Church of the Assumption

Step into the heart of Wesel, Nordrhein-Westfalen, and you will find the Church of the Assumption, known locally as St. Mariä Himmelfahrt. This remarkable church, nestled near the bustling Großer Markt, is a beacon of history and architectural splendor. Its story begins in 1291 when it was founded as a Dominican monastery, and it has since undergone various transformations, each adding to its rich tapestry of history.

The Historical Tapestry of the Church of the Assumption

The Church of the Assumption has a storied past that mirrors the tumultuous history of Wesel itself. The original Dominican monastery and church were established in 1291. During the Reformation, when the city's main parish churches, St. Willibrord and St. Nikolaus, became Calvinist, the Dominicans' church became a refuge for the Catholic minority. The monastery remained active until 1807, enduring through centuries of religious and political upheaval.

The church's architecture has evolved significantly over the centuries. The original Gothic structure was replaced in the 18th century by a Baroque church, which was then replaced by a Neo-Gothic building at the beginning of the 20th century. However, the ravages of World War II left the church in ruins, with only the crypt and the tower's ground floor surviving. The tower, heavily damaged, was eventually demolished in 1961 due to structural concerns. The current building, designed by Cologne architect Rudolf Schwarz, was completed in 1952, embodying a modernist aesthetic while retaining elements of its historical predecessors.

The Crypt: A Royal Resting Place

One of the most intriguing aspects of the Church of the Assumption is its crypt, which serves as the final resting place of Duke Adolf II of Cleves and his wife, Maria of Burgundy. Initially interred at the Carthusian Monastery on Gravinsel, their remains were moved to the Dominican church's crypt in 1590 after the original monastery was destroyed during the Eighty Years' War. An inscription in the crypt commemorates this transfer. The crypt was redesigned during the church's reconstruction, blending historical reverence with modern design.

Architectural Marvels

The design of the Church of the Assumption by Rudolf Schwarz is a study in modernist simplicity and reverence for the past. The church's layout is nearly rectangular, featuring a flat ceiling that leads seamlessly to a rounded apse. The nave is illuminated by a series of round-arched windows arranged in six axes, with each set of three windows increasing in size as they ascend. The west wall is adorned with numerous round windows of varying sizes, creating a rosette-like pattern that adds a touch of whimsy to the otherwise austere brick structure. This design evokes the grandeur of a Roman palatial hall.

One of the few remnants of the Neo-Gothic church is the portal, which features a wide, open pointed arch flanked by delicate spirelets. Behind this lies the double portal leading to the church's vestibule. The juxtaposition of these historical elements with the modernist design of the 1952 structure creates a unique architectural dialogue.

The Bells of the Church of the Assumption

The church's three bells, crafted by the renowned Petit & Gebr. Edelbrock foundry in Gescher, add a melodic dimension to its presence. The Theresiaglocke, cast in 1960, weighs 1095 kg and resonates with the note F'. Its inscription reads, UND MEINER LIEBE LIEDER VERSTUMMEN NICHT (And my songs of love do not fall silent). The Marienglocke, cast in 1978, weighs 750 kg and sounds the note G'. It bears the inscription, WAS ER EUCH SAGT, DAS TUT! (Do whatever he tells you!) from John 2:5. The third bell, dedicated to St. Willibrord and also cast in 1978, weighs 1943 kg and strikes the note D'. Its inscription, VOR ALLEM ABER LIEBT EINANDER, DENN DIE LIEBE HÄLT ALLES ZUSAMMEN (Above all, love each other deeply, because love covers over a multitude of sins), is from the Epistle to the Colossians.

Art and Relics

The Church of the Assumption is home to several significant works of art and religious relics. Among these is a Crucifixion group created by Gabriel de Grupello around 1717, which now resides behind the high altar. The altar itself is made of blue Belgian marble, and above it hangs the Apostelleuchter, a wheel chandelier with twelve lights representing the apostles.

The church also houses a seated statue of St. Willibrord, created in 1975 by Hildegard Bienen from Marienthal. This statue contains a relic of the saint, formerly kept in the crypt's altar. The tabernacle, crafted by Cologne goldsmith Hein Wimmer in 1956, features symbols of the Trinity—an eye, a cross, and a dove—set against a silver background with vibrant enamel colors.

Other notable artworks include figures of St. Dominic and St. Catherine of Siena from around 1500, a bronze baptismal font created by Hans Dinnendahl in 1935, and Stations of the Cross by Hildegard Domizlaff, carved in slate between 1955 and 1958. Additionally, the church boasts stained glass windows by Anton Wendling and Hildegard Bienen, depicting various religious symbols and figures.

The Organ: A Musical Heritage

The church's organ, constructed by the Breil organ workshop in Dorsten, is a masterpiece of musical engineering. Built in stages between 1952 and 1972, the organ features 2912 pipes and 39 registers, distributed across three manuals and a pedal. Its placement on the west wall, flanking the rosette window, enhances the church's acoustics and provides a fitting backdrop for its liturgical music.

In conclusion, the Church of the Assumption in Wesel is not just a place of worship but a testament to the resilience and continuity of faith through centuries of change. Its blend of historical elements and modern design, coupled with its rich artistic and musical heritage, makes it a must-visit for anyone interested in the cultural and spiritual history of Wesel.