Saint Peter's Parish Church

* Esenplein no. 1. Parish church dedicated to Saint Peter. The rebuilt church is protected as a monument by Royal Decree of 20.02.1939. Oriented place of worship amidst a cemetery with surrounding yellow brick wall under gable roof and between pillars. In the cemetery, nine brick chapels - probably dating from the 1920s - under gable roofs (tichelen) with pointed arch niches containing bas-reliefs depicting scenes from the life of Our Lady (cf. inscriptions). Preserved arched granite tombstones with neo-Gothic style from the end of the 19th century and the beginning of the 20th century. Also preserved iron crosses. Memorial in the form of a gravestone for four executed civilians of Esen (October 25, 1914), inscription: "ALL LAFFELY SHOT DEAD BY THE GERMANS IN EESSEN 25.10.1914". Also granite gravestone of French army doctor Chastang, who died on November 11, 1914 (cf. village introduction). Around 1970, the remains of the doctor were transferred to the French military cemetery of Chastre-Villeroux (Walloon Brabant). Gothic hall church that was completely rebuilt after World War I according to pre-war model (cf. comparison between the plans of the KCML of the restoration from 1907-1913 and the reconstruction plans of 1923-1926). History of the church According to some authors, the first mention of the church dates from 961 as "ecclesia de Esna" in a document in which Count Arnulf lists the tithes of the Bruges St. Donaas. The document mentions "ecclesia de Esna cum capellis suis Diccamutha et Clarc". In 1089, the church of Esen is mentioned again with the chapels in Diksmuide and Klerken, this in a charter of Count Robrecht II for the St. Donaas chapter. Other authors situate the first mention as a parish only in 1066 as "in parroechia villae que dicitur Esnes", this in a deed of Count Boudewijn V for the St. Peter's chapter of Lille. End of the twelfth century: the original church (according to some sources built of clay) is replaced by a Romanesque basilica with straight choir closures (cf. excavation of 1969 during which a straight choir closure was discovered), narrow side aisles, and a crossing tower. Of this church built of iron sandstone and fieldstone, a transept arm with round-arched vaults on the inside was preserved before World War I. During the rebuilding of the 1920s, this architectural element is reconstructed. 1488: the church is set on fire by German soldiers in the service of Emperor Maximilian of Austria. First half of the 16th century: the church is restored according to the scheme of a Gothic hall church with a west tower replacing the Romanesque basilica plan with a crossing tower. The Romanesque transept is integrated into the new Gothic church (cf. preserved transept arm in the pre-war and the reconstruction church). This church is mainly built of brick, including Bruges moefen (the largest 28 cm by 8 cm, cf. recovered stones in the reconstruction church), but also the field and iron sandstone of the Romanesque church are reclaimed. Around 1524, the construction of the west tower begins, cf. the recovered date stone in the rebuilt west tower (1920s) with the inscription: "IN THE YEAR 1524 TO ELCKX BESCHEE, THE FIRST STONE OF THIS TOWER IS LAID". The transept and side aisles date from around 1551. End of the 16th century: during the religious troubles, the church is partially destroyed by the Geuzen. This likely occurred in 1578, cf. destruction of the church of nearby Werken (Kortemark) in that same year. The damage is repaired at the beginning of the 17th century, including the replacement of stained glass. 1692: execution of a number of repair works in the choir, cf. recovered date stone "1692" between two pillars of the choir of the church rebuilt after World War I. Around 1848: modifications to the interior; the nave, transept, and choir are provided with a plaster ceiling. 1855-1857: application from the church factory to classify the church tower as a monument with the intention of restoring the spire. 1907-1913: extensive restoration works at the instigation of architect Thierry Nolf (Torhout) with the goal of achieving the Gothic church of the 16th century. The armored windows are replaced by windows with mullions and tracery (cf. plans KCML, see illustrations). In 1913, the five choir windows are also restored. During this restoration, the old (stone?) vaults would have been replaced by wooden ones. The interior of the church is also rearranged, the altars in the transept are removed. October 20, 1914: the German troops set fire to the church. This destroys not only the church building but also the archives and art treasures. May 20, 1917: the church is further destroyed by shelling from the Belgian artillery on the west tower, used as an observation post by the German troops. At the end of World War I, only a few wall fragments and the base of the west tower remain standing (cf. preserved iconography). During the reconstruction period, the initial idea of preserving the site of the shot-up church as a ruin is not realized. In 1923-1926, the church is rebuilt as a historical reconstruction at the instigation of architect Thierry Nolf (Torhout) based on the restoration plans of 1909-1913 (reconstruction plans in the archive KCML, see illustration). It was also opted to recover as much original material as possible: use of iron sandstone for the plinths of the transept and choir and moefen, among others, for the tower's foundation. The western transept arm of the southern transept is entirely built of iron sandstone as a reconstruction of a preserved Romanesque element from before the war. On September 3, 1926, the rebuilt church is consecrated. A number of memorial plaques and a stained glass window in the church commemorate the military and civilian victims of World War I (see under furnishings). The church is protected as a monument by Royal Decree of 20.02.1939. 1969-1970: adaptations to the interior including a complete plastering. The tower clock and stained glass windows are also repaired and renewed. In 1971, a neo-Baroque organ is built by organ builder Loncke. 1997-1998: restoration at the instigation of the architectural firm D. and P. Seys (Diksmuide). The floor plan reveals: a square west tower placed at the southwest corner with a polygonal stair turret; three-nave hall church with a five-bay nave (wide central aisle and narrow side aisles); transept projecting with one bay; side choirs (broader than the aisles, bringing them on the same line as the transept) of two bays with straight closure and main choir with five-sided closure; in line with the southern choir: almost freestanding low sacristy of six bays on an L-shaped ground plan. Surrounding drip path renewed. Material use: yellow brick construction on a plinth about 80 cm high partly made of iron sandstone in the transept, choirs, and choir closures. One blind transept arm of the southern transept is completely made of iron sandstone (reconstruction of a Romanesque element, see above). Covering with slate gabled roofs. The narrower side aisles are fitted under a lower gabled roof; the choirs, on the other hand, are all of equal height. Related to regional brick Gothic. Imposing and broad west tower under a tent roof with cross crowning and rooster. Due to the parapet, the spire is almost not visible. The tower tapers and consists of five levels marked by continuous cordon lists of white natural stone at the level of the eaves. Heavy, right-angled buttresses with corners and pointed arch blind panels with three-pass motifs. Southwest polygonal stair tower under brick spire with star-shaped top decoration; blind pointed arch niches with three-pass motifs and light slots. Lower level: basket arch portal in a frame of white natural stone (west side). Second level: pointed arch window (three-lights) in a profiled frame, with tracery in fishbladder motif (west side), the other sides are blind. Third and fourth levels: paired pointed arch blind panels with three-lobed tracery and light slots. Fifth level: two pointed arch bell openings with blind three-pass motif and tower clock above. Side aisles with string course matching the buttresses of the tower. Corner buttresses with corner panels and blind panels, leading to brick pinnacles. The bays of the nave are rhythmically divided by buttresses with corner panels and pointed arch windows in a profiled frame (three-lights), with brick tracery and on continuous eaves and under drip list. In the south aisle, pointed portal recessed in a profiled niche with drip list on white natural stone consoles, arch tapering at the top and with an integrated niche. Similar rhythm of transept and choirs. The transepts are closed off with gable ends, at the corners bordered by corner buttresses with corner panels and blind panels leading to brick pinnacles; pointed arch windows (five-lights) in a profiled frame on continuous eaves and under drip list, brick tracery with fishbladder motif. Straight choir closures as gable ends with pointed arch windows (three-lights) inscribed in a rectangular wall section, in the northern choir provided with battlements and flanked to the left by three-lobed niches. Main choir rhythmically arranged by corner buttresses and pointed arch windows (two-lights). The almost freestanding sacristy is only connected to the south choir by a low door bay under a flat roof. Remarkable long south facade with natural stone cross windows with thief's bars, inscribed in a profiled Tudor arch niche with matching drip list. Interior. In the tower with entrance portal, wooden beam ceilings with profiled main beams on consoles, profiled blind panels on eaves, access to the stair tower in the southwest corner. Renewed choir with neo-Baroque organ. Simple plasterless and partly lime-washed hall church; profiled pointed arch arcade on round brick columns on octagonal pedestals. One transept arm of the southern transept is entirely built of iron sandstone with marking elongated round-arched vaults, this as reconstruction during the rebuilding of a Romanesque element, cf. above). In the choir closure, slender columns with knob capitals. Vaulting of nave, side aisles, and choirs by means of wooden rib vaults with profiled wooden tension beams on consoles. At the level of the crossing, diagonally crossing tension beams. Choir closure under wooden rib vault. Furnishings. In the south choir, retable for the military and civilian victims of World War I, central high relief with Pietà, flanked on the left by the names of the civilian victims, on the right by those of the fallen soldiers. Stained glass windows (partly renewed in 1969-1970) with images of Our Lady with child and various saints in the choir closure. Stained glass window with the "Resurrection of Jesus" in the south choir and "Church and episcopal consecration" in the north choir. Also stained glass window for the military and civilian victims of World War I. Hardstone grave markers of Andries Houvenagel († 1681) and Mayken De Bee (undated). Copper memorial plate for the 8th and 18th Line Regiment (right aisle) that occupied Esen on September 29, 1918. Also memento (right aisle) from 1958 for the 8th and 18th Line Regiment. SECTION ROHM WEST FLANDERS, Cel Monuments and Landscapes, archive no. 277. ARCHIVE KCML, Plans regarding the St. Peter's Church of Esen. INVENTORY OF RELICS FROM WW I IN THE WESTHOEK (Province of West Flanders, "War and Peace in the Westhoek", and Ministry of the Flemish Community, Department of Monuments and Landscapes). PROVINCIAL LIBRARY TOLHUIS, Phototheque. ROYAL INSTITUTE FOR ART HERITAGE, Phototheque and website. CARNIER M., Places of prayer and parishes in the diocese of Terwaan, Brussels, 1999, pp. 59-63. DEVLIEGHER L., St. Peter's Church in Esen, in Archeology, vol. 6, no. 2, 1969, pp. 73. DE VOS-STOCKMAN A., ROOSE B., Photorepertory of the furniture of Belgian places of worship. Province of West Flanders. Canton of Diksmuide, Brussels, 1973, pp. 16-17. ERVINCK L., DEBAEKE S., The drama of Esen, Koksijde, 1996, pp. 14-16, 77, 116-117, 152, 155, 160, 163, 165-166, 170. DE SMIDT F., Romanesque ecclesiastical architecture in West Flanders, Ghent, 1940, pp. 80-82. LOONTIENS C., The origin of the main municipalities of the districts Oostende, Veurne, and Diksmuide, Oostende, n.d. NOTEBAERT A., NEUMANN C. et al., Inventory of the archive of the Service of Devastated Areas, General State Archive, Brussels, 1986, dossier no. 14191, 7710, 7732, 7709. ROOSE B., Repertory of sources for art and cultural history in the archive of the Province of West Flanders, (3rd section 1817-1879), Brussels, 2001, p. 195. STYNEN H., CHARLIER G. et al., The devastated region 15/18. Mission Dhuicque, Bruges, 1985, p. 2. VLAEMYNCK J., Esen, History of our village, s.l., n.d., pp. 7-16.

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