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Construction
Construction of Bad Doberan Minster
church
- 1368
- Europe
Construction
church
Fetching the article from Wikipedia…
church
The altar was created around 1300 as an enclosed altar by unknown artists. It is not only the oldest wing altar in Germany, but also the oldest in art history. The upper and middle sections date back to that time. The upper row depicts stories from the New Testament which match the depictions of the Old Testament in the middle row. The New Testament is represented on the left wing depicting the joy of Mary and on the right wing the suffering of Mary. Until around 1400, the figure of Mary on the candle holder was in the middle niche of this altar. The wooden figure was then replaced by a large monstrance and several holy pictures. Furthermore relics and monstrances were stored in the shrine. All of these were lost during the 30 Years War.
Around 1350 the lower row was added, depicting the apostles and the two patron saints St. Sebastian and Pope Fabian. The upper row on the left wing shows: John the Baptist, the annunciation of Mary, the birth and dedication of Christ. On the right wing: the scourging of Jesus, Jesus carrying the cross, the crucifixion and the resurrection. The middle row on the left wing shows: Eve, Sara, the closed gate, the burning bush and the dedication of Samuel. On the right wing: Moses striking the rock, the suffering of Job, Abraham offering Isaac, the iron serpent, Samon and the city gates of Gaza. The lower row on the left wing shows: St. Fabian, apostles Bartholomew, Thomas, Simon, Matthew, Andrew and Peter. The right wing shows: apostles Paul, Jacob the elder, Evangelist John, Phillip, Judas the Galilean, Matthew and St. Sebastian.
It was built between 1350 - 1360 in the form of an enormous Gothic style monstrance, probably by the same carver who made the lower row of the main altar. The 11.60 metre high carving is made of oak and is the oldest tabernacle of its kind in Germany. On the same level as the statue of Mary is the compartment that held the host until the dissolution of the abbey. In the space above there was probably a monstrance displaying a host. The figures are all relating to the celebration of mass. The depictions starting in the lower front and going clockwise are: King David with a harp, Abel offering a lamb, Moses and manna, St. Bernard, the prophetess Deborah, priest and king Melchisedek and on the upper level: Mary, mother of God, John the Baptist, St Peter, St Jacob, St Paul, St John the Evangelist.
The chalice cupboard, to the left of the tabernacle, was created around 1310. Twenty sets of utensils could be stored inside. These utensils, which included chalices, plates, jugs, and spoons, were used for celebrating mass. Such masses took place at the two main altars and 18 side-altars of the abbey church. Brick residue on the walls show that the cupboard was originally built into a wall.
Figures on the outside of the doors depict Mary, Christ, Saint Paul and Ezekiel. Original paintings on the inside of the doors depict Abel with the lamb and Melchisedek with the chalice, as a sign of the death offering of Jesus Christ. On top you can see Jesus giving his blessing. These paintings have never been redone, only cleaned over the years.
To the left is a credenza (around 1300). It is part of the original furnishings of the Gothic Minster and was carved from oak wood, like most of the other medieval wooden artifacts of the minster. It served for the preparation of liturgical utensils used when celebrating the Eucharist at the main altar.
The lower parts of the Levite pews originate from the 14th century. The canopy is a reconstruction from the 19th century. The Levites' seating, a pew for three, was the place for the monk, the deacon, and sub deacon celebrating mass.
Above it hangs an ornamental candle holder prominently showing the statue of Mother Mary in the late Roman - early Gothic style from the time of 1280. This figure stood from 1300 onwards as the central statue in the middle section of the main altar. Around 1400 it was integrated into the newly created candle holder. Here she is portrayed as an apocalyptic Madonna with a crown of stars, the sun and the crescent moon, as in the Book of Revelation 12.1: "and there appeared a woman, clothed with the sun, and the moon under her feet and upon her head a crown of 12 stars." On top of the baldachin you can see the script "AVE MARIA" ("Hail Mary") as the infinite prayer of the Cistercian monks to their main patroness.
The eagle lectern in front of the main altar was made of copper in the 19th century by the copper smith Steusloff from Doberan as an imitation of a lectern originally found in the cathedral of Hildesheim. The eagle is the symbol of Christ and faith being victorious over evil. It was restored in 2002. Behind the lectern are the tombs of Duke Heinrich II (the lion) von Mecklenburg (died 1329) and Nicolaide von Werle (14th century). The tombs are covered with medieval mosaic tablets, which are protected by metal grids (19th century).
Although nearly 700 years old, the rows of choir stalls have been preserved in excellent condition. These were built during the period from 1300-1370 and they were used by the monks for holding their seven daily prayer services. The stalls were originally placed a few metres eastwards towards the main altar. The reason for the longitudinal positioning of the stalls lies in the fact that the Gregorian hourly prayers were sung alternately by the monks on either side. The canopies above the stalls, with intricately carved roses, are of the highest quality and were completed around 1380-1400. The ornamental work was done in a style matching the cross altar (1360) and was followed by work done on the octagon (1420). Of special interest are some unique carvings on the pew ends: the pelican style pew end with the vine, ivy and the eagle. Near the lectern are pew ends with carved lilies and monks (1310). The latter ones show, in the upper part, the annunciation of Mary and, in the lower part, St. Benedict, the founder of the Benedictine Order and the author of the rules of monastic life as well as St. Bernard of Clairvaux, the spiritual father of the Cistercian Order.
The double sided cross altar and the Lettnerwand, taller than a human, divided the monks`choir pews in the eastern part from the lay brothers' seating in the western part. The altar was probably created under the supervision of a Bohemian or south German master builder, with the help of north German master Bertram von Minden. The time of creation is dated 1360-1370. It is the most monumental of its kind in Europe. For the dedication of the church in 1368 the greater part of it was probably finished.
The double sided cross altar shows, on the western side, Christ, the predella and the cross of triumph and on the eastern side the shrine of relics, an altar and the cross shaped "Good Tree of Mary". The paintings on Mary's side of the cross altar: from the left: annunciation of Mary (Luke 1: 26-38), the signs to Gideon (Judges 6: 36-40), birth of Christ (Luke 2: 6-16), Moses and the burning bush (2. Moses 3: 1-8), presentation of Jesus in the temple (Luke 2: 22-35), presentation of Samuel in the temple (1. Samuel 1: 24-28), escape to Egypt (Matthew 2: 13-15). On the cross from the bottom to top: Striking the rock with Moses and Aaron (4. Moses 20: 1-13), Evangelist Matthew (angel), spies with grapes (4. Moses 13: 17-33), Judith and Holofernes (Judith 13), Mary with Jesus (central picture), Esther in front of Ahasuerus (Esther 5: 1-8), Evangelist John (eagle), crowning of Mary (without biblical background). To the left: the sprouting rod of Aaron (4. Moses 17: 8-9), Evangelist Mark (lion). To the right: Evangelist Luke (Taurus), the closed gate to the sanctuary (Ezekiel 44: 1-3).
The cross is shown as the tree of life - true to the words of Christ: "I am the vine and you are the branches" (John 15:5). The portrayal of Christ as the life-giving and triumphant tree, conquering Satan, is one of the most important symbols of medieval Christianity. The cross, which brought death, is not seen as an instrument of torture but through the resurrection of Christ it came to be understood as a symbol of eternal life. Certain figures or stories from the Old Testament influenced scenes, persons or statements in the New Testament. The symbolic pictures on the side of Christ to the left of the altar are: Christ on the Mount of Olives (Matthew 26: 36-46), Elijah at Mount Carmel (2. Kings 1), Christ in front of Pontius Pilate (Matthew 27: 24-26), the Scourging of Jesus (Matthew 27: 26-30), the story of Job (Job 2: 1-10), Jesus carrying the cross (Matthew 27: 31-32), the Fall of Man (1. Moses 3: 1-5). On the cross from bottom to top: Abraham offering Isaac (1. Moses 22: 9-14), Jacob fighting the angel and the stairway to heaven (1. Moses 32: 23-33 and 28: 11-22), Samson and the city gates of Gaza (Judges 16: 1-3), Abel and Melchisedek (1. Moses 4: 4 and 14: 18-24), Christ on the cross (centre picture), the striking of the rock (2. Moses 17: 1-7), Elijah and the widow of Zarephath (1. Kings 17: 10-24), marking the servant of God with the seal (Revelation 7), to the left: the iron serpent, to the right: David kills Goliath (1. Samuel 17: 4 (38-51) 58). In the half round areas on the cross arms are heads of prophets.
In the upper window valuable pieces of medieval glass (1300) were joined together during the 19th century to show images of Mother Mary and John the Evangelist. Originally the chapel of the von Oertzen family was located beneath the window. The only things remaining from it are the chapel window sponsored by the von Oertzen family, to the left a medieval tomb stone of one of the family of von Oertzen and to the right the memorial plaque for Siegfried (died 1441) and Hermann von Oertzen (died 1386) with the inscription: “In the year of our Lord 1441 on the 11th day of July Siegfried von Oertzen passed away in the holy land and is buried on Mount Zion. In the year of our Lord 1386, the knight Hermann von Oertzen passed away.”
Up to the former Lettnerwand and the cross altar was, as in all Cistercians abbeys, the room for the church services of the lay brothers. The pews of the lay brothers are mostly original and complete and are dated around 1280. The round shape of the separating walls, the console style penance seating and the small Romanesque semi-columns all belong to this period. The canopies with their ornate carvings were added later on and were modelled after the choir stalls in the eastern part of the church. Please note the artfully carved pew ends. The carving of an eagle with oaks and fig leaf depicts a scene in which the devil wants to tempt a lay brother. The script says: "Brother, what are you doing here? Come with me!" and the stoic lay brother replies: "You will not find anything bad on me, you repulsive beast, depart from me!". Another pew end shows a pelican representing the sacrifice of Christ, yet another pew end shows a lion representing the risen Christ. One pew end shows a wolf and dragon, from whose mouths vine and hop grows. Thus these evil creatures bring forth goodness. The chalice shaped Romanesque baptismal font from the 13th century, is made from limestone and was brought in from the isle of Gotland. It was originally part of the interior of the Church of St. Mary's in Wismar.
The western window from the 19th century is the largest window of the Minster and was restored in 1996. Parts of the medieval pews were used when re-doing the pews for the dukes (19th century). They were placed between the southern rows of the monks and the lay brothers' pews, diagonally across from the pulpit.
Text from the Wikipedia article “Doberan Minster”, available under CC BY-SA 4.0.