Nikolaikapelle (Obermarsberg)

In the heart of Obermarsberg, a charming town in North Rhine-Westphalia, Germany, stands the Nikolaikapelle, a Roman Catholic chapel dedicated to St. Nicholas. This historic site, first mentioned in 1247, is a treasure trove of early Gothic architecture and a testament to the town's rich heritage.

The Origins of Nikolaikapelle

The story of Nikolaikapelle begins in 1229, when the citizens of Horhusen (now Niedermarsberg) committed to building a church for the Prince-Bishop of Paderborn. This promise came after they moved to the Eresburg at the behest of the Archbishop of Cologne. This relocation meant they were no longer under the bishop's jurisdiction but under the Prince-Abbot of Corvey. Construction started that same year, and by September 1247, the church was first mentioned in historical records. The chapel was dedicated to St. Nicholas of Myra, the patron saint of merchants, indicating that the town's inhabitants were likely craftsmen and traders rather than farmers.

Architectural Marvel

Nikolaikapelle is celebrated as one of the finest examples of early Gothic ecclesiastical architecture in Westphalia. The west facade, relatively austere, is dominated by an octagonal tower that extends five-eighths from the gable. Below the main cornice, the tower features four small Gothic blind windows and slender pointed arch windows with tracery on either side. Above the gables, adorned with larger and smaller windows and a clock, the octagonal spire with a lantern rises. A narrow, windowless stair tower is attached to the northwest corner. The west facade’s portal is simply designed, framed by a blind gable and plain jambs, and is not used as an entrance.

The south portal is the most ornate of the three entrances. Its columns and capitals in the triple-stepped reveal are richly decorated with foliage and tendrils, as are the archivolts extending over the pointed arch. From the inner columns, a shallow trefoil arch forms, within which St. Nicholas, the patron saint, is depicted. Above the south and north portals, a wheel window with six trefoils is situated.

The low choir structure is distinctly different from the nave due to its late Romanesque wall design. Lesenes and blind arches articulate the exterior of the choir. From the blind arches on the south side, three larger-than-life heads emerge – on the left, Charlemagne, in the middle, Louis the Pious (as a child), and on the right, Otto I – all connected to the local history. Like the nave, the choir is covered by a gable roof.

Interior Splendor

The floor plan reveals a three-aisled hall church with an almost square choir. The nave consists of two bays in length, supported in the middle by round pillars with services. The side aisles are half the width of the nave. The vault is a ribbed vault with keystones. The side choirs are niches in the wall.

The west end forms a choir-like 5/8th closure, rising into the octagonal tower of the west facade. A slender stair tower is located at the northwest corner. The interior is 34 meters long, 22 meters wide, and the ceiling is 15 meters high.

In the rectangular choir room stands a neo-Gothic altar. Its niches are crowned with gables. The center is particularly emphasized by the high pinnacles. During the restorations in the 1960s, a sandstone celebration altar was added.

The windows in the altar area are relatively simple, lacking Gothic design elements, in contrast to the other beautiful Gothic windows. The outstanding feature here is the stained glass from 1890, depicting the legend of the conversion and baptism of the Saxon Duke Widukind. The rose window above shows the Christ Child with angels at the top and the saints Boniface, Liborius, Nicholas, and Sturmius at the bottom.

Additionally, the chapel houses a stone Pietà, likely crafted in the early 18th century in the Papen workshop in Giershagen. From the vault of the second bay hangs a double Madonna made of wood, under a six-sided canopy, in a rosary. The statue of St. Christopher was donated by chamberlain Christoph Köchling in 1744. The cross above the north portal dates from the 17th century, as does an oil painting (above the south portal) depicting the Flagellation of Christ. The organ, donated by emigrant Henry Heide, was dismantled a few years ago.

Restorations Through the Ages

In 1800, a hurricane destroyed the tower's spire, which was eventually replaced with a low dome. Due to financial constraints, the planned restoration by Friedrich Heinrich Kronenberg in 1850 was not carried out, although he managed to perform some stabilization measures in 1852. A thorough renovation took place in 1877, during which the tower received its current form.

Further restorations occurred in the 1960s. The building was drained, the roof and facade were repaired, and the windows were improved. The colorful choir windows were restored, while the others were renewed without altering their form. Additionally, the Pietà and the double Madonna were restored.

In conclusion, Nikolaikapelle is not just a historical monument but a symbol of Obermarsberg's rich past and the enduring spirit of its people. Its walls tell stories from centuries gone by, making it an essential visit for anyone exploring this picturesque town in North Rhine-Westphalia.