Marienkirche (Rostock)
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The Marienkirche is the main Evangelical Lutheran church in Rostock and a major work of North German brick Gothic . An early Gothic predecessor church was first mentioned in a document in 1232, construction of today's three-aisled basilica began around 1290 and was completed around the middle of the 15th century. Today the tower has a height of 86.32 meters.
The compact structure of the Marienkirche is characterized by the large transept and the mighty west building with a massive tower - an originally planned double tower system was not implemented. The interior has the character of a central building , as the transept penetrates the nave exactly in the middle of the church and is just as long as the building in its west-east extension.
St. Marien has a particularly rich interior. The main altar , the sermon pulpit , the organ , a bronze baptismal font and an astronomical clock are particularly important . Because of the iconoclasm at the time of the Reformation, only a few remains of pre-Reformation art have survived.
Like the Nikolaikirche and the Petrikirche , the Marienkirche belongs to the Evangelical Lutheran inner city community of Rostock of the Rostock provost in the Mecklenburg parish of the Evangelical Lutheran Church in Northern Germany .
History of the parish
The history of the city of Rostock began at the turn of the 12th to the 13th century with a settlement on the Warnow around the Petrikirche, which was followed by an extension to the south with the Nikolaikirche as the center after Heinrich Borwin I granted the town charter in 1218 . The Marienkirche is mentioned for the first time in a document from 1232 as a parish church of an independent settlement that adjoined the older town to the west and had its own market and town hall. After further expansion towards the west, the new town was created in 1252 as the fourth independent settlement, the center of which was the Jakobikirche . When the settlements united in the years 1262 to 1265, the middle settlement core became the administrative center of the city, so that the Marienkirche developed into the central council and main parish church of Rostock. In contrast to comparable churches in Lübeck or Stralsund , Rostock's Marienkirche does not form an ensemble with the town hall on the city's central square, but is located to the northwest a little off the Neuer Markt between Kröpeliner and Langen Strasse .
Since 1260 St. Marien was affiliated with a Latin school, whose patronage lay with the city council. The church patronage on the other hand was up to the Reformation in the ruler, the Mecklenburg Duke House , the Church of supervision was exercised but also from the city. The bishop responsible for Rostock had his seat in Schwerin . The parish was financed from the churches tenth , Stolgeldern , oblations (donations as the offertory ), legacies and foundations . Among other things, a “ church factory ” was used with this money , which in fact made the self-administered building supervision of the parish possible. In addition to the pastor, this supervision was exercised by lay people , mostly council members, from the parish.
On November 12, 1419 the university was ceremoniously opened in St. Marien. The pastor of the church Nikolaus Türkow was personally involved in the founding of the university and the church remained closely connected to it for a long time. Even today, the "professors' chairs" below the royal box indicate that the Marienkirche functioned as a university and council church until the turn of the century around 1900. In 1531 the Reformation was introduced in Rostock, starting from the Petrikirche, where Joachim Slueter worked. In the post-Reformation period in particular, important theologians worked as main pastors at St. Mary's Church, including Valentin Curtius , Georg von Venediger and Lucas Bacmeister the Elder , archdeacons were Johann Quistorp the Elder and Heinrich Müller . Johannes Saliger (1568/69) and the Beatines named after him temporarily caused unrest in the community. In the 17th century in particular, well-known church musicians worked in St. Marien, including the cantors Daniel Friderici and Erasmus Sartorius and the organist Nicolaus Hasse . Karl-Bernhardin Kropf has been organist and cantor since 2007 .
During the time of upheaval in 1989 , the Marienkirche, like other Rostock churches, was the contact point for oppositional forces who gathered for peace prayers and reminder services under the direction of Pastor Joachim Gauck . The demonstrations against the SED regime , in which up to 40,000 people from Rostock took part , began in the church on October 19, 1989, always on Thursdays .
In 1998 the parishes of St. Jakobi, St. Marien and St. Petri / St. Nikolai united. Since then, the community has been called the "Evangelical Lutheran Inner City Community of Rostock".
Building history
After the amalgamation of the four core settlements in 1265, the old church building no longer satisfied the ambitious Hanseatic city's need for representation, so that a three-aisled, larger hall church was built from brick by around 1279 . From this previous church, the basement level with a closing clover leaf arch and the gable wall on the west building are still preserved today. Following the Westphalian model, the building had a wide central nave and narrow side aisles and probably an east end without a choir.
As early as 1290, the renovation and expansion of the three-aisled basilica with an ambulatory choir began . The Marienkirche in Lübeck , with which Rostock wanted to compete, served as a model and yardstick . Work on the Schwerin Cathedral and the nearby Doberan Minster of the local Cistercian monastery began almost simultaneously . Other Hanseatic cities had started building large churches a short time beforehand or followed suit soon after. The renovation work began on the east side of the church. In the middle of the 14th century, the older hall church was demolished after the new outer walls were completed. The older tower was taken over and expanded, but the planned twin tower system was not implemented after the southern tower masonry had tilted a little to the east during construction. At this time, the mighty, reinforced crossing pillars were also erected, which are at a greater distance from one another than the pillars of the other yokes . This indicates that the construction of the single-nave transept was planned early. A collapse of the nave vault in 1398 and a subsequent redesign with the construction of the transept, of which an inscription next to the south transept portal reports, is doubted in research today, as everything points to a continuous development around 1398. Characteristic of the construction phase around 1400 is the use of clay-yellow and green- glazed bricks laid in layers , while red brick was used throughout in older components. 1420 documents mention altars in the side aisles, which presupposes their completion at that time. Around 1440 the tower massif was raised by one floor, in 1454 the vaults were completed and the church was closed at the top.
In the post-Reformation period, the interior of St. Marien was adapted to the Protestant rite. Of the forty altars attested to around 1500, only two have survived, namely the Rochus altar and a wing of the Marien Altar. In 1723/24 the walls of the interior were whitewashed for the first time. A tendril frieze from the 14th century in the central tower hall has been preserved from the former painting. Further wall paintings were found and uncovered during renovation work in 2005.
The current spire and the roof turret of the crossing date from 1796, however, similar roof structures can already be seen on engravings from the 16th century. In 1901/02 the copper roofs were renovated again.
During the Second World War , St. Marien was the only one of Rostock's four city churches to survive the heavy bombing raids of 1942 and 1944, which destroyed a good half of the old town, relatively lightly. A number of incendiary and phosphor bombs hit the church in a total of three air raids: the tower lantern, the roof structure and the two small towers were burning. These fires could be extinguished thanks to rapid intervention at risk of death by the then sexton Friedrich Bombowski, his daughter, other courageous citizens and fire guards of the Wehrmacht . They also neutralized impacted phosphorus bombs before they led to more serious fires. The daughter suffered severe smoke poisoning in 1942. She died in May 1945 at the age of 24.
If it was poorly repaired, the church could be used for its intended purpose in the post-war decades. The wear and tear due to leaks and aging continued, however, and requires a comprehensive overall restoration. Around 200,000 tourists a year also burden the interior of the Marienkirche.
Building description
Layout
St. Marien is a three-aisled basilica. The two-bay nave and the transept meet in the square central crossing and form a cross-shaped floor plan , which gives the building the character of a central building . At 73 meters, the transept is almost as long as the 76 meter church building in its entire west-east extension, including the west building and the east choir . The choir comprises two rectangular bays and a polygonal 5/8 end. The extensions of the aisles form the ambulatory with five radial chapels . The side aisles are extended in all four bays by two chapels each on the north and south facades. The central nave is 11 meters wide, the ceiling height 31.5 meters. This means that the interior of St. Marien is after the Lübeck Marienkirche (38 m), the Wismar churches of St. Nikolai (37 m), St. Georgen (35 m) and St. Marien (32 m) as well as the Stralsund Marienkirche (32, 4 m) the sixth tallest of the large brick Gothic churches.
The southern end of the transept with three transverse rectangular bays ends with a front which forms the church portal , while the northern end of the transept has a five-sided closure.
Exterior construction
The mighty west building with its massive tower barely protrudes above the rest of the building, which is dominated by the transept. The block-like tower, made of red brick, still consists in the lower part of the basement of the early Gothic previous building, which is closed at the top by a clover-leaf arch frieze. The three pointed arched portals , the largest of which is walled up in the middle, are surrounded by a rectangular portal frame that is still typically Romanesque . The partially walled pointed arch and round windows have early Gothic shapes. Three uniformly designed floors rise above this oldest part of the church, which are subdivided into three blocks: In addition to the middle section, the side blocks are emphasized by laying stones in strips. This subdivision is taken as an indication of an originally planned double tower facade. Each floor has one in the middle part, two in the outer parts, and three ogival windows on the north and south sides and is closed off by a pointed arch frieze . The corners of the tower are set off by attached pilaster strips .
The middle part rises above the sides by one floor with ogival windows as sound holes for the bells and, above the third floor, has an older frieze with simply designed bas-reliefs as a special feature . The glazed clay figures from the 13th century probably represent the apostles , Jesus and Mary as well as prophets in the arcade spandrels . The frieze may come from the rood screen in the previous church. Instead of the double tower system, which was not implemented, a tent roof rises above the western building and is crowned by a dainty lantern .
The nave, built after 1290, stands out from the west building through the alternation of layers of yellow brick and green glazed bricks. The eastern chapel wreath from the early 15th century, which also uses red bricks, is an exception . The five chapels close the choir polygonally. There are buttresses with pinnacles between the three-part pointed arched windows of the chapels , but the clearly planned buttresses were not implemented, which gives the church a very compact character. The chapels of the ambulatory are only adorned with a clover-leaf arch frieze under the roof.
The transept, built after 1398, is made of the same layers of yellow and green glazed bricks as the nave and is almost as long as this. The south facade of the transept is designed with a large five-part central window and a gable decorated with panels as a front and forms the main entrance to the church. In the tympanum there are baroque figures of Christian virtues from the middle of the 18th century.
A baroque roof turret with a pointed helmet and lantern rises above the central crossing.
inner space
The interior of the Marienkirche is entered through the portal of the southern transept at the level of the third yoke. The view through the entire transept to the three high pointed arch windows in the north is unobstructed. As the intersection of the transept and nave, the crossing forms almost exactly the center of the church building of St. Marien. Only the eastern nave is longer than the other three parts of the building due to the choir, which is raised by three steps and thus emphasized. The western nave, on the other hand, appears shortened due to the installation of the massive organ front.
Massive, squat pillars support a star vault over multiple grooved arches as the upper room closure , while in the side aisles simpler cross-ribbed vaults . The six pillars of the choir apse date from the time before the transept was built. Presented services pick up the vault ribs and direct them to the ground. The place of the usual wreath of capitals is taken here by a surrounding foliage ornament . According to inscriptions, the foliage on the other pillars dates from 1723/24.
While the north transept opposite the entrance portal and the ambulatory appear quite bright, comparatively little light penetrates into the choir and the space below the organ loft, as the aisle roofs are set very high. The stained glass of the windows of the south transept further reduce the incidence of light.
State of construction and renovation
Since 1992, thanks to the work of a development association, financial support from citizens, the federal government and the state of Mecklenburg-Western Pomerania, the city of Rostock, the German Foundation for Monument Protection and other foundations, a comprehensive renovation of St. Mary's has been tackled. In the period between 1992 and 2005, 5.5 million euros were raised. Since 2004 the church roofs have been sealed again, the masonry secured and the vaults restored. In 2008 the renovation of the high vaults and the windows in the choir and in the south transept was completed. The renovation of the west building, including the tower roofs and the bells, then began and was completed in 2010. In 2011 the windows in the apse of the north transept and by the beginning of 2014 the vaults in the chapels were renovated. Final restoration work is currently taking place on the windows of the north aisle. (As of June 2020)
Furnishing
Alongside the Nikolaikirche in Stralsund, the Marienkirche has the richest preserved furnishings in the Baltic Sea region, although large parts of it fell victim to the iconoclasm of the Reformation.
Main altar
The high altar with a two-storey baroque architectural structure made of wood was designed in 1720/21 by building director Christian Rudolph Stoldt from Berlin and executed by Berlin artists: the painter Andreas Weißhut, the sculptor Hinrich Schaffer and the carpenter Friedrich Möller.
The altar is painted gray and olive, the three-dimensional figures are white, golden ornaments accentuate the composition. The curved floor plan stands at the apex of the choir room and adapts to the end of the choir. To the left and right of the altar are confessionals , which are crowned by the two Old Testament kings and repentant sinners David and Manasseh .
Motif of the painted main field is the resurrection of Jesus Christ , framed by two sculptures that the tablets of the law carry a book, sun and moon. On the outside, this floor is framed by the personifications of Christian virtues - faith, love and hope - as well as strength. The Lord's Supper is depicted in the base zone below . A carved cartouche carried by putti depicting the risen Christ as Salvator Mundi forms the transition from the main field to an upper floor of the altar. This painting, too, whose motif is the descent of the Holy Spirit during Pentecost , is framed by four plastic personifications of the virtues. At the top of the altar is the eye of God, resting in a sweeping halo .
pulpit
The sermon pulpit is an unusually large distance from the altar on the southwestern crossing pillar. The reason for this may have been the relatively poor acoustics of the Marienkirche, which made it necessary to be as close as possible to the church people.
The Renaissance wooden pulpit from 1574 is said to come from the Antwerp- based sculptor Rudolf Stockmann († 1622) who is based in Rostock . Since Stockmann, who also created the pulpits of the Petri and Jakobikirche as well as numerous epitaphs , can only be traced back to Rostock from 1577, this attribution is not undisputed.
The pulpit can be reached via a staircase curved around the pillar, which is closed off by an entrance portal. This is modeled on the architecture of a triumphal arch with Corinthian columns on the side and an arched field above the door. On top of this is a relief depicting the Good Samaritan between Moses and John the Baptist , above which Jacob wrestles with the angels. The railing of the stairs is decorated with rich, gilded reliefs and ornaments, as is typical of the time. These are continued on the pulpit in an even more splendid form and fully sculpted with depictions of the Passion and Resurrection of Christ. Their iconographic program is characteristic of North German art of the Reformation period.
The sound cover was made in 1723 by the carpenter Friedrich Möller and the sculptor Dittrich Hartig from Rostock. It is adapted to the late Renaissance decor of the older basket and depicts scenes from the Apocalypse of John .
In the wood carvings, some figures were missing and they were badly soiled. The pulpit was therefore restored from 2014 to spring 2016 for 140,000 euros.
organ
The first mention of an organ can be found in 1452. At the westwork, the location of today's organ, a large instrument with about 54 stops on three manuals and pedal was created by the Mecklenburg organ builder Heinrich Glowatz between 1590 and 1593 (The existing sources describe the instrument slightly differently). Due to wear and tear and the risk of collapse, this instrument was removed in 1766 by the Rostock organ builder Paul Schmidt and replaced with a new one. The magnificent organ front (1767 to 1769), which rises up to the vault, with an older princely gallery built under it, built 1749–1751 under Christian Ludwig II , Duke of Mecklenburg , and the council stalls in the western end of the nave was created by several Rostock artists: the sculptor JA Klingmann and JG Bergmann, the carpenter Kählert and the painters Hohhenschildt, Marggraf and Brochmann.
Like the other two elements that dominate the room, altar and pulpit, the organ is also set in gray-olive with gold ornaments. The royal box in the Rococo style is flanked by two glazed balconies and crowned by a canopy with the coat of arms of the House of Mecklenburg-Schwerin and the initials of Christian Ludwig II .
The organ front rises above the gallery, which was created later, but in collaboration with the same artists who designed the royal box. The facade of the organ by Paul Schmidt, inaugurated on July 2, 1770, has been preserved to this day. Since his organ work was "addicted to wind", as the inscriptions on the organ gallery report, a renovation or new building was necessary in 1789, which Ernst Julius Marx carried out from 1790 to 1793. Inside the organ, almost nothing of Schmidt's instrument has survived. After further changes in the 19th and beginning of the 20th century, the organ was last rebuilt in 1938 by the organ building company Sauer (Frankfurt / Oder). The concept for this neo-baroque renovation was designed by the Berlin cathedral organist Fritz Heitmann . More than 30 registers are from the time before 1938, and Marx's wind chests have been retained. During the Second World War , the organ was poorly protected against incendiary bombs by a high barrier made of sand boxes . In 1983 the instrument was completely overhauled and in 2007 it was cleaned from the effects of the vault restoration. There is a four-manual grinding loading -Orgel with electropneumatic tracker action and 83-sounding registers with four free combinations and following disposition :
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- Coupling : KW / III, I / II, III / II, IV / II, IV / I, IV / III, I / P, II / P, III / P, IV / P, general coupling.
- Playing aids : 4 free combinations.
Bronze fifth
The Gothic baptismal font (here a “ bronze fountain ”) in the northernmost choir chapel was probably cast by artists from Lower Saxony in Rostock and is the most important and largest medieval ore baptism in the Baltic Sea coastal area. Similarities to the baptismal font in Hildesheim Cathedral point to the artists' origin in Lower Saxony . The kettle and lid are stylistically distinct and come from different masters. An inscription dates the casting or the consecration of the baptismal font to Easter 1290, making the Fifth the oldest piece of equipment in the Marienkirche.
The round, conically tapering cauldron is carried by four male figures with large amphorae, which are referred to as allegories of the four elements , but are usually identified as the four streams of Paradise . Two stripe zones on the basin and three on the lid - each separated by a band of letters, which convey the abbreviated forms of the Ave Maria and the Salve Regina in Gothic capitals - are covered with rich figural decorations. In contrast to the reliefs of the kettle, the figures of the conical lid are not cast, but riveted on afterwards.
The scenes of the two rows on the cauldron represent the life and passion of Christ under clover-leaf arcades and separated by columns . The bottom strip of the lid shows the baptism and ascension of Jesus. Accompanying figures embody the unity of the church. The middle strip of the lid is decorated with the wise and foolish virgins , at the top three female saints are depicted. An eagle soaring into the air on an eight-part pommel crowns the 2.95 meter high Fifth. The monumental size comes from the 15th / 16th centuries. It was customary in the 19th century to immerse the whole body in the water.
Originally the Fünte was set up in the middle basement of the tower. During the Second World War, the Fünte was relocated to the Belitz village church to protect against air raids , was buried in 1945 before the arrival of the Red Army and returned to St. Marien in 1951. As a result, the metal was partially damaged, the wings of the eagle had to be replaced by wooden wings after the war and could only be exchanged for bronze ones in 1998.
Astronomical clock
In the ambulatory behind the high altar, an eleven-meter-high astronomical clock system fills the entire space between two pillars. The clock face is over 16 m². Documents show that its first version was probably built in 1379 by the clockmaker Nikolaus Lilienfeld, who also made the astronomical clock in St. Nikolai zu Stralsund in 1394 . It was therefore probably an astrolabe clock - just like the still preserved (no longer popular) Stralsund clock.
In 1472, Hans Düringer (from Nuremberg ?) Replaced the clock, which had probably been destroyed in the meantime, with a new clock that is no longer an astrolabe clock. The relative movements in the sky are no longer shown clearly. They are indicated individually with rotating hands, just like the movement of the sun relative to the horizon by the hour hand.
The watch was little modified or expanded, so that it is almost in its original condition today. It still works and the five movements are wound by hand every day. From 1641 to 1643 the first major repairs and extensions were carried out by master watchmaker Lorenz Borchhard (from Rostock). The watch case was given a renaissance frame. The puppet game has been expanded and a music game has been added. The music game , the melodies of which can be freely programmed using a roller with changeable pens, sounds every full hour. The figure parade above the main clock appears at the 12th and 24th hours. In 1710 the spindle-balance escapement was replaced by a pendulum-hook escapement.
The outer ring of the master clock is the scale for the 2-by-12-hour counting of a large clock . This includes the clockwise rotating hour hand. A scale with signs of the zodiac and a scale with images of the month follow on from the inside. In addition to the hour hand, two discs in the center turn counterclockwise. The front solar disk rotates above the lunar disk below. Both have a sun or moon hand on their edge. In 365 days, the sun pointer sweeps over the signs of the zodiac and the picture of the month (display of the zodiac that the sun passes through and the month). In 27 1/3 days ( sidereal month ), the moon hand sweeps over the zodiac scale (display of the zodiac sign that the moon passes through; meeting the sun hand after each synodic month ). The sun disk has a round eccentric opening. Under the opening, the lunar disc is light and dark over half a circumference. In this way, the phases of the moon are displayed as an image cipher (dark opening with a new moon, light opening with a full moon, in between partly dark and light or light and dark with waxing or waning moon).
The first clock was commissioned by the Marientiden Brotherhood, the so-called “Herren Kaland ”, which owned the chapel. Members of this brotherhood were exclusively the heads of Rostock society, including the mayor, university professors, members of the Princely House and the nobility of the region. Opposite the clock stood the Brotherhood's Mary altar with an important image of the Virgin Mary . The new building was paid for with indulgences, among other things.
In 1943 the clock was walled in to protect it against bombing attacks and was not exposed again until 1951. In 1974/77 the five works, consisting of a total of 2,000 individual parts, were restored.
There is a calendar under the master clock . Its calendar disc runs clockwise once a year. On it is a fixed radial pointer of a located to the left of the disk below the middle of person ( calendar man is maintained), directed. With its help, the information in the five outer circular scales of the disk can be read. These are the calendar date (month and day) and "eternal" information that is permanently assigned to each day of the year ( day letter , day saint and time of sunrise). The inner scales of the disc contain constant dates of a calendar year, which are shown in a circular table. It is actually unnecessary that this rotates together with the annual calendar. On the sixth scale from the outside there is space for 133 years. Each of these numbers is followed by annual constants ( golden number , Sunday letter , solar circle , Roman interest number, daily distance between Christmas and the beginning of Lent and the date of Easter ). Four of these constants (except for the Roman interest number) are related to the date of Easter. Day and night lengths can be read off two further, innermost scales through a window in a stationary central cover plate. Another rod attached radially above the rotating disk, the function of which is unclear, is also attached to this cover disk.
The current disc is the fourth calendar disc that can only be used for 133 years because of the limited internal table. Your table ranges from 1885 to 2017. From November 2017, the fifth disc, which is valid from 2018, was installed. It was calculated by Manfred Schukowski and follows the design of the disc from 1855, was put into use on January 1, 2018 and extends until 2150. In addition, the mechanism has been overhauled. This watch is well documented.
Rochus Altar
The Rochus Altar from around 1530, which stands between late Gothic and early Renaissance and is located in the south-eastern choir chapel, is a foundation of the guild of barbers and surgeons , whose patron saints Cosmas and Damian fill the left wing of the triptych . In the center of the carved retable are the almost life-size, almost fully plastic figures of Saints Rochus , Sebastian and Antonius . While Rochus and Sebastian are patron saints against plague and epidemics, Antonius was invoked to protect against ergot poisoning and animal diseases. In the right wing of the altar are Christophorus and the holy bishop Hugo von Rouen . In conversation Enge Maria and four female saints complete the design program: Catherine , Barbara and Margaret who, like Christopher to the Fourteen Holy Helpers count, and Dorothea .
The carved altar with the large, full sculptures, which are atypical for northern Germany, was probably imported or at least requires knowledge of southern German models. The Lower Rhine is a particularly good region of origin . This is indicated by form elements such as keel arch ends and the split. However, there is also something comparable in the Lübeck workshop of Benedikt Dreyer . It is a preserved side altar from the 39 that were in this church.
Further equipment
A wing of the so-called "Marienaltar" is located in the south arm of the transept. It shows eight scenes on both sides from the birth to the passion of Christ. For stylistic reasons, it is dated around 1430/40 and included in the circle of the Hamburg master Francke . In addition to the Marien Altar , the artist is credited with the paintings on the main altars of the Georgenkirche in Wismar and the Johanniskirche in Malchin , after which the painter was given the emergency name Master of the Malchiner Altar .
Opposite the entrance portal, in the north transept, is the former high altar of the Nikolaikirche. The altar comes from a Rostock workshop and was carved in the third quarter of the 15th century. The same workshop created the altar in the Heiligkreuzkirche .
In the chapel adjoining it to the west, the so-called "Broker Chapel", there is a late Gothic crescent moon Madonna , which probably dates from the first quarter of the 16th century. On the north wall of the chapel hangs a carpet with appliqué work from the first half of the 16th century. The motifs shown suggest a liturgical purpose of the tapestry for the feast of the Annunciation . The only sparse remains of medieval stained glass from St. Mary's Church are incorporated into the window above . On the left wall of the chapel hangs a white linen cloth with colorful silk embroidery, the so-called “wedding cloth”, from the 16th century, on which a couple is depicted over a coat of arms. Animals, a bagpiper, tendril and flower ornaments fill the rest of the three meter long and almost 70 centimeter wide cloth.
On the pillars and walls there are numerous panel paintings, including two depictions of Lazarus from the 17th century and several portraits of pastors from the 17th and 18th centuries. Only remnants of the former stained glass have survived due to war damage. The depiction of the Last Judgment in the south transept dates from 1906 and was created by a workshop in Innsbruck. In the ambulatory hangs a model of the frigate sailor "Carl Friedrich" from 1840.
Two paintings by the Rostock painter Egon Tschirch hang in the eastern nave . Tschirch recorded the extensive destruction of the center of Rostock in 1942 in “The Destroyed City”. The only partially damaged St. Mary's Church rises from the ruins.
Funerary chapels and epitaphs
The aisle chapels on the nave and the choir used to serve as tombs and were provided with elaborate wooden architectural display walls. Three of these tombs are still in place in the south-western aisle of the nave. The first nave chapel in the corner next to the entrance area is Meerheimb's hereditary funeral from 1820 with a display wall in the form of a temple front. Two late Renaissance epitaphs for the von Kosse and von Lehnsten families fill the gap to the next chapel. Here is the von Heinen family's burial chapel. After the death of the Danish, Norwegian general Albrecht Christoffer von Heinen (born March 3, 1651, died May 2, 1712) his wife had this medieval chapel built around 1714. Initially only intended for the general, his wife Margareta von Heinen (1672–1732), daughter Friederike Maria von Heinen (–1748) and son Christian Ludwig von Heinen (January 16, 1698– September 21, 1749) were buried here , in the only three sandstone sarcophagi of St. Mary's Church. The weapons of war above the entrance door point to the military career of Albrecht Christopher von Heine; in the center, death is depicted as a memento mori as a lying skeleton with an hourglass and hip.
Next to it is the former “Schusterkapelle”, later “Vorsteherstube”, which was the grave chapel of the von Clausenheim family in the 18th century , as evidenced by its monumental coat of arms above the boundary to the nave, and which was then the burial place for the Rostock branch of the Mann family of writers . Like most of the sarcophagi from St. Mary's Church, these were also reburied in cemeteries. The windows above the chapel were donated by August Friedrich Mann in 1896 and show portraits of several family members. Gule's epitaph from the early 17th century hangs between the two chapels. Further epitaphs and numerous tombstones are distributed throughout the church.
Bells
In the aftermath of the Second World War, the historical bells of the church were reduced to four bells, which were also used and stored in different locations. In the north-eastern chapel of the ambulatory stood the two oldest church bells of St. Mary's Church until 2009 , both of which had cracked. The citizen bell was cast around 1300 ; the big bell was cast by Rickert de Monkehagen in 1409. Both were welded in 1950, but the cracks opened again when the bell rang . The crowns of these two bells had been severed decades earlier due to technical changes to the suspension. The bell, known as the bleacher girl, which stood on the corner of the nave and the south transept from 1980 to 2009, was almost undamaged . This bell also comes from the Monkehagen foundry workshop and was cast in 1450. These three bells were brought to the Lachenmeyer bell welding plant in Nördlingen in 2009 together with the guard bell, which was placed in the nave of St. Petri and cast by Hans Lavenpris in 1554 . In 2010, the two large bells received new crowns and their cracks were welded. The smaller bells received new crown handles. They returned to the tower in November 2010 and are being prepared for the bell operation. On January 14, 2011, the prayer bell designed by the sculptor Wolfgang Friedrich was cast in the Bachert bell foundry in Karlsruhe to relieve the old stock . This chime of four medieval bells and one new bell was consecrated and put into service in May 2011. On October 28, 2011, the sacrament bell, also designed by Wolfgang Friedrich, was finally cast in the same foundry , which was purchased to additionally protect the old stock.
From 19080 to 2010 the ringing of St. Mary's Church consisted of three bells. The oldest was cast by Peter Matze in 1548 (≈1,250 kg, diameter ≈1,300 mm, strike tone e 1 ) and survived the destruction of the Petrikirche in 1942 ; it was then placed in the tower of St. Mary's Church. In 1979 Apolda's last master bell founder, Peter Schilling, and his wife Margarete Schilling delivered two bronze bells (3,456 kg, diameter 1,710 mm, strike h 0 and 1,948 kg, diameter 1,400 mm, strike d 1 ). These bells hung on deep cranked steel yokes, which led to considerable loss of sound. This triple bell, technically refurbished, is to go back into operation as part of the bell project planned for the Petrikirche to replace the makeshift chilled cast iron bell in the bell carrier in front of the church.
In the tower lantern hangs rigidly the hour bell from 1379, which also comes from the Monkehagen workshop and has had a clock- striking hammer again since December 2009 .
Overview of today's bells at St. Marien after the restoration of the medieval bells and the casting of the prayer bell and the sacrament bell :
|
No. |
Surname |
Casting year |
Caster |
Transit diameter (mm) |
Mass (kg) |
Percussive ( HT - 1 / 16 ) |
Inscription (translation) |
| 1 | Citizen Bell | around 1300 | unknown | 1,705 | 3,147 | c 1 -5 | (+) CONSOLOR VIVA * FLEO MORTVA * PELLO NOCIUA * O REX GLORIAE UENI CVM PACE + (I comfort the living, I weep the dead, I drive away what is harmful. O King of Glory, come with peace.) |
| 2 | Big bell | 1409 | Rickert de Monkehagen | 1,775 | 4,226 | d 1 -1 | o rex glorie criste veni cvm pace * anno domini millesimo ccccix in vigilia assvmpcionis marie virginis fvsa est ista campana deo laus * (O King of Glory, Christ, come in peace. In the year of the Lord 1409, on the eve of the reception of the Virgin Mary, this bell was cast in praise of God.) |
| 3 | Prayer bell | 2011 | A. Bachert bell foundry | 1,362 | 1.915 | e 1 -1 | Rm 8,26 THE SPIRIT HELPS OUR WEAKNESS. BECAUSE WE DON'T KNOW WHAT TO PRAY / HOW IT IS DUE; BUT THE [SPIRIT] ITSELF REPRESENTS US WITH INEXPONABLE SIGHS. |
| 4th | Guardian Bell | 1554 | Hans Lavenpris | 1,264 | 1,301 | f sharp 1 −5 | ANNO DOMINI 1554 VERBVM DOMINI MANET INETERNVM * WERE IDT OCK THE WHOLE WORLD LEIT GADES WOERT BLIFT IN EWICHEIT * |
| 5 | Sacrament bell | 2011 | A. Bachert bell foundry | 1,030 | 822 | a 1 −1 | COME TO ME, ALL WHO ARE TOUGH AND LOADED; I want to refresh you. MATTHEW 11.28 |
| 6th | Bleach girl | 1450 | Rickert de Monkehagen | 987 | 649 | h 1 -1 | o rex glorie + ocriste veni cvm pace * ave maria * (O King of Glory, O Christ, come in peace. Hail Mary.) |
I |
Hour bell | 1379 | Rickert de Monkehagen | 1,769 | ≈ 3,200 | h 0 | anno ♦ d [omi] ni ♦ m + ccc + lxxix ♦ i [n] die ♦ b [ea] te ♦ cecilie ♦ v [ir] g [in] is ♦ erat ♦ h [ec] ♦ ca [m] pa [na]: o ♦ rex ♦ gl [ori] e ♦ xp-e ♦ ve [n] i ♦ cvm ♦ pace (In the year of the Lord 1379, on the day of the blessed virgin Caecilia, this bell was [made]. O King of glory, Christ, come in peace.) |
Bell scratch drawings
The large bell of St. Mary's Church, cast in 1409, has rare, art-historically significant carved bell drawings , which are honored in a work by the art historian Ingrid Schulze in a separate chapter.
literature
- Gerd Baier : The Marienkirche in Rostock (The Christian Monument, Issue 6). 3rd, improved edition, Union-Verlag, Berlin 1988 (1st edition 1972), ISBN 3-372-00126-5 .
- Gerd Baier, Heinrich Trost: The architectural and art monuments in the Mecklenburg coastal region . Published by the Schwerin office of the Institute for Monument Preservation. Henschel, Berlin 1990, ISBN 3-362-00523-3 , pp. 380-394.
- Georg Dehio , Gerd Baier: Handbook of the German art monuments. Mecklenburg-Western Pomerania. Revised by Hans-Christian Feldmann. Deutscher Kunstverlag, Munich / Berlin 2000, ISBN 3-422-03081-6 , p. 466 ff.
- Tilman Jeremias (Ed.): … The enthroned St. Mary's Church - a fortress of God . From the story of St. Marien Rostock. KSZ-Verl. & Medien, Rostock 2007, ISBN 978-3-930845-75-0 .
- Gottfried Kiesow : Ways to Brick Gothic . 2nd Edition. German Foundation for Monument Protection, Monument Publications, Bonn 2007, ISBN 3-936942-34-X .
- Ulrich Nath: The Bells of St. Marien , self-published by the city center of Rostock, Rostock 2002.
- Ulrich Nath, Joachim Vetter: The organ of the St. Marien Church in Rostock . Foundation of the St. Marien Church in Rostock eV, 2004.
- Ulrich Nath: The pulpit of the St. Mary's Church in Rostock . Ev-luth. Parish of St. Mary's Church, 2004.
- Manfred Schukowski with the assistance of Wolfgang Erdmann a. Kristina Hegner: The astronomical clock in St. Marien zu Rostock . 2., extended u. updated edition Königstein im Taunus, Verlag Langewiesche 2010 (= The Blue Books), ISBN 978-3-7845-1236-5 .
- Manfred Schukowski and Thomas Helms: Sun, Moon and Twelve Apostles. The astronomical clock in the Marienkirche in Rostock . Thomas Helms Verlag, Schwerin 2012, ISBN 978-3-940207-76-0 .
- Monika Soffner: St. Mary's Church in Rostock . 4th edition. Kunstverlag Peda, Passau 2005, ISBN 3-89643-628-7 .
Web links
- Literature about Marienkirche (Rostock) in the state bibliography MV
- Marienkirche Rostock as a 3D model in SketchUp's 3D warehouse
- The astronomical clock of the St. Marien Church in Rostock
- Parish website
- Marien-Kantorei Rostock
- Foundation St. Mary's Church in Rostock e. V.
- Historic Rostock buildings - The St. Mary's Church
Individual evidence
- ^ Walter Born: The high German church towers , ISBN 3-7848-7010-4 , Hildesheim: Lax 1979. The height information is based on official measurements. In this article the heights including cross tips, weather cocks, pommel and pole etc. and exclusively from antennas are given. The edition is from 1979, so some structural changes that have been made in the meantime, especially reconstructions of some towers after the Second World War , are not taken into account.
- ^ Website of the parish , accessed on February 7, 2015.
- ↑ Baier: The architectural and art monuments in the Mecklenburg coastal region , p. 2.
- ^ Dehio: Handbuch der Deutschen Kunstdenkmäler , p. 466.
- ↑ a b St. Mary's Church in Rostock. Brochure, published by the Förderverein Stiftung St.-Marien-Kirche zu Rostock eV, published by the Kulturstiftung der Länder, 2005, p. 14.
- ↑ a b Dehio: Handbuch der Deutschen Kunstdenkmäler , p. 467.
- ↑ So Soffner: St. Mary's Church Rostock , p 3f .; Dehio: Handbuch der Deutschen Kunstdenkmäler , p. 467, and Kiesow: Ways to Brick Gothic , p. 165, however, continue to assume that construction will be interrupted in 1398.
- ↑ a b Soffner: St. Marien Church in Rostock , p. 6.
- ↑ Soffner: St. Mary's Church Rostock , p. 19
- ↑ St. Mary's Church in Rostock. Brochure, published by the Förderverein Stiftung St.-Marien-Kirche zu Rostock eV, published by the Kulturstiftung der Länder, 2005, p. 30.
- ↑ Friedrich Bombowski: "Report on the fires in the Marienkirche in Rostock during the bombing raids in April and October 1942 and in February 1944". In: “St. Marien Rostock. The Salvation of the Church in 1942 ”. Ed. Evangelical Lutheran Parish St. Marien, Rostock.
- ↑ St. Mary's Church in Rostock. Brochure, published by the Förderverein Stiftung St.-Marien-Kirche zu Rostock eV, published by the Kulturstiftung der Länder, 2005, p. 8.
- ↑ Kiesow: Ways to Brick Gothic , p. 189.
- ↑ Soffner: St. Mary's Church Rostock , p.8; The architectural and art monuments in the Mecklenburg coastal region , p. 383.
- ↑ a b c St. Mary's Church in Rostock. Brochure, published by the Förderverein Stiftung St.-Marien-Kirche zu Rostock eV, published by the Kulturstiftung der Länder, 2005, p. 16.
- ↑ Soffner: St. Mary's Church Rostock , p. 16
- ↑ The architectural and art monuments in the Mecklenburg coastal region , p. 386.
- ^ Message on www.kirche-mv.de
- ^ Restored Marien-Kanzel in Rostock is inaugurated again , news from April 19, 2016
- ^ Haacke, Walter and Jaehn, Reinhard: Paul Schmidt and Mecklenburgs Orgelbau im 18. Jahrhundert, in: Acta Organologica, Vol. 18, 1985.
- ^ The organs of the Marienkirche in Rostock , accessed on June 29, 2017
- ↑ Schukowski speaks of the fact that the "intersection display" has been replaced by the "analog display" we are familiar with today. Cf. M. Schukowski: Sun, Moon and Twelve Apostles , p. 9.
- ↑ M. Schukowski: Sun, Moon and Twelve Apostles , pp. 24-25.
- ↑ M. Schukowski: Sun, Moon and Twelve Apostles , p. 32.
- ↑ M. Schukowski: Sun, Moon and Twelve Apostles , p. 16.
- ^ Reprint of the Latin certificate of indulgence by M. Schukowski: Sun, Moon and Twelve Apostles , p. 60.
- ↑ St. Mary's Church in Rostock. Brochure, published by the Förderverein Stiftung St.-Marien-Kirche zu Rostock eV, published by the Kulturstiftung der Länder, 2005, p. 18.
- ↑ Manfred Schukowski on the website of Ev.-Luth. Rostock inner city parish (preface by Pastor Tilman Jeremias): The calendar room
- ^ The astronomical clock of the St. Marien Church in Rostock
- ↑ "High-tech of the Middle Ages": Astronomical clock in Rostock's Marienkirche is getting a new face at the turn of the year , accessed on January 2, 2018
- ↑ https://www.rostock-heute.de/astronomische-uhr-marienkirche-rostock-kalenderscheibe-wechsel-generalprobe/95630
- ^ Database of the Rostock Astronomical Clock
- ↑ Peter Palme, Kunstschätze, Rostocker Hefte 12, undated, p. 13.
- ^ Alfred Stange : German Gothic painting. 1938, p. 202 ff.
- ↑ a b Bell project at St. Marien zu Rostock ( Memento from November 16, 2012 in the Internet Archive ).
- ↑ Ingrid Schulze (from page 93) in her book Scratch drawings by lay hands - drawings by medieval sculptors and painters? Figural bell scratch drawings from the late 13th century to around 1500 in central and northern Germany. Leipzig 2006, ISBN 978-3-939404-95-8 .
Coordinates: 54 ° 5 ′ 22.4 ″ N , 12 ° 8 ′ 19 ″ E
