St. Peter (Lieser)

from Wikipedia, the free encyclopedia
Parish church of St.  Peter with a war memorial, above the roofs of Lieser
Parish church seen from the cemetery, in the foreground the neo-Gothic crypt chapel of the Puricelli and von Schorlemer families

The Catholic parish church of St. Peter in Lieser , a wine village on the Middle Moselle , is a cross-vaulted hall building from 1782. The unplastered tower facing south was replaced after a devastating fire on May 25, 1860, during which the valuable old bells melted. rebuilt by 1861. The church is built on a rocky promontory and towers over the lower village. Together with the war memorial in memory of the fallen in World War I and the crypt chapel of the von Schorlemer family in the cemetery behind it, it is a listed building .

history

The provisional first documentary mention of a church in the village of Lieser comes from August 26th, 1165, when the Archbishop of Trier Hillin von Fallemanien confirmed the abbey of St. Hubert's possessions in Lieser. The right of patronage , including the right to appoint a pastor in the event of vacancy, was exercised by the St. Hubert Abbey until 1569 and only ended with a waiver on February 5, 1575 in favor of Archbishop Jacob III of Trier . from Eltz .

According to a visitation report from 1569, the church had four altars, three chalices and a monstrance . In this visitation report, St. Catherine was named as the patroness of the church, but during the visitations of 1609, 1640, 1652, 1656 and 1684, the church was already under the patronage of St. Peter and St. Catherine. Only later did Simon Peter become the sole patron saint of the church.

After the older church in the 18th century had become dilapidated, the court architect Kurtrierer planned Johannes Seiz initially a new building elsewhere and designed a basic - and elevation. This plan could only be implemented in a modified form, as there was no complete rebuilding, only the nave of the old church was demolished. Under the direction of the architect Lorenz Leblanc from Pfalzel and the Trier court counselor Haas, the nave was rebuilt by 1782, including the old church tower, whereby the parishioners had to do manual and tensioning services. During the previous building faces east , was carried out for lack of space due to the simultaneous increase of the nave an orientation to the north.

The church was also badly damaged in the fire on May 25, 1860, which destroyed around 40 residential buildings and two school buildings in Lieser. In the parish chronicle it is reported as follows: “On May 25, 1860, a fire broke out in Lieser, which, although started by the church in a street on the Moselle, raged with such violence that it swept away entire streets and with his Flames reached the top of the tower and ignited it. The tower burned down to the walls, the beautiful old bells melted, and the roof of the church was destroyed. "

Reconstruction of the steeple, which according to the stock book was 22 feet or 6.29 m long and 15 feet or 4.29 m wide, began that same year. The new tower was continued in an octagonal neo-Romanesque - Gothic mixed style over a rectangular base that extends to the height of the church roof and ends in a pointed, slate-covered roof with a tower tap. In the new building made of exposed shale masonry one was above the entrance Rococo - cartridge integrated with a bust of Saint Peter.

A major renovation of the church took place in 1956 under Pastor Dionysius Schweisthal. The roof was re-covered, and from the summer the church received a new painting, which was agreed with the diocesan conservator and the state conservator in Mainz.

During the restoration work in 1982, the paintings by the artists Johann Schumann from Lieser and Hermann Braun from Trier that were painted in 1924 and whitewashed during the restoration in 1956 were exposed again.

As a result of the shortage of priests , the Lieserer St. Peterskirche has now lost its status as an independent parish church and belongs to the parish community of Bernkastel-Kues , which is looked after by a dean, a chaplain and a deacon.

description

Interior view of the parish church of St. Peter

Today's church is a hall building made of plastered quarry stone. Its dimensions, including the north-facing choir , are around 30.80 m in length, 10.90 m in width and 5.50 m in height up to the main cornice. A cross-vaulted sacristy with furnishings from the second half of the 18th century is attached to the choir. According to Hans Vogts ' description, the nave consists of "four basket-arched cross-vaulted yokes with girders that rest on pillars ." These correspond to buttresses on the outside with curved slate covers. The walls of the twelve arched windows are made of Ehranger red sandstone . On the south side of the church tower, built in 1860, is the main entrance in the form of a neo-Romanesque stepped portal, to which a vestibule and then the nave are connected.

Interior

High altar

Rococo high altar

The carved wood high altar has a curved Rococo top with two small and two larger angel figures , two coats of arms, a bishop's staff and a miter . According to Hans Vogts' description, the antependium and the other angel figures are “new”.

St. John's Altar

In addition to a monstrance from 1615, the work of art most extensively described in literature is the right side altar dedicated to the Evangelist John . A previous altar was first mentioned in 1569. According to the inscription on the predella , today's wood-carved St. John's altar was donated in 1624 by the send - and court jury Georg Dulicius and his wife Elisabeth, née Sauer, redesigned in 1763 and restored in 1901.

In honor of God Almighty Mariae his reverence
Georg Dulcius Söndt has the greatest mothers
and bailiffs and his housewife virtue
collect Elissabet Sauer to read this altar from =
Let newen make the church an ornament
and to comfort their poor slaves. Anno 1624
R. 1901 - R. 1763

The altar comes from the Trier sculpture school, possibly from the workshop of the descendants of the Trier sculptor Hans Ruprecht Hoffmann . The relief in the middle field shows the evangelist John with an eagle, how he receives the revelation through the Trinity on Patmos (shown here as a fortified place with a church) and writes it down with a quill. On the clover-leaf-shaped gable of the altar there is a mounted Saint George with a dragon . On the left side of the altar there are standing figures of St. Nicholas and the Evangelist Matthew , on the right side standing figures of St. Eligius and the martyr Sebastian . The antependium dates from 1763.

  • St. John's altar from 1624

  • St. John's altar, detail from the central field

  • Johannes Altar, St. Sebastian

  • Johannes altar, St. Matthew

Mary Altar

Altar of Mary with a Madonna from the 18th century

A first Marian altar was consecrated in 1651 and mentioned in the church book in 1700 due to a new painting. Around 1935, the left side altar was a neo-Gothic St. Mary's altar from the second half of the 19th century. At today's Marien Altar, which has been in the church again since the renovation in 1956, a painted 1.20 m high Madonna from the middle of the 18th century stands in the middle of a niche , who, as the mother of Jesus and queen, carries the baby Jesus in her arms and the snake crushes. The altarpiece is framed by two standing figures of saints, on the left a Matthias with a book and an ax, on the right Antonius of Padua , represented as a monk with an open book on which the baby Jesus is standing.

Pulpit and other equipment

The wooden pulpit from the mid-18th century has a round floor plan. The sound cover is crowned by the four evangelists .

In the choir, apart from the high altar, there are two carved five-seat choir benches in the Rococo style. Four figures of saints are attached to the walls, including, according to the description by Hans Vogts from 1935, a 1.10 m high standing figure of the apostle Matthias from the 17th century, which corresponds in style to the figures of the Johannes Altar.

organ

Today's Voltmann organ

Today's organ from 1890 from the workshop of the organ builder Heinrich Voltmann with the assistance of Anton Turk is located on a gallery with three cross-vaulted yokes and two pillars. The organ is a foundation of the industrialist Eduard Puricelli and was completed in 1891. The organ front is structured by pillars and round arches and corresponds to the Empire style . It is possible that the case for accommodating the organ pipes was part of the original equipment of the church.

An extensive restoration of the historic Voltmann organ was carried out in 1994 by the organ building company Josef Weimbs .

The organ has the following disposition :

I main work C – f 3
1. Principal 8th'
2. Bourdon 16 ′
3. Viola di gamba 8th'
4th Hollow flute 8th'
5. Octave 4 ′
6th Fifth 3 ′
7th Octave 2 ′
8th. Mixture III 2 ′
9. Trumpet 8th'
II Positive C – f 3
10. Violin principal 8th'
11. Salicional 8th'
12. Flauto dolce 8th'
13. Lovely Gedackt 8th'
14th Reed flute 4 ′
Pedal C – c 1
15th Sub bass 16 ′
16. violoncello 8th'
17th trombone 16 ′

Bells

Up until the devastating tower fire on May 25, 1860, which also killed the bells , the parish church had four bells, two of which were from the Middle Ages, either from 1351 or 1454. Since the church tower and the bells were insured , four new bells from the Mabilon bell foundry from Saarburg could already be consecrated on June 29, 1861, the patron saint of Peter and Paul . These new bells were tuned to a Salve-Regina - ringing with the tones D-flat , F , A-flat and B- flat. The smallest of these, the Donatus bell , suffered a crack in 1912, so that the bell foundry was commissioned to cast it and give it the B note . After the first casting failed and the tone was too high, a second casting was carried out, with an H sounding instead of the B. Finally, the church decided to accept this new bell ringing today that a seventh chord with the sounds Des , F , As , H is.

In 1942, during the Second World War , the parish had to give up the three larger bells for war purposes. However, they were no longer melted down, but remained in the Hamburg “ bell cemetery ”. On January 11, 1948, the bells returned to Lieser in a solemn procession and were rung again for the first time on May 2, 1948 as part of a church celebration with a new consecration of the bells .

No.
  		Surname
  		Casting year
  		Caster
  		inscription
 Weight
(kg) 		Nominal
( HT - 1 / 16 )
1 Maria 1861 Mabilon Sancta Maria, monstra te esse matrum 2000 of the 1st
2 Peter 1861 Mabilon - 1100 f 1
3 Paul 1861 Mabilon - 600 as 1
4th Donatus 1861/1912 Mabilon-Hausen Sanctus Donatus, ora pro nobis 441 h 1

Monuments around the church

Old graveyard

The old Lieserer cemetery is to the north of the church, with some priestly graves being added on the west side of the church. The neo-Gothic crypt chapel of the Puricelli and von Schorlemer families shows a crucifixion group on the north wall with Mary and John under the cross. There are memorial plaques on the left and right, with Leo Puricelli (1858–1886), Eduard Puricelli (1826–1893), Burchard Freiherr von Schorlemer (1860–1897) and Hyacinthe Puricelli (1832–1899) being commemorated on the left. This family crypt, like the war memorial in front of the church, is now a listed building, see the list of cultural monuments in Lieser .

  • Entrance to the old cemetery

  • Neo-Gothic crypt chapel of the Puricelli and von Schorlemer families

  • War memorial in memory of those who fell in the First World War

  • War memorial, back facing the village

War memorial 1914–1918

The war memorial made of slate and red sandstone in front of the southern main entrance of the church, based on a design by Hensler , was inaugurated on August 16, 1936. On the front, which faces the church, it shows a crucifixion group made of red sandstone and above the inscription: 1914 - an iron cross - 1918. On the back, facing the lower village, there is a more than 3 m high armored knight below the cross Shield shown.

literature

  • Franz Schmitt: Chronicle Weindorf Lieser. Paulinus Druckerei, Trier 1988, pp. 611–675
  • Hans Vogts : The art monuments of the Bernkastel district. Edited on behalf of the Provincial Association of the Rhine Province. With a contribution by Hans Eiden, [foreword: Paul Clemen] . Schwann, Düsseldorf 1935, pp. 224-228.
  • Georg Dehio: Handbook of the German art monuments - Rhineland-Palatinate, Saarland . Deutscher Kunstverlag, Munich 1984, ISBN 3-422-00382-7

Web links

Commons : Parish Church of St. Peter (Lieser)  - Collection of images

Individual evidence

  1. ^ A b Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 624.
  2. ↑ General Directorate for Cultural Heritage Rhineland-Palatinate (ed.): Informational directory of cultural monuments in the Bernkastel-Wittlich district (PDF; 1.5 MB). Koblenz 2011.
  3. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, pp. 612–613.
  4. ^ A b Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 615.
  5. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 617.
  6. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 630.
  7. ↑ a b Hans Vogts, 1935, p. 225, and Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 636.
  8. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 640.
  9. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 431.
  10. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 620, and p. 624.
  11. ↑ Quote from the church chronicle by Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 620.
  12. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 620.
  13. ↑ a b c Hans Vogts, 1935, p. 225.
  14. ^ A b Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 671.
  15. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 673.
  16. ↑ Bernkastel-Kues parish community
  17. ^ Quote from Hans Vogts, 1935, p. 225.
  18. ↑ Description of the entrance portal .
  19. ↑ See, for example, Hans Vogts, 1935, p. 227
  20. ↑ Text after Hans Vogts, 1935, p. 225, Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 651, as well as after a photo of the altar.
  21. ^ Franz Schmitt: Chronik Weindorf Lieser , p. 652.
  22. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 651 with reference to the description by Hans Vogts, 1935.
  23. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 658 with reference to the description by Hans Vogts, 1935, pp. 225–226.
  24. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 654, reprint of the description by Hans Vogts, 1935, as well as illustration p. 648.
  25. ↑ a b c d Hans Vogts, 1935, p. 226.
  26. ↑ Entry on St. Peter organ in the database of cultural assets in the Trier region ; Retrieved on February 22, 2016., supplemented by the description by Hans Vogts, 1935, p. 226.
  27. ^ Description of Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 667.
  28. ^ Reinhold Schneck: list of works by Heinrich Voltmann, Klausen . In: Festschrift for the inauguration of the Voltmann organ St. Remigius Maring. March 18, 2012 , p. 28
  29. ^ According to the description in Franz Schmitt: Chronik Weindorf Lieser , 1988, pp. 669–670.
  30. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 661.
  31. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, p. 625.
  32. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, pp. 626–627.
  33. ^ Franz Schmitt: Chronik Weindorf Lieser , 1988, pp. 533-535.

Coordinates: 49 ° 55 ′ 4 ″  N , 7 ° 1 ′ 21 ″  E