberg to the Limberg chapel. The wayside cross, built in the style of the late Baroque in 1810, was traditionally erected by a forest official. He is said to have laid a wolf fishing iron in the forest on the Limberg , which unfortunately became fatal for a family member here. The base of the wayside cross shows a relief of the Holy Family during the so-called Holy Walk . The depiction of the Holy Family could refer to the forest official's ruined family happiness. Above the base canteen holds a cherub a volutenflankierte band with the inscription "O crux ave spes unica" (German translation:. Hail, oh Cross, you only hope). The "Großer Herrgott" wayside cross was restored in 1979.
To this day, many people traditionally move to the Limberg on Good Friday . The almost two kilometer long Herrgottsweg up to the chapel is lined with stations of the cross. The believers make small crosses out of twigs and place them at the foot of the stations after they have performed silent prayers. The pilgrims then fortify themselves at the top of the mountain with quark bread ("Kässchmieren") or potato pancakes ("Grumbeerkeïchelcha"). In consideration of the day of Jesus Christ's death, no music may be played when eating Good Friday food.
- Remnants of the footfalls of Pierrar de Corail, desecrated by revolutionary activists
Catfish catch, remains of the footfalls desecrated by revolutionary activists by Pierrar de Corail, representation of a Pietà
Catfish catch, remains of the footfalls of Pierrar de Corail, kneeling disciple, desecrated by revolutionary activists
Catfish catch, remains of the footfalls of Pierrar de Corail, desecrated by revolutionary activists, seated disciple
Wallerfangen, barn in the former monastery area on the Limberg, where the violated footfalls of Pierrar de Corail are partially kept
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literature
- Michael Berens : The Catholic parish church of St. Katharina in Wallerfangen - a building by the architect Himpler, in: Florilegium artis, Festschrift for Wolfgang Götz, Saarbrücken 1984, pp. 12-17.
- H. Brunner, Caspary H., Reitzenstein, A. v., Stich F .: Rhineland-Palatinate / Saarland, Art Monuments and Museums, Reclams Art Guide Germany, Vol. 6, 8th Edition, Stuttgart 1990, p. 505.
- The Catholic Saarland, Heimat und Kirche, Ed .: L. Sudbrack and A. Jakob, Volume II / III, Saarbrücken 1954, p. 26.
- Georg Dehio: Handbook of German Art Monuments, Rhineland-Palatinate / Saarland, edited by Hans Caspary u. a., 2nd edition, Munich / Berlin 1984, p. 1108.
- Arthur Fontaine: The St. Josef Chapel in Mettlach and its Way of the Cross, 2nd edition, Norderstedt 2017.
- Philipp de Lorenzi: Contributions to the history of all parishes in the Diocese of Trier, Trier 1887, pp. 568-570.
- Anton Franziskus: Catholic parish church St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981.
- Theodor Liebertz: Wallerfangen and his story, o. O. 1953, pp. 253-305.
- Kristine Marschall: Sacral buildings of classicism and historicism in Saarland, (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 360–361 and p. 600.
- Franz Ronig: The Church of the 19th Century in the Diocese of Trier, in: Art of the 19th Century in the Rhineland, Vol. I, Düsseldorf 1980, p. 235.
- Saarforschungsgemeinschaft (ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd, unchanged edition, Saarbrücken 1976, pp. 295–296.
- Willi Weyres / Albrecht Mann: Handbook on Rhenish Architecture of the 19th Century (1800–1880), Cologne 1968, p. 223.
Web links
Individual evidence
- ↑ List of monuments of the Saarland, sub-monuments list of the Saarlouis district (PDF; 347 kB), accessed on September 18, 2012
- ↑ Saarforschungsgemeinschaft (ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd, unchanged edition, Saarbrücken 1976, pp. 295–296.
- ↑ Saarforschungsgemeinschaft (ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd, unchanged edition from 1934, Saarbrücken 1976, p. 295.
- ↑ a b c Michael Berens: The Catholic parish church of St. Katharina in Wallerfangen - a building by the architect Himpler, in: Florilegium artis, Festschrift for Wolfgang Götz, Saarbrücken 1984, p. 12.
- ^ First mention of Wallerfang as a city in 1334, Christoph Brouwer : Antiquitatum Et Annalivm Trevirensivm Libri XXV: Opus variis Antiquitatum monumentis aeri & ligno incisis adornatum Duobus Tomis Comprehensi; Quorum Ille Proparasceven, cum Libris XXII Annalium scripsit: Hic, praeter Additamenta Proparasceves & Historiae, III reliquos Annalium libros cum luculentis Indicibus, adjecit; Opus variis Antiquitatum monumentis aeri & ligno incisis adornatum; Volume 2, p. 209, http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10867232_00261.html?zoom=0.6500000000000001 , accessed on February 18, 2016.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, p. 59.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, p. 266.
- ^ Dora Diemel: History of the district town of Saarlouis, Volume 2, The history of the Beaumarais district, Saarlouis 1979, p. 67.
- ↑ Wolfgang Adler : Old explored - new built, The excavations during the construction of the Wallerfangen branch of the Kreissparkasse Saarlouis 2011 and 2012, with contributions by B. Fecht, S. Klapdohr, J. Naumann and R. Schreiber (exhibition catalog), Saarlouis 2013.
- ↑ Wolfgang Adler: Excavations in the center of the medieval town of Wallerfangen, Preservation of monuments in Saarland, annual report 2011 (2012), pp. 78–80.
- ↑ Wolfgang Adler: King lets the city tear down, Archeology Germany 2012, issue 2, p. 53f.
- ↑ Wolfgang Adler: On the roots of the medieval town of Wallerfangen, emergency excavation on the corner of Hauptstrasse and Villeroystrasse, preservation of monuments in Saarland, annual report 2012 (2013), pp. 72–74.
- ↑ Wolfgang Adler: A sacrifice for Saarlouis. During excavations in Wallerfangen, remnants of the parish church and the old cemetery were found, in: Saargeschichten 4/2013, pp. 25–29.
- ↑ Wolfgang Adler: Insights into the center of the medieval town of Walderfingen, excavations on the occasion of the new building of the Wallerfangen branch in 2001 and 2012, in: Archäologietage Otzenhausen, Volume 1, Archeology in the Greater Region, International Symposium on Archeology in the Greater Region at the European Academy Otzenhausen, 7th-9th March 2014, ed. Michael Koch, Nonnweiler 2015, pp. 275-278.
- ↑ http://www.sol.de/titelseite/topnews/Friedhof-Wallerfangen-Archaeologen-enthaben-alten-Friedhof-von-Wallerfangen;art26205,3624533 , accessed on January 21, 2016.
- ^ Theodor Liebertz: Wallerfangen und seine Geschichte, oO and o. J. (1953), pp. 255-276.
- ↑ Markus Battard: Wallerfangen - A journey through time in pictures, 2nd revised edition, Dillingen / Saar 2012, pp. 51–54 u. 75-87.
- ↑ Founding of the convent 1306, church building 1309, see: Saarforschungsgemeinschaft (ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd, unchanged edition, Saarbrücken 1976, p. 295.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, pp. 277–280.
- ↑ Heiner Bonnaire: On the history of the State Gymnasium Saarlouis, in: 300 Jahre Gymnasium Saarlouis am Stadtgarten, Saarlouis 1991, pp. 16–61.
- ↑ Roland Henz u. Jo Enzweiler (ed.): Saarlouis Stadt und Stern / Sarrelouis - Ville et Étoile, text: Oranna Dimmig, translation into French: Anne-Marie Werner, Saarbrücken 2011, pp. 69 and 118.
- ↑ Catholic Parish Office St. Ludwig in Saarlouis (Ed.): St. Ludwig - Saarlouis, Erolzheim 1960, p. 11.
- ↑ Jörg Schmitz: Life and work of the architect Wilhelm Peter Schmitz (1864-1944), cathedral builder, monument conservator, art writer and Lorraine conservator, a Rhenish architect of late historicism (Aachen, Cologne, Trier, Metz), Volume 1: Biography and illustration part, volume 2: Catalog raisonné, Tönning u. a. 2005.
- ↑ Severin Delges: History of the Catholic Parish St. Ludwig in Saarlouis, Saarlouis-Lisdorf 1931, extension by a second part by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 1, p. 124– 134.
- ↑ Severin Delges: History of the Catholic Parish St. Ludwig in Saarlouis, Saarlouis-Lisdorf 1931, extension by a second part by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 1, p. 149.
- ↑ Saarland Law on Cemetery, Funeral and Corpses, Section 2 .
- ↑ Johannes Werres: A house of worship for the last rest ( Memento from February 21, 2014 in the Internet Archive ), "Saarbrücker Zeitung", November 8, 2010.
- ↑ Saarland Law on Cemetery, Funeral and Corpses, Section 4 .
- ↑ Johannes Werres: Does diversity make cemeteries more expensive? "Saarbrücker Zeitung", May 21, 2011.
- ↑ Johannes Werres: Daily masses in the old rite , "Saarbrücker Zeitung", May 4, 2012.
- ↑ Information sheet of the Society of St. Peter June 2012, pp. 4-6.
- ↑ http://petrusbruderschaft.de/pages/wo-wir-sind/deutschland/saarlouis/eigene-kirche.php , accessed on March 15, 2016.
- ^ Written communication by Father A. Hahn FSSP of March 15, 2016.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, pp. 281–282.
- ↑ The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd edition, Saarbrücken 1976, p. 236.
- ↑ Severin Delges: History of the Catholic Parish St. Ludwig in Saarlouis, Saarlouis-Lisdorf 1931, extension by a second part by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 1, p. 134– 138.
- ↑ a b Theodor Liebertz: Wallerfangen und seine Geschichte, o.O. 1953, p. 274.
- ^ Saarlouis district archive, No. VIII, 15, estate of Theodor Liebertz, Wallerfangen Volume 15, "Churches, Chapels, Hospital, Corpus Christi", p. 76.
- ↑ Diocese archive Trier, Dept. 70, No. 6709, Bl. 11a.
- ^ Theodor Liebertz: Wallerfangen and his story edited from archival sources, o. O. and o. J. (1953), pp. 273-276.
- ↑ Markus Battard: Wallerfangen - A journey through time in pictures, 2nd, revised edition, Dillingen / Saar 2012, pp. 44–45 and 55–61.
- ^ Letter from the pastor Johann Josef Schmitt of Wallerfang on December 4, 1862 to the Episcopal Vicariate General in Trier ("Most obedient report on the new building of the church in Wallerfangen"); Diocese archive Trier, Dept. 70, No. 6709, Bl. 11a.
- ↑ Diocese archive Trier, Dept. 70, No. 6709, p. 14.
- ^ Eucharius, Sunday paper for the Diocese of Trier, 3rd year, 1863, p. 196.
- ↑ Himpler had expanded the Bitburger Liebfrauenkirche
- ↑ Eucharius, 3rd year, 1863, p. 196.
- ↑ Michael Berens: The Catholic parish church of St. Katharina in Wallerfangen - a building by the architect Himpler, in: Florilegium artis, Festschrift for Wolfgang Götz, Saarbrücken 1984, p. 16.
- ↑ Diocese archive Trier, Dept. 70, No. 6709, Bl. 12 and 13af.
- ^ Wilhelm Reuter: Greetings for the inauguration of the new church in Wallerfangen, in: Eucharius, 3rd year, 1863, p. 196f.
- ↑ a b c Michael Berens: The Catholic parish church of St. Katharina in Wallerfangen - a building by the architect Himpler, in: Florilegium artis, Festschrift for Wolfgang Götz, Saarbrücken 1984, p. 13.
- ↑ a b c Parish archive Wallerfangen, renovation files
- ↑ Diocese archive Trier, Dept. 70, No. 6709, Bl. 21.
- ↑ Diocese archive Trier, Dept. 42, No. 318, Bl. 112a.
- ↑ Construction file "Sacristeibau" in the parish archive Wallerfangen.
- ↑ Diocese archive Trier, Dept. 70, No. 6709, Bl. 27.
- ↑ Note from July 19, 1976, parish archive Wallerfangen, renovation files
- ↑ 24. Report of the State Preservation of Monuments in Saarland, Department of Art Preservation, 1977, p. 10.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 4.
- ↑ a b Michael Berens: The Catholic parish church of St. Katharina in Wallerfangen - a building by the architect Himpler, in: Florilegium artis, Festschrift for Wolfgang Götz, Saarbrücken 1984, p. 14.
- ^ A b Anton Franziskus: Catholic parish church St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, pp. 6-15.
- ↑ a b c Information on the parish church of St. Katharina on: www.kunstlexikonsaar.de, accessed on September 18, 2012
- ↑ Manfred Werle: Article "Parish Church St. Katharina Wallerfangen - new color for a breath of fresh air", in: Paulinus, No. 21, June 13, 2010.
- ↑ Johannes A. Bodwig: Article "Church all around brighter - work in St. Katharina Wallerfangen almost finished", in: Saarbrücker Zeitung, No. 65, local section Saarlouis-Dillingen, page C 6, March 18, 2010.
- ↑ Johannes A. Bodwig: Article "A lot of light shines in St. Katharina - Wallerfanger parish church reopened after ten months of renovation", in: Saarbrücker Zeitung, No. 69, local section Saarlouiser Rundschau, page C 1, March 23, 2010.
- ↑ Traudl Brenner: Article "A figurehead of neo-Gothic style - the Wallerfanger Church of St. Katharina is stylish, harmonious, but original", in: Saarbrücker Zeitung, No. 127, SZ-Extra Momente, page E 1 West, 5./6 . June 2010.
- ↑ Johannes A. Bodwig: Article "St. Katharina is being completely overhauled - The Catholic parish church of Wallerfangen is currently being thoroughly renovated", in: Saarbrücker Zeitung, No. 222, local section Saarlouiser Rundschau, page C 1, September 24, 2009.
- ↑ Marschall: Sacral Buildings of Classicism and Historicism in Saarland, (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, pp. 360–361.
- ↑ Rupert Schreiber: Baudenkmalpflege Merzig, Torstrasse 45A (Fellenbergschlösschen), in: Denkmalpflege im Saarland, Annual Report 2013, pp. 116–117.
- ^ A b Arthur Fontaine: Merziger Terrakotta, world career and rediscovery of a historical industrial product, 3rd edition, Norderstedt 2016, pp. 42–43.
- ^ Franz Ronig: The Church of the 19th Century in the Diocese of Trier, Art of the 19th Century in the Rhineland, Volume 1, Architecture I, p. 235.
- ↑ Diocese archive Trier, Dept. 70, No. 6709, Bl. 12.
- ↑ Volker Hochdörffer: Willi Hahn - An attempt at a biography, in: Willi Hahn, catalog for the exhibition from September 1 to 13, 1995 in the Abei St. Matthias, Trier, ed. vom Bistum Trier, Trier 1995, pp. 9-25, here p. 23.
- ↑ a b c according to a statement by Pastor Anton Franziskus, January 5, 2016.
- ↑ Cf. Gaudium et spes ("Pastoral Constitution on the Church in Today's World", Art. 1ff.)
- ^ According to a statement by Pastor Anton Franziskus, January 5, 2017.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, pp. 7–15.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 15.
- ↑ Mk 4,1-20 EU
- ↑ Mt 13 : 1-20 EU
- ↑ Lk 8,4-15 EU
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 15.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 15.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 15.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 15.
- ↑ Gabriele Oberhauser: Not to forget camel drivers and elephant guides - terracotta nativity scenes from the turn of the century in Saarland churches, special edition of the Kurtrierischer Jahrbuch, ed. from the Trier City Library and the Kurtrierisches Jahrbuch e. V., Trier 1997, pp. 135–155, here p. 143, note 4.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 6.
- ↑ Oranna Elisabeth Dimmig et al.: Kunstort Catholic parish church St. Andreas Wallerfangen-Gisingen, ed. v. Jo Enzweiler and Ulrich Schäfer, Saarbrücken 2010.
- ↑ Robert Köck: The picture windows in the Benedictine Abbey Church of Tholey, ed. from the Abbey of St. Mauritius zu Tholey, Tholey 1989.
- ↑ http://www.glas-kaschenbach.de/geschichte.htm , accessed on April 13, 2016.
- ↑ from the explanations by Robert Köck in July 2009 (archive of the Institute for Current Art at the Saar College of Fine Arts in Saarlouis) and the sermon of the Wallerfang pastor Manfred Werle as part of the inauguration service on March 21, 2010.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 6.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 6.
- ↑ Kristine Marschall: Sacral buildings of classicism and historicism in Saarland, (publications by the Institute for Regional Studies in Saarland, vol. 40), Saarbrücken 2002, p. 221 and p. 449; Pp. 292-293 and p. 530.
- ↑ Rupert Schreiber: Church and Piety, The Lourdes Grottoes in Saarland, in: Saargeschichten, 1/2016, p. 64.
- ↑ Rupert Schreiber: A Grotto in the Garden, 150 Years of Lourdes, Popularized Piety and Denominational Identity, The Triumph of the Cult of Mary from Lourdes an der Saar, in: Saargeschichten, 1/2008, pp. 25-29.
- ↑ Oranna Dimmig: Art Lexicon Saar, Kunstort Hasenberg Ensdorf / Saar, ed. from the Institute for Current Art in Saarland, Saarbrücken 2014, pp. 9–12.
- ↑ Johannes Werres: Article "Not unique, that's unique" (report on a lecture by Rupert Schreiber on the 150th anniversary of the consecration of the St. Medardus Church in Neuforweiler) in: Saarbrücker Zeitung, local section Dillingen, page C 1.
- ↑ https://web.archive.org/web/20160403105602/http://www.saarland-biografien.de/Schlaad-Johann accessed on April 3, 2016.
- ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland, Regensburg 2015 S. 114th
- ^ Manfred Boßmann: Festival book for the 25th anniversary of the Lisdorf organ consecration, Saarlouis 2012.
- ↑ Bernhard H. Bonkhoff: Historische Orgeln im Saarland, Regensburg 2015, p. 114 indicates the year 1878, unlike Anton Franziskus.
- ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland, Regensburg 2015, p 114 are different from Anton Francis to the year 1883rd
- ↑ Bernhard H. Bonkhoff: Historical Organs in Saarland, Regensburg 2015, pp 286-287.
- ^ Anton Franziskus: Catholic parish church of St. Katharina Wallerfangen, (Schnell Art Guide No. 1289), Munich a. Zurich 1981, p. 7.
- ↑ a b The Dahlstein-Härpfer organ in the Catholic Church of St. Katharina in Wallerfangen On: www.orgelbau-mayer.de ( Memento from November 7, 2007 in the Internet Archive )
- ↑ Information about the CD, on: www.orgelbau-mayer.de ( Memento from November 21, 2011 in the Internet Archive )
- ↑ Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, p 153rd
- ^ Gerhard Reinhold: Otto bells. Family and company history of the Otto bell foundry dynasty . Self-published, Essen 2019, ISBN 978-3-00-063109-2 , p. 588, in particular pages 89-95, 567 .
- ↑ Gerhard Reinhold: Church bells - Christian world cultural heritage, illustrated using the example of the bell founder Otto, Hemelingen / Bremen . Nijmegen / NL 2019, p. 556, especially pp. 105–112, 517 , urn : nbn: nl: ui: 22-2066 / 204770 (dissertation at Radboud Universiteit Nijmegen).
- ↑ 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. 56.
- ↑ Bernhard H. Bonkhoff: The bells of the Saarland, Saarbrücken 1997, p 153rd
- ^ Statement by Pastor Anton Franziskus, January 5, 2017.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953.
- ↑ http://www.verein-fuer-heimatforschung-wallerfangen.de
- ^ Johann Spurk: 75 years of the parish of St. Josef Diefflen, Saarlouis 1975, p. 229.
- ↑ Margarethe Thinnes: Road crosses and wayside shrines in Saarland, Saarbrücken 1985, p. 42.
- ↑ Oranna Dimmig: Art in Public Space, Saarland, Volume 3, Saarlouis district after 1945, essays and inventory, ed. by Jo Enzweiler, Saarbrücken 2009, p. 382.
- ↑ Rainer Darimont: Medieval burial places in Wallerfangen, part 1 and 2, on the page: http://www.verein-fuer-heimatforschung-wallerfangen.de/# , accessed on April 7, 2016.
- ↑ Rainer Darimont: The Wallerfangen Cemetery, on the page: http://www.verein-fuer-heimatforschung-wallerfangen.de/# , accessed on April 9, 2016.
- ↑ Johannes Werres: Article "New War Memorial for Wallerfangen", in: Saarbrücker Zeitung, June 6, 2013, http://www.saarbruecker-zeitung.de/saarland/saarlouis/Kriegerdenkmal-Wallerfangen-Weltkrieg-Saarlouis-Aufmacher;art2807, 4809109 , accessed April 9, 2016.
- ↑ Johannes A. Bodwing: Article "Memory without Pathos", in: Saarbrücker Zeitung, April 12, 2014, http://www.saarbruecker-zeitung.de/saarland/saarlouis/Gedenkstaette-Wallerfangen-Friedhof-Kriegsgraeber;art2807,5223632 , accessed April 9, 2016.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, p. 4.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, pp. 6-7.
- ↑ Saarforschungsgemeinschaft (Ed.): The art monuments of the Ottweiler and Saarlouis districts, edited by Walter Zimmermann, 2nd, unchanged edition from 1934, Saarbrücken 1976, p. 243.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, pp. 7–8.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, pp. 10-11.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, p. 12.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, p. 289.
- ^ Margarethe Thinnes: wayside crosses and wayside shrines in Saarland, Saarbrücken 1985, pp. 214–215.
- ↑ Georg Baltzer: Historical Notes on the City of Saarlouis and its Immediate Surroundings, Part One: Historical Notes on the City of Saarlouis, Part Two: Historical Notes on the Immediate Surroundings of Saarlouis, reprint of the edition from 1865, Dillingen / Saar 1979, Part I. , P. 98.
- ↑ Severin Delges: History of the Catholic Parish St. Ludwig in Saarlouis, Saarlouis-Lisdorf 1931, extension by a second part by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part I, p. 48.
- ^ Theodor Liebertz: Wallerfangen and his story, Wallerfangen 1953, pp. 285–292.
- ^ Hilarion Rieck: The Oberlimberg near Wallerfangen and his pilgrimage, Saarlouis 1935, pp. 15-16.
- ↑ Margarethe Thinnes: wayside crosses and wayside shrines in Saarland, Saarbrücken 1985, p. 259.
- ↑ Margarethe Thinnes: wayside crosses and wayside shrines in Saarland, Saarbrücken 1985, p. 122.
Coordinates: 49 ° 19 ′ 46.4 " N , 6 ° 42 ′ 52.5" E