R.K. Kerk O.L.V. Ten Hemelopneming

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

CATHOLIC CHURCH, in a Neo-Romanesque style influenced by Neo-Gothic, 1905-1906. Built by contractor Muyres of Sittard, on behalf of building pastor Antoon Janssen in the name of the R.K. Church Board O.L.V. Ten Hemelopneming, according to a design by architect Caspar Franssen of Roermond. The planned crossing cupola was not executed in accordance with the design, the planned floor of Namur tiles was replaced during construction by a multicoloured tile floor with geometric motifs. The church is situated in the linear development present at this location, in a transverse direction to the street. The church was restored in 1987. The rectory on the north side is EXCLUDED from protection.

Description

Cross basilica with short transept arms, two front towers, a short, squat pentagonal choir. On both sides of the choir, transverse to the transept arms, there is a sacristy. The FLOOR PLAN of the church is completely symmetrical and mirrored with respect to the longitudinal axis. The nave is two bays long and is flanked by side aisles. The nave and transept arms are covered by GABLED ROOFS, the choir, lowered relative to the nave, by a half hip roof, the sacristies by half hipped roofs, the side aisles by catslide roofs. All these roofs, including the tower spires, are covered with slate in Maas covering. Two roof dormers with wooden shutter on the nave section between choir and transept arms. Ridge finials on the nave and sacristies. Box gutters.

The church is built of reddish-brown brick, laid in English bond and provided with cut joints. Arch friezes and window sills in red pressed stone, arch corbels and the voussoirs of the gable ends of transept arms and nave in Savonnières stone. Hardstone plinth strips, drip mouldings, window sills and window traceries.

The exterior of the church is richly decorated and provided all around with moulded plinths with hardstone strip, brick decoration patterns and dentil decoration, arch friezes, pilasters and oculus windows. The entrance section on the west side projects relative to the flanking towers and is divided into three sections by means of sill and drip mouldings and arranged symmetrically. These divisions correspond in height to the first three divisions of the towers. Centrally in the first division lies recessed the rectangular double wooden entrance door with ornamental hardware. This door is placed in a round arch frame. This frame consists of two columns with Attic bases with footrail and leaf capitals. The columns bear an archivolt in red pressed stone. In the arch field above the door there is a tympanum of Savonnières stone with trefoil ornament. In the second division are two round arch-shaped transept windows with stained glass centrally placed in the facade. The window strips have moulded edges. The third division forms the top gable. In the middle of the facade, in the spandrel below the climbing arch frieze, lies a small round arch-shaped stained glass window. In each gable corner an oculus window in red pressed stone is placed.

The entire entrance section is divided by pilasters, which are connected by a round arch frieze. Above the frieze runs a drip moulding, which forms a division between the sections. The wall is again divided by pilasters with arch frieze, after which a rain moulding again forms the division. Both towers have five divisions. The lowest division has an arch-shaped window in the west facade, but lacks pilasters. The second through fourth divisions have pilasters, which are connected to each other by round arches, trefoil arches and arch friezes in red pressed stone respectively. The narrow stair tower windows have hardstone lintels and gargoyles. The divisions between the sections are each formed by drip mouldings. Between the pilasters are the narrow high stair tower windows, small round arch windows and sound holes respectively. After the fourth division follow the top gables, which contain trefoil arches and oculus windows. The northwest tower has coupled, narrow high windows in the top gables; the southwest tower is provided with a clock on the west and south sides.

The long facades on the north and south sides are, like the floor plan, mirrored with respect to the longitudinal axis and completely identical. The two bays of the nave are separated from each other by buttresses. Each bay has in the clerestory a round arch-shaped steel mesh window with tracery and stained glass in a frame of red pressed stone, in the side aisles two round arch-shaped steel windows with stained glass. The outer walls are divided into fields by pilasters, connected to each other by an arch frieze.

The side walls of the transept arms are blank. The closing facades on the north and south sides are in terms of division the same as the entrance section of the church. Only the closing gable is somewhat wider and there is no entrance in the first division. The south transept arm has a tall chimney on the east side.

The choir bays, between choir and transept arms, have in the clerestory a round arch-shaped steel mesh window with tracery and stained glass in a frame of red pressed stone. The pentagonal apse is considerably lower than the nave. The wall surface is divided by pilasters. Between the pilasters arch friezes are laid in brick. The five round arch windows with stained glass are located between the pilasters. In the central wall surface a façade stone with the construction year marking 1905 is placed. The closing facade of the nave above the apse has a climbing arch frieze and a closing in Savonnières stone.

On either side of the choir bay are the sacristies for the clergy and altar servers. The east facades of both sacristies are blank, in the south and north facade respectively two round arch-shaped steel windows with grilles are placed. The church of O.L.V. Ten Hemelopneming has a richly ornamented and multicoloured INTERIOR. Yellow brick cross-rib vaults in nave, side aisles, narthex and apse. Vault with dome in yellow brick over the crossing. The pillars, ribs, transverse and intermediate arches, window reveals, sills beneath the windows and the blind arcades are of orange-red terracotta brick. The corbels and bases are of black granite. Nave and transept arms with polychrome tile floors laid in patterns. Multicoloured wall paintings in transept, above the intermediate arches of the nave, and in the transept arch. The nave is separated from the side aisles by an arcade of two round arch-shaped intermediate arches. Above the arcade of the nave is the clerestory. Apse, choir and transept arms are provided above the intermediate arches with a blind arcade. The bays in the nave each have two cross pillars with corbels in the corners. The pillars have natural stone bases. At the springing of the intermediate and transverse arches the pillars have leaf capitals. The ribs of the side aisles and nave rest on black natural stone corbels. The corbels have shaft rings of Savonnières stone. The dome vault of the crossing with in the middle a ring to allow a bell to pass through. A bell tower turret is absent. The choir is one step higher than the floor of the central nave. The walls of the choir bay are broken through by the entrances to the sacristies. The apse with the sacrament altar is slightly constricted by an arch. The apse wall is divided by a blind arcade, which is followed by a decorative strip and the windows. In the corners of the choir bay and apse stand corbels of black natural stone with white shaft rings. The corbels have leaf capitals, on which the vault ribs rest.

In this interior are among others of importance a single-manual organ, made by Peereboom & Leijser in 1988 and the high altar with a sandstone base and a polychromed oak wooden superstructure, Engelbert workshop. The organ case is not of value from the point of view of heritage conservation. The base of the high altar has three polychromed reliefs by Jos Thissen, 1906. On either side of the exposition throne, beneath a baldachin a small figure of St. Peter and Paul. In the altar retable two reliefs; an oak pulpit, early 19th century and 20th century; a hardstone baptismal font with copper lid, mid-19th century; oak communion rail, circa 1905; oak prayer desk, sleigh model, 1833, with inscription M.E.D. 1833; in the side aisles twenty-four oak church benches with lyre-shaped ends, 19th century; the church benches in the central nave, 1907; deal wood Mary figure from Val Gardena, Italy, late 18th century; in the apse a polychromed stone figure of St. Clara, early 19th century, Cuypers workshop of Roermond; in the apse a polychromed wooden figure of St. Lambert, late 19th century; in the apse a polychromed wooden figure of St. Barbara, late 19th century; in the Mary chapel a polychromed wooden Mary figure, Jos Thissen, 1896; seven polychromed wooden holy figures (St. Joseph, St. Gerardus, St. Antonius, St. Isidorus, St. Brigida), 1907-1932, Jos Thissen; wooden crucifix, late 18th century; wooden crucifix, early 19th century; wooden crucifix, 19th century; black lacquered wooden crucifix, standing, early 19th century; Neo-Gothic, polychromed wooden rood cross, circa 1900; standing crucifix in white marble and cast copper, 19th/20th century; five stained glass windows, F. Nicolas & Son workshop of Roermond, 1906; Stations of the Cross painted on copper plates in oak frames, A. and P. Windhausen, 1908.

Valuation

The R.K. Church of Einighausen is of cultural-historical value as a particular expression of a spiritual development. The architectural-historical values are determined by the building style, the involvement of architect Caspar Franssen, the aesthetic qualities of his design, the particular use of materials and ornamentation and the coherence between exterior and interior. The church is of particular significance because of its location, which is connected to the development of Einighausen and of particular significance to the appearance of this village. The whole possesses a high degree of architectural integrity of both exterior and interior and is of importance in relation to the structural and visual integrity of the village environment. Moreover, the church possesses in a regional respect a reasonable architectural-historical rarity value and within the oeuvre of Caspar Franssen on account of the twin towers a reasonable typological rarity value. The church represents a general interest because of the totality of the aforementioned values.