St. Matthias (Nieder-Roden)

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The Catholic Parish Church of St. Matthias in Rodgau - Nieder-Roden (2017)

The Catholic parish church of St. Matthias Nieder-Roden is a neo-Gothic church building in Rodgau - Nieder-Roden , which belongs to the Rodgau deanery in the diocese of Mainz and is under the patronage of St. Matthias . The romantic Schlimbach - organ is the parish church today is a rare treasure, a music-historical rarity.

history

Old church from the middle ages

The first mention of Nieder-Rodens parish church can be found in the entry on the consecration of August 15, 1298 by Archbishop Gerhard II of Eppstein . When the church was built in 1298, the old fortified tower was also included as a church tower. It still dominates the landscape of Nieder-Roden and is a listed building. For many centuries, Nieder-Roden's parish church was the only one in the entire archdiocese (or later diocese) of Mainz that was endowed with a Matthias patronage. It is assumed that there must have been a church in Nieder-Roden before 1298. And because the transfer and "discovery" of the relics of the holy apostle Matthias for 1050 (or for the second time in 1127) are documented in Trier , but on the other hand it is certain that Nieder-Roden already existed in 786 or 791, and it is inconceivable is that the place should have been around 350 years without a church, it is very likely that Nieder-Roden's first church building had a different patron saint.

The old medieval church shortly before its demolition in early 1894

The old church building is said to have originated around 1500 and was built on the foundation walls of a much older building. The fittings at the main entrance and the choir windows, it is reported, would have indicated. The year 1542 could be clearly read on a stone built into the sacristy . In that year the church is said to have expanded. The original walls were raised, the choir rebuilt and the whole thing covered with a high gable roof. In the masonry of the outer walls of the church, rectangular or oval window holes were later broken haphazardly and without a system, as required.

In 1866 the old fortified tower was renovated and its formerly flat roof was provided with the point and four corner turrets.

In the course of the rediscovery of the Middle Ages by German Romanticism, neo-Romanesque , but especially neo-Gothic forms came into fashion in church construction . You were able to build a new building that was historically true and deceptively real. Pastor Heinrich Nolda (1888–1908) campaigned strongly for a new church to be built right from the start of his term of office. This was due to the extensive restoration work that had become necessary on and in the now much too small church.

At the beginning of 1894 the old church building was demolished, which had been planned for a long time ("Stall von Bethlehem", as it was popularly called at the time). Shortly beforehand, Pastor Nolda arranged for it to be photographed in order to preserve it for posterity in a documentary way. Of the components of the old church that were classified as worth preserving, only the fairly well-preserved tracery of a choir window, the crowning of a sacrament house and a stone with the date 1542 carved into the new church could later be inserted.

Neo-Gothic church building

Röders floor plan of the neo-Gothic parish church, 1901
The parish church of St. Matthias with the original, neo-Gothic interior, around 1965

Clearly shaped by the industrial revolution of the 19th century and its numerous new structural and technical possibilities, arose from September 1894 in the rapidly growing parish according to plans by the Frankfurt architect Joseph Röder under the construction management of Jakob Frank, who came from Dieburg , on the southeast corner of the now vacant standing old defensive tower, a modern, neo-Gothic house of worship in a very short time and stylistically from a single source. Correspondingly, the interior of the church was also decorated in a neo-Gothic style with red, blue and gold painting. Only the Marian retable and baptismal font remained from the old church . While the baptismal font was placed in the baptistery next to the main entrance, the Marian retable served as a side altar in the north aisle from now on.

The organ of the old church was far too small for the new church. They left them to the diaspora community of Babenhausen and contented themselves with an old harmonium in the church . A new high altar was erected in the choir, consecrated to the Sacred Heart , which was created by the Georg Busch company in Steinheim, and there was a second side altar in the south aisle, which was consecrated to the Holy Family .

The church consecration took place on September 27, 1896 by the Mainz Bishop Paul Leopold Haffner as part of his company tour. He put the parish church back under the patronage of St. Matthias the apostle. The next day in the new church, the bishop gave the young people the sacrament of Confirmation . The German text of the church consecration certificate written by Bishop Haffner in Latin reads:

“In the year of the Lord 1896, on the 27th day of September, I have Paul Leopold, Bishop of the Holy See in Mainz, this church in honor of Almighty God, the blessed everlasting Virgin Mary and all saints and in memory of the Holy Apostle Matthias I have consecrated the high altar of this church in the name and in memory of the Sacred Heart of Jesus, including the relics of the holy martyrs Creszenz, Fulgentius and Optala. I also dedicated the altar on the Gospel side in honor of the Blessed Virgin Mary and the altar on the Epistle side in honor of the Holy Family, including relics of the same martyrs. Starting today, I have granted individual Christian believers an indulgence in the usual ecclesiastical form for one year and those who visit the church on the anniversary of the consecration for 40 days. Nieder-Roden on the day of the consecration of the above-mentioned church + Paul Leopold. "

The statue of Matthias with a book and an ax above the main portal of the church was installed on February 24, 1897, the feast day of the church patron. On the same day, in a solemn procession, a " relic of the saint set in a dainty Gothic relic monstrance ", which Pastor Nolda had asked Trier Bishop Michael Felix Korum to give, was transferred to the parish church.

In 1901 the new Schlimbach organ was inaugurated. Seven years later, the whole parish laid their deceased Pastor Nolda to rest in a crypt in front of the south side altar in the parish church he had commissioned . For many months he had gone from house to house in the Catholic parishes in Hesse, literally begging for the means for building the church. More than once he contributed his private savings to the projects he planned. When he died in 1908, he left a newly built, debt-free church.

The parish church of St. Matthias after the completely new restoration and thorough renovation in 1968

The Second Vatican Council , led by Pope John XXIII. had been convened, had decided in its second session in 1964 to reform the liturgy . In order to enable a better co-celebration, provision was made, among other things, for the main altar to be erected "free-standing" in future, with two expressly stated goals: so that the priest can easily walk around it and also celebrate it to the people. In any case, the altar, at the same time the symbol of the corner stone Christ, should be the “center on which the gaze of the assembly is directed”. In the parish church of St. Matthias, for the first three years they contented themselves with the provisional construction of a wooden altar table in the choir , on which the pastor now read mass, but otherwise did not carry out any further renovations.

From March 1968, due to necessary repair work and derogatory judgments against the neo-Gothic style of the church, the original furnishings of the church were removed within a few months according to plans by the Lammerspieler architect Albert Günther and the church was completely refurbished and completely renovated. The first measure was to remove the pulpit on the grounds "because it blocked so much view". Together with the pulpit, an angel also disappeared , which was solemnly inaugurated in 1897 and placed on the cover of the pulpit as the guardian angel of the community . Another room was added to the much too small sacristy to the east and a heating system was installed in the basement of the sacristy , for which considerable renovation work had to be carried out inside the church, since the entire heating system had to be laid under the floor of the nave. In order to be able to set up the new altar table freely in the area of ​​the choir, the choir was extended beyond the choir arch by two meters into the nave, after the communion bench there had been removed. The valuable neo-Gothic high altar from 1896 was torn down and in its place the late Gothic Marian retable, which had previously been housed in the north aisle, was moved to the rear wall of the choir, whose cafeteria (altar table) had been worked from the demolished high altar. The altar, which had previously been in the south aisle and was consecrated to the Holy Family, was also removed, and a new sacramental altar was set in its place. In addition to the work mentioned, there was new flooring in the church , all interior and exterior doors as well as the church stalls and the two confessionals were renewed . All of the church windows were cleaned, repaired and re-painted in lead, and there were modern built-in cupboards in both sacristies. In the church , a new lighting system was installed from the keystones of the cross vaults .

The former decorative painting of the church disappeared, the walls were given a monotonous white paint, which runs counter to the neo-Gothic structure. A whole range of furnishings, such as the former high altar, the pulpit, the Lourdes grotto, the confessionals and especially the impeccable church stalls were destroyed. Some residents, who witnessed the clearing of the church at the time, managed to save some panels of the high altar, parts of the pulpit and several pews from the extermination and to bring them to safety in their houses. When inspecting the rescued parts, it was easy to see that the excuse given at the time, that the removed objects had been largely messed up, was only an excuse.

On November 20, 1984, unknown arsonists started a fire in the parish church. No furnishings fell victim to this, but the whole church was covered with a thick layer of soot . An inspection showed that the damage caused could only be remedied as part of a comprehensive overall renovation, whereby it was thought that all existing old damage should also be removed in this context.

The renovation and repair of the damage took place in the summer of 1985. Many parts of the masonry have been restored. The entire church roof was re-covered, the broken sandstone was renovated and the window grilles overhauled. All walls and ceilings have been repainted and the entire interior has been restored. The renovation ensured that the historical parts of the church building with the Gothic fortified tower and the late Gothic Marian retable would be preserved. In a conversation with the building director of the Mainz diocese, the parish council (PGR) campaigned to restore the ornamental painting that the church had before the renovation carried out in 1968. Soon, however, one had to admit that the community's financial means were insufficient, so that an agreement was reached to at least paint the walls of the choir and the side altars with ornaments and to make the main nave and the two side aisles simpler. It has now been repainted in a tinted and warm color scheme, in harmony with the columns and vaulted arches that are particularly highlighted in color. In November 1985 all work was completed. Immediately after the renovation work since then, the Schlimbach organ was cleaned and retuned. As part of this work, a prospectus register was rebuilt so that from this point on the rose window on the rear wall of the church could be seen from the church interior. In 1988 the old defense tower was renovated.

During the 1990s, destruction and desecration of the parish church became a problem again. Destruction has increased since the beginning of 1994, in July a large church window was partially smashed, the Marian retable and the baptismal font were soiled, dirty and spat upon, a figure of Christ was mounted on the wall and a book in which believers put their requests, hopes or words of thanks to God enter, partially torn and covered with obscene sayings. Another incident occurred in April 1995 when strangers sprayed the church facade with symbols of Satan and swastikas two days before White Sunday . In 1996, on the occasion of the 100th birthday of the newly built St. Matthias Church and the 650th anniversary of the independence of their parish, there were major celebrations under the direction of Pastor Helmut Grittner, at which a parish chronicle was presented for the first time.

In 2000 an organ restoration was to preserve the original sound for the coming decades. The neo-Gothic high altar was reconstructed and put up again in 2002. However, the organ was so exhausted by warm (dry) heating air that it had to be restored again in 2014. This happened when the organ case was returned to its original condition from 1901.

Building description

The Catholic parish church of St. Matthias Nieder-Roden from the south with a view of the apse . (2017)
The patron saint St. Matthias above the main portal of the parish church (Matthias statue from 1897)

In terms of design and concept, the building shows strong similarities to the Catholic parish churches St. Nazarius (Ober-Roden) and St. Pankratius (Offenbach-Bürgel) , which were also built according to plans by the architect Joseph Röder in a neo-Gothic style. At first glance, all three churches seem similar to the Gothic models from the Middle Ages. On closer inspection, however, it becomes apparent that they cannot be churches from the Middle Ages. For example, the chiseled ridges of the tracery or the capitals are too sharp to look really Gothic. In the interior, the gold on the high altar , the statues of saints and their consoles also appears much more shiny and lavish than in a Gothic church from the Middle Ages.

External features of the parish church are the basilica floor plan with three naves and rows of windows ( upper aisles ) above the two side aisles, the towering, bright choir with large windows, the rosettes above the portals and an abundance of tracery and eyelashes . The central nave is designed to be 39 meters long, 18.75 meters wide and 17.5 meters high. The choir has a depth of 6 meters, a width of 8.5 meters and a height of 12.5 meters, while the two side aisles are each 4.5 meters wide and 28 meters long. Quarry stones are used as building material , which were to be worked and grouted in the outer facade in a hammer-friendly manner. In the interior, the masonry wall surfaces are plastered. All load-bearing parts, such as the pillars in the interior, the vaults and window arches, the cornices and the support and wall pillars are made of solid sandstone . The number of walls and arches of the central nave are reduced to a minimum. Against the walls of the side aisles there are struts made of belt arches , which transfer the thrust or pressure of the nave walls to massive pillars embedded in the outer walls . In the central nave, Rabitz vaults have been drawn in, which only generate a slight sideshift, and the vaults of the two side aisles are walled up with light tuff stones. The addition of a smaller, slender stair tower to the organ loft and the roof on the south side of the church also creates a counterpoint to the old, free-standing defensive tower, which is emphasized even more in its monumentality. A sweeping buttress - as was necessary in the Middle Ages - could be dispensed with thanks to new construction techniques.

Compared to other neo-Gothic church facades, the typical stone-carved, slim, pointed flanking turrets ( pinnacles ) and thus also an abundance of stylized plant elements, so-called crabs and finials , which usually cover the pinnacles and are part of the architecture of the Serve elevation of eyelashes. Filigree, towering church towers of the neo-Gothic are only hinted at here. The typical tympanum design of the portals in the high Gothic style is also missing .

Saint Matthias with a book and an ax (for his apostleship) is an architectural sculpture above the main portal of the parish church . In order to emphasize it sufficiently in front of the mighty towering walls, it was raised with a canopy (canopy crowning above the free-standing figure of a saint). This three-dimensional variant of the pointed arch highlights the statue like an architectural frame.

Interior

The interior of the Catholic parish church of St. Matthias with the gilded, neo-Gothic high altar as the main feature

The original, neo-Gothic furnishings of the church were removed with the renovation in 1968. It contained an abundance of items of equipment that had been reworked in the historical style. Overall, the interior of the church was dark and dark. On the other hand, due to the short construction time, the interior appeared very uniform and was characterized by clear structure and similarly lasting details. Since the renovation in 1985, a large part of the neo-Gothic interior has been reconstructed true to the original, including the red, blue and gold painting typical of neo-Gothic church interiors.

The main feature is the parish church inside since 2002 the gilded neo-Gothic high altar with its high filigree explosive gables ( conversation Enge ) that the two equal-sized figures of the Archangel Michael and Raphael carry. He is guarded in the choir left and right by the parish patron Matthias and the diocesan patron Martin von Tours . On the eight large column capitals of the central nave , which symbolize the spiritual birth and the new covenant, there are canopy figures of Saints Boniface , Antonius , Heinrich II. (HRR) , Elisabeth (without crowning of the canopy) on consoles from the back left in a row to the back right , Josef and Aloysius .

On the lower wall of the church there are only framed devotional pictures with the usual themes from the Stations of the Cross of Jesus. So come Apostles candlestick or apostles crosses more advantage. The colorful leaded glass windows of the side aisles are designed according to the Gothic model with tracery, but show (from the back left the row to the back right) lovingly painted figures of Saint Agnes , Sebastian (donated by the choral society "Sängerkranz Polyhymnia Nieder-Roden e.V.") , Theresia , Valentinus , Aloysius , Rochus , Gertrud and Wendelin . The colors do not appear in the usual depth, many white areas are painted with black solder .

Neo-Gothic high altar (reconstructed)

When entering the parish church, one immediately notices the high altar in the apse of the church. “What captivates here, even after feedback from many viewers, is the warmth that radiates from this altar. The dark red (the color of the blood and the embers of the fire), interspersed with gold (the color of the divine), creates the atmosphere of radiant security, ”says the local pastor Peter Eckstein. Ultimately, the high altar is a passion altar that tells of the Passio Domini , which can be translated both with the suffering of the Lord and with the passion of the Lord .

Altarpieces

The four altarpieces show, as seen from the viewer on the far left: The Annunciation of the Angel to Mary . On the ribbon underneath, in Latin, the angel's greeting to Mary: Ave gratia plena, Dominus tecum (“Greetings, fully graced, the Lord is with you.”) Right outside: The birth of Christ ; also the slogan: Et verbum caro factum est (“And the word became flesh”). The two panels in the middle show John the Baptist . The left inner picture is about his sermon, which the banner sums up with Paenitentiam agite ("Repent"). The right inner picture shows the baptism of Jesus. In te complacui ("I found pleasure in you").

Further construction

In the center of the high altar is the stand cross in the exposure altar. From there the view leads up to the risen , exalted Lord. He points to his wounded, golden Sacred Heart . His gaze turns to the viewer. He wears the priestly robe that recalls the theology of the Letter to the Hebrews: "Christ is in heaven mediator between God and men".

The Twelve Apostles appear in stipes . At the zenith of the high altar stands the tabernacle that has been brought back from the rectory with its golden doors .

Closed high altar at Passion time

The closed high altar at the Passion time shows the following saints: Seen from the viewer from left to right, these are Clara , Augustine , C. Baromaus and Barbara .

Gothic retable of Mary

North aisle with the Nieder-Rodener Marienretabel by the master of the Babenhausen altar from the 16th century

In the north aisle of the parish church is the Nieder-Rodener Marienretabel by the master of the Babenhausen altar : Matthias Grünewald , Hans Backoffen or Tilman Riemenschneider wrote it around 1520 to 1530 for the Ev. City church St. Nikolaus (Babenhausen) in the form of a winged altar with a carved shrine, two carved inner wing sides, two painted outer sides and a predella created both as a sculpture and a relief (dimensions: 195 × 175 × 26 cm). The painting was only added in 1656. It is unclear whether the altarpiece was originally made for the Nieder-Roden church. The location of the reredos in the old church is also controversial. On the one hand, the prevailing opinion is that the reredos stood on the high altar until the church was demolished in 1894, and on the other hand, the thesis is put forward that the reredos stood on the side altar of the old parish church, which was consecrated to St. Mary, from 1653 at the latest . What is certain is that in 1896, when the new church was completed, the retable was transferred to the newly built parish church of St. Matthias and set up

In the middle of the reredos is the Rodgau Madonna with the baby Jesus holding an apple. To the right of Maria is the church patron Matthias with a book and ax, to the left of Maria is the apostle John with the serpent goblet. Peter , Paul , Andrew and James are depicted on the two side wings . On the outside of the altar wing you can see the two-figure cross bearing "Simon of Cyrene helps Jesus carry the cross". In the middle of the 20th century a sculpture of the diocesan patron Martin von Tours on horseback was placed on the shrine case . Today the sculpture, which can be dated to the first quarter of the 16th century, no longer belongs to the reredos and was initially on the front wall of the left aisle and then in the corridor of the rectory. In the research literature, the thesis is often expressed that it did not belong to the original reredos. In fact, no altar retable with a cloverleaf arch ending with a sculpture as a crown has been mentioned to this day. This would have been a very unusual solution. Furthermore, there are no stylistic similarities between the Martin sculpture and the figures in the altarpiece. With regard to the sacramental shrine in the predella, the assumption often prevails that it is a “new” installation. The cover plate with the inscription "IHS" was lost.

Locations in the church

The Marian retable, carved from wood and set, was restored in 1656 and 1701/1715 before it came from Babenhausen as a side altar in the north aisle of the newly built parish church of St. Matthias in 1896. In 1941 it needed another restoration. Because of the Second World War , the reredos were walled in between August 17, 1942 and the end of the war in the so-called Lourdes Grotto in the north aisle. After that it was repeatedly placed on the side altar. From 1968 to 1983 the retable was placed on the high altar. The aim of those responsible was to bring the reredos closer to the faithful. Since 1999 the Marian retable has been back on the side altar in the north aisle.

Altar function

An inventory from 1653 shows that there were four altars in the cramped Nieder-Roden church at that time: an unspecified high altar, a Marien, a cross and an unconsecrated Matthias altar. The altar of Mary was consecrated in 1708 by the auxiliary bishop of Mainz. This consecration contradicts the inventory from 1653, according to which the altar of Mary had already been consecrated. The uncertainty about this consecration could indicate that a new retable had found its place on the altar - possibly the Nieder-Rodener Marienaltar. Droste also assumes a position on the Marien Altar. In the same year, 1708, the high altar of the church was consecrated to St. Matthias. Possibly there was also a transfer of the retable from the high altar to the side altar. Ultimately, however, no reliable statement can be made as to whether and when the Marian retable in the old church was on the high or Marian altar.

The side altar, on which the Marian retable was placed in 1896, shows the inscription "MATER NIEDERRODANIS ORA PRO NOBIS" and refers to a Marian patronage.

organ

View through the neo-Gothic central nave up to the romantic Schlimbach organ (since 2014 in its original condition from 1901)

On April 23, 1899, the Catholic parish of St. Matthias in Nieder-Roden and the Würzburg organ builder Balthasar Schlimbach signed a contract for the construction of an organ . For the price of 7,430 Reichsmarks, a contemporary organ was ordered that was to be inaugurated on Easter Vigil in 1900. The delivery of the new organ was delayed until February 1901.

The organ builder had the complex task of setting up the instrument acoustically, visually and functionally as optimally as possible, but this was only possible to a limited extent due to the structural conditions. When the organ had to be cleaned after a fire in the main portal of the church in November 1984, the opportunity was taken to move the middle section of the organ front right and left to both sides of the organ in order to have a better view of the glass rosette from the central nave the back wall of the church. During the last restoration in 2014, the organ case was returned to its original condition.

With the design of its neo-Gothic organ case and its front ( organ prospectus ), the Schlimbach organ of the parish church helps to determine the atmosphere of the church. The organ prospect, together with the other sculptural and picturesque equipment and design of the church, serve as an overall architectural concept.

The organ case is made of solid oak and the wooden pipes are made of spruce . The metal pipes are made of tin , only the particularly high-quality prospect pipes (i.e. the pipes visible from the outside in the front view) were replaced by zinc pipes after they were removed during the First World War .

The organ is fully mechanical and equipped with a register pulpit (cone shutter). The organ wind can - as was usual until the end of the 19th century - be generated by a large bellows that is trodden with the feet. The instrument is played from a console on the organ loft, which is set up so that the organist sits with his back to the organ while playing and looks straight into the nave. The pipework consists of 1,056 organ pipes spread over 19 registers . The arrangement of the organ is as follows:

I main work C – f 3
1. Bourdun 16 ′
2. Principal 08th'
3. Gemshorn 08th'
4th Covered 08th'
5. Hollow flute 08th'
6th Gamba 08th'
7th Octave 04 ′
8th. Reed flute 04 ′
9. Mixture III-IV 00 02 2 ⁄ 3  ′
10. Octav 02 ′
II Swell C – f 3
11. Flute Principal 08th'
12. Lovely covered0 08th'
13. Salicional 08th'
14th Dolce 08th'
15th Flute dolce 04 ′
Pedals C – d 1
16. Sub bass 16 ′
17th Violon 16 ′
18th Flute bass 00 16 ′
19th cello 08th'
  • Coupling : II / I, I / P, II / P
  • Playing aids: Fixed register combinations in the form of small steps above the pedal: pianissimo (starting from Manual II), forte and tutti (starting from Manual I).

The restoration by the Walcker organ building company in 2000 was intended to preserve the original sound for the coming decades. But warm (dry) heating air is a problem for the organ. The instrument, which is set for cold, moist winter air, has been heavily soiled internally in recent years by hot air and temperatures of more than 16 degrees, the leather parts have become porous. The organ therefore had to be restored again in 2014. This was done, as was the return of the case to its original state, by Rainer Müller organ builder . This maintenance cost 24,500 euros. All pipes were removed, cleaned of dust and soot particles and retuned.

Bells

Under Pastor Philipp Kern (1950–1956 pastor in Nieder-Roden) three new bells were purchased, which heralded the New Year's Eve for the first time. The old bells had to be delivered to be melted down during the Second World War . Only the old "Marienglocke" ("cent bell") from 1518, weighing 14 quintals, remained in the church. It bears the inscription:

"Master Steffan zu Frankfurt gos me, my name is
Maria Glock,
in God's honor I am."

The heaviest bell with a weight of 24 hundredweight is dedicated to the church patron St. Matthias and bears the inscription:

"St. My name is Matthias, I
praise God's honor, I
ask for peace. "

Of the two small bells, the 12-pound bell is dedicated to the patron saint of working people, St. Joseph, and the 7-pound bell is dedicated to the holy angels.

use

Nieder-Roden has been an independent parish since 1346 at the latest. In the 16th to the middle of the 17th century, the place was partly looked after by the parish of Ober-Roden. In the 16th century until 1578 Nieder-Roden was alternately Catholic or Protestant. From 1578 it remained Catholic. In 1666 the parish Nieder-Roden became an independent parish again.

literature

  • Helmut Simon: Chronicle of the parish of St. Matthias Nieder-Roden. Published by the Catholic parish of St. Matthias Nieder-Roden on the occasion of 650 years of the parish of Nieder-Roden and 100 years of the parish church of St. Matthias. Krapp printing house, Babenhausen 1996.
  • Nieder-Roden parish of St. Matthias: Church? For God's sake! The year in the parish of St. Matthias Nieder-Roden: Pictures, thoughts and stories about life in our parish - on the occasion of the new building of the Holy Cross Church in Rollwald. Photos Volker Meyer and other articles from the parish groups. Edited by the Catholic parish of St. Matthias Nieder-Roden. Schnell & Steiner publishing house, 2014, ISBN 978-3-7954-2884-6 .

Individual evidence

  1. ↑ Die Kunstdenkmäler in Hessen Landkreis Dieburg, p. 222; Demandt 1966, p. 138.
  2. ↑ The reason for this assumption can be drawn from an entry that Theodor Hauren, a later pastor of Nieder-Rodens, transferred to the first preserved church register in 1674. Hauren claims to have made the following note from an old book that escaped the devastation of the Thirty Years' War: “The parish festival of Nieder-Roden was held in 1298 under Archbishop Gerhard (II. Von Eppstein) on the feast day of the patron saint Matthias Relocated to the Sunday before the Assumption of Mary. ”This note confirms that there was a church in Nieder-Roden at the end of the 13th century and that St. Matthias was the patron saint of this church. Parish chronicle, 1996, p. 28.
  3. ↑ Instruction Inter Oecumenici of September 27, 1964, No. 91.
  4. ↑ See liturgical reform of 1964
  5. ↑ Dehio: Hessen II. 2008, p. 621.
  6. ↑ A small beggar figure formerly belonged to the sculpture, but it was lost before or around 1870. ( The art monuments in Hessen: Landkreis Dieburg. P. 224; Hellweg 1983, p. 26.)
  7. ↑ See Nieder-Rodens Parish Book: Church? For God's sake! 2014, pp. 110–112. And: Helmut Simons: parish chronicle. 1996, pp. 198-201; In the older secondary literature (especially in the manual of the Diocese of Mainz from 1931, p. 327 as well as in Hans Martin Balz: Orgeln und Organbauer in the former Hessian province of Starkenburg. Görich & Weiershäuser, Marburg 1969, p. 563; and in Gaby Schnabel: Die Schlimbach organs in the diocese of Mainz in their peculiarity and historical significance. Scientific homework, submitted in the summer semester 1981 at the Kassel University, p. 104) the organ building is erroneously dated to 1896.

Web links

Commons : St. Matthias  - Collection of images, videos and audio files
organ

Coordinates: 49 ° 59 ′ 44.1 ″  N , 8 ° 52 ′ 17 ″  E