Introduction
The Basilica of St. Vitus (German: Münster-Basilika St. Vitus), otherwise called Mönchengladbach Basilica, is a famous Roman Catholic church situated in Mönchengladbach, Germany. This noteworthy and worshipped site has its beginnings as a Benedictine cloister, which assumed a critical part in the strict and social existence of the locale for quite a long time. In 1973, Pope Paul VI raised the congregation to the situation with Minor Basilica, perceiving its significance as a position of love as well as an image of verifiable and compositional importance. This assignment was a piece of the festivals for the 84th German Catholic Day in Mönchengladbach and the 1,000th commemoration of the monastery’s establishing, denoting an achievement in its celebrated history. The Basilica of St. Vitus remains as a demonstration of the persevering through tradition of middle age religious engineering and the profound legacy of the area.
Foundation of the Abbey
The beginnings of the Basilica of St. Vitus can be followed back to the underpinning of a monastery on the slope of Gladbach around 974, reasonable started by Ecclesiastical overseer Gero of Cologne upon his return from Constantinople. The convent was committed to the Essence of God, the Virgin Mary, and the saint Holy person Vitus. This period in the late tenth century was set apart by the resurgence of devotion following the division of the Frankish Realm under Charlemagne and the spread of change developments radiating from compelling nunneries like Gorze close to Metz and Cluny in Burgundy. The main abbot of the recently established monastery was Sandrad, a priest who had come from St. Maximin in Trier and had recently functioned as a reformer in a few cloisters. Sandrad was an unmistakable strict figure of the period and was trusted by Ruler Otto I and his significant other, Sovereign Adelheid, who is said to have been his comrade.
A persevering through legend is related with the monastery’s establishing. As indicated by the story, Diocese supervisor Gero and Abbot Sandrad, while looking for a site for the religious community, heard a puzzling chime ringing from inside the thick woodland on Abteiberg. Following the sound, they found the relics of Holy people Vitus, Cornelius, Cyprian, Chrysantus, and Barbara, concealed in a stone, showing the heavenly endorsement for laying out the monastery at that site. This legend is referenced in an old composition known as Fundatio, dating from around 1120-1130, however the first has not made due. The earliest duplicate is safeguarded in the library of the Société des Bollandistes in Brussels.
The composition subtleties how the cloister’s establishing happened on the site of a congregation worked by Balderich during Charlemagne’s time, which had been obliterated during Otto I’s rule by “the fiendish individuals of Hungary.” The Nunnery of Gladbach’s association with Holy person Vitus is huge, as Vitus was the benefactor holy person of the Saxons and of the Ottonian regal family. Albeit the specific exchange of Vitus’ relics to Gladbach isn’t affirmed, almost certainly, these relics were at that point present nearby before the convent’s proper foundation, with their unique exchange to Corvey on the Weser in 836 being important for the more extensive history.
Diocese supervisor Gero’s choice to establish the monastery in Gladbach accompanied complexities. The Minister of Liège was in a deep sense liable for the religious community, a position subordinate to the Diocese supervisor of Cologne. In any case, Gero held oversight of the convent’s mainstream matters, including its pay and tax collection, which added to his more extensive vital desire to extend his impact past his diocese.The priests at Gladbach complied with the Standard of Holy person Benedict, conceding to the standards of Stabilitas loci — a devotion to the particular cloister, a religious lifestyle, and submission to their profound obligations.
Under the residency of Cologne Diocese supervisor Everger (985-999), who was known for his harsh and aggressive nature, regional trades with the Parish of Liège happened, bringing about Cologne overseeing Gladbach and Rheydt, while Liège obtained Tegelen, Lobberich, and Venlo. This period additionally incorporated the impermanent exchange of Abbot Folrad and the whole religious community to the Incomparable St. Martin Nunnery in Cologne in 986.The convent prospered during its initial years, especially during its top in the period from the tenth to the thirteenth 100 years, set apart by structural development and imaginative accomplishment. By 1120, Gladbach Convent turned out to be essential for the Siegburg Transformation, falling in line with the more extensive development of Benedictine religious change.
Nonetheless, toward the finish of the thirteenth hundred years, as in many pieces of Europe, the convent started to encounter a decrease in scholarly and devout discipline. This shift prompted a revitalization in 1511 when Gladbach Nunnery joined the Bursfeld Transformation Affiliation, which reestablished the cloister’s unique concentration and adherence to devout practices. Following the Thirty Years’ Conflict (1618-1648), the convent and its environmental elements experienced huge harm but on the other hand were affected by the Counter-Transformation, which built up strict and social customs.
With the Tranquility of Lunéville in 1801 and the ensuing secularization in 1802, church properties in the Rhineland were nationalized, bringing about the conclusion of Gladbach Nunnery. The cloister structures were auctions off, and their items scattered. By 1803, a cotton plant had been laid out in the previous cloister structures, and by 1804, the basilica was reassigned to act as an “helper and extension house of prayer” for the ward of Gladbach under the declaration of Priest Marcus Antonius Berdolet of Aachen. Starting around 1835, the rococo prelature working of the previous Benedictine cloister has filled in as the municipal center of Mönchengladbach. The nunnery’s thousand years was honored in 1974, commending its establishing in 974 and perceiving its notable job in the locale.
Construction History of the Church
The development history of the Basilica of St. Vitus in Mönchengladbach started with an early church worked around 800, which was subsequently obliterated by Hungarians in 954. The principal religious community church was raised in 974 and highlighted a prolonged lobby with a little ensemble and a west cross over building. By 1052, a west pinnacle had been built, and huge developments somewhere in the range of 1024 and 1067 remembered another grave and ensemble for the Romanesque style. The twelfth and thirteenth hundreds of years brought further improvements, with the nave modified in the late Hohenstaufen style and the ensemble stretched out under the direction of expert developer Gerhard von Köln. The congregation was sanctified in 1275 by Albertus Magnus. In the fourteenth 100 years, the nave was vaulted, and development advanced toward the east, albeit the first arrangement for a three-apse ensemble was not finished. Rococo remodels happened in the seventeenth and eighteenth hundreds of years, adding a bended vault to the pinnacle in 1749. The congregation went through rebuilding somewhere in the range of 1857 and 1862, including the expulsion of the arch and pinnacle bringing up in 1892. Broad wartime harm in 1943-1944 prompted significant post-war redesigns beginning in 1947, including pinnacle and sepulcher fixes, new windows, and the establishment of another organ in 1961.
Architecture of the Basilica of St. Vitus, Mönchengladbach, Germany
Architectural Style : Romanesque architecture
Interior Features of the Basilica of St. Vitus
The interior of the Basilica of St. Vitus in Mönchengladbach showcases a blend of early Gothic and high Gothic architectural styles. The central nave, representative of early Gothic design, is flanked by two side aisles that each function as distinct spaces. The high Gothic choir hall stands out as the pinnacle of the interior’s architectural beauty, characterized by its slender, elegant forms that convey a sense of grandeur. The nave’s imposing main pillars were constructed from trachyte blocks sourced from the nearby Drachenfels, adding a robust and distinct presence. Of significant importance in the Rhineland are the richly adorned columns and blind arcades found in the abbot’s chapel, located on the tower’s upper floor, which date back to the Staufer period. The right side aisle of the church is enclosed by the St. Stephen’s choir, which contains furnishings and an altar that predate 1275. Adjacent to this aisle is a two-bay chapel known as the Apostles’ Chapel, or capella baptisterii and capella fontis (baptismal chapel). This chapel features a 12th-century baptismal font made of bluestone, designed in the Maasland style, adorned with sculptures of lion-like mythical creatures and male heads. In 1975, an additional bronze insert by artist Franz Gutmann was added to the font, depicting scenes from the blessing of baptismal water during Easter. Since the 1950s, the chapel has also housed a crypt containing the burial places of several abbots, marked by an ancient gravestone carved from Namur bluestone.
The north aisle of the church features gravestones commemorating other abbots, providing a historical connection to the cathedral’s past. Adjacent to the north of the choir hall is the Martinus Choir, constructed between 1275 and 1300. It houses a significant example of Lower Rhine sculpture: the late 15th-century depiction of Anne Selbdritt, showcasing Mary, the Virgin Mother, with the child Jesus and Saint Anne. The early Gothic cross altar is positioned at the center of the chancel, located in front of the choir hall. Constructed from Weiberner tuff, this altar is adorned with pointed arch panels that enhance its visual impact. In 1975, to mark the 1000th anniversary of the abbey’s founding, the city gifted the cathedral a bronze triumphal cross created by Elmar Hillebrand. This cross, representing the crucified Christ, integrates motifs and quotations from the Old Testament, antiquity, and the New Testament, creating a profound narrative of religious history.
The ambo, crafted by Hillebrand in 1991, features depictions of the four evangelists—Mark, Matthew, Luke, and John—represented in the upper corners with open books, signifying their biblical contributions. The front of the ambo is inscribed with the Rule of St. Benedict, per ducatum evangelii (“let us go our way under the guidance of the Gospel”). Further reliefs depict Old Testament prophets—Abraham, Isaiah, Moses, and Jeremiah—while the book support of the lectern features a sculptural scene of the crucifixion, depicting Jesus Christ flanked by Mary and John, emphasizing the central theme of sacrifice and redemption.
The Crypt
The crypt of the Basilica of St. Vitus is the oldest part of the cathedral, dating back to the late 11th century during the construction of the second monastery church. It was designed as a space dedicated to the Mother of God, reflecting ancient traditions that associated mother shrines with the womb of the earth, symbolizing fertility and divine protection. Architecturally, the crypt is laid out as a hall with three distinct naves, organized into five square bays that create a sense of structural harmony. At the eastern end of the crypt stands the Marian altar, which serves as a focal point of devotion. The altar is home to the miraculous sculpture known as the Madonna in the Cleft, crafted from oak wood and originating from the Lower Rhine region around 1480. This artwork depicts the Virgin Mary as “Our Lady,” holding the infant Jesus in her left arm while the child playfully interacts with a parrot, emphasizing the sacredness and humanity of the scene.
The Organ
The organ of the Basilica of St. Vitus is a significant musical feature of the church, originally constructed in 1961 by the renowned organ-building firm Rieger, based in Vorarlberg, Austria. This impressive instrument boasts 44 registers distributed across three manuals and the pedal, providing a wide range of tonal possibilities. The action mechanism of the organ is mechanical, offering a traditional and responsive touch, while the stop action is electric, facilitating ease of use and control. In 2008, the organ underwent a comprehensive overhaul to ensure its continued excellence and functionality. The current disposition of the organ reflects its adaptability and the quality of craftsmanship, maintaining its role as an integral part of the cathedral’s liturgical and musical heritage.
The Bells
The bells of the Basilica of St. Vitus have a storied history that reflects both their religious significance and the challenges they have faced. The oldest documented church bells in the cathedral date back to the 13th, 14th, and 15th centuries, but unfortunately, these were lost due to the ravages of war. However, one bell from the abbey’s era, the Laurentius bell from 1693, was preserved and was later returned from Euskirchen.
In 1965, the current set of ten bells was cast by the distinguished bell foundry Mabilon & Co., led by Wolfgang Hausen-Mabilon in Saarburg. This project was made possible through the dedicated efforts of Provost Josef Kauff and Hans Neuenhofer, the head of the bell committee, who secured funding through generous donations from local patrons and sponsors. The result was a new set of bells that are highly regarded for their exceptional sound quality. A professional sound assessment has praised them for achieving a magnificently solemn yet joyful tone, marked by musical clarity and a vital, flowing sound.
Stained Glass Windows
The Basilica of St. Vitus is adorned with an impressive array of stained glass windows that contribute to its rich artistic and spiritual heritage. The oldest of these, known as the “Bible Window,” dates back to the 13th century and represents the early history of the cathedral. This remarkable piece is located in the choir and remains a testament to the craftsmanship of the medieval period. Throughout the church, crypt, and sacristy, the windows showcase a variety of biblical and religious themes. Notably, four windows by Wilhelm Geyer, completed in 1956, illustrate the life stories of Abraham, James, Moses, and David, along with parables. In the same year, Geyer also created seven high choir windows depicting scenes of Creation, Noah’s Ark, and the New Jerusalem. Another set of six clerestory windows, crafted by Daan Wildschut in 1957, features apostles and motifs from the Old Testament.
Further enhancing the beauty of the basilica are the windows in the Martinschor, also by Wilhelm Geyer, completed in 1960, which include six panels showing the life of St. Benedict. The cloister windows, designed by Joachim Klos in 1960, are a free composition that adds a unique touch. The Abbot’s Chapel boasts four windows by Wildschut, completed in 1961, that feature the archangels Uriel, Gabriel, Raphael, and Michael. The side aisles are home to a variety of windows by Wilhelm Geyer (1965), depicting scenes of “Veneration of the Cross” and “Warding off Evil,” as well as nine geometric compositions by Wilhelm Buschulte in 1975. The sacristy contains two windows by Hans Lünenborg from 1981, which use remnants of 16th-century glass to illustrate Passion motifs.
The crypt is illuminated by seven windows designed by Georg Meistermann in 1984, showcasing Marian symbols and motifs from the Litany of Loreto. The basilica’s stained glass legacy extends to more recent works, such as the geometric composition in the window above the side entrance by Wilhelm Buschulte (2007), and test panels by various artists in the cloister, including Daan Wildschut’s “Annunciation to Mary” and “The Nativity of Christ” (1956), as well as panels by Walther (Hugo) Benner and Heinrich Dieckmann, illustrating scenes like the “Crucifixion” and “Carrying of the Cross.” These windows not only highlight the architectural beauty of the basilica but also capture the evolution of stained glass art across centuries, from medieval masterpieces to modern interpretations.
Treasury of the Basilica of St. Vitus
The Treasury of the Basilica of St. Vitus, located in the east wing of the former monastery complex, is a repository of historical and religious artifacts, though much of its original wealth was lost during the secularization period. In 1794, French revolutionary forces melted down the abbey’s vast goldsmith collection, resulting in a significant loss. Today, only a fraction of these treasures remain, but they continue to offer a glimpse into the richness of the past. Among the surviving items, a Romanesque portable altar from around 1160 is particularly notable. This altar, an exceptional piece of Cologne goldsmith craftsmanship with its intricate chasing and pit enamel work, once held relics of St. Gereon and his companions. It was primarily used by the abbot as a celebration altar for travel or when tending to the sick. Adjacent to the altar is an ivory box from the 13th century, possibly of Eastern origin from the Crusades, which may have been used to house relics.
The treasury also houses manuscripts of historical significance, including a 12th-century missal, the “Necrologium Gladbacense” (the monastery’s book of the dead), and a neumatic choral script known as the “Gladbacher Choral.” The gilded communion shrine holds the cloth believed to have been used at the Last Supper, which is displayed to the public every seven years during a pilgrimage—a tradition that last occurred in 2014. Other important artifacts include a Germanic stone tablet inscribed with runic symbols, a Byzantine chasuble recovered from the grave of Sandrad in the cathedral’s central nave, and the seal of Albertus Magnus from his consecration of the high altar in 1275. Additionally, two large wooden candlesticks from the 15th century remain preserved, adding to the historical and cultural significance of the collection.
Monument Protection Description
The Congregation of St. Vitus stands noticeably in the old town, making a wonderful engineering gathering close by the municipal center, to which it borders with its façade toward the north, and the fundamental ward church of the Suspicion of Mary, arranged a little higher up the slope. This three-aisled point of support basilica is remarkable for its particular underlying creation, including a west structure, a Gothic east ensemble with a 2-narrows plan (7/12 end), and a side ensemble that is shut toward the north. Contiguous the ensemble is a sacristy, while a sanctuary like expansion of two sounds projects from the south side of the nave. The amicable juxtaposition of these various structures — including the ward church and the previous religious community structures — shows the extraordinary and alluring exchange of design styles that characterize the site. The differed styles on Nunnery Slope represent the city’s developing history, exhibiting a fruitful incorporation of times notwithstanding the free person of each structure. These verifiable and social layers make the outfit a commendable landmark to secure, despite the fact that it got through critical damage during the Second Universal Conflict.
Feast Day
Feast day: 15 June
The Feast day of the Basilica of St. Vitus in Mönchengladbach, Germany, is celebrated on June 15th. This date is dedicated to St. Vitus, the patron saint of the church, whose feast day is observed in the Catholic Church calendar on that day.
Church Mass Timing
Wednesday : 09:15 am., 02:30 pm.
Saturday : 6:15 pm.
Sunday : 11:00 am., 6:15 pm.
Church Opening Time:
Monday : Closed
Tuesday : 12:00 pm – 4:00 pm
Wednesday : 12:00 pm – 4:00 pm
Thursday : 12:00 pm – 4:00 pm
Friday : 12:00 pm – 4:00 pm
Saturday : Closed
Sunday : Closed
Contact Info
Address :
Abteistraße 41, 41061 Mönchengladbach, Germany.
Phone : +49 2161 462330
Accommodations
Connectivities
Airway
The Nearest Airport to The Church of Basilica of St. Vitus, Mönchengladbach, Germany, is, Mönchengladbach Arpt, Flughafenstraße 95, 41066 Mönchengladbach, Germany, which is just 20 min (8.7 km) via Korschenbroicher Str. away from the basilica.
Railway
The Nearest Railway to The Church of Basilica of St. Vitus, Mönchengladbach, Germany, is, Mönchengladbach Hbf 41065 Mönchengladbach, Germany, which is 6 min (1.5 km) via Lüpertzender Str. away from the basilica.
