History and building
History
At a crossroads of waterways
The Nicolaaskerk was built at a crossroads of waterways, namely the Kromme Rijn and the Vaartse Rijn and the Oudegracht, which were dug in the 12th century. The name of the church comes from the patron saint Saint Nicholas, patron saint of sailors, among others. The name therefore refers to the location of the church, which was mainly visited by the local fishermen, skippers and merchants.
In addition to the obvious religious function, the church had another, more practical function for the local residents. In 1429, a clock was placed in the south tower. Keeping track of time was useful in connection with the religious obligations, but also certainly contributed to the trade and port activities. This clock was replaced in 1585 by a clock by G. Wouters and is now on display in the Nicolaïkerk for viewing.
The origin and construction of the Nicolaas Church
Construction of the church began around the year 1110. Originally, the Nicolaaskerk was a Romanesque cruciform basilica. The church is currently one of the few medieval churches in Utrecht that still contains some original Romanesque elements. For example, several pillars and the choir vault are still original. On the outside, the Romanesque origins can still be seen in the two-tower front. Internally, the front facade is divided into floors with a tribune between the two towers, which provided space for the high clergy. Such a front facade with two towers is quite exceptional for a parish church. Parish churches were generally simple churches for the common people and usually never had two towers. This was only the case with cathedrals, monastery and chapter churches. The church may have had a different function initially, but it is not possible to say with certainty what that function must have been.
The church was already extensively renovated at the beginning of the 13th century. Due to the growing number of churchgoers, the church had to be expanded and the side aisles were raised.
In the period from 1465 to 1479, the Romanesque Nicolaaskerk was converted into a Gothic hall church under the direction of architect Jacob van der Borch. The church was given a new saddle roof that was extended to between the towers. This was at the expense of the tribune. A number of parts of the Romanesque interior were preserved, such as a few pillars and the choir vault.
The two towers of the Nicolaaskerk originally had a low spire, but in 1586 the southern tower was raised with bricks for a new carillon by Thomas Both. Grey stripes were painted on the brick as imitation tuff. In 1674 a heavy storm raged over a large part of the country, damaging many buildings. The north tower of the Nicolaaskerk also lost its spire. The spire was then replaced by a low roof. This made the difference in height between the two towers even greater. In 1718 the northeastern Romanesque crossing pillar collapsed. This was not repaired, but in order to preserve the unity in the building the opposite pillar was also demolished. The vault was locally adapted to this.
The Reformation
In 1566, the iconoclasm hit the Nicolaaskerk and in 1579 the church officially became Protestant. This had major consequences for the interior of the church: the statues of saints disappeared, the stained glass windows were destroyed and the choir fell completely out of use.
Being a public Catholic was forbidden after the Reformation. Many churches and monasteries remained without a function and were rarely visited. There were enough churches available for the reformed religion. The Nicolaaskerk fell into disrepair and the city government decided to demolish the towers so that the stones could be used elsewhere. However, the residents rebelled against this demolition. The church should not disappear from their streetscape, it was a beacon for skippers and a 'clock' for the whole of Tolsteeg. The neighbourhood started a kind of collection campaign to renovate the church and to be able to purchase new church bells. The bells were cast by local resident Thomas Both. However, he was mainly a cannon founder and not so much specialized in casting bells. After a year, the bells had to be replaced because of their poor quality, but the neighbourhood had managed to save its church from demolition.
Restorations
The first major restoration of the Nicolaaskerk took place in the 1940s. The facade was extensively restored. New tuff stone cladding was applied to both the inside and outside, and the tribune between the towers, which had been demolished in the 15th century, was rebuilt. In the 1960s, the church was included in a restoration plan for five Dutch Reformed churches, together with the Domkerk, the Janskerk, the Buurkerk and the Jacobikerk. The restoration of the Nicolaaskerk aimed to make the entire building history visible.
Part of the second Romanesque construction phase was restored and the crossing pillars that disappeared in 1718 were rebuilt. The vault was restored in Gothic style so that the unity of the hall church would not be lost. In order to keep the various construction traces visible, some pillars were left unplastered and the beginning of the original lower vault of the side aisles is still visible. The rest of the interior is plastered white.
Use then and now
The Nicolaaskerk has served as a Roman Catholic parish church over the years and later as a Protestant church. Since 2004, the Nicolaïkerk has been part of the Protestant Church in the Netherlands (PKN), like most other Protestant churches (in Utrecht). The building is also used as an exhibition space for the adjacent Centraal Museum and old objects from other churches are also exhibited there.
A musical tradition developed around the many organs in the Nicolaaskerk. The current organists regularly give public organ concerts. Incidentally, the Nicolaas concerts also take place in the church a few times a year and the choir is used for special services.
Interior
Traces of history in the interior
The height and open character of the Nicolaaskerk make the church appear spacious and grand. The large Romanesque pillars make the furniture seem insignificant.
In the interior, many old building traces can be found. For example, on the pillars, remains of the original height of the side aisles can still be seen. The Romanesque choir vault contains a painting with ornamental and geometric shapes, which was applied in the 14th century. An older image shimmers through the painting, red concentric circles can be vaguely recognized.
The floor of the choir shows how large the church was in earlier construction phases. For example, building blocks from the Romanesque and Gothic construction periods can be distinguished. When looking into the nave from the choir, it can also be seen that the crooked Romanesque pillars have been carrying the heavy load of the vault for many years.
There used to be canopied benches around the pillars. The canopies above the benches and chairs served to keep the winter cold off the walls. The benches that are still there are made of parts of these
banks.
In the 15th century, the Holy Cross Chapel was built on the south side of the choir. This was once owned by the Brotherhood of the Cross. The corbels depict the prophets wearing so-called Jewish caps. They were probably made by master builder Jacob van der Borch. Five consecration crosses and a linen weaver's shuttle are engraved in the red sandstone altar table.
The pulpit, copper lectern, copper baptismal arches and the baptismal fence were all made in the 17th century. The six copper chandeliers from 1661 are decorated with the coats of arms of the donors, namely the States of Utrecht, the City of Utrecht and other institutions including the sack carriers' guild. The current church pews were placed in the 18th century. They are decorated with the coats of arms of the States of Utrecht, the city of Utrecht, the five Utrecht chapters and of Lady Reede-Duyts van Voorhout, the founder of the foundation of Renswoude. She had her own pew in the church.
The church is also decorated with a monument for the poet Jacobus Bellamy (1757-1786) and the burial chapels of the Van Lynden van Lunenburg and Van Tuyll van Serooskerken families.
Special decorations
Painting of band vaults
The two band vaults for the stairs to the current choir section of the Klaaskerk, form the ceiling of the medieval choir. The current choir is a partly 15th, partly 16th century extension of the church.
During the restoration in the 1970s, the remains of a beautiful painting came to light as a great surprise on the eastern band vault. After thorough research, it was decided not only to consolidate the remains that were found, but also to add the missing parts.
The added parts are not only accurately described
but also applied in such a way – namely with small strokes of paint (hatching) – that later generations can always see which parts are original and which are 20th century. Although the painting makes a very colourful impression, only four colours were used: white, black, red and yellow. In various places, parts of red circles shine through the current painting. These are the remains of the original 13th century painting of the vault.
Pulpit
In 1581, after the reformation, the protestant community in the Nicolaïkerk started with an altered pulpit from the Predikherenkerk. In 1615, a “proper” pulpit including a spiral staircase and baptismal fence was added, made by Egbert Hendrickxzoon van Hees.
In 1661, two copper lecterns (one on the pulpit and one on the baptismal fence) and a baptismal bracket were added, made by Master Robbert de Cronegieter. A year later, three copper baptismal arches followed, also made by him. This pulpit was attached to a pillar and stood in a transverse position on the south side of the church (for your orientation: the pillar to the left of the current location of the pulpit).
On 22 April 1718, the pillar opposite the pulpit collapsed, together with vaulted bays and part of the outer wall. During the restoration work, it was decided to demolish the opposite pillar, to which the pulpit was attached. This created a large space for the choir and the pulpit and furniture were moved from a transverse arrangement to a longitudinal arrangement. A new pulpit was installed. The baptismal fence, the copper lecterns and two of the three baptismal arches were reused. (The copper of the third arch, together with a bell, was probably sold to finance the restoration work.)
This pulpit from 1718, which we still have today, is sometimes wrongly called a (neo)renaissance pulpit. However, the neo-renaissance decorations that we see now were only added around 1888. The reason for this was that the Meester Peter Gerritsz organ that was present until 1885 was replaced by the new Witte organ. Because of this new organ, people also wanted a new interior, but because there was not enough money for that, the pulpit was only embellished. The decorations that were added were in the same style as the decorations on the Peter Gerritsz organ. This as a tribute and in memory. The archives show that these embellishments cost 250 guilders. The Meester Peter Gerritsz organ, the oldest organ preserved in the Netherlands, will return to the church. The place for this organ can already be seen opposite the pulpit.
Around 1930 there were plans to close and demolish the Geertekerk. The baptismal fence that was there was transferred to the Nicolaïkerk. On the right in this photo is the baptismal fence of the Nicolaïkerk, made in 1615 by Egbert Hendrickxzoon van Hees and on the left the baptismal fence from the Geertekerk, made in 1648 by Adriaen van Lobbrecht. Although the fences were made by two different makers, they show many similarities and together they form a whole. The area within these fences is called the baptismal garden. During the last restoration (1970-1978) the two missing pillars were restored and the pulpit was placed in its current place in a transverse arrangement.
Font
The baptismal font now used in the Klaaskerk dates from 1955. It was donated at the completion of the restoration of the westwork of the church. The donor wished to remain unknown. However, the names of the designer and the maker have been handed down, respectively Mr. PH Vree and Mr. AP van Trierum, both from Utrecht.
The baptismal font consists of an oak base in which a silver basin is placed. The end of Isaiah 43 verse 1 is engraved in the lid: "I have called you by your name, you are mine". The decoration of the oak base is coordinated with the decoration of the pulpit and thus creates a connection to the decoration of the oak case of the old Meester Peter organ.
The copper baptismal bracket still attached to the pulpit was made in 1661 by Robert de Cronegieter, the brass founder who also made the copper lecterns and baptismal arches.
Organ
The organs in the church
There are a number of organs in the Nicolaaskerk. Two are from the Danish company Marcussen. This company brought about a lot of international innovation with its organs. They combined the old renaissance and baroque elements with the new techniques of organ building. The large Marcussen organ was built in 1953 and replaced the Witte organ. This organ from 1888 could not be returned to its original place after a rose window was discovered during a restoration in 1948.
The organ was too high and would block the rose window. It was decided to have a new organ built. Insiders consider the new Marcussen organ a masterpiece. It was built after 17th-century examples from Northern Germany and is striking because of its front. It contains horizontal reed stops (trumpets), something that had never been seen in the Netherlands until 1953.
The small Marcussen organ dates from 1950 and was built as a Sweelinck organ for the NCRV. When this broadcaster moved to a new studio in 2000, this organ was given on loan to the Nicolaaskerk.
The choir organ comes from the Utrecht organ builders Van Vulpen and has stood in several churches. It has been in the Nicolaaskerk since 1979.
The Peter Gerritsz organ
One important organ is no longer in the Nicolaaskerk. It is the organ of Peter Gerritszoon, dating from 1477-79 and thus the oldest and most important preserved organ from the Middle Ages in the Netherlands. In 1886 the church sold this organ to the Rijksmuseum in Amsterdam. Before the outbreak of
the Second World War the organ was safely stored in a national bunker. After the war the
organ case, however, a new destination. As part of the repair of war damage, the government had the organ transferred to Middelburg, where the abbey complex had been badly damaged by the bombings of 17 May 1940. The case of the Peter Gerritsz organ was incorporated into the Koorkerk. The interior of the organ is stored elsewhere and so the organ is not able to produce music.
In recent years, there has been a discussion about whether or not to relocate the organ to the Nicolaaskerk. Opponents want to keep the case in Middelburg, while proponents would like to see the organ and case united and in the Utrecht church. However, the organ cannot return to its original location in the church, because the Marcussen organ is now located there. In anticipation of a possible relocation to the Nicolaaskerk, a test setup has been created.
Clocks
In the north tower of the Nicolaïkerk hangs a bell from 1573 made by Willem Wegewart. The inscription reads: in gaedes eere bin ick martinus genant int iaer MVCXXIII sin ick geordinert wilh wegwart has formed me. The bell measures 120 cm and weighs approx. 1100 kg.
The southern tower houses four bells by the bell foundry Petit & Fritsen. These bells were made in 1996 and bear the names 'Salvator' (88 cm, 425 kg), 'Maria' (81 cm, 350 kg), 'Nicolaas' (76 cm, 285 kg) and 'Johannes' (64 cm, 180 kg). The inscriptions on the bells were made by Willem Barnard and tell us the following message respectively: 'I call you with my voice of bronze, O Lord, have mercy on us', 'I call to all here below, take courage, prayers have been said for you', 'Come, prepare for the service in this church called Klaaskerk' and 'the great word has descended, translated for us into a human voice'.
Carillon
In 1581, the city council wanted to demolish the two towers of the Nicolaikerk. The residents opposed this and decided to donate a carillon for the southern tower, the Romanesque substructure of which was raised between 1581 and 1586 with a brick superstructure and an octagonal dome.
The bells were made by Thomas Both, but were replaced in 1649 by a carillon by the Gebr. Francois and Pieter Hemony. In 1932, the dilapidated carillon was restored and expanded with 12 bells by the English bell founder John Taylor. The automatic playing mechanism was also adjusted. In 1957, the Taylor bells were replaced by bells by Petit & Fritsen from Aarle-Rixtel. In 1985, five more bells were added, made by the Eijsbouts company from Asten. Finally, in 1988, the set was expanded with two more Eijsbouts bells. It now consists of 43 bells.
Chiming bells
Salvator
Maria
Martinus
Johannes
Nicholas
Combi
Combi 2
Bibliography
- Regteren, A., 'Brief report of the archaeological soil research in the Nicolaïkerk and surroundings in Utrecht', in: Restoration of five reformed churches in the city centre of Utrecht (1969/1970), p. 3-16.
- Kolman, C. et al., Monuments in the Netherlands: Utrecht, Utrecht 1996.
- Taylor, S., 'The organ in the Nicolaïkerk in Utrecht', in: Het orgel 95, no. 4 (1999), p. 12-19.
- Rijk, H. de, 'Special sundials in Utrecht', in: Oud Utrecht 76 (2003), pp. 62-65.
- Edited by Peter van de Coolwijk, Gerrit-Jan Kraaij, Biem Lap, Leny Noordermeer, Nel van de Ridder, Geo Rodermond, Ben van Spanje and Ton Tamse. Under the spell of the church. 25 years of Church Watching Utrecht, Utrecht 2007.
- 'Oldest Dutch organ in Lelystad can be viewed', in: De orgelkrant 5, jr. 13 (2008), p. 1-5.
- 'Organ case removed from choir church', in: PZC Schouwen-Duiveland 24-7-2009.
- Kralt, T., Living monuments, history, conservation and contemporary use of Utrecht inner city churches, Utrecht 2009.
- 'Summary proceedings regarding relocation of organ', in: PZC Walgeren 14-1-2011.
- 'War over organ: Zeeland-Utrecht dispute over restitution', in: De weekkrant, city newspaper Utrecht 15-3-2011.
Text: Marieke Lenferink and Lisa Olrichs
Photography: Maarten Buruma, Arthur van der Hurk and Nina Slagmolen