Sint Vitus

English translation

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Description

Introduction

The ROMAN CATHOLIC ST. VITUS CHURCH at Blauwhuis is the principal component of the ecclesiastical complex designed in 1867 by architect P.J.H. Cuypers. The church replaced an older building from 1785, which was later used as a school for small children. The need for a new church had been present for several years due to the strong growth of the faithful, and in 1867 the church council commissioned architect P.J.H. Cuypers, working in Amsterdam, to design a new church. Cuypers designed an ecclesiastical building in Rhineland Romanesque-gothic. Architect C.H. Peters was engaged as supervisor. The construction work was awarded to contractor O.H. Schuurmans at IJlst. The interior was very probably designed by Cuypers himself. The church inventory, including painted decoration and glazing, was executed by the Cuypers and Stoltzenberg atelier at Roermond; the atelier worker Klumpkens was responsible for the execution on site. The stained glass windows were executed by the firm Nicolas at Roermond. The bells in the roof turret and in the tower (these were replaced by new ones in 1948) were supplied by A.H. van Bergen at Heiligerlee; the clockwork by S. Rodenberg at Sneek. The paintwork was subcontracted to E.A. de Vries at Blauwhuis. The entire complex was executed between 1868 and 1871; the consecration took place on 15 October 1872. In 1969-70 the church tower was restored; between 1991 and 1993 the exterior of the church was restored, and in 1996 a second restoration phase of the interior followed (including the baptismal chapel, vestibule, Stations, St. Vitus painting). Both the exterior and interior are remarkably complete; the furnishing of the interior is protected in all its components.

Description

The St. Vitus, of the "cruciform church" type, is built in brown/red brick; for the decorative motifs, such as arches and chevron friezes, which are incorporated in all façade sections, yellow IJssel stone has been used. EXTERIOR. The church is a three-aisled transept basilica, with the choir facing northeast, closed off by an apse with 5/10 termination. The building is covered by composite gabled roofs with slate, two chimneys and two small roof dormers on the gable slopes of the side facades. On the intersection of the gabled roofs of the large transept with the roof of the nave stands a roof turret with spire, in which the "Maria bell" hangs. The roof gutters rest on large corbels. The church comprises five bays: on either side of the fourth bay (from the west) lie the transept arms, and on either side of the fifth are two square chapels. The gabled roofs of the chapels extend to the cornice of the nave. The first bay from the tower is extended, thereby creating, as it were, a second transept. The square tower body consists of three storeys and ends in an octagonal needle spire clad with slate. Buttresses stand on the corners, which continue in the next storey. In the lowest storey is the wooden entrance door with pointed archivolt and rose window. In the middle storey are lancet-shaped sound holes. In the upper storey each side has a clock face. Each side ends in a gable. In the small transept arms of the north and south facades are three lancet windows with oculus. In the facades of the side aisles are single lancet windows; in each side aisle bay and in the clerestory, these lancet windows are grouped per (nave) bay; in the large transept arms are combinations of four lancet windows with rose window; the apse has single lancet windows. The INTERIOR is also executed in Neo-gothic style. The proportion between nave and side aisles is determined by a system of alternating columns and pillars. This system derives from the Romanesque "Rhineland school", whereby opposite one bay in the nave are placed two bays in the side aisles. The length of the nave is interrupted by the transverse arches to the transept and the chapels. The interior of the church is finished in fair-faced brickwork, accentuated in the choir and in the transept by colours applied in paint. The entire church is vaulted with stone cross-ribbed vaults; the transverse chapels with wooden barrel vaults. The furnishing of the interior is remarkably complete; of importance are, among others: the floor laid with red/brown tiles, the stained glass, the furniture (including two Neo-gothic confessionals in each side aisle, the benches in the nave with texts in Latin and Dutch, the benches in the side aisles and the pulpit), the two-manual pneumatic organ with free pedal, made by the German firm Gebr. Rohlfing, built in 1924, the statues (including St. Boniface, St. Anthony of Padua, the Vitus monument with Emperor Diocletian, and in the chapels Mary, Joseph and the Sacred Heart), the 16 Stations of the Cross (1875) in the side aisles, the rood cross. Beneath the high altar with ciborium lies a stone tomb with above it a tabernacle; the whole is closed off by a Calvary group. The six original gilded candelabra were delivered in 1871 by the Utrecht atelier Brom. The polychromy and mural paintings are richly executed: for example, behind the high altar curtain paintings have been applied, and on the transept walls the 12 apostles. The interior of the SACRISTY, which adjoins the priest's choir, is largely original. Against the walls stand original wooden cabinets; the space is enlivened by mural paintings in the Art Nouveau style. Above the mantelpiece is depicted the Good Shepherd.

Valuation

The Roman Catholic St. Vitus Church at Blauwhuis (consecrated 1872) is of particular general cultural-historical and architectural-historical importance:

- as a particular expression of cultural and social development;

- for the history of architecture;

- within the oeuvre of architect Cuypers, who applied neo-gothic in the north of the country for the second time (after architect Weber in 1863 for the no longer existing St. Francis Church at Franeker) in Blauwhuis, at the beginning of his very enterprising career;

- within the oeuvre of architect Peters, who was then just at the end of his architectural training and with this project began his enterprising career;

- owing to the high aesthetic qualities of the design;

- owing to the particular material use and ornamentation of the components, both as regards the exterior and the interior;

- owing to the architectural integrity of both the exterior and the interior, in all its components and furnishing elements;

- owing to the siting and the historical relationship with the surroundings, in the light of the growth of the Catholic community in the 19th century;

- for the appearance of the village;

- in relation to the structural and visual integrity of the village and landscape surroundings.