St. Peter on Poříčí
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The Church of St. Peter am Poříčí is a Roman Catholic church in the New Town (Nové Město) district of Prague on Biskupská Street, which is dedicated to the Apostle Peter. It was built as a Romanesque basilica in the second half of the 12th century as a parish church of the lost Poříčí settlement. Later she underwent some modifications; the current design is predominantly Gothic.
history
The Romanesque basilica
From the original Romanesque basilica from the half of the 12th century, unfortunately, only a significantly rebuilt torso has been preserved - the two-door front side and also the core of the south side of the main nave. The rest of its ground plan was described by the archaeological research of V. Birnbaum.
The basilica, with a uniform wall thickness of 1 meter, was built from planar blocks, which were carefully placed on the lime mortar with grooved joints. Its main nave opened each time to the side aisles through three arcades, which were supported by three prism-like pillars made of unbleached planar blocks. The pillars then grew out of wider bases with a sloping ledge, and they culminated in analogue ledge capitals. Two of the southern arcade pillars have been preserved to this day. The walls of the Romanesque main nave originally opened through three semicircular closing windows, which have also been preserved on the south side. Wonderful angel busts in open windows serve as proof that soon after the completion of the work, the basilica was richly decorated with paintings. Fragments of the paintings can be found on the facings of all three windows. The palettes of the windows were covered with an ornament in the form of a wave, but a checkerboard pattern predominates in the central field. Fractions of these paintings were discovered in 1928 and subsequently conserved by V. Číla.
According to Birnbaum, the main nave was not vaulted, and in the east it opened into the presbytery , which was composed of an almost square choir and a semi-cylindrical apse. There was no record of the lighting in the presbytery.
The aisles were vaulted (the imprint of the vaulted forehead is preserved on the southern wall) and in the east they were closed by a straight wall. The fact that the platform on the cladding of the rib-less cross vault was arched with edges of the caps placed on sharp stone ridges does not allow us to assume that the church was built before the middle of the 12th century, in view of the progressiveness of the Construction of the given element.
The space under the grandstand, which is open to the main nave through a large semicircular arcade , also served as a passage to the western entrance portal, which has not been preserved.
On the lower side of the square arcade there is a restored painted geometrical-ornamental Romanesque decoration. The original Romanesque cross vaults have been preserved in both adjacent lower towers. The lower towers opened up in a semicircular shape through closed arcades, both to the adjoining aisles and to the intermediate towers with a grandstand.
Around the year 1200 the Moravian margrave Vladislav Jindřich brought the order of the German knights here, who founded his hospital and seat here at the same time. After the death of his husband, Ottokar I. Přemysl , Konstanze von Hungary decided to found a Cistercian monastery here, which is why she acquired the church, the hospital and the surrounding lands. The order of the German knights should move to the nearby church of St. Benedict. In the end, however, the queen founded a Cistercian monastery near Tišnov . The church, along with other assets bought from the German knights, donated it to the hospital of St. Francis , which her daughter Agnes founded in the same year. The original brotherhood of the hospital gradually became a new Bohemian knightly church order of the Knights of the Cross with the Red Star , which still holds services here. After the flood in 1280, a mass grave was built at the church , on the site of which a regular cemetery was later built. At the beginning of the 14th century a parish school was built at the church .
The Gothic conversion
In 1382 the Gothic renovation and an extension was initiated. The northern Romanesque nave was torn down and the construction of a Gothic twin nave began in its place, the southern nave of this twin nave copying the layout of the original Romanesque north nave. Construction was completed in 1395 . Logically, however, the old Romanesque presbytery did not fit in with the new configuration of the church, and for this reason preparations began for a new church. Construction was completed in 1406 . The new Romanesque presbytery was five-sided and twice as wide as the older Romanesque, which was demolished, and it occupied the Romanesque main nave and the southern Gothic aisle. Nevertheless, the church looked rather atypical, as the new presbytery was linked to the Romanesque main nave and also to the southern Gothic nave. Therefore, a further renovation was started, in which the Romanesque main nave and the recently built southern Gothic nave were demolished and in their place began the construction of a new massive Gothic nave. The southern Romanesque nave was preserved. The renovation was completed around 1411 .
Hussiteism
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In 1414, during the Hussite period, the pastor of the Knights of the Cross, Nicholas (Mikuláš), introduced a unique form of Holy Communion here , during which apart from the usual Catholic communion on the main altar, chalice communion was also performed on the side altars. In 1419 , after fighting at a fair, the Hussites chased the Lords of the Cross from the church, and the priest Nicholas narrowly escaped being stoned. The actual church was not destroyed, probably because of the previous cup communion. In 1436 the Lords of the Cross returned, and King George of Podebrady reinstated priests of the Order of the Chalices.
Another renovation took place in the second half of the 15th century . The southern Romanesque nave was demolished (two columns of which have survived to this day) and it was started to be replaced by a new, twice as wide Gothic nave. Both towers were also Gothicized - they were raised and instead of the existing Romanesque small windows, new large Gothic windows were broken through. Some changes also affected the entrance portals - the western one was rebuilt and a new portal was built on the south side. A chapel was also built between the northern Romanesque tower and the northern nave (now used as a confessional room). The roofs were covered with slate . The church was given a new design, the renovation ended around 1500 . In 1598 a Gothic bell tower was added to the church .
The Thirty Years War and other disasters
After the battle of the White Mountain, the last non-Catholic priest was expelled from the church, Stephan, a Lutheran, and the Neustadt council continued to look after the church.
In 1628 the church was returned to the Lords of the Cross. In the further course of the Thirty Years' War , in 1632 , the city of Prague was briefly controlled by the Saxons and Stephan was temporarily again the pastor of the local church. In 1648 the church was partially destroyed during the siege by the Swedes . For the valiant defense of Prague, King Ferdinand II took the church from the Lords of the Cross and gave it to the New Town Council.
In 1653 the church was ravaged by an extensive fire. It was reconstructed and the floor was re-laid at the expense of the Neustadt council. In 1666 the tower was damaged by a lightning strike and subsequent fire and in 1680 there was a huge fire in the church and the surrounding area. The roof of the nave and the small towers, the cemetery chapel, the ossuary, the rectory and also the bell tower, in which all three bells melted together, were badly damaged or destroyed by the fire. The church fell into disrepair after the fire, as the New Town Council had no money for the reconstruction . Therefore, in 1686, the council signed a treaty with the Lords of the Cross by which the Church was returned to them. Their long reconstruction began, which was also financed by the Lords of the Cross (the Prague Archbishop and Lord of the Cross Johann Friedrich Reichsgraf von Waldstein also contributed considerably). A new roof was built. A minor fire in 1689 struck the bell tower. During the reconstruction, the roof of the bell tower was given its characteristic baroque shape today.
In 1757 the church was damaged by the Prussians . Along with the reconstruction of the damaged part, the interior was partially baroque. The choir gallery and the entire space of the intermediate towers were also rebuilt . The church was laid with a marble floor and the walls were given a baroque plaster. This construction work took place between the years 1760 and 1761 . In 1700 , new benches were erected (and have been preserved to this day). In 1702 the renovated main altar was consecrated to St. Peter , on which a picture by Václav Vavřinec Reiner was later added. A year later, the cracked vaults were repaired, which had threatened to collapse since the fire in 1680 . At that time there were already 7 altars in the church - in addition to the main altar of St. Peter, an altar of St. Charles Borromeo , St. John of Nepomuk , St. Anna , St. Barbara , the Altar of the Wounds of Christ and the Altar of All Souls' Day. More altars were added by the middle of the 18th century - the renewed altar of St. Mary Magdalene, St. Lazarus, St. Florian and two more "private" altars. There were a total of 12 altars in the church. In 1725 , the main altar of St. Peter with carved angel statues from the workshop of Matthias Bernard Braun was renewed.
Re-gotization and re-modernization
In the years 1874–1879, the church was completely rebuilt and reconstructed by the architect Josef Mocker at the expense of the Neustadt Council , who re-Romanized and re-Gothicized it in a purist manner. First the plaster from the Baroque period was removed and the church walls were cleared except for the stones. There was also demolition work - the baroque gable of the main nave was torn down and five pillars suffered the same fate. These were rebuilt, a new base was added and also new pseudo-Gothic portals on the southern, northern and western sides. The new main portal was decorated with a neo-Gothic tympanum with Christ and Saint Peter by Ludvík Šimek , as well as the coat of arms of the Kingdom of Bohemia and the coat of arms of the city of Prague. The crown of the masonry of the southern and northern aisles was raised, as well as the sacristy and the north-western chapel. The church also got new roofs, on the north side a chimney with a modern statue was added. Major changes also affected the windows, some of them were bricked up, others broken through and others (especially from the Baroque period) were rebuilt. In the interior, the baroque plaster and the plaster from the Renaissance period disappeared, the window fillings were replaced by new glazing from the Neuhauser company. New benches were also added (not all of the benches were changed, however) and a confessional room . One big change was in the altars. From the original 12 altars from the Baroque period, only six remained. The baroque balustrade of the choir loft was surprisingly preserved, only in the middle was the coat of arms of the New Town of Prague installed. The entire time and also financially demanding reconstruction and renovation work was completed in 1885.
When the church was reconstructed in 1913–1914, thorough archaeological and architectural research work was undertaken. Mainly the foundation stones of the Romanesque basilica were uncovered and other Romanesque and Gothic elements were also discovered. After this research, a new reconstruction of the interior and restoration work of the altarpieces took place in the years 1929–1936. This brought further neo-Gothic and neo-Romanesque elements into the church. This time, however, only in those places where they have been proven in the past. After 1948 the church was again confiscated from the Knights of the Cross and was only returned to them after 1989 . Another general renovation took place in 1989–1991. After the Vltava flood in 2002 , floor tiles collapsed in part of the church.
architecture
The elongated presbytery with three rectangular cross fields has a three-sided end, the elongated nave consists of four rectangular parts. Its south wall is a continuation of the south wall of the presbytery. The lower aisle in the north originally also had four cross sections, the east a square floor plan, the second and third sections are slightly elongated. The presbytery is strengthened by non-stepped supporting pillars that end with a lectern. The broken two-part windows have a simply curdled reveal. The simple circles with flame-like motifs are from the late 14th century.
The current design of the north aisle is the result of restoration by Josef Mocker . Of the original three windows, only the lowest parts of the reveal remain. In the western part of the aisle, a vestibule covers the broken, damaged portal, which is profiled by slits, a pear tree, a decorative rod that ends in a flower. The vault ribs of the four unequal cross fields with a pear-shaped profile run out of the double-stepped pyramid-like consoles on both outer walls. At the arcades to the main nave, the ribs run directly out of the narrow cylinder-like columns of the double nave, which, however, were walled off by prism-like pillars and mostly chiseled off. A five-petalled rose, tailor's scissors on a shield, a torso of a man with a sword in his right hand and a book in his left hand, and a crossed key and sword are depicted on the connector.
The main room of the church is entered through the massive unprofiled arcades on prismatic pillars.
The pear-shaped profiled vault ribs of the elongated fields run out on low pyramid-like consoles and meet in profiled connecting pieces. The ribs are semicircular with a slight curve in the intermediate vault.
Facility
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The main altar is from the Baroque and Rococo periods, made of wood, marbled and gilded. On the cafeteria there is a gilded tabernacle with a top that ends with a ledge on which there is a statue of the Lamb of God adored by two angels on both sides. Above the side doors leading behind the altar are the statues of St. John the Baptist and St. Paul, including the reliefs of the release of St. Peter from prison and his beheading. The altarpiece hangs in a massive black frame on the east wall of the chancel and shows the handing over of the keys to St. Peter. The altar is a high-quality work from around 1740 . At the end of the north aisle is the altar of St. Mary Magdalene from the Baroque period, with pillars, made of wood, lacquered and with an image of St. Mary Magdalene, who throws away a box with jewelry. The altar and the painting are average works, from around 1730 - 1740 . On the first pillar of the north aisle is the altar of St. Barbara, from the Baroque period, made of wood, panel-like and painted. On the sides are the statues of St. Wenceslas and St. George from the early Baroque period, the cover picture of St. Barbara with angels, in the top the image of the death of St. Barbara. This is an average work, the statues are from the early Baroque period, the architecture and the pictures from around 1750 - 1760 . On the second pillar is an altar of St. Florian from the Baroque period, similar to the previous one, with the image of Molitor, statues of St. Lawrence and St. Agatha. In the essay is the portrait of St. Francis of Paula.
At the end of the south aisle there is the Marian altar, portal-like, provided with a niche, and closed off by a top with a massive ledge. On the sides of the niche there are two columns with volute capitals and angel heads, at the end of the niche there are shells, in the niche the statue of Assumpta on a crescent moon, surrounded by a halo, flanked by two angels on the sides.
The Assumpta is from the 17th century , the actual altar from the 1st half of the 18th century , the additions from the 19th century On the south wall of the nave to the south is an altar from the early Baroque period, panel-like, with a niche, on the sides with hangers and angel heads. Above the niche there is a triangular attachment, above it the symbol of the Holy Trinity with a halo, putti and angels' heads. The niche and its frame are from the early baroque period around the years 1660–70, the essay from 1720–30. In the niche there is a statue of St. Mary with an attached crown, probably from the 19th century.
The office is from the Baroque period, made of wood, gilded and lacquered, from around 1720-30. The body of the lectern is adorned with statues of the four church fathers and reliefs: a snake in the desert, the finding of the holy cross and the elevation of the holy cross. On the small roof there are statuettes of five putti with symbols of Christ's wounds, a figure of Christ and an image of the Apostle Thomas.
On the south wall of the chancel there is a canopy from the early Baroque period with a statue of St. John of Nepomuk on a pedestal from the 1st half of the 18th century. A crucifix from the Baroque period is also hung there.
On the north wall of the south aisle, on a massive volute console, stands a high-quality baroque statue of St. Peter. In the nave there are twenty baroque wooden benches, which are decorated with a profile strip on the side and acanthus filling on the front, from around 1700 . Under the choir gallery is a bench from the Baroque period, decorated with high-quality decorative carving from the years 1730–40. The balustrade of the choir gallery is provided with a baroque, double concavo-convex balustrade with cones that bear the coat of arms of the New Town of Prague on the front. In the sacristy there are sideboards and a washbasin from around 1690-1700.
The precious items (everything in the vault of the Order of the Crusaders):
A chalice with a gilded silver paten; the chalice stands on a flap-like foot, which is decorated with enameled medallions in cartouches: the inversion of St. Paul, the handing over of the keys by St. Peter, the crucifixion of St. Peter. Furthermore medallions on the basket: The calling of St. Peter, St. Peter denying Christ and healing Peter through his shadow. The initials IAM are carved on the paten, and on the base of the cup there is a dedication by Johannes Alexander Malc (1684–1748), who was a member of the Order of the Crusaders with the Red Star, engraved with a chronogram from 1743 . The iconographically unique enamel work bears a mark of the Prague goldsmith Jiří Václav Seitz and the year 1743. The monstrance is made of gold-plated silver and brass. The oval foot with hammered grapes and sheaves in rocaille carpets carries a glazed container and a ray-like crown with a wreath with hammered figures in the clouds: God the Father holds a hemisphere made of blue glass, two angels without attributes and eight angels with tools from Christ torture. The standard, probably Bohemian work is unmarked, it was created in the years 1760–70. The gilded silver goblet with a circular base adorned with applied plant décor with grapes in shells has a hammered and carved decoration of ears, shells and leaves on the basket - a tabula pacis made of gilded metal. The oval foot with pressed ribbon ornament and conical shaft carries a cross decorated on the front with enameled emblems of Christ: a flaming heart, feet and hands with stigmata, above is a hammered crown and a plaque with the inscription INRI. On the back of the cross are the relics of St. Kliments and the Virgin Mary are kept in a cartouche under glass, the sheet metal is decorated with a hammered and engraved ribbon ornament with shells and saddlecloths. The iconographically unique Bohemian work is not marked.
The baptismal font is made of pewter in the shape of an inverted bell on three feet and with the inscription that bears the year of origin 1544 . The stylistically traditional work of a Prague can maker was supplemented by a new lid in 1738 , after the dedication was made during the tenure of pastor Jan Alexander Malec , church inspector Jan Kozák, deputy mayor Jan Ulbricht and officials Karl Kozák and Jakub Janouš .
literature
- Baťková J. a kol .: Umělecké památky Prahy - Nové Město , Vyšehrad. Academia. Prague 1998.
- Bitnar V .: Průvodce Prahou Svatováclavskou. Svatováclavský výbor. Prague 1928.
- Ekert, F .: Posvátná místa královského hlavního města Prahy - svazek II. Praha 1883. Reprint, Volvox Globator. Prague 1996.
- Kulač J., Opatrný T .: Kostel sv. Petra na Poříčí v Praze. Prague 1940.
- EKERT, František: Posvátná místa král. St. města Prahy. Svazek II. Praha: Dědictví sv. Jana Nepomuckého 1884. Dostupné online. - kapitola Hlavní farní chrám sv. Petra na Poříčí, s. 29-39.
- BAŤKOVÁ, Růžena, a kol .: Umělecké památky Prahy - Nové Město, Vyšehrad, Vinohrady (Praha 1). Redakce PhDr. Pavla Landová. 1 .. vyd. Svazek 2. Praha: Academia, 1998. (840 s.) ISBN 80-200-0627-3 . Nové Město (II.), S. 153-159.
- LÍBAL Dobroslav: catalog gotické architektury v České republice do husitských válek
Web links
- Church information (in Czech)
- Church website (in Czech)
Individual evidence
- ↑ Eduard Škoda: svatyně Pražské, Libri 2002, ISBN 80-7277-098-5 , pp 233-234
Coordinates: 50 ° 5 ′ 28.5 ″ N , 14 ° 26 ′ 4 ″ E