St. Viktor (Hochkirchen)
| St. Viktor
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|---|---|
| Denomination : | Roman Catholic |
| Patronage : | Viktor von Xanten |
| Rank: | Branch church |
| Parish : | St. Josef, Nörvenich |
| Address: | 52388 Nörvenich-Hochkirchen, Steinfelderhof |
Coordinates: 50 ° 47 ′ 52.3 ″ N , 6 ° 38 ′ 24.1 ″ E The Catholic branch church St. Viktor is the landmark of the village of Hochkirchen , a district of Nörvenich . Today it is subordinate to the St. Joseph Parish in Nörvenich in the Düren district . St. Viktor was first mentioned in a document in the 12th century, but has its origins in Franconian times around the year 850. The former parish church of the Hochkirchen parish is now a branch church of the parish St. Josef Nörvenich. It is visited by many residents from the area because the church building can be seen from afar. There is little written evidence about them.
location
Below the church , the Neffelbach flows west from south to north , and not far past the federal road 477 , the course of which is identical to the Roman military road from Neuss to Zülpich . The site plan from 1895 shows the location of the church next to the Steinfelderhof at that time .
The east- facing church with the steeple, which is about 38 m high and stands on a steeply sloping creek bank on the north-western edge of the town, towers over the town , which is 113 meters above sea level , visible from afar. Remnants of the old abandoned churchyard surround the church except for its north side. There are the brick buildings of the former rectory , built in 1902, and one of the Steinfelderhof buildings in its current form from the 18th century. From the historical cemetery complex there are still 109 grave monuments , mostly as grave crosses. The oldest grave cross was erected in memory of Johann Hoch from Eggersheim in 1586. The church grounds are enclosed by a sandstone wall that is covered with a brick layer. The wrought-iron gate on the north-east side of the church is both the entrance and driveway for church visitors and residents in the former tithe house . The access road is also used by the tenants of the former rectory.
history
Excavations and findings
In 1980/81, the Bonn State Office for Monument Preservation carried out archaeological excavations in Hochkirchen under the direction of Wilfried Maria Koch . Based on the evaluation of the findings , there was a large Roman country house, a so-called villa rustica , in the area of today's church tower and the former rectory and part of the old churchyard . This complex, probably typically the main house and ancillary building (mostly in a closed square), is said to have been expanded in the 4th century and lavishly furnished. Judging from the artefacts recovered during the excavations , it was a building with a luxurious marble floor and wall paintings as decoration. There were indications that in the 5th century it had been robbed of its valuables and, viewed by some authors as a sign of arson , much had been destroyed. The damage was so great that it was not rebuilt and the ruins fell into disrepair.
Excavations on the site of the old churchyard and the discoveries under the church made it clear that the walled area was the site of a Roman country house. The research results that were already documented at the end of the 19th century were not only confirmed, but were made more precise and therefore more comprehensive and meaningful due to the progress of scientific and archaeological investigation possibilities.
At that time, the archaeologist and historian August Schoop documented the discovered Roman settlement and found fragments of a matron stone in the south wall of the nave . In the 1980s, it was possible to recover Roman materials, as has been proven at the St. Petrus chapel in Poll . During the construction of the rectory in 1902, the remains of a hypocaust was discovered in the northwest of the complex and Roman marble floor was exposed south of the church. Only a few smaller ceramics remain for the parish, which can be seen in the flat display case on the north wall. More valuable material ended up in the Landesmuseum Bonn . The finds show that St. Viktor, like a predecessor, stands on remains of Roman foundations.
In the middle of the 9th century, a small wooden church was built, partly on the foundations of the Roman villa, where there was presumably a place where Jupiter was worshiped . According to the parish of St. Josef, Nörvenich, it is said to have been the predecessor of a later stone structure from which today's church developed. Archaeologist Peter Anton Tholen identified such so-called swell-beam churches in Cologne, in the Rhine-Erft region and in the Heinsberg district and dated them to the Carolingian era.
Franconian time
In the 6th to 8th centuries, Frankish tribes resided in the area , the Sunuker , probably the splitting off of a tribe of the Ubier or attributed to them. This is also indicated by the discovery of a sculpture of the matron Sunuxal, a real Germanic deity, on St. Viktor. Corresponding finds are known almost exclusively from the tribal area of the Ubier.
The annals of Archbishop Hinkmar von Reims name a village “Hoenkirche” for the year 870 among the settlements that came to Ludwig the Germans during the division of the empire , but it cannot be clarified whether it is identical with today's Hochkirchen.
19th century
The secularization ended the existence of the monastery Steinfeld, whereby the ownership of the stone Felderhof changed. Often, under pressure from the faithful, many churches were converted into parish churches in order to save them from destruction. It could have been the same in Hochkirchen.
20th century
The first decade of the 20th century saw a number of direct and indirect innovations in the Church. Around 1900 the then damaged exterior plaster was removed from the church. Roman brick material also came to light in the masonry made of tuff and sandstone blocks. The new rectory was built in 1902 and offered the pastor and a chaplain adequate living space and also contained the parish office. It replaced the Hochkirchen courtyard building of the Steinfeld clergy as a residence. The house is currently rented to private individuals who also took on the duties of the sexton. In 1907 a comprehensive restoration of the church tower was carried out and at Christmas time in 1908 the church had electric light for the first time. The baptistery received a valuable wall decoration in 1909 with a Sacred Heart statue created by the Munich artist Jakob Bradl .
A few months before the end of the Second World War , the church, which had been spared from the effects of the war, suffered some damage. On February 25, 1945 it was shot at with grenades , the tower, church and pastorate were hit.
In 1983, at the instigation of the Rhenish Office for Monument Preservation, the church tower was given a light-colored exterior plaster. In 2000 this work could be extended to the entire church building and completed in 2001.
History of the parish
The early church was closely associated with the Premonstratensians of the Steinfeld monastery in the nearby Eifel . Since the end of the 12th century, the order had possessions in the hamlet called "Hoynkyrchin" and from 1494 until the order was secularized in 1802, the parish was also under the control of Steinfeld Abbey.
St. Viktor was the parish church for the parish of Hochkirchen, mentioned as early as the 15th century , consisting of the places Hochkirchen, Irresheim , Eggersheim , Dorweiler , Poll and parts of Nörvenich, namely Burgstrasse, Am Kreuzberg, Oberbolheimer Strasse, Vogelgasse, the Marktplatz (except No. 2 and 4) and Zülpicher Straße (left side of the street from the corner of Marktplatz to the corner of Kirchgasse). The streets in Nörvenich later came to the local parish of St. Medardus.
This was also the case in the 15./16. Structural changes carried out in the 19th century to expand the space available. The aisle, which was renewed in the 18th century, bears the initials of the place names that belonged to the parish in large letters as iron wall brackets on the facade of the north wall above the arches of the windows under the eaves . The parish already mentioned in the 15th century consisted of the places Irresheim, Eggersheim, Dorweiler, Poll and Hochkirchen.
Since the merger of the former parishes of St. Medardus, St. Gertrud, St. Heribert, St. Mariä Visitation, St. Martinus and St. Viktor on January 1, 2010 to form the parish of St. Josef Nörvenich, St. Viktor has been a branch church of the large parish.
Pastor
The pastors:
- Heinrich Leonhardt Conraths, 1845 to 1865, died June 12, 1865, buried in Hochkirchen
- Clemens Joseph Eytorff, 1869 to 1891, died January 1, 1891, buried in Hochkirchen
- Henrich Rick, 1891-1901, retired
- Theodor Beckers, transferred from 1901 to 1924, dean in 1916
- Peter Pohl, 1924 to 1947, died December 31, 1947, buried in Hochkirchen
- Hermann Josef Platzbecker, 1948 to 1974, died June 6, 1974, buried in Hochkirchen
- Johannes Wempe (OFM), 1974 to 1978, transferred
- Klaus Johannes Dors, 1978 to 1992, transferred
- Josef Lieth (CSSp), 1992 to 2000, transferred
Chaplains from 1897:
- Dr. Hubert Aloys Minkenberg 1897–1899
- Franz Hubert Heinen 1899–1915
- Joseph Wöllges 1915–1918
- Karl Edm. Herm. Ellebrecht 1918–1921
- Kornelius Jonen 1921-1932
- Gustav Sittard 1933–1939
- Wilhelm Houben 1939–1944
- Ewald Klug 1944–1948
- Matthias Hegger 1948–1951
- Josef Schmitt, Subsidiar 1959–1970
- Werner Maria Klinkhammer 1989–1993
Ownership structure, patronage
At the time of the crumbling Franconian Empire , the church in Hochkirchen with all its accessories is said to have been in the possession of Archbishop Willibert of Cologne . This makes him the first owner and patronage. The events of the following 150 years remain unknown. There are no written certificates that provide information about the legal relationships. In the period that followed, the invading Normans extended their forays into the Rhine - Moselle area and caused great damage to parts of the country. However, they left no traces in Hochkirchen.
The place and church are only mentioned again in the 11th century. The flexible word before 1166 referred to 1064, a point in time at which Hochkirchen was mentioned in a forged or falsified foundation deed of the Michelsberg Abbey, in which changes of ownership were determined. However, this did not take place until around 100 years later, when the St. Michael Abbey in Siegburg received a third of the Hochkirchen tithe from its Cologne property in 1166 (around ten years before Anno's death in Cologne) . In 1194 the Steinfeld Abbey received half (sic !, probably half of the other two thirds) of the patronage from the Count of Hochstaden (later also the master of the Old Castle in Nörvenich ) together with the Stadelhof next to the church. The extent to which such transactions of the actors named here were politically determined is also shown by the Are-Hochstaden house . It came also Konrad , 1238-1261 archbishop of Cologne .
Albertus Magnus decided on May 1, 1249 in Cologne about the occupation of the pastorate. The right of patronage was still half with Steinfeld and Siegburg. Dietrich Vlaggen, canon in Liège, had to renounce parish law due to an arbitration award. Steinfeld was authorized to fill the pastor's position at his own discretion. The Dominican monks preaching in the village had to inform the Hochkircheners that they had to recognize the abbot von Steinfeld as pastor and to obey him.
The noblemen of Wickrath held the remaining part of the patronage in 1258 . They gave it to the Premonstratensians of Hamborn Abbey , who ceded their rights to their friars in Steinfeld in 1299. Since then, the small church in Hochkirchen was incorporated into the abbey . Since then, Steinfeld monks have been doing the pastoral service and living in the Stadelhof, from which they also administered the property. The Steinfeld Abbey also received the Siegburg share in 1495, making it the sole tithe mistress of the Hochkirchen parish.
Development of the church building
The first stone church with a small tower was built around 1100 at the current location. Around 1180 a three-aisled flat-roofed basilica with a western tower was built after the old tower had been demolished. The Michael's chapel was built into the first floor of the tower (restored in 1981/82). In 1983 the tower and in 2004 the nave were given a bright layer of plaster.
According to Renard, in addition to parts of the tower system of the church, the masonry of the nave of that time had been preserved, which had been incorporated into the reconstruction of the late Gothic period. As a result of the work of the 15th or 16th century, the central nave and the south aisle had become a hall .
Church and parish in the 17th / 18th centuries century
In 1642 the region around Hochkirchen was devastated by Hessian-Weimar troops ( Hessian War). Villages and churches were destroyed, residents robbed, abducted, murdered or driven to flight, so that entire areas were depopulated. A clergyman from Nörvenich, Pastor Conradus Flocken , noted that the places in the parish of Hochkirchen were also affected and were almost uninhabited until 1648. A partial destruction of the church of St. Viktor, which was only rebuilt in the 16th century, can possibly be attributed to these events, whose congregation probably only grew again in decades.
The author suspects that the parish of the Hochkirchen parish at that time was probably not able to repair the war damage to the church and the inventory on its own. The nobility living in the region probably helped, i.e. the families von Neurath, von Merode, von Scharfenstein, von Gymnich or von Goir, some of whom received a family vault in the church. However, Steinfeld Abbey was particularly helpful as patron saint. In December 1695, the Steinfeld abbot and patron saint of the church in Hochkirchen, Theodorus Firmenich, consecrated a high altar that he had donated in the church of St. Viktor. In the deed of consecration, however, there was no reference to the year of construction, builder or other details. The altar was consecrated "in honor of St. Viktor and his companions from the Theban Legion as well as St. Catherine and St. Barbara."
In 1747 the church was given two aisles after adding a low aisle on the north side and converting the previous north wall into an arcade wall . The year 1747, embedded as an iron wall anchor above the arcade passages to the aisle, refers to these modifications.
The interior of the church is now a two-aisled hall in the area of the three-bay main aisle, the cross vaults of which rest on two slender octagonal buttress-less pillars, on corresponding services on the north side and on late-Gothic consoles in the corners and on the south wall.
Building history, building structure
Even Renard , who as head of the Memorial Archives of the Rhine Province had the best sources, reported that the compact tower and remains of the nave masonry had received from the former Romanesque plant components. In the late Gothic period from the end of the 15th to the beginning of the 16th century, the central nave and the southern aisle were connected and the church was converted into a two-aisled hall church with a low northern aisle . The easted rectangular choir was vaulted and got Gothic windows. The helmet, which dates from the 16th or 17th century, was restored in 1907. The aisle on the north side had to be renewed. The modified structure had a clear length of 23.5 and a width of 13.60 meters.
Since the world wars did not directly affect St. Viktor and the activities of the monument protection were already effective in the 20th century, the changes in the building fabric that occurred after the first start of construction were limited.
The storeys of the tower
The mighty tower was built in the 12th and 13th centuries. Century, but building materials from Roman times were found in its walls. It was mainly built from sandstone blocks and tuff stones with a corner block made from roughly hewn stone . The almost square, compact substructure, which is slightly lower than the nave and choir , was fitted with an upper floor and a four-sided, slightly cantilevered and slated bell chamber to accommodate the belfry. In the 16./17. In the 19th century, the top of the tower was built as an eight-sided slate hood . At the same time, the tower was given a small stair tower on the north side. In 1907 the tower was extensively restored, but it did not have the current helmet design . This can be seen by comparing the drawing from 1907 with the current photographs. Today's helmets seem a bit taller and therefore slimmer. There is also a small window and the hatch underneath - which is probably used to hoist building material - on the west side of the helmet in 1907, whereas today they are in the middle of the roof ridge of the nave on the east side. The drawing from the beginning of the 20th century also shows a tower clock built into the south wall at the height of the first floor , which is no longer there.
Tower or baptistery
The chapel in the basement of the tower is a little lower below the level of the nave adjoining it to the east and has no exit to the outside. Romanesque arched windows are incorporated into the three sides of the wall, two of them to the west with quilted walls made of ashlar, two more to the north (of which the eastern side is veneered) and one to the south side. A whitewashed groin vault is drawn in above the room, resting on ocher-colored consoles . These have plant ornaments in the corners or the faces of mythical creatures as late Gothic decorations. The east side is dominated by an arch made of red sandstone, which connects the room with the nave via a few steps below the organ gallery. The floor is covered with modern small ceramic tiles in black, white and red color. Their geometric arrangement and colors contrast with the whitewashed walls. The interior of the chapel is sparse. There are wooden benches on three sides which, together with the baptismal font from 1813 in the middle, create a central spatial effect. Besides the baptismal font, a sacred sculpture in the middle of the west wall and small wooden sculptures of the 14 stations of the cross are the only decorations.
Michael's Chapel
Starting from the west end of the nave, a staircase in the south wall of the tower leads to the Michael's chapel on the first floor. Like the baptistery below it, it is equipped with a groin vault resting on consoles .
The chapel was originally opened by a Romanesque arch on slender columns with cube capitals to the east towards the nave. Columns with capitals designed as fan rosettes and the profiled cornice of the Romanesque sandstone arch have survived the centuries unscathed. They flank the figure of the Archangel Michael set up in front of a closed wall and serve as an altar niche with the altar table set up in front of it. Since there was an earlier access to the gallery , the pillars and arch in the basement were probably the passage behind which a view into the nave was possible.
The chapel room on the first floor of the tower is said to have been in a desolate condition in the past. It was plastered in 1981/82 under Pastor Klaus Dors. The black-white-red floor panels were laid in geometric shapes. A small altar and a figure of St. Michael were erected and the two windows were provided with colored glass by the Cologne artist Hans Lünenborg in 1984/85 . In the west window, besides a mercy seat and a sacrificial stone , you can see St. Viktor, but without the weapons with which he is normally depicted. Instead, he wears a bleeding rose as a reference to his ordeal . The south window shows St. Hermann-Josef at the mystical marriage with the Blessed Mother , whom he particularly adored. A dragon sculpture by the Cologne sculptor Jochem Pechau serves as the crown stone .
The upper floors of the tower with the chapel dedicated to Archangel Michael are not freely accessible.
Bell chamber
From the Michaelskapelle you climb a steep staircase on the tower wall on the north side. It begins behind an arched opening and at a small ledge makes a slight curve to the bell chamber. The belfry there is built in the middle and now rests on a stable base made of steel profile girders, which have replaced the pure beam constructions made of oak for some time . The rest is still a collection of beams, ladders and struts that are difficult for the layman to see through. The three sound openings are located at the same height as the bells and face south, west and north. In the steeple today ringing (probably since 1807) three bells . Your inscriptions , written in capital, are according to Renard
"ST. MARIA I ASK, THE LIVING I REQUEST, THE DOTTS I SHOOT. S. VICTOR PATROENER OF CHURCHES. - GOTTFRID DINKELMAEYER GOS ME IN CÖLLEN ANNO 1729. "
The old German inscription on the Marienbell, cast by Gottfried Dinkelmeyer in Cologne, means something like: My name is St. Maria, I call the living, I ring the dead. Saint Viktor, (protection) patron of the church. Gottfried Dinkelmeier poured me in Cologne. Master Dinkelmeier manufactured bells in the traditional way of Cologne foundries and was considered one of the most famous foundries of the 18th century. He made a total of 48 bells between 1711 and 1731, two of them in 1729, one of which was for ST. Josef in Düren and the other one for St. Viktor.
"AD HONOREM DEI OMNIPOTENTIS ET S. VICTORIS MARTYRIS SUB LUDOVICO MULEN PASTORE RENOVATA SUM ANNO 1665, MENSE AUGUSTO, PER MAGISTRUM GODEFRIDUM FROM STOMMEL."
This Latin inscription reads accordingly: In honor of Almighty God and the martyr St. Viktor under Pastor Ludwig Mullen I was renovated in August 1665 by master Gottfried von Stommel.
For those in honor of St. Viktor is cast bronze bell, there are different indications. Their diameter (mm), their knuckles strength (mm) or their proportions (Dm / Sr), as well as the striking sound, are not specified, but the weight of approx. 1350 kg is. Other important dates of the bell differ. Renard calls the bell founder Godefridum von Stommel and Poettgen assumes that his name was probably Cord von Stommel. Renard names "Anno 1665" as the year the bell was cast, and another source - the one in their document directory also the volume by Paul Clemen, Bonn. (1866–1947) cites - names the year 1649. Since Cord von Stommel is not mentioned in the middle of the 17th century and as shown above "1642" the region around Hochkirchen was just devastated by Hessian-Weimar troops (Hessian War), the indication of the casting for the year 1649 for this bell seems unlikely, one probably had other worries.
"S. MARTINUS. OMNIS SPIRITUS CHARGES DOMINUM. REVERENDUS DOMINUS PASTOR NORBERTUS HORICHEM. THEODORUS AB ENTZEN. WILHELMUS HELCACUS (?) ANNO 1649. "
The Martinus bell is said to have been purchased for St. Viktor in 1807. There is currently only information from Renard and some information from the Hochkirchen Chronicle that follows. In the war year 1942 two of the bells were confiscated, the St. Marien and St. Viktorglocke. Their material should be melted down and used for armaments purposes. Five years after their removal, the Hochkirchen bells were discovered intact at a collection point in Hamburg used for this purpose and could be brought back to Hochkirchen. Families from Hochkirchen provided volunteers and a truck for transportation home. In October 1947 they were led to the church in a solemn procession and were back in their usual place in the belfry of the church tower before All Saints' Day . Today it is the St. Viktor bell from 1665, the St. Martin bell cast in 1649, which, however, only came to Hochkirchen after 1807 from the Romanesque tower of the then repealed Martinskirche in Zülpich and the St. Marien bell from 1729.
Window of the building
The church has a number of windows in different architectural styles. These include Romanesque arched windows in the tower and side aisle as well as pointed arched late Gothic windows with tracery in the south wall of the nave and in the sacristy annex. The lead-framed glazing was designed by different artists in the 20th century.
Tower window
On the tower floor there are two windows, works by the artist Hans Lünenborg (without a year), whose motifs he called "saints". The materials are: antique glass, lead and black solder. The cross ornaments in the windows of the baptistery are works by the artist Franz Melchior from 1947 made of cathedral glass and lead.
Longhouse
In the three high south windows of the nave there are works by an unknown artist without a year. In the western window next to the entrance an abstract ornament predominates, only in the upper tracery a dove is depicted as a Christian symbol. Antique glass and lead are specified as materials. Almost the same information applies to the middle window; a fish is shown in the upper tracery as a Christian symbol. Neither the artist nor the year is given for the east window of the nave. In the upper tracery, it shows the eye of God as a Christian symbol . Again, the material used was antique glass and lead.
Choir and sacristy
The south window in the choir consists of a two-part Gothic tracery and shows motifs of Christian symbolism in the upper area. On the left a pelican feeds its young with its blood. On the right, a filled fishing net is probably an indication of “human fishermen ” (Mk 1.17 EU). It is a work by the artist Franz Melchior from 1947. Cathedral glass, lead and black solder were specified as the material used. The north window in the choir, also with two lanes, shows two lambs on the left and a deer at the source on the right. It is also a work by Franz Melchior, created in 1947, who also used cathedral glass, lead and black solder here. The window above the outer door of the sacristy contains simple rectangular patterns under the cross symbol. Artist and year are not given, the materials used are cathedral glass and lead.
Aisle
The side aisle is equipped with three neo-Romanesque arched windows, the leaded glass windows of which also come from the artist Franz Melchior from 1947. Two of the windows have the same theme of a Bible scene after the Lord's resurrection. The first shows Jesus with a halo and a companion or disciple turned away from him who does not recognize him. The second shows the same people. Jesus revealed himself, because now the disciple kneels before him. Both versions come from Franz Melchior, 1947. Antique glass / lead / black solder, signature: Franz Melchior glass painting, Cologne. The third stained glass in the aisle shows a fish at a spring. This is also a work by Franz Melchior from 1947, for which antique glass, lead and black solder were used.
Nave, choir and sacristy
Longhouse
The nave of the church between the tower and the choir has a slate roof with three dormers and a small roof structure in the east with a hatch. It consists of three yokes . Its double-stepped buttresses covered with slate give the building a harmonious structure on its south side. The Gothic windows between the pillars have a cornice made of stone ; above it was a wooden eaves. The pointed arch windows were framed with bricks and were later given a two-part bar and tracery . The cement plaster on the south side has recently been whitewashed. On the east pillar of the nave, fragments of a bricked-up matron stone were found above the base - probably by the archaeologist Schoop mentioned above.
Aisle
The low aisle between the sacristy and the western stair tower is covered by a slate roof with three dormers . It is finished with a brick cornice underneath. The aisle has three round arched windows in the Romanesque style; the small north entrance of the church, after the two east windows deviates from it. It is rectangular in shape and above it is the walled-in remnant of the courtyard of a late Gothic arched window. The walls of the windows and the door are made of stone.
Choir and sacristy
To the east of this pillar is a recessed rectangular choir. The pressure of his inner, in the 15./16. The vaults, which were drawn in in the 19th century, support a buttress on the south and north side and a simple supporting masonry on its east wall. Above the supporting masonry there are small round windows that are now walled up. The south and north sides were given Gothic, two-part pointed arch windows, which, like on the nave, were fitted with rods and tracery.
A sacristy has recently been added to the north side of the choir , and an annex has also been added to the nave. This was a small vestibule built in 1819 , which now serves as an entrance on Sundays and public holidays.
Furnishing
At the latest in 1494, when it was incorporated into the Steinfeld monastery, St. Viktor was a mixture of monastery and parish church. The church, built in the secluded village of Hochkirchen, offered the people the only variety with the rituals on Sundays and feast days that change in the church year . As no one had ever come into possession of precious relics in St. Viktor , there was no visit by pilgrims , which brought prosperity to many pilgrimage churches and their communities. As a result, the Hochkirchen parish was unable to purchase expensive items of equipment, it remained dependent on donations and bequests .
The coordinated furnishings in the interior were made in the early years of the 19th century in the classicism style; essential parts were combined into an overall concept with wood paneling in the same style.
The only surviving piece of equipment is a larger than life- size crucifix made of wood with a plastic representation of the crucified as a triumphal cross , which hangs in the pointed arch of the choir . The late Gothic work from the 16th century is called "rough".
In the church treasure there was also an approximately 70 cm high wooden statuette - according to Renard, the work of an unknown artist from the Lower Rhine region - a female saint, carved in the "late Gothic manner". It came from the end of the 15th century and was located in the newly built rectory, but its whereabouts are unknown. The high altar is probably only the successor to the altar consecrated on October 10, 1695 by Abbot Theodorus Firmenich from Steinfeld . The furnishings also include the choir stalls, two side altars, a pulpit , two confessionals, the baptismal font from 1813 and the communion bench made of marble. The left side altar is consecrated to the Mother of God, the right to St. Nicholas .
organ
The organ was installed on a gallery supported by iron pillars and, after the installation of the Michael Chapel behind it, took the once unobstructed view (today walled up) into the nave. It is accessed via a staircase that is at the western end and there on the north side of the nave. The organ is a work of the local Nörvenich organ builder siblings Kalscheuer from the year 1856. The organ work has 15 registers distributed over two manuals and pedal . In 1967 the instrument was restored by the company Weimbs Orgelbau from Hellenthal .
Monument protection
In addition to many other objects in the village, the church was entered in the list of monuments of the municipality of Nörvenich on March 12, 1985 . It appears in the listing under no.33.
literature
- Karl Heinz Türk: St. Viktor in Hochkirchen . Ed .: Catholic parish of St. Viktor Hochkirchen. Hochkirchen 1993 (without ISBN).
- Wilfried Maria Koch: On settlement continuity in the Voreifel using the example of the church excavation in St. Viktor Hochkirchen . In: Architecture and Art in the Occident. 1992, ed. by Michael Jansen and Klaus Winands Rom, pp. 233–243.
- Edmund Renard, Paul Hartmann: " The art monuments of the Rhine province / on behalf of the Provincial Association ", The art monuments of the Düren district with 19 panels and 227 illustrations in the text. Edited by Paul Clemen Vol. 9.1. Schwann, Düsseldorf 1910.
- Hans Peter Schiffer: Churches and chapels, crosses and wayside shrines in the community of Nörvenich - history, construction, furnishings . Rheinische Druck GmbH, Weilerswist 2012.
- Karl Heinz Türk: Hochkirchen - 900 years of village history in brief . Ed .: Nörvenich municipality. Hochkirchen 2002 (without ISBN).
- Jörg Poettgen: 700 years of bell casting in Cologne. Masters and workshops between 1100 and 1800 . Wernersche Verlagsgesellschaft, Worms 2005, ISBN 3-88462-206-4 .
Web links
Individual evidence
- ↑ a b Hans Peter Schiffer, St. Viktor in Hochkirchen: "Churches and chapels, crosses and wayside shrines in the community of Nörvenich", pp. 93 to 113
- ↑ Clemen uses the term “Stadelhaus”
- ^ Architecture and Art in the Occident - Festschrift for the completion of the 65th year of life by Günter Urban , edited by Michael Jansen and Klaus Winands, Rome 1992, pp. 233–243
- ↑ Karl Heinz Türk with reference to: Wilfried Maria Koch, "On settlement continuity in the Voreifel using the example of the church excavation in St. Viktor Hochkirchen"
- ↑ a b c d e f g h i j k l m n o p Edmund Renard and Paul Hartmann in Paul Clemen: Die Kunstdenkmäler der Rheinprovinz , pp. 1 to 10 on the history of the Düren district and pages 168 to 171 on the history of the place and his church
- ^ Filial church St. Viktor. Retrieved October 14, 2015 .
- ^ Karl Heinz Türk, Hochkirchen - 900 years of village history in keywords 2002
- ^ Karl Heinz Türk, Hochkirchen - 900 years of village history in keywords 2002
- ^ Karl Heinz Türk, Hochkirchen - 800 years of village history in brief, 2002
- ^ Albertus Magnus, exhibition on the 700th anniversary of death, exhibition of the historical archive of the city of Cologne 1980, pp. 114/115, no. 130/131
- ^ Parish archives St. Viktor in Hochkirchen, in: Karl Heinz Türk 1993: From the protocol on the opening of the sepulcrum on the high altar of the church on June 6, 1981, Catholic parish St. Viktor Hochkirchen (ed.)
- ↑ St. Viktor in Hochkirchen , Karl Heinz Türk 1993, published by the Catholic parish of St. Viktor Hochkirchen
- ↑ Jörg Poettgen: 700 years bells cast in Cologne. Masters and workshops between 1100 and 1800 , Gottfried Dinkelmeier, pp. 186–188
- ↑ Jörg Poettgen: 700 years bells cast in Cologne. Masters and workshops between 1100 and 1800 , excursus Johannes Bourlet p. 181 ff
- ↑ Nörvenich-Hochkirchen, St. Viktor. (PDF) (No longer available online.) Archived from the original on January 9, 2016 ; accessed on October 28, 2015 . 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.
- ^ Frintrop, Hochkirchen School Chronicle, from September 2, 1876, to November 30, 1966
- ↑ Website of the Foundation Research Center for 20th Century Glass Painting. Retrieved October 22, 2015 .
- ↑ Wenzel Hübner: 21,000 organs from all over the world. 1845–1985, Frankfurt / Main; Bern; New York 1986, p. 192.
- ↑ Opus list on the Weimbs Orgelbau website, September 10, 2015 ( Memento of the original of March 11, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
St. Gertrud (Binsfeld) | St. Margaretha Chapel (Dorweiler) | St. Heribert (Eschweiler over field) | St. Mary's Visitation (Frauwüllesheim) | St. Viktor (Hochkirchen) | Annakapelle (Irresheim) | St. Medardus (Nörvenich) | Antonius Chapel (Oberbolheim) | St. Martinus (Pingsheim) | St. Peter's Chapel (Poll) | St. Nikolaus (Rath) | St. Nicholas Chapel (Isweiler) | Termeline Chapel Ollesheim | St. Martinus (Wissersheim)