History and building
History
Valk was one of those architects of the interbellum who did not shy away from the achievements of the modern construction industry but who, in their designs, certainly for churches and other public buildings, sought to connect with the archetypes in architecture. After all, they too wanted to modernize contemporary architecture and leave the historicizing design of the nineteenth century behind, but unlike their colleagues of the New Objectivity, they believed that churches and other public buildings should offer security and familiarity. To that end, Valk also sought the archetypes in architecture, which he then applied in a stylized, almost abstract form in his monumental church buildings.
The use of materials also bears witness to this view: the foundations are made of reinforced concrete, the high dome is in fact an iron skeleton construction, while the walls and vaults are made of clean masonry of the highest quality.
Immediately after the building was completed, artist Willem Wiegmans (1892-1942) was commissioned to paint the murals (including the back wall of the choir and a Stations of the Cross along the walls of the church) and the stained glass windows with the life story of Saint Aloysius. His figurative, but abstracted, representations tie in with the architectural design and together they form one coherent `Gesamtkunstwerk`.
The Aloysius Church was put into use in 1924. The interior - murals, statues and stained glass windows - were designed by Willem Wiegmans (1892-1942). The church is a so-called people's church. In this type of church, the architecture and decorations are aimed at giving churchgoers an optimal - and equal - view of the altar. The hexagonal floor plan of the church contributes to this. After the Second Vatican Council (1960s), the chancel was adapted. In the course of the past century, many valuables found a new home in the Aloysius Church due to the closure of the H. Hartkerk near the Wilhelminapark, the OL Vrouw ten Hemelopneming on the Biltstraat and the St. Gertrudis on the Amaliastraat. This brochure provides a brief explanation of the decorations and objects in the church.
Interior
Inside, against the front of the church, are four statues designed by Willem Wiegmans. Next to the statue of St. Aloysius, which is depicted here, are statues of the Sacred Heart, St. Joseph and St. Ignatius. The 14 Stations of the Cross are also by Wiegmans' hand.
The stations have bright colours and stylised lines. The colours have a specific symbolism: the green of the cross stands for hope, the white of Christ for purity and the purple of Mary Magdalene for penance.
Close to the statue of Mary with the many candles, which comes from the H.Hartkerk, is the Augustinusklok, also from this church, named after the then pastor-dean Augustinus Wiegerink. The bell was cast in 1949 by Petit and Fritsen and with its 485 kilos is too heavy for the tower of the Aloysiuskerk.
The church and the adjacent Antoniuskapel contain a large number of stained glass windows, also made by Willem Wiegmans. The windows in the church depict scenes from the life of Saint Aloysius (the patron saint of the church), linked to the beatitudes from the Gospel of Matthew. Each window consists of two windows showing Aloysius as a good example (always facing the altar) and a third window with a "bad example" from the Bible (turned away from the altar). Wiegmans added symbols to the tops of the windows, such as grass for transience and a crocus for joy.
The windows are characterized by a monumental and stylized formal language with slender, tight figures and even color areas, inspired by medieval art. The windows in the Antonius chapel depict the life of Saint Anthony.
The baptismal font at the front right of the church is a gift from the Jesuits. At the front left of the church is part of the beautifully crafted communion bench that originates from the 18th century predecessor of the Biltstraatkerk.
In the late 1960s, the chancel of the Aloysius was extensively renovated. A new altar, designed with the anbo by the Utrecht goldsmiths the Van Roosmalen brothers, was placed centrally at the front and the Meere organ from the Biltstraat church was placed at the back of the apse.
The organ is a national monument that was built in 1810 by the Utrecht organ builder Abraham Meere (1761-1841).
In the chancel, the sanctuary lamp by the tabernacle and the crucifix on the credence table stand out. The crucifix comes from the Biltstraat church and was donated by a parishioner on Christmas Day 1873.
Adjacent to the chancel is the Antonius chapel with a baptismal font in the left front, which was made by the Utrecht goldsmith Jan Noyons (1918-1982). This baptismal font was first in the chapel of the former St. Antonius Hospital and was given a place here via the Biltstraat church.
Behind the altar in the chapel is a mosaic, also by Wiegmans, made of Italian glass and depicting Saint Anthony. It is characterized by a lively reflection of light.