Bad Doberan Minster

About

The Doberan Minster is the main Lutheran Church of Bad Doberan in Mecklenburg, Germany. Close to the Baltic Sea and the Hanseatic city of Rostock, it is the most important religious heritage of the European Route of Brick Gothic. It is the remaining part of Doberan Abbey, a former Cistercian monastery dedicated in 1368. The first abbey in Mecklenburg, founded in 1171, which was also used as the burial site for the regional rulers, became important both politically and historically. Through the activities of its inhabitants, the abbey greatly contributed to the cultural and economic development of Mecklenburg and became the centre of Christianity in this region. No other Cistercian abbey in Europe can lay claim to such a large amount of the original interior remaining intact. Among the treasures are the main altar which is the oldest winged altar in art history, the monumental cross altar and the sculpted tomb of Danish Queen Margarete Sambiria. Even after the reformation and the dissolution of the abbey in 1552, the church continued to serve as the main burial place for the ruling Mecklenburg family as well as the place of worship for the Evangelical-Lutheran congregation. The Minster...

The Doberan Minster is a unique symbiosis of a high gothic cathedral building, based upon French cathedral style and elements of other Hanseatic churches as well as influence by the building code of the Cistercians.

The Cistercian Order was created in 1098 in France as a reformist movement of the Benedictine Order. The ideas for living together are based on the rules of St. Benedict from the 5th century. The Cistercian order was strongly influenced by Bernard of Clairvaux who joined at the beginning of the 12th century. The basic rules of monastic life were humility, poverty and obedience.

Poverty as a rule meant that no monk was allowed to hold any personal possessions and also that abbey churches were to be kept simple, without decorations or ornaments. In the early Romanesque style Cistercian churches, some of which are partially maintained, it is easy to recognize the simple, smooth forms, sparse decorations and furnishings.

In around 1280, the construction of the second abbey church was begun and was consecrated in 1368. The Cistercian reform, which demanded simplicity in design and furnishing, was 200 years in the past and had little influence on the second church building. During trips to France, the monks of Doberan were inspired by the gothic churches there. They returned with new ideas and implemented them here. Also in the surrounding Hanseatic cities, churches were built in gothic style. The regional dukes influenced construction even further. Duke Pribislav of Mecklenburg was a sponsor of the monastery in Doberan and was later buried in the church. The Doberan Minster became the most important burial site for the Dukes of Mecklenburg, who donated money for its continuing development.

The foundations of the Minster are set into sandy soil with integrated wedges of gravel at the meeting point of 3 creeks. The groundwater is approximately 1.5 m below ground level. The surrounding area was mostly marshland. This was not an ideal site for building, especially not for building a monastery with a church of such dimensions. Therefore the foundations had to be set very deep, to guarantee a safe and stable building.

Contrary to other religious orders, the Cistercian monks looked for remote, difficult to access sites to establish their monasteries. Thus they made a large contribution by cultivating arable land and were well liked by the dukes. With no real stone or sandstone available, brick was used as building material. To produce bricks they mixed sand, clay and water and filled wooden forms which then dried and were baked in field ovens. It took three years to produce a brick. These bricks, the so-called abbey form, were about 30 cm long, 15 cm wide, 9.5 cm high and weighed around 8 kilograms. The cement of limestone for the brick joints was free of gypsum to prevent expansion and erosion thus guaranteeing a long life span.

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, is an exceptionally unique showpiece, created around 1310. There was room inside for 20 sets of utensils for celebrating mass (chalices, plates, jugs, spoons), probably for the 2 main and 18 side altars of the abbey church. Brick residue on the sidewalls show that the cupboard was originally built into a wall. Worth noticing are the figures on the outside of the doors, depicting Mary, Christ, St Paul and Ezekiel, and the original paintings (only cleaned, never retouched) on the inside of the doors. There you can see 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.

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 + 28,11-22), Samson and the city gates of Gaza (Judges 16,1-3), Abel and Melchisedek (1. Moses 4,4 + 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.”