Marienkirche (Dortmund)
The St. Mary's Church is a Protestant church in the Dortmund downtown from the 12th century. It is located south of the Reinoldikirche on Ostenhellweg .
As the court and council church of the former Free Imperial City, the Marienkirche houses important medieval art treasures, including the Marien Altar by Conrad von Soest and the Berswordtaltar . It combines Romanesque and Gothic building elements.
history
Originated in the Staufer period
Historians suspect that the visits of Emperor Friedrich I. Barbarossa and his successor and son Heinrich VI. led to the construction of the Marienkirche in the imperial palace of Dortmund. There is evidence that Friedrich I. Barbarossa (1152–1190) visited Dortmund twice. Presumably he gave the city the official name Tremonia on the occasion of a visit to the city in 1152 . Even under his son Heinrich VI. (King from 1169 to 1197) the importance of the royal palace and the imperial estates in Dortmund developed.
Little is known about the founding of the Church. However, it can be assumed that it was built after the Reinoldikirche in the 12th century and that there may have been a previous building. The church is mentioned for the first time in a document in 1267. In the first documented mentions and in the chronicles, the building is referred to as Capella Regis until the 14th century , which highlights the special reference to the royal palace.
According to Luise von Winterfeld, the oldest literary testimony to the Marienkirche in Dortmund is an old French poem by the four Haimons children from the beginning of the 13th century .
The historic structure of the church was built in the 12th century as a late Romanesque, three-nave pillar basilica with a pair of twin towers in the west. The construction hut of the Marienkirche is said to come from the Rhineland and was built after the Marienkirche St. Ludgeri in Münster . The architectural concept of the church as a basilica without a transept and with the pair of towers finds no parallel in Westphalia. Similar building concepts can be found at the imperial church foundations in Goslar and the imperial domes in Speyer and Königslutter . Based on this evidence, Norbert Reimann comes to the conclusion that
"... that today's building of the Marienkirche or Marienkapelle was built by the king in the Staufer times - only Friedrich Barbarossa is actually considered here - in order to use it as a palatine chapel."
In the 13th century, the city council largely took over the rights of the king. So the Marienkirche became the council church. The members of the council were initially mainly recruited from the royal "familia", that is, the leading families of the imperial estate administration. It was only in the course of the city's history that particularly successful middle-class families established themselves in the city council.
“The Marienkirche was apparently initially the court church of the 'nobiles' within the city, because here - opposite the court of justice - hung the court bell; Thus the Marienkirche represented the claim to leadership of the aldermen in a time of social upheaval within the city. This corresponds to the building of St. Mary's Church, which is reminiscent of royal sacred architecture. The probable use for judicial services anticipates the later tradition of the council service in the Marienkirche - only for this reason does it become plausible why the council service was not celebrated in the main church of St. Reinoldi, but in the subsidiary church of St. Mary. "
In the middle of the 14th century, the three semicircular Romanesque apses were replaced by a larger Gothic choir. Other parts of the church were also redesigned in the Gothic style, such as the north aisle. In the south aisle one can still see Romanesque style elements today. City merchants had two small special chapels built to the left and right of the choir. The southern one was in today's entrance area of the sacristy and was named Berswordt chapel after its founder .
Family altars were built in the church for both chapels. The best-known altar is the Marien Altar by Conrad von Soest from 1420 , which has been preserved to this day .
Decline and restoration
The Reformation found strong support in Dortmund, but also led the city into conflict. Above all, the influence of Brandenburg-Prussia provided support for the reformatory efforts. In a long process, the Reformation prevailed in Dortmund until 1648. With the Thirty Years' War the decline of the imperial city of Dortmund began .
Dortmund, as the Protestant imperial city of the Catholic Emperor, strove for neutrality for a long time. In 1632 Dortmund was conquered and occupied by the Catholic, in 1633 by the Protestant and from 1636 by the imperial side. The imperial troops stayed in the city until the peace agreement. At the end of the war only a third of the citizens lived in the city, numerous houses were destroyed and the city was heavily in debt.
"The collapse of the Reinoldi church tower in 1661, which can be foreseen for years, may appear to us today as a symbol for the decay of the city ..."
When the Reinoldikirchtower collapsed, the nearby Marienkirche was partially destroyed. A restoration was initially not possible due to a lack of funds. The church was considered a ruin and was temporarily closed to the public. In 1805 the northern tower had to be removed. Since 1819 the city sought to unite the community with the Reinoldikirche. In 1828 the church had to be closed due to dilapidation, in 1832 the southern tower threatened to collapse. The ruins of the church should be torn down and released as a quarry.
“As a result of higher orders, the local Evangelical Church of Mary and the tower are to be sold to the highest bidder for demolition due to recognized dilapidation. The building, which still contains very useful materials, namely stones, including angular, partly carved house stones, good quarry stones and good facing panels, wood, including sharp-edged beautiful dry oak timber, boards and strong slats, also made of glass, iron, lead, Consisting of slate and pans, it will first be offered individually and then as a whole. The date for this is set for Monday, September 30th in the afternoon at 2 a.m. in the local town hall, and entrepre- neurs and entrepreneurs capable of custody are invited with the remark that the sales advance notice should be published here 3 weeks before the upcoming date. "
Only after the church was publicly advertised as a quarry did the first protest arise. The decisive factor was the commitment of the Prussian Crown Prince and later King Friedrich Wilhelm IV. After a visit to Dortmund in 1833. In December 1833 the director of the Royal Picture Gallery in Berlin visited the church and advocated its preservation. He informed Karl Friedrich Schinkel about the situation. Nevertheless, on February 17, 1834 , the Ministry of Spiritual, Educational and Medical Affairs granted the demolition permit. At the initiative of Schinkel and the Crown Prince, this approval was initially withheld.
After a renewed investigation, senior building director Schinkel formulated an expert opinion in favor of the preservation of the church.
“According to this, the building is of no small interest due to its antiquity and its peculiar construction, and it certainly deserves to be preserved. The structural condition of the same is in some parts bad and even threatening, but generally not of such a quality that it cannot be restored by repairs at moderate cost. "
The report also mentions that the majority of the parishioners wanted to use building land and building materials for a school and suggests that the church building may be converted in this way. Due to an improvement in the financial situation and further reports, the congregation finally decided to restore the church as a place of worship. In March 1839, the community decided in a meeting called by the authorities to separate from the Reinoldi community.
The church was initially poorly restored. In June 1837, the repair costs were set at 3786 thalers. After extensive reconstruction work under the direction of building inspector Buchholz, the first service after the restoration was celebrated in May 1839. Pastor Nun from Schwelm, the poet of the freedom song "Flamme up", held the first service in the restored church. The outsourced works of art were brought back and some of them were placed elsewhere.
On December 26, 1839, when the church bells were ringing, part of the tower collapsed without causing any damage. The church tower was renewed for 5,500 Reichstaler. In 1843 the spire was renewed, and in 1859 a few windows followed, including the large west window and three choir windows.
The restoration of the old organ took place in 1856, and finally three new bells were cast in 1859. Despite these structural investments, the structure of the church was still poor. The parish of St. Marien considered extensively restoring the church or building a new building on the same site. In an expert opinion, the Westphalian art historian Wilhelm Lübke recommended that the church be torn down “taking into account the existing stylistic differences of the old building and the vital needs of contemporary church life” and that a new building be built.
The Mariengemeinde did not follow this report, but commissioned the Dortmund building officer Genzmer as the architect to carry out a comprehensive restoration. In 1881 and the following year 150,000 marks were invested. The crossbeams used as supports in the longship have been removed. Projections and walls on the pillars were also removed. New windows were broken in and the interior of the church was given a new painting. The portal Porticus S. Marie under the west window, already mentioned in 1274, was bricked up during this restoration. On July 2, 1882, the church was reopened with a thanksgiving and festive service.
In 1908 the Mariengemeinde invested again in the building. In addition to the new painted interior of the church, a larger organ was installed in front of the west window in addition to the wall organ. On this occasion, Gothic wall paintings were discovered behind the choir stalls.
Congregational life under National Socialism
With the National Socialist harmonization , the churches also came under increasing pressure. The Evangelical Church organized itself in July 1933 in the German Evangelical Church . Ludwig Müller became Reich Bishop . The National Socialist German Christians gained a strong influence . A counter-movement developed in 1934 with the Confessing Church .
The presbytery of St. Mary's Church supported this counter-movement early on and thus came under increasing pressure. In 1936, names were preached from the pulpit against the crimes of the concentration camps, and it was considered dangerous for officials to attend church services in St. Mary's Church. After Martin Niemöller was arrested, a telegram of protest was sent to the government. The altar candles were symbolically not lit while Niemoller was in custody, a mourning bell was rung every day at 3 p.m. Because of the opposition, pastors and church staff were repeatedly arrested.
On April 19, 1938, the parish of St. Marien was advertised by the consistory in Münster. In the election of the successor to the retired Pastor Haberkamp (1872-1951), a representative of the Confessing Church, Hans Joachim Iwand, was elected as his successor on April 23, against heavy pressure from the National Socialists .
Following the intervention of the Reich Church Ministry , Iwand was initially not confirmed by the consistory in Münster. Iwand was arrested twice in the stone guard . The exact time of detention is not known. Iwand's pupil and biographer Jürgen Seim suspects that Iwand was imprisoned in May 1938 and from autumn 1938 (between November 20 and 27) to March 1939. On June 1, 1938, Iwand initially worked as an assistant preacher in the community for a fee of 450 Reichsmarks and moved into the parsonage at Olpe 10 as a neighbor of Fritz Heuner . During his imprisonment, there were various fears that Iwand might be transported to the concentration camp. Unlike other prisoners, Iwand said he was treated well at the Steinwache. While in custody, Iwand was able to contribute to the Munich Luther edition. In terms of content, it was about a presentation of Luther's doctrine of free will. Due to the steadfastness of the presbyters, Iwand was finally introduced into office on October 12, 1939.
For a long time, Iwand's involvement in the Confessing Church during the Nazi era aimed at clearly delimiting the Confessing Church from the National Socialist German Christians in the Protestant Church. Against the persecution of the Jews, Iwand cited as a fundamental theological error that although Jesus' humanity had been attested to in the Christian Church, not his Judaism.
Destruction and rebuilding
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At the end of the Second World War, the Marienkirche was partially destroyed, especially during the heavy attack on October 6, 1944. An incendiary bomb penetrated the vault and set the interior on fire. The wooden pulpit, the old organ, the baroque altar, the artistic Gothic windows and the painted ceiling were irretrievably lost. Further damage was caused by weather damage due to the missing roofs. The art treasures shown today could be saved by outsourcing.
Only after the currency reform , in autumn 1948, could the reconstruction begin. In addition to repair and stabilization work, some structural changes were made. The architect Hermann Kessemeier reports:
“1954: In February we began excavation work to lower the floor in the main and north aisles in order to make the pillars and column bases visible again in their full beauty, as in the Romanesque period. Parts of the floor from the Romanesque period were found here. The floor was raised by 25-30 cm at the beginning of the 14th century, as was evident from the Gothic parts of the outer walls of the north aisle. "
During the restoration, the quality of the Romanesque masonry was determined, which could even meet today's standards and far exceeded the quality of the Gothic masonry. In keeping with the taste of the post-war period, the interior was largely unfinished and framed.
During the restoration, various investigations into the early building history were carried out.
"One with Professor Dr. Thümmler's investigation of the profiles of the cross vault ribs that were found, which still showed remains of paint, showed that at the beginning of the 14th century the chapel in the north aisle was built instead of the Romanesque apse, then the Berswordt chapel and finally the main choir around 1340. "
After the Second World War, the Vehoff House in the north-east, built in 1905 based on a previous building from the Renaissance, was adapted to the style of St. Mary's Church. The Vehoff House has been connected to St. Mary's Church via an archway since it was built.
On April 2, 1950, the south aisle was inaugurated as an emergency church. The restoration work was not completed until 1957. On June 2, 1957, the congregation celebrated the restoration of the church in a festive service.
New glazing
In 1972 the new glazing of the church by Johannes Schreiter was completed. Schreiter designed windows with very simple, restrained ornamentation, with which he wanted to emphasize the altars in particular. The informal design nevertheless also conveys a theological symbolism.
“The builder has depicted the path of the church as the path of the wandering people of God from baptism while crossing the Red Sea to entering the 'promised land' through the procession to the chancel in the west - east orientation of the building horizontally. The glass painter makes the same statement in the vertical dimension and uses the religious value of the terms 'below' and 'above'. In this way every emerging line becomes a reference to the Creator God, who created everything well and arranged it well. The earthly community, symbolized in the liturgical color red in the lower fields, already has its counterpart on earth in the uppermost fields under the pointed arch of the window. This relationship between the earthly community and the already completed multitude who are above with God is destroyed and broken by the many cracks and chaotic deformations. "
The triad of the windows symbolizes the Trinity . The hope for the connection to the divine is expressed by continuous bands of light.
Community life after the war
From 1953 to 1988, Konrad Lorenz led the Protestant St. Marien Congregation, initially as an assistant preacher and since 1955 as a pastor. The reconstruction of the church, which was completed in 1957, initially fell during his term of office. Pastor Lorenz led the solemn festival service on June 2, 1957, musically framed by the organ playing by the organist, church music director Otto Heinermann, and by the Marienchor under the direction of cantor Peter Rocholl . In 1969 the new parish hall followed. As the editor of two works on the church, Konrad Lorenz contributed to making the art treasures known to a wider public.
Today (2019) Pastor Ingo Maxeiner leads the congregation. Next to him a work sexton couple, a cantor and a church secretary full-time in the church. The partner church of the Marienkirche is the Transfiguration Church of the Protestant parish in Berlin-Adlershof .
St. Mary's Cultural Property and Church Music Foundation
Since 2003, the non-profit foundation for cultural property and church music of the Evangelical St. Mariengemeinde has been trying to preserve the church and its art treasures. The task of the foundation is to preserve the building, preserve the works of art, maintain church music in St. Marien and improve the indoor climate. Foundation employees regularly offer free tours of the church.
Building description
The Marienkirche is a three-aisled pillar basilica without a transept . The external impression of the Marienkirche is shaped by the stone masonry made of light sandstone. The round arch of the Romanesque portal on the south side is supported by columns, the capitals of which are decorated with floral ornamentation.
The main nave has a slate-covered gable roof, the side aisles have pent roofs covered in the same way. The choir with its slate-covered gable roof clearly towers above the main house.
The west side is dominated by the 42.5 m high Romanesque tower adjoining the south aisle with a rhombus helmet with a square floor plan. Its northern counterpart was demolished in 1805 due to its disrepair. These originally two towers on the west facade rose above the aisles.
The west portal leads directly into the central nave without a vestibule. A Romanesque overall impression has been preserved inside the main house. The central nave, up to 17.6 meters high, consists of three nearly square bays (around 8 × 8 m), which are covered with dome-like vaults . The arched belts between them rest on the pillars in front of semi-columns with simple cube capitals. The significantly lower (6.3 m) aisles have, following the principles of the bound system , six groin-vaulted rectangular (average around 4 × 6 m) yokes between flat belt arches, which are supported by pillars similar to those of the yokes of the main nave; the two western bays show much stronger outer walls than tower bays. Between the pillars, two half-columns each carry stepped beams of the round partition arches , the transverse chords of the aisles are each preceded by a half-column. The high, empty high walls under each of the four round arched windows, which were originally painted, make the arcade zone appear relatively compact and low. Romanesque arched windows characterize the upper storey. While the window openings in the south aisle are designed as round arches, the windows in the north aisle have been redesigned in the Gothic style.
Behind the triumphal arch is the Gothic choir , which has been raised by three steps and almost reaches the height of the main nave . Two short, star-arched rectangular yokes are followed by a polygonal 5/8 end . The tracery of the three-lane windows of the choir is characterized by cloverleaf arches, above them three-leaves and quatrains. The end of the pointed arch of the window is formed by a cross-shaped arrangement of four connected quadrupeds.
The side aisles end in chapels to the east. With the construction of the Gothic choir, the original side apses were transformed into a flat choir closure in the north and a side chapel in the south with a 5/8 apse . To the right of the choir, behind the Berswordt Chapel, is the sacristy built in the 1950s .
The Marienkirche is registered as an architectural monument in the list of monuments of the city of Dortmund .
Furnishing
Altars
Berswordt Altar
The Marienkirche houses two art-historically significant altars. The older one stands in the north aisle and is called the Berswordt Altar after its founder . The paintings are dated to around 1395 and show the crucifixion of Christ in a sequence of scenes. The painter is unknown, but there is speculation that it could be an early work by Conrad von Soest , which newer research denies.
The left panel shows Jesus on the Way of the Cross to Golgotha . Simon of Cyrene is forced to help him carry the heavy cross. While servants of the Roman soldiers beat him forward, some women weep for him.
The middle panel summarizes various episodes of the crucifixion. It shows the collapse of Mary, who is supported by John. John looks at the crucified Christ, who, according to the Gospel of John, declares the two to be mother and son. At the foot of the cross, demonic figures haggle over the garment of Jesus. But a Roman centurion recognizes the true Son of God in the dying Jesus. His confession is carried out as a banner. In the center of the middle panel is the cross with the dying Jesus, the stab with a lance in the side is also shown. To the right and left behind Jesus hang the thieves crucified with him. The soul of the one who repents is taken by an angel, that of the stubborn by a devil.
The right panel shows the Descent from the Cross. Also in this picture the cross is in the center. The event is limited to a few people, unlike in the abundance of scenes in the central image. Against the golden background, the robes of the acting persons shine red, gold and green. Joseph of Arimathia holds the body of Jesus in his arms while others use pliers to remove the bleeding nails from the feet and detach the left arm from the cross. The figure of Jesus is not only veiled in the area of the white cloth that covers his shame.
| Berswordt Altar (~ 1395) | ||
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The three opened panels of the Berswordt Altar
Marien Altar of Conrad von Soest
On the main altar are the panels of the Marien Altar (around 1420) by Conrad von Soest, which were originally part of a Gothic altar that was destroyed in 1720. In order to fit the panels into a baroque altar structure, they were cut, an unimaginable process given the quality of the work of art from today's perspective. Today the panels are set in modern metal frames.
The paintings on the front show motifs from the life of Mary. On the left panel the colors gold, blue and red dominate. The birth of Jesus is shown. The middle panel shows the death of Mary. The figure shines brightly from a blue environment of angels who close her eyes. The reclining Mary holds a death candle in her hand as a symbol of death. Three figures dressed in red surround the dying woman. Johannes hands her the death candle, at the top right in the golden background a view of heaven opens up, the motif of the open hand shows that the way to paradise is open to Mary. The right panel shows the adoration of the Magi. The panels on the back of the altar are badly weathered.
The fascination of the painting is based on different moments. The bright colors, the unusual size of the figures for the time and the harmony of the composition play a role. The painting shows medieval style elements, such as the flat golden backgrounds, the size of the figures according to their religious significance or the telling of biblical stories. At the same time, the development of Renaissance painting, the creation of perspective, the faces of time and the anatomy of the body are fascinating.
The signature of Conrad von Soest is so hidden in a picture detail that it was only discovered in 1950.
| Marien Altar of Conrad von Soest 1420 (front) | ||
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The panels on the front of the Marian altar
Marienfiguren
There are two significant figures of Mary in the church.
The Golden Mother of God of Dortmund is a late Romanesque figure of the Virgin, from around 1230 (dating R. Fritz). The 91 centimeter high figure made of walnut wood with a birch throne post is located on the south wall of the chancel. The inside of the sculpture is partially hollowed out, presumably to accommodate relics. The version visible today (= painting) dates from the 15th century and was designed according to the original version. The version was temporarily painted over and has been restored several times, most recently in 1976 at the State Office for Monument Preservation in Münster.
What is striking is the distant gaze of mother and child. This arrangement of the figures, which is common in the Romanesque, suggests that even as a child Christ should not be classified in normal human relationships. The hand position of the figures is no longer strictly Romanesque. The baby Jesus is holding a vessel that resembles a small jug.
"The vessel that the child holds in his hands refers to the virgin womb of the mother, from which it emerged, begotten of the Holy Spirit."
The missing hands of the figures must have been stretched towards the viewer after the arm fragments were aligned. An older illustration shows that Mary's hand was still preserved in 1894.
The late Gothic picture on the back (oak panel) shows the meeting of Joachim and Anna, Mary's parents, at the Golden Gate. Rinke dates the work to 1470/80. Both figures are dressed like wealthy citizens of the Middle Ages. In the background you can see a gate and a crenellated city wall. Maria's father carries a purse on his belt, his sheep graze in the foreground. The painting was only added afterwards around 1470. The painting on the back shows that the Madonna was used in processions.
The Gothic sandstone Madonna in the right aisle of St. Mary's Church was dated to 1420 by R. Fritz. The seated Madonna, 75 centimeters high, shows remains of the originally colored frame. The Christ child on Mary's lap has no head. An oil painting was removed from the Museum of Art and Cultural History prior to its re-installation in 1957 .
The image of the Madonna from the time the Altarpiece was made shows a clear revival compared to the older, late Romanesque Golden Madonna . The sculpture is in the tradition of the soft style of the “beautiful Madonnas”, for example through the soft, flowing character of the robe. The figure of Mary, sitting on a stone bench, holds the half-raised Christ Child on her lap. Your hands gently grip the child's shoulder and foot. The gaze is no longer directed into an indefinite distance, but turns more towards the child. A dress with a belt becomes visible under Maria's soft, flowing coat. Her head, tilted slightly to the right, wears a golden crown, and long reddish hair falls down to her shoulders.
“The baby Jesus holds an apple in his right hand, a symbol of the original sin conquered by Christ, at the same time a reference to Mary as the“ new Eve ”; with the left hand it plays on the belt of the mother's dress. "
More pieces of equipment
The choir stalls from the 16th century were carved from oak in the late Gothic style of the Lower Rhine . It was probably built in 1523 and is very similar to the stalls in the earlier collegiate church in Cappenberg . It is therefore assumed that both works come from the same workshop, which was probably on the Lower Rhine. So-called misericordia were placed under the seats , small seating areas to relieve the strain when standing. Carved symbolic figures under the misericords show the vices of the people. There are drolleries on the partitions between the seats .
Representations of saints and rich decorations can be found above the seats. The figures on the side borders (cheeks) with finely carved columns are particularly eye-catching.
The eagle desk is a lectern from 1450. The gothic brass desk mounted on a sandstone pillar depicts the eagle largely in a naturalistic way. The procurement of the desk is interpreted by some authors from the competition at that time with the neighboring Reinoldikirche , which has a comparable desk. The eagle can be interpreted as a symbol of the Evangelist John or for the resurrection of Jesus. The depiction of Jesus on the chest indicates the latter meaning. Holy scriptures used to be read from the eagle's desk. Since the wooden baroque pulpit was lost in a fire, sermons have also been held there. For this purpose, a book cover made of Plexiglas was attached to the eagle's back.
The late Romanesque baptismal font comes from the Staufer period and is located in the Berswordt Chapel. The large baptismal font suggests that adults should also be baptized here. At times the baptismal font was used outside the church, presumably as a horse trough due to the heavy signs of use. There are suspicions that the stone comes from the earlier Nicolaikirche. Before the stone was installed in St. Mary's Church, it was shown in the Museum am Ostwall together with modern art. The plants in the decorations, such as rose and grape, are considered symbols of Jesus.
Another baptismal font made of wood in the baroque style is located near the west portal in the main nave. It bears the inscription:
"HERMAN MALLINCKRODT AND GERTRUD EICHEN WOMEN GIVEN THIS BAPTISM IN THE GLORY OF GOD IN S. MARIAE CHURCH ANNO 1687"
The coats of arms of the donors can be found under the names. The large bunch of grapes on the lid and the smaller one under the basin represent the hope of eternal life. A thistle under the smaller grape symbolizes the pain that man has to expect in life.
A more recent art treasure is the wall relief Christ head with a crown of thorns from 1905. The head was originally designed by the Jewish sculptor Benno Elkan for the grave of the Feuerbaum family.
Behind the choir stalls in the northern choir there is a sacrament house made of sandstone (around 1450) in the style of a high-Gothic cathedral facade, which probably originates from the building works of the neighboring Reinoldikirche. The 7.50 meter high sacraments in the style of the Parler succession originally served to store liturgical implements, perhaps also relics. It replaced an older sacrament niche set into the choir wall, which can still be seen next to the sacrament house. As the photo by Ludorff shows, there were figures of saints in the barred niches in the 19th century.
Rinke assumes that the sacrament house was originally painted in color. When the church was rebuilt, the decoration was slightly supplemented and restored.
There is also a sculpture of Jesus in the choir room on the south side. Christ is depicted here as the ruler of the world in the style of an imperial image, equipped with the imperial insignia of secular power, the temple crown and the imperial orb . The scepter in the right hand was lost at an unknown point in time. The figure rests its right foot on the globe. The figure is partly no longer in its original condition. Rinke suspects an earlier colored version, which, according to Dr. Fritz was replaced by today's brown oil paint in the 19th century.
In the transition between nave and choir, the so-called triumphal arch, a triumphal cross from the 16th century hangs high in the church interior . The 3.84 meters high and 2.81 meters wide cross shows a curved INRI inscription above the figure of the dying Christ and the symbols of the four evangelists at the ends of the bars .
The church contains a number of old grave slabs set into the walls. Until 1809, the dead of the congregation were buried in the churchyard, pastors and patricians inside the church. This was then banned and the city set up the Westentotenhof outside the city walls , today's West Park . Old grave slabs can still be seen there today.
The eagle desk
The eagle's desk 1894
Christ as ruler of the world
Head of Christ with a crown of thorns in the north aisle
Northwest window cheek of the choir stalls
Wooden figure from the pulpit destroyed in World War II
Detail of the baroque font
The late Romanesque font
Grave slab in the Berswordt Chapel
The high Gothic sacrament house
Detailed view of the sacrament house
Marienaltar Conrad von Soest, detail
organ
The case of the late medieval organ , which was probably built by Johann von Schwerte in 1520, was destroyed in a bomb attack during World War II.
Today's organ in St. Mary's Church has 34 registers on three manuals and a pedal . It dates from 1967 and was manufactured by the Gustav Steinmann Orgelbau company from Vlotho . It is arranged according to the principles of organ movement in a moderately neo-baroque manner and has a fresh, robust sound in which the individual voices are clearly perceptible. In 2007 the organ was completely re-voiced and equipped with a composer system. In 2018, the instrument was again technically expanded and changed in some registers. Thus the possibilities of the organ are set up even broader and enable the more adequate presentation of romantic organ literature.
Like the medieval organ, the instrument stands as a swallow's nest organ on a gallery in front of the north wall of the central nave. The main housing is modeled on the late Gothic in abstract forms. The main work, including the breastwork (as swellwork ) and, in the gallery parapet, the so-called Rückpositiv are attached. The pedals are covered by a slatted cladding behind the main housing above the north aisle vault. The organ is side-play, that is, the organist sits on the lower left narrow side of the main case.
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- Coupling : III / I, I / II, III / II, Sup I / I, Sub I / I, Sup II / II, Sub II / II, Sub I / II, I / P, II / P, III / P
- Playing aids : typesetting system with 4000 combinations, man. III swellable
Bells
The first bells of the Marienkirche were cast by master Johann Windenbroech in 1442.
Despite the dominance of the Reinoldikirche, St. Marien had a special right to bells. A small bell, the so-called court bell, hung high in one of the towers. Their ringing gave the signal for the meetings in the Richthaus or Tribunal, which was opposite the Marienkirche on the corner of Ostenhellweg and Brückstrasse. Besides her, there were four more bells in the two Marian towers. One of them was called the council bell because it called the councilors to their meetings in the town hall. In 1857 the old bells were melted down.
Then again three bells were procured that rang until the First World War ("Maria", "Magdalena", "Salome"). Today only one bell hangs in the tower (“Salome”). In 1906 the council decided to rebuild the second tower next to the bell tower. However, this plan was not implemented any more than newer plans from the 1980s.
literature
- Martin Blindow: Organ history of the Marienkirche Dortmund. 2001. In: Contributions to the history of Dortmund and the county of Mark. Pp. 246-254.
- Klaus Lange: Capella Regis. To the construction program of the Marienkirche in Dortmund. in: Contributions to the history of Dortmund and the county of Mark. 83/84, 1992/1993.
- Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Self-published by the Mariengemeinde, numerous images, Dortmund 1981.
- Albert Ludorff : The architectural and art monuments of the Dortmund city district. Munster 1894.
- Gustav Luntowski: Günther Högl, Thomas Schilp, Norbert Reimann: History of the city of Dortmund. Published by the Dortmund City Archive, Harenberg, Dortmund 1994, ISBN 3-611-00397-2 .
- Götz J. Pfeiffer: The painting on the Lower Rhine and in Westphalia around 1400. The master of the Berswordt retable and the style change of the time. Petersberg 2009 (also: Diss. Phil. Berlin, 2005).
- Götz J. Pfeiffer: "... even more excellent than the two female saints ...". Works by the master of the Berswordt reredos compared with the Wildung reredos . In: Geschichtsblätter für Waldeck, 96, 2008, pp. 10–31.
- Götz J. Pfeiffer: The retable art of the master of the Berswordt retable in Westphalia. In: Uwe Albrecht, Bernd B possibly (eds.): The Landkirchen reredos in the Schleswig-Holstein State Museum at Gottorf Castle. Files from the international colloquium on October 4th and 5th, 2002 in Schleswig. Schloß Gottorf, Kiel 2008, pp. 98-112.
- Wolfgang Rinke: Dortmund churches of the Middle Ages, St. Reinoldi, St. Marien, St. Johannes Bapt. Propstei, St. Petri. Dortmund 1991, ISBN 3-7932-5032-6 .
- Thomas Schilp and Barbara Welzel (eds.): Dortmund and Conrad von Soest in late medieval Europe. Publishing house for regional history, Bielefeld 2004.
- Thomas Schilp, Barbara Welzel (ed.): The Marienkirche in Dortmund. Publishing house for regional history, Bielefeld 2012, ISBN 978-3-89534-943-0 .
- Jürgen Seim: Hans Joachim Iwand, A Biography. Kaiser / Gütersloher Verlagshaus, Gütersloh 1999, ISBN 3-579-01844-2 .
- Liesel and Hans-Georg Westermann: Church is great! Excursions to Dortmund's churches: St. Marien. Ruhfus, Dortmund 1991.
- Andrea Zupancic, Thomas Schilp (ed.): The Berswordt master and Dortmund painting around 1400. Urban culture in the late Middle Ages. Publishing house for regional history, Bielefeld 2002, ISSN 1610-403X , ISBN 3-89534-488-5 .
Web links
- Community website
- St. Marien Foundation
- Monument of the month December 2010. Restoration of the sacrament house in the Church of St. Mary. In: dortmund.de - The Dortmund city portal. Monument Authority of the City of Dortmund, accessed on December 29, 2015 .
Individual evidence
- ↑ Norbert Reimann: The becoming of the city. In: Gustav Luntovski, Günther Högl, Thomas Schilp, Norbert Reimann: History of the City of Dortmund , p. 45ff.
- ↑ Dortmunder Urkundenbuch (1), 1881, p. 60, no. 124; quoted from Wolfgang Rinke: Dortmunder Kirchen des Mittelalters , p. 98.
- ↑ cf. Klaus Lange: Capella Regis. To the construction program of the Marienkirche in Dortmund.
- ↑ a b c Hermann Kessemeier : A contribution to the building history and a report on the reconstruction of the Marienkirche. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 54–66, here p. 54.
- ^ Thomas Schilp: The Imperial City, 1250–1802. In: Gustav Luntovski among others: History of the City of Dortmund, p. 154.
- ^ Thomas Schilp: The Imperial City, 1250–1802. In: Gustav Luntovski among others: History of the City of Dortmund , p. 199.
- ↑ Luise von Winterfeld : The Marienkirche through the ages. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 32–47, here p. 42.
- ^ A b Luise von Winterfeld: The Marienkirche through the ages. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 32–47, here p. 44.
- ^ Fritz Heuner: The share of the Mariengemeinde in the struggle of the Confessing Church. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 48–53, here p. 48.
- ^ Fritz Heuner: The share of the Mariengemeinde in the struggle of the Confessing Church. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 48–53, here p. 50.
- ↑ Because of the courage to take this decision, here are the names of the presbyters: Chairman: Fritz Heuner; Presbyter: Rudolf Feuerbaum (businessman), Walter Wäger (businessman), Hermann Kessemeier (architect), Hermann Fiene (master carpenter), Wilhelm Keune (general agent), Max Grund (chief engineer), Otto Heuner sen. (Bank director); List in: Jürgen Seim: Hans Joachim Iwand, Eine Biographie , pp. 223–224.
- ↑ a b Jürgen Seim, p. 232.
- ↑ Jürgen Seim, p. 226.
- ^ Fritz Heuner: The share of the Mariengemeinde in the struggle of the Confessing Church. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 48-53, here pp. 50-52.
- ^ Jürgen Seim: Hans Joachim Iwand, Eine Biographie , p. 224.
- ↑ Hermann Kessemeier: A contribution to the building history and a report on the reconstruction of St. Marienkirche. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 54–66, here p. 58.
- ↑ Hermann Kessemeier: A contribution to the building history and a report on the reconstruction of St. Marienkirche. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 54–66, here p. 60.
- ↑ Karl Neuhoff: today, back then, back then . 5th edition. Krüger-Verlag, Dortmund 1990, ISBN 3-927827-02-9 , pp. 106 ff .
- ↑ Konrad Lorenz: The glass windows in the Ev. St. Mary's Church, Dortmund. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Evangelical St. Marien Congregation, Dortmund, pp. 67–71, here p. 68.
- ↑ Evangelical St. Marien Congregation Dortmund
- ↑ Dimensions rounded, according to: Wolfgang Rinke: Dortmund Churches of the Middle Ages .
- ↑ No. A 0968. List of monuments of the city of Dortmund. (PDF) (No longer available online.) In: dortmund.de - Das Dortmunder Stadtportal. Monument Authority of the City of Dortmund, April 14, 2014, archived from the original on September 15, 2014 ; accessed on June 12, 2014 (size: 180 kB). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Horst Appuhn: St. Marien in Dortmund. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 18–31, here p. 24.
- ↑ Albert Ludorff: The architectural and art monuments of the Dortmund city district. Münster 1894, plate 18.
- ↑ Rinke: Dortmund Churches of the Middle Ages , p. 102.
- ^ Horst Appuhn: St. Marien in Dortmund. In: Konrad Lorenz: The Ev. St. Mary's Church in Dortmund. Ev. St. Mariengemeinde, Dortmund 1981, pp. 18–31, here p. 28.
- ↑ Rinke: Dortmund Churches of the Middle Ages , p. 105.
- ↑ Rinke: Dortmund Churches of the Middle Ages , p. 104.
- ^ Martin Blindow: Organ history of the city of Dortmund . LIT Verlag, Münster 2008, ISBN 978-3-8258-0895-2 , pp. 167 ( limited preview in Google Book search).
- ↑ For more details on the disposition of the organ, see Kessemeier, p. 62.
Coordinates: 51 ° 30 ′ 51 ″ N , 7 ° 28 ′ 3 ″ E
