St. Margareta (Neunkirchen)

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St. Margareta Neunkirchen view from the east
St. Margareta Neunkirchen-View from the East (1914)

The Roman Catholic parish church of St. Margareta in the village of Neunkirchen is located in the municipality of Neunkirchen-Seelscheid in the Rhein-Sieg district . The apocalyptic wall and vault paintings in the old Romanesque part of the parish church are of national importance.

location

The listed church building stands on an abandoned cemetery surrounded by a wall with gravestones from the 17th and 18th centuries.

history

Is Neunkirchen 1178 first mentioned as the parishioners of the parish Neunkirchen that the pen of St. Andrew in Cologne tenth subject were peeled off the Natural decade by an annual pension money. A parish church probably already existed in Neunkirchen around the middle of the 10th century, when Archbishop Brun of Cologne transferred the tithe together with the jurisdiction in Glehn to the Andreasstift he founded.

The church is mentioned in 1308 in Liber valoris as the parish church of "Nunkirgen". In 1502, Duke donated William of Julich-Berg on the Lady altar of St. Margareta three weeks fairs, he for the celebrant, a vicar, the "Glock office" in conjunction with the Offermann service rendered. The Andreasstift owned the collature in 1550 , after 1566 the Duke of Jülich-Berg .

In 1844 the towns of Hochhausen, Pohlhausen , Wahn and Straßen were re- parished after St. Mary's Birth in Birk .

The Romanesque church was preserved for centuries and met the needs of the parish, but at the end of the 19th century it had become too small for the parish due to a sharp increase in population. In the years 1913-15 a wide neo-Gothic extension was added to the church building .

Building description

Today's church consists of two different components, a Romanesque, formerly three-aisled pillar basilica , which runs from west to east, and a neo-Gothic extension from 1913/15, which is oriented to the north.

The Romanesque component

The Romanesque, flat-roofed pillar basilica with a domed choir area and a western tower in front was built in several construction phases, as indicated by the connection joints between the choir and nave and between western tower and nave. The overall disproportionate appearance of the structure, the striking width of the central nave , a slight shift in the axis towards the west tower, the irregularities of the rows of arcades and the different widths of the side aisles point to an older, subsequently expanded hall church (10th-11th centuries): One More detailed soil investigation of the Romanesque building is missing.

Choir system

View of the choir

The Romanesque choir system originally consisted of a reduced three- conical choir with a flat hanging dome over the rectangular choir bay, transverse cones in the north and south as walled niches and a semicircular east apse . The choir area, bordered by four pillars, gives the impression of a central building , which is reinforced by the domed vault resting on girders and the wall and vault paintings. The roof line of the original apse is still visible on the eastern gable wall of the choir district. Around 1240, the Romanesque choir was expanded by replacing the semicircular apse with a second choir bay with a three-sided end and north choir. This late Romanesque choir extension has a groin vault in the choir yoke and a three-cap vault at the eastern end, which rests on four corner pillars, reused from the Romanesque apse, with high plinth pillars, bases without corners and double shield capitals. The vaulted areas of the late Romanesque choir extension are painted over the entire area with late Gothic thistle tendrils. While the Romanesque choir bay is not structured on the outside, the late Romanesque extension on the southern wall and the three-sided east apse has flat pilaster strips and round arch friezes , continued on the east side of the northern extension.

Longhouse

The hall church was expanded in the 12th century by adding side aisles to the north and south. The two circular windows of the hall church are still preserved on the east wall of the central nave above the triumphal arch . On the outside, the nave is not structured, while on the inside the axes of the two arcades differ from each other. Above the five arches there are six arched windows on the south wall of the central nave, of which only the west and east are preserved on the north side after the neo-Gothic extension. On the south side of the Romanesque choir bay, a sacristy with a low pent roof was added in the 18th century as an extension of the south aisle. The nave is flat-roofed in all aisles, only at the east end of the south aisle is there a cross vault above a side altar. During the restoration in 1953/59, small arched windows were installed in the south nave instead of the baroque arched windows that were used in the 18th century . The arcades on the north side, which were removed when the extension was built, were also reconstructed and the flat ceilings renewed.

West tower

The mighty five-storey west tower made of unplastered quarry stone with corner blocks made of andesite is not structured in the two basement floors and on the three upper floors with vertical pilaster strips in three fields differentiated by round arch friezes that set the floors apart. On the fifth floor there is a round-arched twin window in each of the three fields , which is divided by central columns made of lime sinter with cube capitals . The broad, arched west portal of the basement is stepped three times with a pair of andesite columns with cube capitals. After the church tower fire in 1738, the church tower was given a tall, pyramid - shaped slate-roofed spire in 1750 . The core of the undivided substructure of the west tower may still come from a previous building from the 11th century, while the three indented upper floors belong to the 12th century. Inside, the tower has groin vaults on two floors with angular shield arches on corner pillars. Two barrel-vaulted staircases with northern and southern access in the reveal of the lower arch lead to the tower chapel on the upper floor, which is arched towards the nave. A rectangular altar niche in the southern reveal of the upper arch opening refers to the former use of the upper floor as a chapel.

Wall and vault paintings

The wall and vault paintings in the Romanesque part of the church

In 1952/53, remnants of wall and vault paintings from the mid-12th century were discovered and uncovered in the Romanesque choir. Then the still existing paintings were supplemented with ocher glaze . In 1959 the additional glazes were removed again on behalf of the state curator. In the report on the conservation measures published in 1962, the wall and vault paintings were described in more detail for the first time and classified in terms of art history. The paintings are depictions of the Secret Revelation of John , namely the adoration of the Lamb by the twenty-four elders in the hanging dome above the choir area and the four apocalyptic horsemen in the spandrels of the dome and the Last Judgment in the southern niche . During a renewed restoration in 1996/97 to safeguard the existence, hitherto unknown details of the apocalyptic illustrations were discovered, above all the four evangelist symbols in the south and north between the dome wraps, the seven eyes and horns of the apocalyptic lamb and the circle point in the middle of the dome, from which the radii for the circular arrangement of the motifs around the lamb were drawn. A special feature of the dome paintings is the connection of the apocalyptic lamb with the four cherubim according to the vision of Ezekiel , which is unique for monumental painting north of the Alps. Also is exceptionally the representation of the world judgment in the Südnische the former Dreikonchenchores. The dome and niche paintings show the following motifs: In the apex of the dome the Lamb of God , arranged in a circle around it in four groups of six, the twenty-four elders who carry lutes and offer chalices in raised hands; in the east-west axis, the four Ezekiel cherubim standing on a wheel cross, which touch the circle around the lamb with their wings. In the north-south axis on the edge of the outer circle are the four evangelist symbols; in the spandrels of the dome outside the outer circle the four apocalyptic horsemen.

The depiction of the apocalyptic scene in the dome painting has its iconographical model in the Carolingian dome mosaic of the Aachen Palatine Chapel , which originally also showed the adoration of the lamb by the twenty-four elders. In the southern niche, a representation of the Last Judgment is only preserved in fragments: Christ surrounded by the mandorla is enthroned on the rainbow. The mandorla is flanked in the two upper thirds by two angel choirs, in the two lower thirds by six apostles each, who sit on the throne bench, with Peter on Christ's right and Paul on Christ's left. Below the Majestas Domini , on both sides of an arched window, there is a fragmentary representation of the twelve prophets and the damned as well as the blessed of the Last Judgment. It can be assumed that the painting of the former three-icon choir was based on a uniform apocalyptic program that included all vaulted parts of the Romanesque choir.

  • Dome paintings general view

  • Dome Paintings Apocalyptic Lamb

  • General view of niche paintings

  • Niche paintings-Majestas Domini

The neo-Gothic extension

Plan and view of a neo-Gothic extension by the architect Stumpf (1913)

In 1913/15, according to plans by the Bonn architect Jakob Stumpf, a broad, north-facing, neo-Gothic extension was added to the Romanesque quarry stone complex with a west tower in front, and the north aisle was demolished. In addition, the late Romanesque north choir was converted into the entrance hall. The extension building attached to the old nave is a transverse building running from south to north with a choir in the north and a hipped roof . An ogival frieze runs under the main cornice of the apse . The interior is defined by a light and rectangular hall. A star vault rests on four slender octagonal columns in the crossing. The ribbed vault, which rests on consoles on the walls, also extends from the columns. The southern columns are adjoined towards the central nave by the galleries supported by additional short columns , one for the singers and the other for the organ. The windows of the extension building were created by the Oidtmann company from Linnich. In the center of the choir is the Margaret window with a representation of the martyr's victory over the dragon.

Furnishing

In late Romanesque choir is in the shell niche of wooden and marmorierend enclosed baroque altar a statue of St. Anthony , which, like the Baroque confessional in the side chapel of the southern side of the ship from 1803 secularised monastery Heisterbach come. On the triumphal arch wall there is a baroque crucifixion group with Mary and John on the side of the crucified. A life-size Baroque crucifix on the north wall of the lower tower hall now dominates the groin vaulted entrance area of ​​the Romanesque church building.

A grave slab carved from trachyte is walled in on the west wall of the neo-Gothic building . The inscription on the plate with the family coat of arms in the four corners refers to the knight Heinrich von Meerscheid, called Hillesheim zu Burg Dahl in Neunkirchen, who died in 1624 and his grandson Hans Wilhelm von Ossa, who died in the same year. A grave slab found in the floor of the old choir was walled in on the south wall of the Romanesque choir yoke. The remains of the inscription and the carved coat of arms (clover leaf and two fish) indicate that it is the grave slab of Pastor Franziskus Kleefisch, who worked in Neunkirchen from 1712 to 1731.

organ

The present organ was acquired by the parish in 1971 from a church in Tilburg . It was a new organ from the Dutch organ builder Verschueren from Heythuysen . It replaced the organ in need of repair by the Ernst Seifert organ building workshop from 1949.

Bells

In the bell chamber of the west tower hang five bells , which were cast after the old bells were destroyed when the church tower burned in 1738. The oldest is the Margaretenglocke (23 hundredweight) from 1739, cast by Christian Wilhelm Voigt from Dremmen . The Donatus bell (35 quintals) and the Anna bell (17 quintals) were cast in 1818 by the Claren brothers from Sieglar . After requisitioning in 1942, they were returned in 1947. The bells cast in 1962, the John the Baptist bell (550 kg) and the Joseph bell (400 kg), from the Mabilon bell foundry in Saarburg, were added to the bell in 1963. A small Marienglocke (60 kg) from 1962, also from the Mabilon foundry, found its place in the restored roof turret on the central nave of the old Romanesque church. The chimes of the bells are: Donatus des', Margareta es', Anna f '. Johannes dT as', Josef b 'Maria ass'.

literature

  • Claudia Euskirchen, Olaf Gisbertz, Ulrich Schäfer (edit.): Handbook of German art monuments , North Rhine-Westphalia, Volume I: Rhineland. Deutscher Kunstverlag , Munich / Berlin 2005.
  • Ruth Ehmke: The Romanesque wall paintings in the parish church of Neunkirchen / Sieg . In: Yearbook of the Rhenish Preservation of Monuments 24 (1962).
  • Bernd Fischer: Neunkirchen-Seelscheid community near Siegburg . In: Rheinische Kunststätten No. 274. Neuss 1983.
  • Heinrich Hennekeuser: The extension of the parish church St. Margareta in Neunkirchen . In: Yearbook 22 (2007) of the Heimat- & Geschichtsverein Neunkirchen-Seelscheid.
  • Georg Wilhelm Holzinger: Romanesque tower chapels in western towers of predominantly rural churches in the southern part of the old Archdiocese of Cologne . Diss. 1962.
  • Hans Erich Kubach, Albert Verbeek: Romanesque architecture on the Rhine and Maas , vol. 2. Berlin 1976.
  • Jörg Poettgen: The bells of Neunkirchen in legend and history . In: Yearbook 4 (1989) of the Heimat- & Geschichtsverein Neunkirchen-Seelscheid.
  • Edmund Renard (arr.): The art monuments of the Siegkreis . (The art monuments of the Rhine Province. Ed. By Paul Clemen . Vol. V. Düsseldorf 1907.)
  • Dieter Siebert-Gasper: The importance of the Romanesque wall and vault paintings in St. Margareta zu Neunkirchen . Attempt at an art-historical classification. Siegburg 1997.

Individual evidence

  1. ^ Historical archive of the Archdiocese of Cologne (HAEK), deposit of the parish archive of St. Margareta Neunkirchen. Certificate No. 1.
  2. ↑ Aegidius Gelenius : De admiranda, sacra et civili magnitudine Coloniae Claudiae Agrippinensis Augustae Ubiorum Urbis. Libri IV. Cologne 1645, p. 66
  3. ↑ HAEK St. Andreas Files II 19
  4. ^ Friedrich Wilhelm Oediger : The Liber Valoris. Bonn 1967, p. 101.
  5. ↑ Dieter Siebert-Gasper: Duke Wilhelm von Jülich and Berg transfers the Glockamt to the Liebfrauen Altar in Neunkirchen to celebrate three weekly masses. In: Parish of St. Margareta Neunkirchen, Pfarrbrief 2/94, pp. 20–27.
  6. ↑ Handbook of the Archdiocese of Cologne. Vol. I. Cologne 1966.
  7. ↑ Hans Erich Kubach / Albert Verbeek: Romanesque architecture on the Rhine and Maas, vol. 2. Berlin 1976, p. 827.
  8. ^ Claudia Euskirchen, Olaf Gisbertz, Ulrich Schäfer (edit.): Handbook of German Art Monuments, North Rhine-Westphalia, Volume I: Rhineland, Munich / Berlin 2005, p. 998f.
  9. ^ Edmund Renard: Die Kunstdenkmäler des Siegkreises, Düsseldorf 1907, p. 144.
  10. ↑ Georg Wilhelm Holzinger: Romanesque tower chapels in western towers of predominantly rural churches in the southern part of the old Archdiocese of Cologne. Diss. 1962.
  11. ↑ Ruth Ehmke : The Romanesque wall paintings in the parish church of Neunkirchen / Sieg. In: Yearbook of the Rhenish Preservation of Monuments 24 (1962). Pp. 22-30.
  12. ↑ Dieter Siebert-Gasper: The importance of the Romanesque wall and vault paintings in Sankt Margareta zu Neunkirchen. Attempt to classify art history, Siegburg 1997, p. 66ff.
  13. ↑ Heinrich Hennekeuser: The expansion of the Parish Church of St. Margaret in Neunkirchen. In: Yearbook 22 (2007) of the Heimat- & Geschichtsverein Neunkirchen-Seelscheid, pp. 9–82.
  14. ↑ Bernd Fischer: Neunkirchen-Seelscheid community near Siegburg. In: Rheinische Kunststätten No. 274. P. 10.
  15. ^ Karl Schmitz: The organ - queen of musical instruments. Festschrift for the 100th anniversary of the St. Cäcilia church choir. Neunkirchen 1997.
  16. ↑ Pfarrarchiv Neunkirchen, organ statements of Ernst Seifert.
  17. ↑ Jörg Poettgen: The bells of Neunkirchen in legend and history. In: Yearbook 4 (1989) of the Heimat- & Geschichtsverein Neunkirchen-Seelscheid, pp. 119-139.

Web links

Commons : St. Margareta (Neunkirchen)  - Collection of images, videos and audio files

Coordinates: 50 ° 50 ′ 28.3 "  N , 7 ° 20 ′ 6.3"  E