Nikolaikirche (Wismar)

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South view of the Nikolaikirche
Floor plan of the Nikolaikirche

The church of St. Nikolai von Wismar was built between 1381 and 1487 as a church for seafarers and fishermen. It is considered a late Gothic masterpiece in Northern Europe. The Nikolaikirche is part of the old town of Wismar since 2002 on the list of the UNESCO world cultural heritage . It is currently the property of the city (see Spiritual Elevations ) and serves the parish of St. Nikolai in the Wismar Propstei, Mecklenburg parish of the Evangelical Lutheran Church in Northern Germany .

history

According to recent research results relating to the history of the town's settlement, it is assumed that the old merchants' settlement near the mine had a church dedicated to Nicholas; however, there is no evidence for this assumption. The parish of St. Nikolai already existed before the middle of the 13th century and probably had a church from the time the city was founded around 1230 as its center. The construction of the current building began around 1370. In 1381, the city council commissioned the master mason Heinrich von Bremen, who was also the builder of the Michaeliskloster in Lüneburg, to complete the choir . Numerous shaped stones from Lüneburg were used, which can be seen from the brick stamps. The consecration of the high altar is documented for 1403. The master bricklayer from Bremen worked on the building until 1415. In 1434 work was carried out on the north aisle and in 1437 on the south aisle. Under the direction of Peter Stolp and Hermann von Münster in 1459, the work was done to the point that the church could be consecrated. From 1485 to 1487, Hans Mertens built the two upper floors of the tower, the spire was put on in 1508. On December 8, 1703, a destroyed exceptional storm the spire of the tower. Its parts pierced the roof and the vaults of the central nave. Many pieces of the interior, including the medieval furnishings, were destroyed. Then the tower was given a transverse gable roof and the central nave a flat ceiling. The renovation of the furnishings lasted until the second half of the 18th century. Not until 1867 was a vault built again. A comprehensive renovation of the church is documented between 1880 and 1881. The room setting , which is based on medieval models, also dates from this time . The figurative painting from the Middle Ages was restored at the same time. The eastern ridge turret, the so-called Steigerturm, was built in 1890. The air raids in World War II caused little damage to the church. Many pieces of equipment from the badly affected churches of St. Georgen and St. Marien found a new place here. The extensive security measures of the last few years mainly concerned the roofs (1963), the flying buttresses and the rising masonry.

Building description

Choir with pulpit, triumphal cross and main altar
Limestone cuboids on the tower edges, arched friezes made of glazed shaped bricks on the tower base

Exterior construction

The huge structure of St. Nikolai with its high nave forms a prominent point in the city silhouette of Wismar, together with the other two large churches St. Marien and St. Georgen .

St. Nikolai: flying buttresses

The building is a three-aisled basilica with insert chapels , ambulatory and chapel wreath and was built in the style of north German brick Gothic . In contrast to other large sacred buildings of the late Gothic in northern Germany (e.g. the Wismarer Georgenkirche or the Stralsund Marienkirche ) the buttress is present here, 16 buttresses give the towering central nave the necessary stability. The buttresses separate the side chapels and are not visible from the outside. The indentations between the choir chapels are "straightened" so that a continuous roof covers the choir polygon. The monopitch roofs of the transverse arms are detached from the nave and do not interrupt the series of buttresses and cliff windows. The tower, with its current transverse gable roof and a height of 64 m, originally had to be imagined almost twice as high.

Gable triangle of the south transept with tracery rosette and galleries of relief figures made of terracotta

The gable of the south hall has an unusually rich decoration for the brick Gothic. It is structured by motif friezes that are inserted in the brick. The individual figures represent the Mother of God, Saint Nicholas, dragons, lions and human heads. Above the motif frieze there is a rosette made of brick. The north gable facing away from the city center is also decorated with a rose window, but more simply. The building is essentially based on the Ratskirche St. Marien , which, like St. Nikolai, takes up the original form of the Lübeck Marienkirche .

Interior

The room looks tremendously ambitious and uniform; the choir and the 7 bays of the central nave are not separated from each other. The emphasis on the vertical with high and densely placed arcades to the side aisles and shorter windows in the upper aisle gives the interior a special height effect. The relatively small width of the main nave of only 10.50 meters also contributes to this. The reveals of the three-lane upper clad windows are brought down to the cornice, small ogival openings are reminiscent of a triforium . The nave, side chapels and vestibule are vaulted with cross ribs. The five choir chapels are connected to the gallery by six-part vaults. Two aisles divided, as in Doberan, cross-house-like lobbies of two times two yokes around a central pillar, which does not open up like a transept of the nave and did not reach its height. The choir has a five-eighth closing . With a vaulted height of 37 meters, the main nave is the fourth highest nave in Germany and the second highest in the brick Gothic sacred building , with the Marienkirche in Lübeck only 1.5 m higher than the Nikolaikirche.

Main nave vault of St. Nikolai

Dimensions

St. Nikolai: south view
  • Tower height: 64 m (formerly about 120 m)
  • Total length: 85 m
  • Largest width: 58 m
  • Central nave: 37 m × 10.5 m
  • Vault height central nave: 37 m
  • Aisles: 18.5 m × 5.5 m
  • Wall thickness of the tower shaft: 4.5 m
  • Wall thickness of the chapels: 1.20 m
  • Perimeter of the central nave piers: 8 m
  • Stones used: approx. 3 million

Furnishing

The interior of the Nikolaikirche is shaped by the interplay of different eras. The baroque renovation after the disaster of 1703 added individual pieces of contemporary furnishings, but did not reshape the Gothic architecture of the room. The redevelopment of the vaults in 1867 meant that only individual elements of the original version have been preserved.

Altar retable from St. Georgen
Triumphal cross and baroque main altar

Many parts of the rich furnishings originally come from former or destroyed Wismar churches. The high altar retable and the triumphal cross from 1430 from St. Georgen were housed in the southern vestibule . At ten meters wide with the wings open, it was the largest of its kind in the entire Baltic Sea region. Relics of St. Marien and St. Georgen furnishings can also be found in the north hall . The Gothic stalls in the ambulatory also come from St. Georgen.

Main altar

The high altar is dated 1774 and is a great testimony to the late Baroque . The altarpiece is strictly structured according to architectural principles. The time of origin of the Rococo can only be read from the accompanying golden frame decoration. It encloses two paintings: The Last Supper in the base cartouche . An older painting by the painter Benjamin von Block has been inserted on the main floor . He copied the picture in 1653 after Rubens' famous Descent from the Cross . The main floor is flanked by columns. A clock is mounted above the painting and above it the Yahweh tetragram in a halo. The top is a statue of the risen Christ with the victory flag. Side portals of the altar structure show a donor picture and coat of arms. The structure was probably made in the workshop of Johann Heinrich Bülle from Wismar.

Retable from the Georgenkirche

This main work under the Gothic carved altars on the Baltic Sea coast, erected around 1430 in the southern vestibule, is described in the article about the Georgenkirche (Wismar) #Main Altar .

Ship's altar

The Schiffer Altar is the only surviving medieval altar shrine in the church. It was made at the beginning of the 16th century in a workshop in Wismar for the Skipper Brotherhood. The central figure is a crescent moon Madonna , who is represented by the figures Nicholas and James the Elder. Ä., Two saints particularly venerated by seafarers. They are symbolic of two of the most important pilgrimage sites of the Middle Ages: Santiago de Compostela and Bari . The outer pair of wings is lost, as is the predella.

In each of the two box wings there are four figures of saints: at the top left Katharina von Alexandrien with wheel and sword, below that Elisabeth of Thuringia with a martyr's palm in her right hand and a chalice in her left. On the opposite side, Ursula of Cologne can be seen with an arrow and, below, Margaret of Antioch with a processional cross. It is possible that Saint Barbara was originally depicted instead of Saint Ursula . She would be the fourth of the Holy Virgin, the virgines capitales . Of the male saints positioned further inwards, only Evangelist John and Erasmus of Antioch can be clearly identified, since with them too, due to the severe damage, arbitrary additions to the attributes can be expected. The outside of the wings are decorated with scenes from the life of the Virgin Mary. They were heavily revised by CC Michaelsen in the 19th century and are in a bad state of preservation. The color appearance also dates from this time. At the top left the Marian cycle begins with the Visitation of Mary, followed by the birth of Jesus with the announcement to the shepherds, the offering in the temple and the murder of the children of Bethlehem by Herod.

Altarpiece of the shopkeeper's guild

Shopkeeper altar

The altarpiece of the shopkeeper's guild was probably carved in Wismar around 1430–40. For many centuries it stood in a specially built chapel in St. Mary's Church. In 1832 the community demolished the shopkeeper's chapel and kept the altarpiece in a previously unknown location. In 1910 the guild renovated the tower and installed it in the Marienkirche. After it was destroyed, the congregation moved the altar to the Nikolaikirche.

The central shrine is decorated with large figures under filigree tracery canopies: the Madonna in the halo is flanked by the Archangel Michael and St. Mauritius . Two angels play music above the Madonna. It is uncertain whether the object in the hand of the baby Jesus is also a musical instrument, a fruit or a spindle .

The reliefs in the box wings show four scenes from the life of Mary, (starting at the bottom left, clockwise): the Annunciation to Mary, the birth of Christ , the arrival of the Magi and the circumcision of Jesus in the temple . In terms of art history, the figures belong to the late phase of the already hardening soft style .

Thomas Altar

Holiday side of the Thomas Altar

The Thomas altar originally stood in the Dominican church and later in St. Georgen after the dissolution of the convent in 1562. It is located in the fourth north side chapel. The high-quality double-winged triptych was carved around 1500, the subjects of the representations are rather unusual. In the middle part is Thomas Aquinas between Archbishop Thomas of Canterbury and the Apostle Thomas .

Wing when closed

The double wings allow the triptych to be transformed three times. Four relief scenes from the life of Thomas Aquinas are housed in the closed wings. The scenes are the same size; the reading direction goes from left to right across the two wings. Unfortunately, the late medieval captions are barely legible. The first scene shows Thomas at the age of five. His parents, Count Landulf von Aquino and his wife Donna Theodora, Countess von Teate , handed him over to the Benedictine monastery of Montecassino as an oblate . This was in keeping with the family tradition in the hope that one day Thomas himself would head a monastery as abbot. However, he did not take this path, but entered the Dominican Order against the will of the family . His parents removed him from the order and ordered house arrest in a castle tower. Her attempts to dissuade him from his plan with the help of a woman failed. On the second part of the painting, Thomas hits her with a burning log. In another scene in the same picture, angels tie a white belt around him - from then on he no longer felt any desire. His mother was impressed by this steadfastness and let her son down from the tower with a rope. He is received by two brother preachers. The scene at the bottom left cannot be precisely dated. It shows a rapt Thomas in an advanced age. The hagiographic meaning of the wedding procession in the background could not yet be explained. The conclusion is a representation of the sick Thomas on his trip to the Second Council of Lyon . The monks of Fossanova Monastery took him and cared for him until his death.

Wing when open

If you open the wing, eight more panels appear. On the left, the life of the apostle Thomas is depicted on four panels. It begins with a portrayal of the doubting Thomas. Under the gaze of the other apostles, he places his hands on the stigmata of the risen Jesus Christ. To the right of this image is Thomas on a trip to India. He refuses to eat from the richly set table of a wedding party, whereupon a cupbearer slaps him on the face. As a punishment, it is shown in the top left of the picture how he is then attacked by a lion. When a dog brings the cupbearer's torn arm to the table, the bride and groom are baptized. At the bottom right you can see Thomas with the Three Kings sitting in a large baptismal font. In the upper right margin you can see how he then consecrated them as bishops . The last picture shows Thomas at the Eucharist in his own burial church in Syria . According to legend, he is already dead, but was taken from the grave by the clergy at Easter to give communion to the waiting pilgrims .

The right side shows the life of Thomas of Canterbury. In the upper left picture he is ordained a bishop . In the top left of the scene, he washes the feet of thirteen people in need every day as a gesture of humility. To the right of this depiction, Thomas leaves the country to emigrate to France after violent differences of opinion with the king. Pope Alexander III receives him with two cardinals. Below the picture to the left is his return to England, knowing full well that martyrdom awaits him. In the scene Thomas removes a priest from his office, but reinstates him as a sign of grace after the Virgin Mary appeared to him. In the last scene, his murder is shown at the top right. The French King Louis VII kneels at his shrine and mourns for him.

Holiday page

If you open the wing further, the carved shrine appears, the so-called feast day side. In the center are the three figures under gilded veil boards, which are attached like a canopy over the half-life-size people. They stand on wooden bases that are reminiscent of a mound of earth and are given a natural character through embedded bristles. The name of each saint is carved into the gilded halo of each figure, decorated with protruding wooden rays . There are two images on the left. The upper one shows a scene set during the captivity of Thomas Aquinas. On the way from Naples to Paris, his brothers tried, on behalf of his mother, to tear the robe off his body in order to dissuade him from his plan. In the scene you can see Friedrich II on the left ; this is to indicate that the attack took place with his consent. Below he kneels before the prior of the Convention of Naples and receives his religious dress from two monks. On the right side there are also two images: The upper scene shows him as a lecturer, surrounded by students. Thomas neither looks at her nor at the open book, but seems to be entranced. Beneath it he kneels before Pope Urban IV. He hands him a book and is accompanied by two cardinals, a bishop and two clergymen .

Predella

The predella also shows two reliefs with depictions from the life of Thomas Aquinas. The scene on the left shows the body laid out in the Cistercian abbey in Fossanova. Several people can be seen in the background mourning him, including the prior, the sub-prior and the bishop of Terracina. To the right of it they put the saint in his coffin with the inscription "Saint Thomas Aquino". Both scenes are permanently visible in the 21st century. However, experts suspect that it was probably also concealed by a painted predella plaque at an earlier time and was shown together with the opening of the shrine.

Altar of Mary (virgin reredos)

Mary Altar

In another northern side chapel, east of the epitaphs and choir screens, there is a Marian retable from the late 15th century. It is a pentaptych with seven large-format carved figures that originally stood in the Dominican monastery in Wismar. It was part of a side altar until it was converted into an orphanage, but then became the main altar of the building. Later it came to the Georgenkirche and from there in the 21st century to the Nikolaikirche at its location opposite the Thomas Altar. The shrine has numerous defects. Some attributes of the figures are missing, as is the color version almost completely. This also applies to the paintings on the outside of the wings. The predella is a modern addition. In 1995 the community had the shrine secured and cleaned. The seven figures stand in a deep frame that separates the individual sculptures from one another by vertically arranged miniature buttresses. As a result, there are two figures in each of the wings and three figures in the shrine on base polygons. Above the figures, a filigree canopy construction creates the impression of a sky above. The central element of the shrine is a crescent Madonna . On her garment the intercession: [san] cta maria ora pro nob [is] (Holy Mary, Mother of God, pray for us [sinners]) can be seen from the Ave Maria . Mary is surrounded by six holy virgins who cannot be fully recognized due to the partially missing attributes in the left wing. In the right wing you can see Catherine of Alexandria and Catherine of Siena . The paintings on the outside and inside of the wings describe the life of Mary, such as the refusal of the sacrifice in the temple , the Annunciation to Joachim , the reunion of Anna and Joachim in front of the Golden Gate and the birth of the Virgin . This is followed by the Immaculate Conception , Mary's temple passage , the Annunciation and the adoration of the Magi . The representations conclude with the death of the Virgin .

Retable of the Ten Thousand Martyrs

This further piece also comes from the Dominican Church and reached the Nikolaikirche via the Georgenkirche. Schlie found it on the occasion of his inventory in the third southern nave chapel. The reredos is in a very fragmentary condition. A considerable number of carved reliefs and the entire colored version of the figures are missing. Experts suspect that this work must also have been created in a Wismar workshop around 1440/1450. You justify this definition with the international style of representation used. The reredos were made in a comparatively simple manner from five horizontally jointed wooden planks that were connected with wooden dowels. The central shrine originally consisted of six vertical boards, which were adorned with three medallions at the top of the picture. The martyrs lie on the ground impaled on thorns, while soldiers on horses come ridden on both sides. In the middle of the picture an archbishop can still be recognized by his miter. Art historical explanations indicate that originally a blessing Christ with two angels was to be seen above the cruel scene.

Adoration of the Magi

The wooden relief (picture) depicting the Adoration of the Three Magi is a work from the middle of the 15th century. It was inserted into a wall pillar in the second chapel to the northeast. The events of the Christmas scene are depicted in a seemingly naive manner. In the upper part there is a canopy, which is decorated with tracery.

Triumphal cross group from St. Georgen

Triumphal cross group from the Dominican monastery

The triumphal cross group is a medieval work of art from the 15th century. It was brought here from the secularized Dominican monastery church after 1880. The group was set up above the rood screen, the crucifix is ​​considered to be of very high quality, the figures of Mary and John appear rather crude.

Triumphal cross group from St. Georgen

This magnificent triumphal cross group was originally located in St. Georgen. The work from around 1420 is decorated with the symbols of the evangelists on the ends of the cross. The large vine leaves on the edges are partly gilded.

pulpit

pulpit

The pulpit was donated by Joachim Rahte in 1708, possibly it was created by Johannes von Rhen, who also supplied the baptismal case. It is characterized by the contrast between the colors black and white and adorned with rich acanthus work . There are angel heads at the corners of the basket. The founder portrait hangs on the pulpit portal, between the allegorical figures of faith and hope and other figurative decorations. The sound cover has the shape of a crown and is richly decorated with acanthus ornaments.

Two baptismal fonts

The simple granite baptismal font is the oldest piece of equipment in the church, it is in the fourth north side chapel. Because of the arched arcature on the cupola , it is believed that it was built in the late 13th century. A baptismal case with an angel floating down from above was purchased in 1719; the angel carries a baptismal bowl in the shape of a shell in his hands. The main cornice is supported by six pillars on which allegorical female figures sit. On the high volute crown is a figure of the good shepherd Jesus. The christening case is designed as a tempietto-like architecture made of wood. Similar baptismal cases have also come down to us in other places on the Baltic Sea, such as Stralsund and Prerow.

Since the destruction of the nave of the Marienkirche, its bronze baptismal font (around 1335) has also stood in St. Nikolai. The baptismal font, cast in bronze around 1335, was formerly in the Marienkirche. The round, slightly conical pelvis is carried by three kneeling young men. On the wall, above a row of figures under two-story arcades, you can see reliefs from the life of Jesus, the Last Judgment and the wise and foolish virgins . The lower edge is decorated with grapes and freely hanging leaves. In earlier times the kettle was colored. The Fünte by Hans Apengeter in Lübeck's Marienkirche, dated 1337, shows very closely comparable representations and was probably made in the same workshop. A wrought iron lattice made of rope motifs, probably dating from the 16th century, surrounds the baptism. It is popularly known as the Devil's Grid.

  • Steinfüfte, basic equipment from St. Nikolai

  • Bronze baptism from St. Marien (1335)

Late Gothic barriers

Barriers from the late Gothic period are built into the choir arcades. The panel looks like a parapet and is decorated with tracery carving that was placed on top. The border with foliage garlands is in relief. Representations of saints and apostles are inserted into the quatrefoils and rosettes. In 1703 the associated metal grilles were partially destroyed and replaced by bottle balusters in a baroque style.

Tombstones

The most important of the epitaphs is the one made in 1605 for Mayor Schabbell and his wife. The church is richly decorated with tombstones from the 15th century, of which those with incised figures or late Gothic tracery architecture are particularly noteworthy. For the most part, these are tombstones for deceased priests, but there are also stones for members of patrician families. A good example of tombstone art in the post-Reformation period is the stone for Heinrich von der Lühe and Lucretia von Parkentin, decorated with figural bas-reliefs, it was made in 1600. Another epitaph recalls the Swedish Vice-President of the Wismar Tribunal David Mevius . It originally hung in St. Mary's Church in one of the north side chapels. The framework is equipped with a lush baroque framework and decorated with angels, flowers and grapes. In the upper area there was a medallion with a portrait of Mevius, in the lower area two angels hold the coat of arms. They frame a Latin inscription.

Other equipment

  • Parts of chairs from the 15th century were used to make the lectern.
  • The four brass chandeliers and the wall arms were donated by the authorities and guilds after 1703. They are good examples of the brass casting art of that time.
  • The Duchess Sophie died in 1504, her bronze grave slab shows a high relief of the Duchess in the deepened main field. The edge was cast separately and shows the coat of arms and inscriptions. The plate was probably cast in Lübeck and originally hung in the Dominican monastery church.
  • Two whale ribs are kept in a northern side chapel .
  • The church stalls still show numerous old nameplates which, together with the rich furnishings, convey an atmospheric historical atmosphere.

organ

organ

Little is known about the earlier organs in the Nikolaikirche. An inscription on the prospectus at an earlier time and on the organ railing in 2015 gives at least a hint. According to this, the priest Andreas Hagelsten from Braunschweig is said to have completed the first instrument with two manuals over two octaves and a pedal with one octave range in 1463 . Experts suspect that this could have been the first organ with a Rückpositiv in northern Germany. Hagelstein is also mentioned as the builder of another organ from 1478 in the northern part of the church. In 1480 the parish buried him under this instrument. In the years 1617 to 1619 Henning Kröger built a new organ, probably with two manuals and a pedal. However, the instrument was damaged when the high vault collapsed and was repaired by Hans Hantelmann in 1706 or 1707. Christian Erdmann Vogel carried out further alterations and built a new Rückpositiv in 1737. The instrument now has the following disposition:

I main work
1. Principal 16 ′
2. Octave 8th'
3. Dumped 8th'
4th Octave 2f 4 ′
5. Mixtura 6f
6th Rauschpfeife 3f
7th Cimbefll 3f
8th. Trumpet 8th'
Rückpositiv
9. Principal 8th'
10. Hollow flute 16 ′
11. Dumped 8th'
12. Quintatön 8th'
13. Octave 4 ′
14th Forest flute 4 ′
15th Nasaqint 3 ′
16. Octave 2 ′
17th Sesquialtera 2f
18th Scharff 4f.
19th Vox humana 8th'
pedal
20th Principal sub-bass 16 ′
21st Octave 8th'
22nd Octave 4 ′
23. Mixture 3f
24. trombone 16 ′
25th Trumpet 8th'
26th Schallmey 4 ′
27. Cornett 2 ′

Friedrich Wilhelm Winzer carried out another renovation in 1862 and 1863 and built a new organ behind the old prospect. Experts suspect that he removed the case from the Rückpositiv and set it up together with a new organ in the Zurow village church . In this constellation, the instrument served the parish until it was rebuilt by Ernst Röver around 1900 . Its pneumatic combination device and a box drawer were also used. However, the condition of the organ deteriorated noticeably. As early as 1934, a Schuke report described the critical condition. Another report from 1973 shows that it had become largely unusable in the meantime. At Christmas 1974 it finally failed.

In 1976 the parish therefore bought a new organ. The once richly decorated instrument was created by Johann Gottlob Mende and has two manuals and 28 stops . However, the instrument was acquired without a prospectus. The Kröger- Hantelmann prospectus from the previous instrument was adapted to the Freiberg prospectus structure. The organ, which still existed in the 21st century, was only installed in front of the tower wall in 1985. Before that, the organ, built from 1842 to 1845, was located in the Freiberg Nikolaikirche in Saxony . The organ consecration took place on October 1st, 1985. However, as the organ work was not restored, the first technical problems arose two years later. In 1995 the renovation could be carried out.

I main work C – e 3
1. Drone 16 ′
2. Principal 8th'
3. Gemshorn 8th'
4th Reed flute 8th'
5. Octave 4 ′
6th Pointed flute 4 ′
7th Fifth 3 ′
8th. Octave 2 ′
9. third 1 3 ⁄ 5  ′
10. Cornett IV (from c 1 )
11. Mixture IV
12. Trumpet 8th'
II Oberwerk C – e 3
13. Principal 8th'
14th Dumped 8th'
15th Salicional 8th'
16. Quintatön 8th'
17th Octave 4 ′
18th Reed flute 4 ′
19th Nassat 2 2 ⁄ 3  ′
20th Octave 2 ′
21st Sif flute 2 ′
22nd Mixture III
Pedal C – d 1
23. Pedestal 32 ′
24. Principal 16 ′
25th Sub bass 16 ′
26th Octavbass 8th'
27. Octavbass 4 ′
28. Trombone bass 16 ′

Bells

The bells that were present at the time were also among the losses caused by the hurricane of 1703 . Two new ones were cast in Lübeck by the then council founder Lorenz Strahlborn ; his big bell from 1732 is considered to be the "most beautiful sounding baroque big bell " between Hamburg and Stralsund. Three more bells were melted down during World War II, including the second largest bell in the church, the civic bell from 1705. To replace it, a new, somewhat smaller bell was cast in Apolda in 1963 . For this, one of the still-preserved bells from St. Georgen and the bell from the Black Monastery from 1501 were melted down.

No.
  		Surname
  		Casting year
  		Foundry, casting location
  		Mass
(kg) 		Diameter
(mm) 		Percussive
( HT - 1 / 16 )
1 Big bell 1732 Lorenz Strahlborn , Lübeck 5560 1984 as 0 +4.5
2 Guardian Bell 1727 Lorenz Strahlborn, Lübeck 1450 1370 it 1 –5
3 Citizen Bell 1963 Schilling , Apolda 1080 ges 1 +3

See also

literature

  • Horst Ende : The Nikolaikirche in Wismar . (= Schnell-Kunstführer . Vol. 1861). Munich / Zurich 1990.
  • Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel: Dehio-Handbuch Mecklenburg-Vorpommern . Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 .
  • Heidrun Geitner: St. Nikolai zu Wismar (= great architectural monuments . Issue 400). 4th edition. Munich / Berlin 1997.
  • Martin Poley, Roger Thomas: Welcome to Sankt Nikolai Wismar . Church guides, available at the church.
  • Friedrich Schlie : The art and history monuments of the Grand Duchy of Mecklenburg-Schwerin. Volume II: The district court districts of Wismar, Grevesmühlen, Rehna, Gadebusch and Schwerin. Schwerin 1898, (reprint 1992) p. 120 ff., ISBN 3-910179-06-1 .
  • Claus Peter: The bells of the Wismar churches and their history. Gade tho Lave and the city of Wismar thon honor . Wismar 2016, ISBN 978-3-934776-27-2 .

Web links

Commons : Nikolaikirche  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Information on the community
  2. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 683
  3. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 3
  4. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 684
  5. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990. P. 3
  6. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 3
  7. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 3
  8. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 685
  9. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 683
  10. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 685
  11. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union, first edition, 1990, page 11.
  12. ↑ Information document: The Schiffer retable in St. Nikolai, around 1500 , without date, display in the church, inspection in April 2015.
  13. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 11
  14. ↑ Information document: The shopkeeper altar in the Nikolaikirche in Wismar , without date, display in the church, inspection in March 2015
  15. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  16. ↑ Information booklet : The Thomas Altar in the Nikolaikirche in Wismar , displayed in the church, inspection in March 2015.
  17. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 686
  18. ↑ Information document: The virgin reredos in St. Nikolai around 1500 , without date, display in the church, inspection in March 2015
  19. ↑ Brochure: Welcome to Sankt Nikolai Wismar , without date, p. 16, display in the church
  20. ↑ Information document: The Reredos of the Ten Thousand Martyrs in St. Nikolai, around 1450/50 , without date, display in the church, inspection in March 2015.
  21. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 11
  22. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990, p. 11
  23. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 687
  24. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 11
  25. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , p. 687
  26. ^ Hans Christian Feldmann, Gerd Baier, Dietlinde Brugmann, Antje Heling and Barbara Rimpel, Dehio-Handbuch Handbuch der Deutschen Kunstdenkmäler Mecklenburg-Vorpommern Deutscher Kunstverlag 2000, ISBN 3-422-03081-6 , pp. 686 and 687
  27. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 11
  28. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  29. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  30. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  31. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  32. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  33. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990 page 13
  34. ↑ Information brochure The history of the organs in St. Nikolai , viewed and written down by Eberhard Kienast from Wismar, without date, display in the church, inspection in April 2015.
  35. ↑ Information from Thomas Illig: 550 years of organs in St. Nikolai , without date, display in the church, inspection in April 2015.
  36. ↑ Schnell Art Guide No. 1861 Nikolaikirche zu Wismar Verlag Schnell & Steiner GmbH Munich and Zurich, Berliner Verlagsanstalt Union First edition 1990
  37. ^ Mecklenburgisches Orgelmuseum Wismar, Protestant St. Nikolaikirche. Retrieved November 14, 2013 .
  38. ↑ Claus Peter: The bells of the Wismar main churches. Stock and sources . In: Yearbook for bell technology . Vol. 5/6 (1993/94), pp. 69-94, here pp. 81-83.

Coordinates: 53 ° 53 ′ 44 "  N , 11 ° 27 ′ 55.9"  E