St. Peter and Paul (Gehrden)

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Parish Church of St. Peter and Paul

The Catholic parish church of St. Peter and Paul is a listed church building in Gehrden , a village in Brakel in the Höxter district ( North Rhine-Westphalia ). The building is the former monastery church of the Gehrden monastery . The church houses the largest historical bells in Westphalia; It combines the Romanesque architecture with the baroque furnishings and elements of the late Art Nouveau.

History and architecture

After the nobleman Heinrich von Gehrden gave his property to the nuns living on the Iburg in 1142 , they founded the Gehrden monastery. The monastery church, built in limestone around 1180, is the best preserved Romanesque church in the region. A pleban was mentioned in a document in 1230.

The three-aisled pillar basilica with a transept was built from irregular blocks. The flat, closed main choir had two bays, the side choirs had apses . A nun's gallery was built in 1675 and shortened in 1860, the remains have been preserved in the west yoke .

Instead of the triple windows in the transept, four-lane tracery windows were used in 1845 . The Romanesque apse was demolished in 1667 and then the choir was expanded. The colored windows were made from 1920 to 1921 based on templates by Franz Lauterbach with symbolic motifs. The vaults were renewed in the 19th and 20th centuries, at the same time static securing was introduced. From 1961 to 1966, fragments of pillars painted on ornamental friezes and carpets hanging on rods were uncovered in the west yoke . A large part of the paintings is hidden by the organ. This is an early example of a type of decoration that can be found several times on Hellweg and in the Oberweser area. In the arch to the tower hall the depiction of the handkerchief and tendril paintings have been preserved. Gothic inscriptions can be seen in the choir and in the arch to the apse on the south side . In the last few years a vestibule was installed, the heating was renewed and renovation measures were carried out.

tower

The west tower was built at the beginning of the 13th century. It is divided by several sound windows and double arcades. The tower hall is open to the ship based on the model of Paderborn Cathedral . Pointed groin vaults were drawn in.

Furnishing

High altar

The high altar , a large, richly carved reredos , was donated by Prince-Bishop Ferdinand von Fürstenberg . It was consecrated after a name in 1682 and its Flemish influence is unmistakable. In order to be able to set up this monumental altar, the church had to be extended to the east by a yoke. The altar is a work by the sculptor Heinrich Papen from Giershagen; the design probably comes from the baroque painter G. Rudolphi . Rudolphi also painted the two altarpieces. The color of the altar is based on the coat of arms of the founder, it is placed between the two altarpieces and is held by two putti . These hues are also preserved in an altar in Corvey . The center of the altar is the big picture; an angel with lilies in her hand brings a message to Mary , who is absorbed in prayer . The painting is framed by two spindle columns and a split gable . The other picture shows as a special feature the Holy Spirit as a person, with a scepter in hand. In front of it God the Father is shown , also with a scepter. Both persons point with the sceptres at Jesus , who is covered by a red, flowing cloth. Mary with the child is enthroned over the altar, she stands with one foot on the globe; it is flanked by figures of Saint Benedict and his sister Scholastica. Descendants of the two had a monastery here from 1147 to 1810.

Side altar

The so-called virgin altar stands in the north arm of the transept. In the cartouche you can read that the altar is dedicated to the five wise virgins . Behind the cafeteria , which resembles a sarcophagus , rises the baroque reredos; its structure is similar to that of the main altar. The triumphal arch portal of the central picture is surrounded by the statues of the holy virgins. Agnes is given the attributes of palm and lamb, Lucia is shown with eyes on a bowl and the palm, Christina is shown with a millstone and an arrow and Barbara has the attributes of a tower, chalice and host. The altarpiece was painted by Johann Georg Rudolphi as a copy after a picture by Pierre Mignard, it shows Catherine of Alexandria. The baby Jesus puts a ring on her sitting on her mother's lap. The legend calls this scene the Mystical Marriage . Katharina carries the martyr's palm in her left hand, she is dressed in royal robes. An angel holds the wheel as a sign of her martyrdom, and the sword lies at her feet. The entire action takes place above the clouds. In the middle of the picture, the hands of Maria, Katharina and the baby Jesus touch, and the gaze of the people is also directed towards this center. Above that, the scholastica with an abbess's staff and a dark-robed angel with red wings can be seen. The picture is built up in a figura pyramidale, which is common in the Renaissance . On the lower left side of the picture, the coat of arms of Laurentius von Dript is painted together with a banner. It designates him, with the designation 1679, as lecturer of the holy theology with the bishop of Paderborn and as Benedictine monk.

organ

The organ prospect stands on a high gallery supported by columns. Three arcades swing from column to column . Above the cornice is a relief-like representation of Cecilia, the patroness of musicians, playing a small organ . Figures of saints and angels making music stand on the towers. The organ was originally built in 1679 by Andreas Schneider from Höxter as an instrument with twelve registers and a manual for the monastery church in Marienmünster. Since a new organ was built in Marienmünster in 1737 by Johann Patroclus Möller from Lippstadt, the old instrument was sold to Gehrden. Möller set it up in the north transept and added two pedal towers and an upper positive. In the years 1848 and 1869 various sound modifications were made, the pneumatics of the plant were renewed in 1916. The organ building company Bernhard Stegerhoff from Paderborn built a new instrument between 1964 and 1966 with the aim of regaining the sound structure of the 18th century. In the main plant located pipes of the prospectus were supplied by Schneider, obviously, but also some old pipes have been preserved.

I main work C – f 3
Drone 16 ′
Praestant 8th'
Dumped 8th'
octave 4 ′
Dues flute 4 ′
Quinta 3 ′
Octave 2 ′
Sif flute 1 1 ⁄ 3  ′
Forest flute 1'
Sesquialtera III
Mixture IV 1 1 ⁄ 3  ′
Trumpet 8th'
Tremulant
II Upper positive C – f 3
Dumped 8th'
Principal 4 ′
Dumped 4 ′
Forest flute 2 ′
Fifth 1 1 ⁄ 3  ′
Scharff IV 1'
Krummhorn 8th'
Tremulant
Pedal C – f 1
Sub bass 16 ′
Praestant 8th'
Dumped 8th'
octave 4 ′
Night horn 2 ′
Peasant flute 1'
trombone 16 ′

Bells

The fully preserved monastery and monastery bells from the 14th to 18th centuries include seven bells . In 1947 Albert Junker cast two bells made of so-called Brilon special bronze , a copper-silicon alloy, into the old building. The three smallest bells can only be rung by hand and have been shut down for years.

No. Surname Casting year Foundry, casting location diameter Mass (approx.) Chime
1 1947 Albert Junker, Brilon 1,380 mm 1,500 kg d '+ 3 / 16
2 Mary, Peter and Paul 1787 Caspar Greve 1,280 mm 1,350 kg e '- 6 / 16
3 Mary, Peter and Paul 1735 Johann Gottfried de la Paix 1,155 mm 1,000 kg fis' - 1 / 4
4th 1772 Brothers Fricke 1,022 mm 700 kg fis' + 3 / 16
5 1947 Albert Junker, Brilon 873 mm 400 kg h '- 1 / 4
6th 1772 Brothers Fricke 728 mm 250 kg cis ′ ′ ± 0
7th John Baptista 1579 Joachim Koels, Warburg 702 mm 200 kg cis '' + 1 / 4
8th Benedictus 1579 Joachim Koels, Warburg 590 mm 140 kg f '' + 1 / 16
9 around 1300 Olricus Crop (?) 648 mm 200 kg g '' - 5 / 16

Other equipment

  • The door of the portal is preserved with old iron fittings and a knocker with a demon face.
  • The baptismal font is in the southwest corner; it still comes from the original Romanesque furnishings. Two leaves are chiseled on the basin that lead to a flower. The base has been renewed, the bog oak lid is adorned with the symbols of the four evangelists, it comes from more recent times.
  • The tabernacle is a foundation of Canon Engelhard von Niehausen. It was made in 1680 in the Papen workshop with three different niches that can be rotated in a wooden cylinder. Inside the tabernacle is richly decorated with figurative decorations. A crucifixion group is depicted on the wall next to it.
  • The Pietà from around 1500 is in the apse of the north aisle. The painful face of Our Lady shows unusually young features.
  • The figures of the church patrons Peter and Paul stand in niches above the altar, above a blind door.

regional customs

Every year on Good Friday, two people dress up as Christ and Simeon. They shoulder a cross weighing around 35 kg in front of the high altar and carry it up the Katharinenberg in a procession.

literature

  • Georg Dehio , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2
  • Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag, Paderborn 2001, ISBN 978-3-89710-495-2
  • Nikolaus Rodenkirchen: Warburg district. Architectural and art monuments of Westphalia, vol. 44. Münster 1939, pp. 151–192

Web links

Individual evidence

  1. ↑ a b Dehio, Georg , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 , page 186
  2. ↑ An outline of the story on the LWL website
  3. ↑ Oldest bell ringing in Westphalia
  4. ↑ Connection of building and furnishing styles
  5. ↑ Outline of the monastery history
  6. ↑ a b c d e f Dehio, Georg , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 , page 187
  7. ↑ Demolition of the apse
  8. ↑ Recent renovations
  9. ↑ a b Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 , page 141
  10. ^ Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 , pages 138 to 140
  11. ↑ a b Dehio, Georg , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 , page 188
  12. ^ Theodor Arens, Stanislaus Kandula, Roman Mensing: Barock im Erzbistum Paderborn , Bonifatius Verlag Paderborn 2001, ISBN 978-3-89710-495-2 , p. 142.
  13. ↑ Organ
  14. ↑ Claus Peter: The bell landscape Westphalia . Deutscher Kunstverlag, Munich 1989, p. 57f.
  15. ↑ Knocker and iron fittings
  16. ↑ Baptismal font
  17. ↑ Kirchenführer Klosterkirche Gehrden , p. 9, accessed on February 6, 2017 (PDF file).
  18. ^ Pietà
  19. ↑ Kirchenführer Klosterkirche Gehrden , p. 8, accessed on February 6, 2017 (PDF file).
  20. ↑ brakel-gehrden.de: Stations of the Cross procession , accessed on February 6, 2017.

Coordinates: 51 ° 39 ′ 14.8 "  N , 9 ° 7 ′ 10.9"  E