Kerk, Goirkestraat 68

English translation

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Description

Introduction

Roman Catholic Church of Sint Dionysius dating from 1835/1938. The church has a nave in Neo-Gothic style (1835) and a crossing, transept and choir section (1938) in the Traditionalist manner of Kropholler. The nave, the oldest part of the church, is the oldest Neo-Gothic Catholic church building in the Netherlands. It is a design by architect H. Essens (Oisterwijk). The crossing, transept, choir section, four chapels and sacristy are a design by architect C.H. de Bever of the architectural firm Kooken (Eindhoven) and replace the choir closure of 1835.

In place of a stone church from 1724, which replaced a clay barn church from 1698, this church was built on the same spot under the supervision of the State Public Works Authority. On 19 May 1835 the church is tendered and awarded to the firm Cornelis de Laat (Gorinchem). The total building costs amount to: f 90,036.--. The foundation stone is laid on 19 August 1835, by pastor W. van der Ven. The consecration takes place on 10 October 1839 by Mgr. H. den Dubbelden, then still apostolic administrator of the former diocese of 's-Hertogenbosch. 1). The dedication takes place on 4 July 1843 by his coadjutor, also pastor of the church of het Heike, Mgr. Zwijsen. Through personal mediation of the Prince of Orange, the later Willem II, the church board receives a substantial building subsidy. 2). Essens applies the principles of Gothic, so that the church can be characterised as "State Public Works Gothic". In 1903 the church receives a new west facade, crowned by a Neo-Gothic spire. Originally a bell-chamber in the form of a pepperbox was located on the west facade. The side aisles also received new lean-to roofs. Originally hipped roofs were located here. In 1937 the church board at that time, led by pastor Sprengers, conceives the idea of building an entirely new church on the same spot. Because worship had to continue as normal and probably finances were insufficient, the new construction would have to be realised in phases. The commission goes to C.H. de Bever of the architectural firm "Kooken" (Eindhoven). The first phase is an extension of the church on the east side with a new choir, side chapels with altars, transept and a sacristy. Just in time for the church's centenary, in 1938, this new construction is realised. The final conception, as it would be achieved after the second phase (the replacement of the nave) is not executed due to various circumstances. Thus the new construction (first phase) now together with the old church forms a whole of striking quality. During the 1966 restoration the spire on the west facade of 1903 is removed again.

Description

The three-aisled church has a basilica structure. It is oriented. The nave is covered by a gabled roof with a spout gable facing the street provided with a rising pointed-arch frieze. The side aisles have a lean-to roof with a straight-closed pointed-arch frieze facing the street. Nave and aisles are seven bays deep, provided with buttresses. The nave has three- and in the side aisles four-part pointed-arch windows with stone tracery from 1869 with three-, four- and five-foil motifs. The choir has a five-sided closure provided with buttresses with on the inside a round apse containing two pointed-arch windows. The whole covered by a five-sided angled tent roof. Both transepts are two bays deep, between the bays and at the corners provided with heavy buttresses. They are covered by an angled gabled roof with on the gable end a spout gable containing a four-part pointed-arch window with brick tracery provided with a trefoil motif. Each bay of the transept contains a double pointed-arch window. The west facade from 1903 has a division into three parts and a three-part structure. It has a projecting main entrance, which extends upwards to the third division. This is covered by a small gabled roof provided with a spout gable and crowned by a hardstone saddle-back. The pointed-arch portico has a double door with a five-foil motif in the fanlight. Above this portal a three-part pointed-arch window with tracery of three- and four-foil motifs. The middle bay is located between perpendicular buttresses. A modest side entrance with one door and likewise a five-foil motif in the fanlight flanks the main entrance. In the niches, above the side entrances in the second division are cast-iron Sacred Heart and Mary figures. In the side bays the upper division of the west facade has a rising pointed-arch frieze. The oak doors have forged hinges and locks.

The church possesses six projecting chapels. The Sacred Heart and Mary chapels flank the choir. Both are covered by a gabled roof with on the gable end a spout gavel provided with a five-sided choir closure with buttresses under a likewise tent roof. The closure contains two pointed-arch windows. At the church square the Pieta and baptismal chapel flank the nave of the church. Both have a gabled roof and a five-sided closure containing three pointed-arch windows under a tent roof. In the angle of the left transept is the Lourdes chapel and in the right transept the chapel of the Holy Family. They have an angled gabled roof with on the gable end a spout gable. In the facades a double pointed-arch window. Striking is the heavy crossing tower also bell tower on a rectangular ground plan with an arch frieze below the hipped roof and crowned by a tower roof. In the direction of both transepts the tower is braced by buttresses. The sound holes have a double round arch separated by a dividing pier with dice capital. The sacristy has a T-shaped ground plan with a composite roof form of hipped and gabled roof. The latter roof has on the gable end a spout gable. The masonry consists of red hand-moulded brick. The part from 1835 and 1903 is laid in English bond and the part from 1938 in random bond. The masonry is varied by natural stone for tracery, ledges, sills and the like. Below the eave is decorative masonry. The west facade and buttresses additionally have a hardstone border in the plinth; profile stones are also applied around the wall openings and arch frieze. In the work of De Bever natural stone corner and closing stones are incorporated at the wall openings, spout gables, arch frieze and the like. The gutter is also of natural stone. The roofs are provided with natural stone tiles in overlapping Maas pattern with copper cresting on the tower roof tiles.

The interior of the nave has on both sides six virtually square piers from which the ribs rise without capitals. They support the ribs of the plastered cross vaults, which arch over the nave and side aisles. In the middle-nave wall a blind or pseudo-triforium with eight niches per bay, above which the three-part windows of the clerestory, the lower part of which consists of blind tracery. Remarkable is the polychromy from 1907 of stylised plant motifs after a design by P.J.H. Cuypers (Roermond) and executed by Dorus Hermsen, for the 25th anniversary of the priesthood of pastor Johannes Baptista Bots. On the ribs and the vaults of the middle nave these polychrome works are still well preserved. The apse painting from 1938 is by J. ten Horn. The crossing has a wooden ceiling. In the transept plastered barrel vaults. In the church are nineteen stained-glass windows, including by P. Clijsen (Tilburg) and by P.J.H. Cuypers (Roermond/Munich) 3). The church possessed a Neo-Classical high altar from the first half of the 19th century. For this altar J.A. Wiertz (1806-65, Dinant) painted an image of the beheading of the martyr Dionysius, which now hangs in the left transept. Wiertz gave this painting, which he made in three days, to the church as a gift. The remarkably skillfully executed oak pulpit from 1853 is by the sculptor G.B. Peters (Antwerp), according to iconographic instructions by pastor W. v.d. Ven. 4). The baptismal font, from 1876, is the jubilee gift for pastor-dean Van de Ven, made by the goldsmith M. Bertou (Antwerp). The original hardstone baptismal font is from 1570-79. The place of origin is unknown. The carved confessionals in Neo-Baroque/Rococo style from 1860-63 come from the workshop of the Brothers Goossens ('s-Hertogenbosch). Two manual pneumatic organ made by the brothers Smits from Reek in 1905 with 31 stops. The choir was extended on this occasion to the first pillars and provided by J.W. Ramakers (Geleen) with an oak balustrade. Ramakers later also supplied the two trumpet angels for the organ. The Romantic stations of the cross on linen, painted by A. Brouwers (Hilversum), replaced in 1890 the stations, which in 1840 by J.F. Hutten (Tilburg) were probably painted as frescoes directly on the underlying plaster. The interior of the church is further adorned by 34 figures, the largest number are of wood (seven are polychrome), two of copper and one is of stone. Two wooden figures date from the 17th century. 5).

Valuation

The church is of general importance. The building is of cultural-historical importance as a special expression of the development of Catholicism in the nineteenth century, in particular the establishment of churches in place of older barn churches; it is also of importance as an example of the typological development of such church complexes. It is of architectural-historical importance as the first example of Catholic church construction in Neo-Gothic formal language and because of its place in the oeuvre of the respective master builders H. Essens and C.H. de Bever, because of the high aesthetic qualities of the design and because of the rich inventory.

The whole has ensemble values as part of a larger whole, the ribbon development Goirkestraat, which is of cultural-historical, architectural-historical and urban planning importance of national significance; also because of the location, connected with the development of the city and the special significance of the complex for the appearance of the city. It is of importance because of the architectural-historical, constructional, typological and functional rarity.

Notes:

1) However, the date of 1 October 1839 is mentioned in the literature, as in the "Poem on the occasion of the consecration of the new church in Tilburg on the Goirke by His Eminence Hendrikus den Dubbelden 1 October 1839", 32 pages).

2) After several unsuccessful petitions from the church board in 1834 to obtain a subsidy for the construction of the church, the Prince of Orange, who during a stay in Tilburg visited the barn church, offered his mediation. He submits a petition to Willem I, who by Royal Decree of 28 November 1834 number 121 grants a subsidy of f 25,000.--. Striking is the size of the amount received; other church boards in Brabant received only about f 4,000.--. Conditions include: the work had to be carried out "in accordance with the lastly submitted drawings and specification, although that specification had to be modified according to the improved version of the Chief Engineer of the State Public Works in the province of N. Br."; the work must be carried out under the supervision of the latter or of an official appointed by him, but the "daily supervision" may be left to a supervisor appointed by the church board at its own expense.

3) The stained-glass windows, including by P. Clijsen (Tilburg) and by P.J.H. Cuypers (Roermond/Munich) are: 1. First Mass of Petrus (Peerke) Donders in this church in 1841; 2. Baptism of Peerke Donders in the old barn church adjoining to the north of this church (present churchyard); 3. Vision of Norbertus about his future order; 4. St. Oda at the grave of St. Lambertus; 5. St. Lambertus gives in 696 at Herstal in the name of Pepin of Herstal to St. Willibrord and his Benedictine monks the power to preach in his territory. (gift of J. van Laarhoven); 6. St. Dionysius, Rusticus and Eleutherius in the dungeon (gift of Jo Eras); 7. Christ to Peter: feed my lambs (gift of Henricus Eras and Maria Jansen on their 25th wedding anniversary on 21 June 1929); 8. north transept: a. Pastor of Ars; b. St. Francis; c. Petrus Donders (P. Clijsen); 9. God the Father looks; 10. Christ gives to the angel; 11. St. Mary Alacoque (1958) Mary Magdalene; 12. south transept: a. St. Willibrordus with church Loven; b. St. Immaculate Conception with church Heikant; c. St. Anthony of Padua with church Hoefstraat; 13. a. Vincentius a Paulo with church Gasthuisstraat; b. St. Dionysius with church Goirke before 1939; c. St. Leonardus of Veghel with church Besterd (P. Clijsen); 14. a. St. Pastor of Ars; b. Francis of Assisi; c. Petrus Donders; 15. a. St. Benedict; b. Clemens Maria Hofbauer; c. Benoit Labre; 16. Our Lady of Fatima; 17. Our Lady of Lourdes; 18. in the apse of 1945 Michael with the dragon; 19. in the apse of 1945 John on Patmos.

4) Oak pulpit from 1850; by the sculptor G.B. Peters (Antwerp) according to the iconographic instructions of pastor W. v.d. Ven. On the cross-shaped base four kneeling figures representing four continents: Europe - Asia - Africa - America (with feather headdress); between these originally stood a figure of Christ, seated on the globe; Christ held a banner (fragmentarily preserved) with the text: .... docenta omnes gentes; on the globe are in relief the signs of the zodiac. Later ecclesiastical opinions were opposed to this manner of representation. The figure of Christ and the globe were therefore removed in 1912; they are now displayed in the church; height 200 cm. On the body reliefs of the four Western Church Fathers; at the corners the figures of the four evangelists, seated supported by consoles showing the representation of their symbol. The handrail has Neo-Gothic ornaments and is decorated with four reliefs depicting: the Sermon on the Mount - preaching of Peter - sending of the apostles - and - preaching by Paul; two standing angels with banner serve as newel posts bearing the texts respectively: Fides ex auditu, auditus auditus autum per verbum Christi. Rom. X, 17- Quododo vero praedicabunt nisi mittantur. Rom. X, 15; on the edge of the sounding board four little angels and reliefs (depicting God the Father - Peter - Paul - Willibrordus). Removed but preserved are two angels with trumpet and banner (Rom. X, 19) who carried the sounding board; on the sounding board stood a figure representing Religion; this appears to have disappeared. The modifications of 1912 are carried out under the direction of P.J.H. Cuypers.

5) The 34 figures are:

- St. Norbertus, ca. 1700, lime wood; dressed with the pallium, the monstrance in the right hand, has not disappeared as stated in the inventory list of the church's art collection, p. 1, but according to information lies on the attic of the church;

- St. Quirinus, ca. 1700, lime wood; dressed as a warrior, with helmet, chain mail, cloak and boots; a medallion hangs on his chest. Painted in 1947; the paint has now been removed.

Literature: J. Donders, ecclesiastical art in Tilburg, in "Rooms Leven", Tilburg XXXI,10,1947 p. 2;

- Two angels, 18th century, oak, height 145 cm. They come from the pulpit and supported the sounding board, in their hands a trumpet and banner (Rom. X, 19). Simple restoration needed.

Literature: Mem. par. p. 10-11;

- St. Norbertus, 19th century, whitewashed wood; dressed with the pallium, surplice and shoulder mantle, in his right hand he holds a monstrance, at his feet the mitre and Tanchelm with book and chalice;

- St. Barbara, second half of 18th century, whitewashed wood, height 110 cm, next to her a tower;

- Faith (female figure, with chalice and host), 19th century first half, wood, newly polychrome;

- Hope (woman with anchor), 19th century first half, wood, newly polychrome;

- Twelve apostles and four figures: John the Baptist, Barbara, Lucy and Joachim, 19th century middle, oak, height 170 cm;

- St. Joseph, 19th century middle, whitewashed; at his hand the child Jesus, who in his right hand holds a cross;

- Two figures: Sacred Heart of Jesus and Sacred Heart of Mary, ca. 1880, polychrome wood, height 175 cm; Literature: Mem. par. p. 36;

- Three figures: St. Anne, St. Joseph and St. Anthony of Padua, 20th century first half, polychrome wood, height 185 cm;

- Pieta, 19th century fourth quarter, sculptor P.G. de Kuyper, stone, height ca. 150 cm (copy of the Pieta by Michelangelo in St. Peter in Rome) Literature: Mem. par. p. 10;

- Two angels, ca. 1890, sculptor L. van Rijswijck, copper, height 173 cm, they have their hands folded in front of their chest and a halo above their head. Literature: Mem. par. p. 13;

- Group of figures of the Holy Family, 20th century first half, white and gold painted wood, height 155 cm width 150 cm.