Onze Lieve Vrouw van Goede Raad

English translation

The text above is the record as published by the Rijksdienst voor het Cultureel Erfgoed, in Dutch. The English below is a machine translation made by TreeAlive, not by the Rijksdienst voor het Cultureel Erfgoed; it has not been checked by a person. Where the two differ, the original is the record. Report a translation error: privacy@treealive.com

Description

Introduction

CHURCH BUILDING "O.L.V. van Goede Raad" from 1914-1915/1927, principal component of the eponymous Roman Catholic church complex. The church provides seating for 1000 believers who all have an unobstructed view of the elevated priest's choir because the broad church space is spanned in one piece. Due to lack of funds, construction was carried out in two phases. Originally a square front tower with a constricted foursided spire was planned. The realised tower deviates strongly from this with its rectangular cross-section and gabled roof and fits better with its broad volume to the already realised buildings. In the forties and fifties of the twentieth century the church was embellished with various artworks and stained-glass windows. Different artists worked on this including J.M.T. Arnold, H.J.L. Schoonbrood, Charles Eyck, Han Bijvoet, Nico Witteman and Charles Vos.

Description

Broad single-aisle church building consisting of a front section crowned by a tower behind which a rectangular nave that widens after five bays over three bays with side spaces for the confessionals and ends in a shallow rectangular choir. The choir has a rectangular apse flanked by subsidiary rooms including a sacristy to the right (SE) of the apse. These single-storey high subsidiary rooms together with the broad nave section form a rectangular groundplan. The nave and choir are spanned in one piece by a large gabled roof. The apse has a three-sided lean-to roof, the adjacent rectangular sacristy a gabled roof with back slope and ridge direction at right angles to the main roof. The aforementioned roofs are covered with red improved Dutch tiles. The remaining subsidiary rooms around the choir, as well as the confessional extensions, have a flat roof. The external walls are built in partly sintered brown bricks (format approximately 20 x 5 cm) in English bond with recessed mortar joints. Besides brickwork, sandstone and cream-coloured limestone is used for constructive components such as quoins, drip moulds, corbels and cap stones. The front facade (SW) is wedged between the former school building on the left and the low building of the St. Jozefzaal on the right. The tower, which is incorporated in the facade plane, contains the entrance, a recessed arched double door of heavy clamped vertical boards. Above the door is a round mosaic of Mary with Child set into the wall. In front of the entrance is a canopy in the form of a gabled roof covered with red improved Dutch tiles under which a heavy wooden construction rests on side walls covered with sandstone blocks. The front facade has a small pointed arch window to the left of the entrance and to the right a clamped pointed arch door which, like the double door, is hung on heavy strap hinges. The rectangular tower turns sideways halfway up. In the upper section there is on all four sides a recessed wall area of light red and smoked brick against which a clock face and below in the end sides one pointed arch-shaped sound opening and in the broad front and back sides two such coupled sound openings. The gabled roof of the tower, set between spout gables, is covered with red improved Dutch tiles and is crowned by a cross halfway along the ridge. The lower half of the tower is, in contrast to the closed front side, provided with windows on the side: at the bottom three low pointed arch windows, higher up two coupled pointed arch windows and above this a small round window. The left side facade (NW) connects with a side entrance to the school building. In this spout-gable and cross-topped pointed arch porch there is a floor of red tiles and a heavy clamped double door. Both side facades are articulated by heavy buttresses which taper halfway up and project with a roll moulding above the eaves. The first five bays each have three coupled pointed arch windows of equal height. The extended last three bays have at the top three small pointed arch windows and below this a small four-paned window (with sandstone drip mould) or, at the last bay, an arched double door. In the right side facade to the right of this door a commemorative stone is set into the wall with the inscription "IN ANCUSTIA TEMPORUM 1 AUG 5 OCT 1914." In the parapet above the confessional extensions cross motifs are cut out. The low subsidiary rooms on either side of the choir are provided with a similar parapet and a clamped door: in the left subsidiary room a simple door with fanlight, in the right one a door reached via a built-up ledge with parapet with a four-paned window in it. The buttress between the subsidiary rooms and the confessional extensions becomes above the gutter a wall scale that receives the thrusts of the internal arch between nave and choir. In the raised front section of both wall scales a pointed arch opening is cut out in which the wall scale projecting above the south-eastern roof plane has a bell hung. Both choir bays are provided, as are the side walls of the choir apse, with three coupled pointed arch windows. The back facade (NE) is executed as a blind spout gable. In the north-east facade of the apse there is a bricked-up round window. The adjacent long side of the sacristy has two high-placed four-paned windows with lattice work in front. In the south-east facade of the sacristy executed as a spout gable there is on the left a similar window, on the right a small four-paned window (also with lattice work) and at the top a small attic window. The interior is still virtually original. The broad nave has a roof with broad boards facing inwards of which the heavy roof trusses reinforced with iron straps are carried by short wall posts which are provided with corbels and rest on consoles of cream-coloured limestone set into the side wall. At the top of the roof there is a wooden catwalk which is accessible from the tower. The inner walls built in English bond with recessed mortar joints are executed to approximately 1.60 m height in cream-coloured facing bricks with a top edge of brown-glazed facing bricks and above this in grey sandstone. In the church space stand four blocks of sober benches of American pine separated by aisles. On the floor lie small reddish-brown tiles with around them a two-coloured border of grey and black tiles and around each bench block a border of black tiles. In front stand two soberly designed communion benches of beige-flecked white marble. The stained-glass windows in the nave, mainly Mary representations, date from the forties and fifties and are mostly from the hand of the Maastricht artist H.J.L. Schoonbrood. The side spaces in which the confessionals are located have a beam ceiling and open into the nave with three small pointed arches resting on two columns of cream-coloured limestone provided with a cubic capital and a sandstone base. The confessionals are accessible via panel doors with a four-paned window at the top in yellow cathedral glass. Near the aforementioned double door in the left side space is the original font. The choir and apse both open with a depressed pointed arch to the church space. The choir floor, reached via five steps of polished sandstone, is covered with reddish-brown marble (rouge royal). Against the back wall of the choir stand on a platform on the left and right a sober side altar of white marble with greenish-grey veining. Above the left side altar is a terracotta Sacred Heart image by Charles Vos, above the right a multicoloured tile roundel from 1943 by Nico Witteman depicting Madonna with Child. To the left next to the Mary altar is a white marble foundation stone set into the wall with the inscription in grey painted letters: "FOUNDATION STONE/ LAID BY/ A. WAARE/ DEAN OF BEVERWIJK/ 21 OCTOBER 1914/ St URSULA AND OTHERS." Against the narrow triumphal arch to the left next to the entrance of the passage to the sacristy is a Joseph image by Charles Vos from 1944. Above the pointed arch to the apse, the back wall of the choir has a wall painting dating from 1959 with as theme the Coronation of Mary. This too, like the stained-glass windows in the side walls of the choir, is by Schoonbrood. The apse has a ceiling of collar beams and tie beams. The sober sandstone high altar is provided with a top of polished sandstone and placed on a platform accessible via three similar steps. The glass appliqué against the back wall of the apse, a seven-part polyptych with a crucified Christ and the four evangelists, was made by Charles Eyck in 1941. The stained-glass windows in the apse were made after a design by J.M.T. Arnold in workshop G. Broere in Velsen. In both side walls of the apse there is a heavy clamped pointed arch door of oak wood. Behind the door on the left is a storage space; the door in the right side wall flanked by a hatch gives access to the sacristy. The latter has a simple beam ceiling whereby the beams rest on stepped built-up corbels. The walls of the sacristy are executed to approximately 1.75 m in cream-coloured facing bricks and above this plastered. Grey sandstone is used as door frame and for a flue in the corner. At the back of the sacristy is a toilet above which a staircase to the sacristy attic whose roof is boarded in. A door in the south-west wall of the sacristy leads via an L-shaped passage (same floor and wall finish) to an external door and to the side passage on the right in the right side facade of the church. In the back wall of the nave there is from left to right a pointed arch-shaped passage with a double wrought-iron gate to the rear Maria chapel (now also baptism chapel), a door to the side portal with a double draft door, a double door providing access to the main portal under a segmental arch, a door behind which a staircase to the organ loft, and a double door to the entrance on the Galgenweg. All doors are executed as heavy clamped doors of oak wood. The relieving arches above the doors have quoins of cream-coloured limestone. The aforementioned portals and chapels have a beam ceiling and a floor and wall finish as in the nave. The Maria chapel, which also forms the connection with the (modernised) patronage hall, is embellished with a wall sculpture and wall paintings. Above the doors to the portals is a wooden balcony behind which a pointed arch opens to the lower tower attic which is provided with a ceiling of collar beams and tie beams. Here stands a two-manual organ made in 1914-1915 by J.J. v.d. Bijlaardt in Dordrecht and moved and enlarged in 1927 by Vermeulen. The organ case of this 20-register pneumatic organ with open arrangement was designed according to the design by Kropholler. N.B. This organ is excluded from national monument protection

Valuation

The church building 'O.L.V. van Goede Raad' is of general interest because of its architectural and cultural-historical values as the principal component of the Roman Catholic church complex 'O.L.V. van Goede Raad' and as a well-preserved (exterior and interior) example of ecclesiastical architecture from the first and second quarter of the twentieth century, erected in the robust traditionalist brick architecture characteristic of Kropholler.