St. Pankratius (Hoinkhausen)

Parish Church of St. Pankratius

The Catholic parish church of St. Pankratius is a listed church building in Hoinkhausen , a district of Rüthen in the Soest district ( North Rhine-Westphalia ). The church stands in the middle of a walled cemetery and is part of the center of the village. The community belongs to the Rüthen Pastoral Association in the Archdiocese of Paderborn .

History and architecture

The three- bay hall church , Romanesque in the two eastern bays , was built in the middle of the 13th century from broken stone . From the baroque choir in the 5/8 end it goes to a crypt room from 1718 for the Hildesheim canon Rhaban Christoph von Hörde on Ehringerfeld; at the same time the sacristy was added. A legend in the keystone of the choir vault points to the founder, which translates as follows: The venerable, highly respected gentleman, Mr. Raban Christoph, Baron von Hörde, canon of the Hildesheim Cathedral, Droste zu Wiedelage restored this church with his own resources . After the Romanesque tower was demolished in 1860, a new tower with an articulated helmet and a neo-Romanesque west yoke were built. Inside, domed vaults rest between wide, pointed arched belt and divider arches on cross pillars. Pointed transverse barrel vaults were drawn into the narrow aisles . In the choir, a ribbed vault rests on wall templates with fighters .

Furnishing

organ

The organ goes back to an instrument made by an unknown organ builder in 1660, which probably had 10 stops on one manual. 1746–1747 this instrument was rebuilt by the organ builder Johann Patroclus Möller and a manual was added. It now had 19 registers and an attached pedal . In the 19th century the disposition was expanded and a small, independent pedal unit was added, the organ then had 28 stops. It wasn't until 1935 that an electric fan was added. The instrument underwent lasting changes in 1956 when the positive was separated from the main housing and the play system was integrated into the lower housing. The organ today has 33 stops on two manuals and a pedal. The actions are mechanical.

I main work C – f 3 Drone 16 ′ Principal 8th' Quintad 8th' Hollow flute 8th' Octav 4 ′ Reed flute 4 ′ Fifth 2 2 ⁄ 3  ′ Octav 2 ′ Forest flute 2 ′ Sesquialtera II 2 2 ⁄ 3  ′ Mixture III Zimbel IV bassoon 16 ′ Trumpet 8th' Tremulant

II Rückpositiv C – f 3 Dumped 8th' Principal 4 ′ Dumped 4 ′ Sesquialtera II Octav 2 ′ Fifth flute 1 1 ⁄ 3  ′ Sif flute 1' Scharff IV 1' Rankett 16 ′ Schalmey 8th' Tremulant

Pedal C – f 1 Sub-bass 16 ′ Principal 8th' Dumped 8th' Octav 4 ′ Night horn 2 ′ Chamois flute 1' Mixture VI trombone 16 ′ Trumpet 4 ′

• Coupling : II / I, I / P, II / P

High altar

The high altar looks like an oversized monstrance , it rises up into the vault. The almost austere-looking column architecture is emphasized by lush golden acanthus leaves. The pomp is actually typical of the Bohemian Baroque; the acanthus altar is unique in Westphalia. The heavenly image above the entablature is framed by waves of acanthus leaves. The original picture has not been preserved; the extract currently contains a picture of the Sacred Heart of Jesus that was made around 1900 and has a clumsy effect. The painting looks out of place in the frame. The main painting in the main zone is original, it shows the shepherds adoration of the newborn baby Jesus. The picture is delimited by white alabaster pillars. The painter of the picture is not known, he was based on the contemporary Flemish painting of the Rubens School. Small putti float around the scene in the outer acanthus clouds. There are sculptures on the cornice and pedestals on each side. The sword-swinging pancreatic radius is shown. On his shield there is a chronogram with the year 1729. Another sculpture shows George fighting the dragon, wearing a helmet adorned with feathers and a long lance. Sebastian can also be seen as a martyr and Antonius hermit. Antonius carries a long abbot's staff and is accompanied by a pig. Because of this, the nickname Fickeünnes has become common in Westphalia . The high altar was illuminated in 1732 by a master Heinrichen Becker from Fredeburg. The painter Johann Kriegsmann from Paderborn carried out necessary additional work on the frame in 1735. The doors of the tabernacle are kept simple and unadorned. The niche above is for the suspension of the monstrance. It is flanked by twisted columns that are richly decorated with fruit hangings. Next to it are two carved figures. In a wreath of clouds above the niche, the half-length figure of God the Father can be seen with outspread arms.

Side altars

• The side altars are in black marbled aedicula architecture, they stand in front of the choir. The altar panel is framed by twisted columns decorated with vine tendrils. The pillars take up the shapes of those at the tabernacle. A small aedicula with a niche in the upper area of ​​the altar is adorned with putti and massive flower garlands. On the sides of the right altar are figures of Nicholas and Agatha, the altarpiece shows the adoration of the kings. The altar is marked 1721 in a chronogram in the predella. The left side altar is also known as the Marienaltar. It is flanked by the figures of Saint Bernard of Clairvaux and Aloisius, and in the aedicule there is a figure of Our Lady. She is shown as a queen with a scepter crown and orb, but without a child. The altarpiece was painted in the 19th century and shows the Annunciation of Mary.
• The choir stalls look representative, they are designed differently on both sides. One side was intended for the Counts of Kaunitz-Rietberg, the other for the Lords of Hörde. The stalls fill the sides of the sanctuary. It was taken around 1750 by Christian Jungbluth from Schmallenberg.

Other equipment

• The fragment of a Romanesque baptismal font with remains of figures is from the 13th century.
• On the walls of the nave there are captured figures of the apostles from around 1700, it is not known from which hand they come.
• The sediles of the Lords of Hörde and the Counts of Kaunitz.
• Flanking the altar are the figures of the church patrons Pankratius and Georg. Heinrich Becker exposed the version in 1732 .
• The pulpit is divided on the front wall by stepped cassettes in which there are relief figures of the evangelists with their respective attributes. The parapet and the back wall are decorated with putti heads and acanthus ornaments; the structure emerges rhythmically.
• The pulpit and the side altars probably come from a workshop, the southern side altar is marked with 1721
• A late Romanesque tympanum is installed above the walled entrance on the north side , it shows three Christian scenes.
• The cheeks of the rows of benches in the nave are carved in the early Baroque Paderborn cartilage style.
• The tower carries four bronze bells. The three large bells (cis ', e' and fis ') were added to an existing a' bell at Junker in Brilon in 1946.

Historic rectory

The historic rectory belongs to the community; it was built in 1680 at the instigation of Pastor Rabanus Berghoff. It is currently used by the Catholic rural youth in the Archdiocese of Paderborn.

literature

• Ulrich Grun: St. Pankratius Hoinkhausen , Munich 1991
• Ursula Quednau (arrangement): Dehio-Handbuch der Deutschen Kunstdenkmäler, North Rhine-Westphalia, Volume II: Westphalia. Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 , p. 943 f.
• Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, ISBN 978-3-89710-495-2 .

Web links

• Page of the pastoral network

Individual evidence

1. ↑ Reference to the pastoral network and the archbishopric ( Memento of the original from March 6, 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. 
2. ↑ Construction of the crypt and extension of the sacristy ( Memento of the original from March 6, 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. 
3. ↑ ^{a b} Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, p. 160.
4. ↑ organ Atlas Ostwestfalen - Hoinkhausen
5. ^ Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, pp. 160-163.
6. ^ Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, p. 164.
7. ↑ ^{a b} Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, p. 163.
8. ^ Theodor Arens, Stanislaus Kandula, Roman Mensing: Baroque in the Archdiocese of Paderborn . Bonifatius Verlag, Paderborn 2001, p. 163 and 165.
9. ↑ Ursula Quednau (arrangement): Dehio-Handbuch der Deutschen Kunstdenkmäler, North Rhine-Westphalia, Volume II: Westphalia. Deutscher Kunstverlag, Berlin / Munich 2011, p. 944.
10. ↑ Thympanon ( Memento of the original from March 6, 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. 
11. ↑ Rectory ( Memento of the original from March 6, 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. 

Coordinates: 51 ° 34 ′ 1 ″  N , 8 ° 25 ′ 32 ″  E