St. Maria in the Kupfergasse
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The church of St. Maria in the Kupfergasse , built in 1715, is located in downtown Cologne on the Neven-DuMont-Straße, corner of Schwalbengasse. It is one of the few baroque church buildings in the city of Cologne . Since its consecration in 1715, the church has enclosed the Laurentine or Loreto Chapel , which was built between 1673 and 1675 and in which an image of the Black Mother of God has been venerated since that time .
history
Founding of a monastery
At the beginning of the 17th century, there were violent riots among the Dutch population due to religious differences . This caused many Catholics to leave their homeland. Many of those affected sought refuge in the Catholic imperial city of Cologne, which is not far away .
The first religious from this region fled to Cologne. Brothers of the Order of the Discalced Carmelites came to Cologne as early as 1614. Between 1620 and 1628 they built a monastery and a church dedicated to Saints Joseph and Theresa on the courtyard grounds "zum Dau" in the southern suburb of Cologne .
In the 1630s , the nuns of the Discalced Carmelites , who came from Herzogenbusch in the Dutch North Brabant , followed the monks to Cologne and settled on the "Neuenahrer Hof", which was formerly run by Protestants on the corner of Lang-, Schwalben- and Kupfergasse.
Monastery and chapel
In the years that followed, the Carmelites, supported by privileges and donations , succeeded in converting the old Neuenahrer Hof into a monastery. Directly to the monastery buildings, the sisters were next to a small oratory at the instigation of the councilors and later mayor Johann Jakob Wissius build a chapel. This was designed based on the model of the Casa santa in Loreto , Italy .
The construction of the chapel, made possible by the foundation of a Cologne citizen (a later well-known donor is the von Groote family , whose Cologne coat of arms still adorn the forged bars next to and in the Laurentine Chapel ) was made possible by the nuns with a miraculous image , a figure carved from linden wood Our Lady, has been endowed. Probably, these were the work of a Dutch master to 1630. The chapel became the hard Nativity on September 8, 1675 consecrated .
During this time, when the veneration of Mary was particularly pronounced in Cologne, there were frequent pilgrimages and processions to places that were said to have miraculous powers. This also affected the miraculous image of the Kalker Kapelle or the image of the Virgin of the Carmel, St. Mary of Peace .
The monastery chapel on Kupfergasse with its miraculous image became very important for the order and the city within a short time. It also developed into a nationally known destination for pious pilgrimages. The pilgrims adorned the "Mother of Mercy", as the image of grace was also called, with jewelry and innumerable sacrificial candles , so that the image of the mother of Jesus acquired a dark tint over the years. The steadily increasing number of visitors helped the monastery to achieve solid prosperity through numerous measuring foundations , so that the construction of a larger church was considered. However, the first construction work did not begin until 1705. The plan, which envisaged the preservation of the chapel with its inclusion in a newly built church, only received building permission through the benevolent influence of Empress Wilhelmine Amalie . After the "von Aussemsche property" adjacent to the south on Langgasse had also been acquired, work began under the supervision of the site manager Flostorf, which was to last ten years. The glass works donated as early as 1709 allow the conclusion that the building was already well advanced.
Laurentine Chapel
The “Gnadenkapelle” was and is an independent installation between the two entrances of the main church built around it. It represents a scaled-down replica of the “holy house” of Loreto. The outer walls of the small barrel-vaulted structure had an elaborate carved wood paneling on the south side. The carvings are assigned to Johann Franz van Helmont and his pupil Johann von Rick. There were carved reliefs between the four Ionic pilasters on the three free outer sides .
The wall surfaces were left without paneling after the war damage. Only the narrow wall, which formerly also featured the coat of arms of Countess Anna Bernhardine von Limburg-Stirum (1696–1723), the donor of the carvings, is now decorated with an image of the veneration of Mary. The roof of the chapel protruding from the center of the north wall into the nave is now used as an organ gallery . The last third of the chapel, which has a small number of prayer benches, and the side entrances to the nave of the church, are separated by a wrought-iron lattice in the Rococo style . Behind it, apart from a few exceptional occasions, is the miraculous image of St. Mary's Church, the Black Mother of God.
St. Joseph Church
Exactly 40 years after the consecration of the chapel, the new monastery church , built in honor of St. Joseph , together with its new high altar, was solemnly consecrated by the Cologne elector and archbishop Joseph Clemens on September 8, 1715 . It is Cologne's first brick church. With its Dutch Baroque style , the church was reminiscent of the homeland of the Carmelites. In the 17th and 18th centuries, the Wittelsbach princesses Amalia Maria Therese von Pfalz-Sulzbach (1651–1721) and Maria Anna Amalia Auguste von Pfalz-Sulzbach (1693–1762) joined the local convent . The former was popularly known as "the beggar of St. Joseph" because of her poverty, while the latter served as prioress for many years . The brother or nephew of the two Carmelites Joseph Karl von Pfalz-Sulzbach († 1729), then presumptive heir to the throne in the Electoral Palatinate , had a Loreto chapel built in Oggersheim near Mannheim in the year of his death, based on the model of the Cologne monastery, with the miraculous image of the Black Madonna , which still exists and was later expanded to become the pilgrimage church of the Assumption .
In 1798 the Carmelites had to flee again. The monastery was abolished by the French occupiers and the buildings became the property of the city. The monastery church was one of the few sacred buildings that was not demolished, but was elevated to a parish church in 1802. Friedrich Ludger Kleinheidt , who worked as a pastor in Kupfergasse in 1865 , was promoted to Cologne cathedral dean in 1893 .
Parish Church of St. Maria in the Kupfergasse
The parish church now bore the patronage of the Assumption of Mary . In 1873 it was extended by a lower aisle on its west side, including the old sacristy . The new sacristy now joined the choir. At the same time, external and internal repairs were carried out, which were repeated in 1939. The church was repeatedly hit by bombs during World War II and burned down completely in 1944. Its elaborately designed north facade, which had been preserved until then, was badly damaged in the last year of the war.
The reconstruction of the church began in 1952 under the Cologne architect Karl Band . The nave was given a temporary flat ceiling and the north facade a simple round gable. In the years 1962 to 1964, work was carried out on the faithful reconstruction of the north facade and the roof turret with onion hood and lantern as well as the renewed vaulting of the church. Only the older stair tower (probably formerly part of the Neuenahrer Hof), from which the north facade is flanked on the right, differed in its design from the original. He received a modern designed bell house as a structure. The painting of the church carried out in 1979/80 only used the colors white, yellow and gold. Even more nuanced colors were used in the renovation work in 2001. In addition to the dominant colors white, light yellow and shiny gold, red was used sparingly. This red encompasses the marble-colored pilasters below the capitals set off in gold . They stand out discreetly from the whitewashed walls. The brightness of the room through the color design is enhanced by the incident light from the high, neutrally glazed arched windows.
Today's assignment
The parish of St. Maria in the Kupfergasse, together with the six former inner-city parishes of St. Aposteln , St. Kolumba , Dompfarre, and St. Andreas , form the new St. Aposteln parish since January 1st, 2010.
Building description
Church building
The parish church, built parallel to Neven-Dumont-Straße running in north-south direction, has been surrounded by dense buildings since it was built. So the church building deviated from the generally customary building direction and is oriented with its choir to the south. The rectory and the area still managed by the Cellites adjoin the west side . On the south side, a closed development of the street continues. Only the north and east sides of the church are exposed.
The in Lichten 37.20 m long and 17.30 m wide building is in plain red-brown brick masonry built, the out of the tuff - and limestone decorated cornices and ornamental decorations stand out. The simple choir and long sides are equipped with high arched windows between the buttresses that end a little below the gable roof . In the middle of the wall on the east side there is a baroque, but walled up, former side portal .
The more elaborately designed north facade rises from a small walled forecourt. There at the corner of Schwalbengasse you can get into the church via the courtyard decorated with a fountain . Through the combination of the material used and its design, this shows most clearly the Dutch influence of architecture at the time . The front is structured by four buttresses, which are divided by two continuous cornices. Between the pillars there are two portals flanked by Ionic columns, which are roofed with a stinging arch.
Above the lower cornice, between the central buttresses, there is an arched window that extends to the upper cornice. On both sides of the window there are sculptures of the saint in recessed arched wall niches. Ursula (formerly the figure of St. Joseph) and Teresa , the patron saint of the Carmelites.
The gable with side and front volutes made of stone above the main cornice is crowned by a pointed roof. The outer buttresses end a little below the gable roof with attached pyramids. In the middle gable area above the arched roof of the upper cornice, a niche of Our Lady with her child stands as a final facade decoration.
South and east side
North side
Portal on the left
Sculpture of St. Theresa of Avila
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Despite the extensive war damage, it was possible to resurrect the baroque building in its old dimensions. In contrast, many of the valuable pieces of equipment are irretrievably lost. As an alternative, individual pieces matching the style of the church could be procured in the post-war period.
Outside of the services, the front entrance area of the church and chapel is open to visitors without interruption during the day.
Furnishing
Altars
The church was formerly equipped with one main and two side altars. The main altar was consecrated in 1715 at the same time as the church, which was initially under the patronage of St. Joseph. The wooden structure, painted in marbles, bore not only various carvings but also the alliance coat of arms of its donors. It was the coat of arms of the Electoral Palatinate Council Hermann Joseph von Weipeler and his wife. The side altars, also richly carved, were dedicated to Saints Anna and Theresa. The altars, whose artistic work is attributed to the Cologne sculptor Johann Joseph Imhoff (the elder) , was freed of “superfluous carvings” in 1842. Today's high altar comes from the old " Maccabees Church", which was laid down in the French era , and after a temporary location in the St. Andreas Church in Cologne, it was moved to the Church of the "Black Mother of God" in 1963. The altar, as well as the communion bench set up in front of it in a semicircle , are works of art carved from oak. Like some of the church's works of art that were burned during the war, they are works by the electoral court sculptor Johann Franz van Helmont and Johannes van Damm from the first third of the 18th century.
Confessionals
The church formerly had two baroque confessionals with elegant carvings. They were probably also works by Helmont, like the one in the wood paneling of the chapel walls. The donor's coat of arms was also incorporated into the decorative medallions , which mostly depicted figures or scenes from salvation history . It was about Max Heinrich von Geyr , a canon in Cologne . Today's confessional belonged to the inventory of the St. Kolumba Church, which was destroyed in the war .
Altar and communion bench around 1717
Baroque confessional from St. Kolumba
Rococo pulpit around 1750
Baptismal font from St. Maria im Pesch
- Window glazing
In the church's now colorless windows, there were formerly stained glass with inscriptions bearing the year 1709. If you look at the masonry of the choir area, you can clearly see the arch of a window. However, further information is missing here.
pulpit
The pulpit , created in the Rococo style, also comes from the St. Andrew's Church. It was made around 1750.
Baptismal font
The chalice-shaped baptismal font of the church is 108 cm high. The smooth bowl with a simple edge profile rests on an octagonal base decorated with Gothic ornamentation, which is held on a square base plate decorated at the corners. The origin of the baptismal font is assigned to the neo-Gothic church of St. Maria im Pesch , which was demolished in 1843 .
organ
In 1967 Romanus Seifert (Kevelaer) built a new mechanical organ with initially 23 registers on 2 manuals and pedal . The organ was expanded in 1994 by the builder company to include a swell . The instrument now has 40 stops, has a mechanical play and an electric key action and an electronic combination system.
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- Coupling : II / I, III / I, I / II, III / II I / P, II / P, III / P.
Bells in the stair tower
In the bell chamber of the stair tower hangs a ring of five bells , which were cast in 1953 and 1974 by the bell foundry Petit & Gebr. Edelbrock :
|
No. |
Surname |
Casting year |
Diameter (mm) |
Weight (kg) |
Strike tone (16th note) |
inscription |
| 1 | Werner | 1974 | 1020 | 660 | g 1 -2 | + S. WERNER - ORA PRO NOBIS FULGET CRUCIS MYSTERY 1974 (St. Werner, pray for us. The mystery of the cross shines.) |
| 2 | Maria | 1953 | 905 | 451 | a 1 -3 | + MATER MISERICORDIAE OPNAD 1953 (Mother of Mercy, pray for us. In the year of the Lord 1953) |
| 3 | Joseph | 1953 | 755 | 257 | c 2 -1 | + S. JOSEF TUERE NOS AD 1953 (St. Joseph protect us, in the year of the Lord 1953) |
| 4th | Helena | 1953 | 661 | 150 | d 2 -1 | + S. HELENA OPNAD 1953 (St. Helena, pray for us. In the year of the Lord 1953) |
| 5 | Guardian Angel | 1953 | 544 | 90 | f 2 -2 | + ANGELI CUSTODES CUSTODITE NOS AD 1953 (+ Guardian angel protects us. In the year of the Lord 1953) |
Carillon in the roof turret
A donated carillon made of 38 bronze bells (c 2 , d 2 , e 2 chromatic to d 5 ) was made by the Dutch company Royal Eijsbouts and built into the lower lantern of the roof turret. The instrument, inaugurated on February 7, 2010, can be played not only automatically, but also traditionally using a stick piano.
The Freinsheimer Klosterhof
In 1724, the year he died, Johann Wilhelm von Efferen, a general from the Electorate of the Palatinate and Heidelberg chief magistrate, bequeathed an estate in Freinsheim to the Carmelite convent of St. Maria in Kupfergasse so that a branch convent could be established in Heidelberg ; In addition, the property was supposed to cover costs and dowry for the entry of 4 poor novices . The background to the donation to the distant Cologne monastery was the fact that Maria Anna Amalia Auguste von Pfalz-Sulzbach (1693–1762), the sister of the then pretender to the Electorate of Palatinate, Joseph Karl von Pfalz-Sulzbach, had lived there as a nun, General Efferen also asked for a prioress to be sent. After his death, the project of a Heidelberg branch monastery was not implemented due to the government's refusal. However, the Cologne nuns inherited the large estate in Freinsheim, the main building of which was the castle-like Retzerhaus (Freinsheim, Herrenstrasse 10). This fact became of great importance for the Catholics of the Palatinate town, who had no church and no pastor since the Reformation. In 1728, the priest Johann Jacob Creuzberg was sent there from Cologne as estate manager and the Carmelites had the “large lower hall” set up as a Catholic church in their new house. With the consent of the responsible bishop of Worms , the clergyman from Cologne exercised regular pastoral care in Freinsheim until 1745, after his departure a parish could be founded again. The manor of the Cologne nuns continued to serve as the parish's Catholic church until a new one was built in 1771–1773.
Individual evidence
- ↑ Adam Wrede, page 125, volume I., Hof zum Dau, the "her Melchior von Mulhem, rentmeister"
- ↑ A memo board of the Church of St. Maria ad Ortum , which was laid down in 1805, names the Cologne branch of the Neuenahr as the donor family. The panel remained in Cologne and ended up in the Wallraf-Richartz-Museum & Fondation Corboud
- ↑ Information from the Cellitinnen on Kopfergasse
- ↑ Hugo Rahtgens , reference to: Stadtarchiv, Mus. Alfter. 4, pp. 165 to 216, 249 to 258
- ↑ Hugo Rahtgens, reference to: v. Mering-Reischert, Bishop. u. Archb. I, p. 355 and 357
- ^ Rahtgens, reference to "Johann Franz van Helmont": Mitteil. of the Rhine. Association for Monument Preservation and Heritage Protection V, p. 76
- ^ Hugo Rahtgens, p. 280, Laurentinische Kapelle
- ↑ Christian Häutle: Genealogy of the illustrious parent company Wittelsbach , Munich, 1870, p 188 u. 189; (Digital scan)
- ↑ Stephanie Habeth-Allhorn, 175 years of Cellitinnen zur St. Maria in der Kupfergasse, p. 29 f
- ↑ Hugo Rahtgens, p. 278, Building History of Maria in the Kupfergasse
- ↑ kupfergasse.de: Brief description of our church
- ↑ Hugo Rahtgens, p. 280, building description
- ↑ ADB: Imhoff (Cologne family of sculptors and wood carvers)
- ↑ Hugo Rahtgens, p. 281, Altär, Maria in der Kupfergasse, reference to v. Mering et al. Reischert, Bishop. u. Archb. I, p. 32
- ↑ a b c Manfred Becker-Huberti, Günter A. Menne: Kölner Kirchen , p. 106
- ^ Hugo Rahtgens, p. 282 f, Maria's confessionals in Kupfergasse
- ^ Hugo Rahtgens, p. 284, glass paintings Maria in the Kupfergasse, reference to v. Mering et al. Reischert, IS 357
- ^ Hugo Rahtgens, p. 283, baptismal font Maria in the Kupfergasse, reference to v. Mering et al. Reischert, Bishop. u. Archb. I, p. 358
- ^ Gerhard Hoffs (ed.): Bell music of Catholic churches in Cologne . PDF document, pp. 177–179. ( Memento of the original from April 28, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Glockenspiel should promote piety, Kölner Stadtanzeiger from February 5, 2010 and online February 4, 2010 ( Memento of the original from February 8, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Website with photo of the Retzerhaus in Freinsheim
- ↑ Hans-Helmut Görtz: The builder of the Lambsheimer Jagdschloss , in: Heimat-Jahrbuch des Rheinpfalz-Kreis, Volume 30, (2014), pp. 110–118, ISBN 978-3-00-042960-6
- ↑ Hans-Helmut Görtz: Most glorious progression of our Christianity and beautiful church service there - A source book for the history of the Freinsheimer Catholics , Freinsheim, 2014, ISBN 978-3-00-048474-2 , pp. 72-94, 99 u. 531
literature
- Manfred Becker-Huberti , Günter A. Menne: Cologne churches, the churches of the Catholic and Protestant communities in Cologne . JP Bachem Verlag, Cologne 2004, ISBN 3-7616-1731-3 .
- Stephanie Habeth-Allhorn: 175 years of Cellitinnen at St. Maria in the Kupfergasse, a social-charitable religious order in the heart of Cologne . JP Bachem Verlag, Cologne 2003, ISBN 3-7616-1768-2 .
- Udo Mainzer : The former Carmelite Church of St. Maria in the Kupfergasse in Cologne - a neglected beauty? . In: INSITU. Zeitschrift für Architekturgeschichte 7 (2/2015), pp. 213–226.
- Hugo Rahtgens: The art monuments of the city of Cologne . On behalf of the Provincial Association of the Rhine Province and with the support of the City of Cologne. Published by Paul Clemen. Volume 2, Division I. Düsseldorf, Verlag L. Schwann 1911.
- Adam Wrede : New Cologne vocabulary . 1. Volume, Greven Verlag, Cologne, 9th edition 1984, p. 125, ISBN 3-7743-0155-7 .
Web links
Coordinates: 50 ° 56 ′ 23.2 ″ N , 6 ° 57 ′ 1 ″ E