Varel palace church

Standing proudly in the heart of Varel, Lower Saxony, the Varel palace church, known locally as Schlosskirche St. Petri, is a magnificent testament to medieval architecture and the enduring spirit of the local community. This historic church, with its striking blend of granite boulders, brick, and granite blocks, has not only served as a place of worship but also as a symbol of resilience and cultural heritage.

The History of Varel Palace Church

The origins of the Varel palace church date back to the Middle Ages when it was constructed on the highest point of Varel, replacing a smaller wooden structure. The church became a part of a grand palace complex built by the Counts of Varel after 1650. Although the palace itself was demolished following a devastating fire around 1870, the church continued to serve the local community as a parish church. It is believed that the church was originally dedicated to the Apostle Peter.

In 1992, the church underwent a meticulous restoration process, which not only preserved its structural integrity but also provided valuable insights for monument preservation. The restoration was made possible through the combined efforts and financial contributions of the Evangelical Lutheran Church in Oldenburg, the state of Lower Saxony, the citizens of Varel, and various regional institutions. Today, the Varel palace church stands as one of the most significant architectural and cultural landmarks in the region.

Architectural Marvels

The oldest part of the Varel palace church is the longitudinal nave, constructed in the 12th century using irregularly hewn boulders. Despite the later addition of a tower, the original west gable of the nave remains intact. The nave initially had a flat ceiling, which was later replaced with pointed domical vaults supported by sturdy wall projections. During this renovation, the windows were repositioned and given round arches. The longitudinal walls were also raised by 1.26 meters and lined with brick on the inside.

The imposing tower, added in the first half of the 13th century, features a double-tower design typical of Romanesque architecture. The first floor of the tower was intended as a lord's gallery, although the old west gable of the nave was not opened to the west. The wooden spires of the tower were lost around 1600, possibly due to a storm. The remaining stumps were consolidated under a single roof in the 18th century. Inside the church, the remnants of the twin towers can still be seen, housing five church bells. The tower's base consists of an entrance hall with two modern stained glass windows and the lord's gallery above.

The church's distinctive cruciform shape was achieved by adding a transept and a choir to the east. During this expansion, the nave was raised again by 1.10 meters using slightly larger bricks than those used in the first vault and wall elevation. The dating of the transept and choir to the mid-15th century by Wilhelm Janßen is considered unusually late, given the early Gothic features of the choir gable's three-window group and the granite cladding. The Dehio Handbook of 1992 dates the transept and choir to the late 13th century, although dendrochronological dating of the roof structure has yet to be conducted.

Exquisite Interior and Notable Works

The Varel palace church is home to several masterpieces by the renowned sculptor Ludwig Münstermann, commissioned by Count Anton II of Delmenhorst between 1613 and 1618. These works, crafted in the Mannerist style, include an intricately carved oak altarpiece, a pulpit, and a baptismal font with a cover, all of which have been remarkably preserved.

The Altarpiece

Created in 1614, the altarpiece is Münstermann's most extensive single work. The oak structure, adorned with alabaster reliefs and figures, rises to nearly 10 meters in height. The central axis features a series of reliefs, starting with the Adoration of the Shepherds, followed by the Last Supper, and culminating with the Crucifixion, Resurrection, and Ascension of Christ. At the very top stands the salvator mundi, Christ the Savior, holding the globe. The side axes are enriched with portraits of Luther and Melanchthon, apostles, virtues, and putti. The colorful finish was reconstructed in 1962 based on historical findings.

The Pulpit

The sandstone pulpit is surrounded by small prophet figures, with only Isaiah being original. The pulpit base, likely from the 18th century, is supported by half-figures of virtues. Surprisingly, the pulpit also features church fathers, more commonly found in Catholic iconography, suggesting a connection to the Irenic movement, which advocated for a more conciliatory approach during contemporary religious conflicts. This is further emphasized by the depiction of George of Anhalt, a proponent of the Interim rules.

The Baptismal Font

The chalice-shaped baptismal font, crafted from sandstone and alabaster, is signed and dated 1618. The font bowl is supported by six alabaster figures, including John the Baptist and an angel from Münstermann's workshop. The remaining figures, Christ and the four evangelists, are 1905 replicas based on fragments. In 1998, the church regained the baptismal font cover, which hangs from above.

The Organ

The church's organ, built by Karl Schuke in 1978, incorporates the case of its predecessor, a two-manual organ constructed by Philipp Furtwängler in 1861. The case features remnants of the 1615 organ prospect by Ludwig Münstermann, including two lion statues holding coats of arms. The current organ has 46 stops on three manuals and a pedal, with electric action and couplers.

The Varel palace church is not just an architectural gem but also a cultural beacon, reflecting the rich history and artistic heritage of the region. Its walls echo stories of resilience, faith, and artistic brilliance, making it a must-visit destination for anyone exploring Lower Saxony.