St. Maria-St. Vicelin
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The Church of St. Maria - St. Vicelin is a three-aisled Catholic parish church in the city of Neumünster , built in 1893 in the neo-Romanesque style . From the beginning it had a double patronage and was consecrated to St. Mary and St. Vicelin , even if after 1966 - perhaps for the sake of simplicity - it was only mentioned in a number of documents and brochures as "St. Vicelin ”appears. Since this led to frequent confusion with the Evangelical Lutheran Vicelinkirche , the parish church has been called “St. Maria - St. Vicelin “.
history
It was not until 1888 that the Catholic community in Neumünster was large enough, with the arrival of numerous Catholic textile worker families, especially from Thuringia and Eichsfeld , to seriously consider building their own church.
Under the direction of Pastor Lohmeyer at the time, it was possible to secure the financing over the next five years. In February 1893, the church was started to build, on 24 December of that year, that year, the fourth Sunday of Advent, the church was consecrated . The church was planned by the architect Emil Brettschneider from Hamburg-Eimsbüttel based on a design by the cathedral master builder Alexander Behnes , Osnabrück, and the Neumünster-based construction company Rud. Pries built. The cost of the shell was just under 60,000 marks, the interior work cost a further 53,000 marks. In addition there were the costs for three bells (tuning: f sharp, a and b), which were mainly raised from private donations. Since the inauguration of Pastor Gustav Maria Münster in 1898, the interior work has been driven forward, in particular the church interior has been lavishly painted. The painting on the church ceiling was particularly remarkable.
In 1966, immediately after the Second Vatican Council , Pastor Wilhelm Tebbel carried out a fundamental renovation of the church. In addition to the necessary maintenance work on the building, the interior in particular was completely redesigned. The choir was redesigned with an altar table and ambo in accordance with the changed liturgical specifications of the Second Vatican Council and received three new windows, designed by Frans Griesenbrock , Netherlands. They show the birth of Christ , his resurrection and the sending of the Holy Spirit . The column capitals were removed, the entire interior and also the coffered ceiling were brightly painted over, figures of saints and many other facilities were dismantled. The center aisle has been abolished in favor of continuous benches.
The color concept was changed again in the mid-1970s. The columns were set off in color and the coffered ceiling was repainted with geometric motifs.
Twenty years later, on the initiative of Pastor Hermann Haneklaus, the church was completely renovated and restored from 1993 to 1995. The building itself urgently needed to be repaired, but the interior was also completely redesigned. A number of changes from 1966 were reversed - in particular, the column capitals were restored, the painting was partly renewed according to the old model, the central aisle was refurbished with new benches and the original painting of the coffered ceiling was exposed and restored.
The most important liturgical places (altar, ambo, baptismal font and tabernacle column) were recreated by the sculptors Christoph and Michael Winkelmann, the Sacred Heart Altar and six figures of saints set up in the choir, as well as the cross above the altar were "banished" from Taken from the cellar again in 1966.
Design of the interior since 1995
The altar
The altar table , made of yellow sandstone by the sculptors Christoph and Michael Winkelmann, Möhnesee-Günne, shows - like the ambo and baptismal font - scenes from the Old Testament all around. This is intended to show that the Old Testament (the " old covenant ") is the foundation on which the Christian faith is built. The " new covenant " is then confirmed in the practical execution of the sacraments . The motifs are therefore chosen so that they always contain a reference to the New Testament .
Front motif: "Manna"
The picture that the congregation sees shows the exodus of the Israelites from Egypt when, after a month and a half in the desert, they begin to grumble against Moses and Aaron and God then promises: "I will let you rain bread from heaven!" ( Ex 16.1–36, EU EU ). In addition to this manna , flocks of quail are also sent. The Greek letters below stand for the word ΙΧΘΥΣ ichthýs " fish ", which as an acronym means: Jesus - Christ - God - Son - Savior.
Motif left: "Pascha meal"
The picture on the left, seen from the congregation, shows the preparation of the Israelites for the flight from Egypt ( Ex 12.1–15 EU ). Every family should slaughter a lamb and smear the doorpost and lintel with its blood as protection against the fact that God has announced that all the firstborn Egyptians will be killed in order to punish Egypt. The lamb should be fried and eaten with unleavened bread and bitter herbs - hastily and ready to travel. The Jewish Passover or Passover festival ( Easter ) then arose from this custom .
Motif on the back: "Melchizedek"
The picture at the back (towards the priest's seat) shows how Melchizedek , King of Salem and “priest of the Most High God”, brings Abram bread and wine after he had won a victory ( Gen 14.17–24 EU ).
Motif right: "Land where milk and honey ..."
The picture on the right side of the altar shows the story from the Book of Numbers ( Num 13.1–33 EU ): God instructs Moses to send men to explore the land chosen as the new home of the Israelites. These men bring back grapes, among other things, and report: “It really is a land where milk and honey flow; these are its fruits. "
Triumphal cross
Above the altar hangs a cross as a triumphal cross in a style typical of the end of the 19th century, based on the Renaissance . Nothing more is known about its origins and origins; the cross is said to have hung as a " mission cross " in the entrance area of the church and was restored between 1993 and 1995.
The ambo
The ambo is also made from yellow sandstone by the Winkelmann brothers. As a motif it shows the scene in which God says to the prophet Ezekiel : “ Son of man, eat what you have in front of you. Eat this role! Then go and speak to the house of Israel! ”( Ez 3,1 EU ). This is to say that the word of God is indispensable nourishment - which also applies to Christianity. On the sides of the ambo there is a Christ monogram and the Greek letters Alpha and Omega (meaning: Christ is the first and the last).
The font
The baptismal font (Gebrüder Winkelmann) is made of yellow sandstone with a set and carved wooden lid with a brown zirconium crystal on top . The image on the lid shows the exodus of the Israeli people from Egypt under the guidance of Moses ( Ex 17.1–7 EU ), who knocks water out of the rock with his stick (meaning: God keeps his promise and takes care of the necessities of life). The baptismal font is placed exactly in the middle of the church, as a sign that the baptized will be accepted into the center of the congregation and that the congregation will take responsibility for the baptized.
The tabernacle
The tabernacle column (Winkelmann brothers) is a wood carving and shows the motif of the burning bush ( Ex 2.23-4.18), in which God appears to Moses and gives him his name, YHWH . The motif should refer to the words of Jesus: “God is not a God of the dead, but of the living.” The transformed hosts are kept in the “safe” on top of the column; the door bears the motif of the sun (also a symbol for the resurrection) in the middle a four-part host is indicated.
A carved tent with a figure of the risen Christ stands above the tabernacle . This figure used to stand on top of the pulpit, which was removed in 1966.
The Way of the Cross
The Way of the Cross is painted by Augustin Kolb (1869–1942) and is rather unusual in this form. It is framed and hung on the walls of the aisles and shows the usual 14 stations. The Way of the Cross was installed in the church in 1933. Augustin Kolb was influenced by the Beuron Art School , an association of church painters who wanted to replace the neo-Gothic style preferred by the Catholic Church with something new from around 1860 . Typical for this are clear colors and shapes as well as a rather two-dimensional, outlined representation.
The coffered ceiling
The coffered ceiling of the central nave is particularly remarkable. It is said to have been painted in this form in 1911 by the church painter Chruscz. This painting had been forgotten after it was painted over in 1966 and was rediscovered rather by chance during the renovation in 1993 and restored despite considerable additional costs.
The fringes of the ceiling show flower / tendril motifs, as they can also be seen in the painting of the church interior. The small square fields show symbols of Christ and the symbols for the four evangelists (angel / man = Matthew, lion = Mark, bull = Luke, eagle = John). The large fields again show flower / tendril motifs combined with a sign of the cross on the outside. The two fields to the left and right of the middle field show motifs on the meaning of the Eucharist : bread and fish, framed with the text: “I am the living bread that came from heaven” and the pelican, who opens his chest to feed his brood, framed with the text: "Whoever eats my flesh and drinks my blood has eternal life."
The Sacred Heart Altar
This altar has been in the church since the early 20th century, originally to the right of the chancel. During the renovation in 1966 the altar was dismantled and during the restoration from 1993 to 1995 it was placed in the center of the choir.
The altar was made in neo-Gothic style by the sculptor Anton Rüller (1864–1936) from Münster and shows a typical representation of the Sacred Heart in the middle . The side pictures show (from left) Father, Son and Holy Spirit in the arrangement of the mercy seat , flanked by Mary and Joseph , the last supper , the crucifixion and the handing over of the keys to Peter .
The altar of Mary
The Marien altar , made by the sculptor Heinrich Seling from Osnabrück (1843–1912), has stood in the same place in the church since 1897. It is also in the neo-Gothic style and shows the Mother of God Mary as Queen of Heaven with the baby Jesus in a halo. Four pictures on the altar wings show the Holy Family in the stable of Bethlehem , at the presentation of the baby Jesus in the temple, as well as the risen Jesus and the (legendary) presentation of the rosary to Saint Dominic .
The holy figures
The following figures of saints are attached to the columns (seen from the entrance of the church): the Archangel Michael , Saint Aloysius , the group of figures " Anna selbdritt " (shows the Virgin Mary as a girl with her mother Anna, who carries the baby Jesus in her arms) , Saint Agnes , Saint Francis and Holy Brother Conrad . The figures, carved from linden wood, were made by the sculptor Anton Rüller , who also created the Sacred Heart Altar, and were attached to the pillars of the nave between 1932 and 1935.
Organs
After the musical accompaniment in the church from 1893 had initially been designed using a harmonium with a “beautiful bright sound”, in 1900 the first organ from the workshop of the Stuttgart organ builder Carl Gottlieb Weigle was installed. At the time, the project was even generously supported by the German Emperor Wilhelm II, so that the instrument could be used in June 1900 after just five months of planning and construction. The organ (Op. 225?), An original "high-Construction" with pneumatic Game contracture , pneumatic membrane wind chest and a "Röhrentraktur with wind control" from the workshop Weigle, should with its 20 registers the Tonkraft correspond to an organ with 26 registers . The associated wind turbine was not electrified until 1912 .
Although the church remained largely unscathed during the warfare of the Second World War, after 1945 there was considerable, obviously irreparable damage to the organ. The security and supplementary work carried out after 1946, especially by the Lübeck organ building company Kemper , could no longer provide any long-term remedy: On March 7, 1965, after 65 years, the organ made "no sound". Again they made do with a harmonium.
In the period from 1966 to 1983, an electronic instrument ( electrium ) from the Ahlborn company was available - although the church authorities did not allow it at the time - which, however, showed errors and weaknesses after only a short period of use, which became unbearable by 1979.
After an invitation to tender, the company Friedrich Fleiter from Münster received the order in 1982 to build a new slider-chest organ with 20 stops, mechanical action, electrical registry, swell and setter combination. It was inaugurated on August 14, 1983. In the course of the church renovation in 1995, the organ was optically and technically improved.
literature
- 1866–1966 - 100 years of the parish of Sankt Vicelin Neumünster . Festschrift, author unknown, self-published, Neumünster 1966.
- Heinrich Warking: The Catholic parish since 1866 . In: Alfred Hellen, Klaus Tidow (ed.): Industrial culture in Neumünster . Neumünster 1988.
- 1898–1993 - 100 years of Sankt Vicelin Neumünster Church . Festschrift, author unknown, self-published, Neumünster 1993.
- Catholic parish church Sankt Vicelin Neumünster - pictures and impressions of the renovation . Festschrift, edited by H. Haneklaus, self-published, Neumünster 1995.
- And broke bread in their homes - 150 years of the Catholic community in Neumünster . Festschrift, published by P. Wohs, compilation: Wolfgang Fricke, Albert Marx, Thomas Roetz, Julia Weldemann, self-published, Neumünster 2016.
- Thomas Roetz: Praise him with drums and dance, praise him with strings and pipes! - On the history of the organs in the Church of St. Maria-St. Vicelin, Neumünster. Edited by P. Wohs, self-published, Neumünster 2016.
- 125 years of St. Maria-St. Vicelin Neumünster . Published by the Catholic Parish of St. Maria-St. Vicelin, Neumünster, compilation: Wolfgang Fricke, Thomas Roetz, self-published, Neumünster 2018, ISBN 978-3-00-059647-6
Web links
Individual evidence
- ↑ The information is based on a chronicle that is not publicly available and will appear shortly in a newly developed article on the history of the city of Neumünster (author Thomas Roetz).
Coordinates: 54 ° 4 ′ 25.2 ″ N , 9 ° 58 ′ 47.5 ″ E