The Frauenkirche Cathedral (Cathedral of the Blessed Virgin Mary) in Munich is a close connection between earthly and heavenly powers. Secrets of the Frauenkirche

Address: Frauenkirche, Frauenplatz 12, 80331 München, Germany. How to get there: metro station "Marienplatz" (metro lines U3 and U6).

Cathedral of Our Lady in Munich

In the hustle and bustle of the day, worries, worries, head bowed, we run through life, noticing only the asphalt under our feet, speeding cars, metro stations. Days and nights flicker, life energy flows away. In our declining years, we increasingly turn our eyes to the sky, peer into the bottomless blue, trying to see the hidden secret, whispering the words of a forgotten psalm, begging for forgiveness, passionately looking for prayerful shrines, where the all-forgiving spirit of God is ready to descend on the atheist. One of such fertile places is the Frauenkirche in Munich.

Chronicle of the construction of the Cathedral of the Virgin in Munich

The heart of the old city is Marienplatz, which has survived noisy crowded fairs, bazaars, spectacular tournaments, remembering epidemics, tears, lamentations, battle and victory cries. Grateful descendants erected here a giant column to the unchanging patroness of Bavaria - the Virgin Mary (1638).
Raised high above the ground, standing on a gilded crescent, she holds the symbols of power and the baby Jesus, blessing the townspeople and visitors. Humbert Gerhard tried to embody in the monument the idea of ​​the fall, patience, punishment, humility of the people. Not in vain, obviously, at the foot of the stele, eerie figures lurk, personifying disasters, problems that torn apart the population in ancient times. Famine, Plague, War froze. Of particular interest is Heresy in the guise of a vicious one, punishable by death.
Once there was a modest chapel near the square, which gathered a lot of people, especially during the festivities. Once, when it was overflowing with believers who came with a chant, an alarming cry was heard about a fire that had begun: the bell ringers sounded the alarm, the laity shouted, they rushed in a panic to the only small exit, not remembering anything. In continuous caustic smoke, unbearable crush, groans of the victims, they did not notice the beautiful girl who fell to the ground, young, clean, immaculate, they trampled to death. The spilled blood of an innocent victim has generated a lot of talk. It was then that they decided to build a new building, spacious, bright, where the inhabitants of the capital would freely fit in. Money for a good cause was collected by the whole world. Duke Sigismund with Bishop Johannes Tulbeck finally laid the cornerstone (1468).
Developing the project of the temple, the architect Jörg von Halspach persistently repeated that excesses were not allowed in it, as required by the strictest style of uncompromising Gothic. The large-scale construction took a record short time of only 20 years (excluding domes added later), becoming the swan song of the architect, who died the same year. Full completion falls on 1525. The church accommodated over 19 thousand worshipers, although the number of residents at that time did not exceed 13,000. Probably, they counted on a large increase in population or the transformation of the church into a kind of Mecca, where pilgrims from all over the country would flock.
Built of burnt red brick, the Cathedral of the Blessed Virgin Mary is seen from the most remote corners of Munich, because there is no building higher than it. The city council adopted a special bill that prohibited the construction of skyscrapers that cover the symbol of the capital.
This is a powerful one-piece structure (109x40 m), reminiscent of Noah's Ark. Strict lines of a majestic facade delight. Under the gable roof, articulations are clearly distinguished, harmoniously combined with the concave wreath of the chapels. The rising turrets were originally planned to be decorated with spiers, however, there was a catastrophic lack of money. From here - domes-bulbs of green color, entering into an original contrast with bright red tiles and masonry. "My favorite asparagus (asparagus)," Elector Max III Josef lovingly called them. The southern tower (98.45 m) is 12 cm shorter than the northern one (98.57 m).
Climbing one of them along a narrow spiral staircase, rushing a little on the elevator, you will exit to the observation deck: tiled roofs, straight flying avenues, streets and nooks and crannies - everything will appear to your eyes. In clear, sunny weather, if you're lucky, you can admire the snowy caps of the Alps for a long time, get pleasure, penetrating into the plan of the ancient architects who created with love, feel the greatness of nature, compare what you see with impending everyday life, aggression, deceit, malice.
In the attic there is still a heavy wooden beam taken out of the ceiling. The talented carpenter von Strandbing, wanting to prove to those present his unsurpassed skill, unattainable qualifications, pulled it out. Then he suggested that the envious people should be installed in their original place. This mystery has not yet been solved. Don't believe? Then step under the cathedral roof. Arm yourself with patience, determination, ingenuity. Perhaps the secret of the wise master will yield to your pressure and be revealed?
Ten bells are located under the copper "bulbs", they were cast for 6 centuries (from the XIV to the XX). The largest of them is called a gentle female name - Susanna. At the bottom of the façade there is a plaque with faded, peeling paint, but the inscription on it is still readable. She notifies that the area around the structure is a zone of increased danger, because a crazy wind always walks here. Tearing off the shabby lining, the hats of the gaping guests, as if mocking, he circles them along the pavement. Why only foreigners? Because those who live in the nearby area, remembering the ancient legend about the origin of the mini-whirlwind, always keep their hats on when passing by.

devil's foot

The legend whispers a fantastic story, similar to a fairy tale about the lord of the underworld, who wished to destroy the abode of God. Having received bad news from loyal subjects about the construction in Germany of another shrine to the glory of the Mother of God, the impure one went into a rage, fearing a decrease in the influx of sinners into hellish chambers, which he could not allow. Satan decided to visit the construction site before the consecration. Having concluded an agreement with a ferocious strong north wind, he rushed to the Bavarian region. The task of the storm is to destroy outside, circling and howling angrily around. The Prince of Darkness took upon himself to harm from the inside, penetrating unnoticed into the room. Standing under the central organ, he did not see a single window. Chilling laughter echoed through the vaults. With pleasure, the horned one clapped his hands, rejoiced, stamped his knives, leaving a noticeable decent dent on the floor tiles, from which cracks-cobwebs ran in different directions, and the spur in the form of a hook is clearly visible to this day. Why was the soul stealer so happy? He correctly decided that little people would hardly come to the prayer service in the gigantic dark temple expanse.
When the building was consecrated, the people poured in a crowd, the indignation of the demon knew no bounds. Having flown around, he suddenly discovered windows 23 meters high, decorated with magnificent stained-glass windows, located around the entire perimeter. I counted 30 of them. Arriving in an unthinkable rage, he rushed away, ordering his accomplice to continue the vile business of external destruction.

Rigidity and simplicity of architecture

V going inside, look carefully at the imprint - Teufelstritt. Framed by a yellow square on the gray coolness of marble - "damn footprint". Stand close to him - not a single window opening will open to your eyes. But just take a step forward, and the soft light, refracting in the charming stained-glass windows, cheerfully playing with multi-colored highlights on the arches, columns, floor, will fascinate. The octahedral pylons (22 pieces) lined up on both sides of the inner space, amazingly white, seeming translucent, create the impression of a road stretching into the distance. Service supports rest on them, forming an ocher branching of mesh vaults with a delicate graphic pattern. There is no ceiling and wall painting, a minimum of intricate stucco - only a clear, arrogant Gothic looks down. Severity, piety of the Middle Ages did not tolerate pretentious tinsel, paying close attention to the spiritual state of the flock. The house of the Lord is not a farce, not a circus arena. Nothing should interfere with communication with the Creator. The Mass must be listened to in full, sitting in deafening silence, looking at the 8-meter crucifix, as if floating under the ceiling.
Connoisseurs of choral singing are amazed by the amazing acoustics. Alas, the works of Bach will not please the zealous Catholic, for the loud music, "beating the ears," spreads with a drawn-out, dull rumble in a vast space. But Gregorian chants, Mozart's works sound surprisingly soothing, being remembered for a long time.
The flickering light of candles, the air thickened with incense, the twilight give a feeling of the invisible presence of the Holy Spirit. I would like to hope that the request sent to the Almighty will certainly be heard. On the benches - from 10 to 15 old men, sorting through the rosary, silently pronounce the words of prayer after the shepherd. On Sunday, there are a couple of hundred visitors, no more, despite the fact that the benches installed in rows are designed for 4 thousand people. The people of Munich do not aspire to come here. The sacred monastery appears too arrogant, arrogant.

Alliance of Throne Power and Faith

The five-nave building was more visited by aristocrats, electors, leaving a rich donation, expressed a desire to be buried here, in this quiet pier, where the Wittelsbachs, who ruled the region for more than 700 years, found their rest. The main throne of the main nave is overshadowed by the stately tombstone of Ludwig of Bavaria with the state flag rising above it. The monument is a cenotaph (grave without remains) of reddish and black marble. A huge slab with a cushion stone, on it is a crown. On both sides are allegories of government: the first, crowned with a wreath of laurel, clutches a scepter. Facial expressions reflect good nature, justice, honesty, such sought-after qualities for a peaceful life. The second looks sternly from under half-closed eyelids, holding the weapon at the ready. In appearance - courage, determination, intelligence - everything you need to have in the twilight years of military battles.
At the foot are statues of high-ranking persons: William IV, Albert V with a sword. In the corners, knights clad in armor froze in a single impulse (author Hans Krumpper). On the slab are skulls and standards. From the tomb it blows cold, scaring away the parishioners. The talented hand of the sculptor Erasmus Grasser pleases art connoisseurs with skillfully executed busts of the apostles, prophets, frozen on the kliros. Behind the church choir there is a staircase leading to the crypt, where the crowned bearers, local cream of society, clergymen, and the rich have rested forever. Ludwig himself was buried together with his wife Beatrix in a crypt in the altar.
In the altar - the picture of P. Candide "Ascension of Mary" tells of a joyful event when the Ever-Virgin is taken away with her body to heaven, crowning the kingdom. Several works by Jan Polak are striking in their realism, although their complete authenticity has not been established.
The side chapels are the desire to be closer to the Creator embodied in stone. They are interesting for their unusual decoration. So in the chapel of the Holy Mysteries, linger in amazement before Grasser's mechanical clock. They contain movable figurines of a famous biblical story. In addition to them, the planets, the signs of the zodiac are moving, the phases of the Moon and the Sun are represented, and the melody, flowing and enveloping, carries the thought of intercession, all-encompassing universal love, and mercy. During the restoration period, a crowing rooster, the herald of dawn, was added, driving the demon's minions into the deep dungeons of hell. In general, the church has always faithfully served the local dukes, the last of whom now lives in Nymphenburg Castle at the expense of the state.

The fate of the temple today

Now it is lost among the many residential buildings surrounding it. Even taking pictures is problematic. Walking through the narrow streets to the fountain "Bennobrunnlein" (designed by Josef Henselmann) in a purely German style: simple, strict, dedicated to St. Benno, you will find yourself at the cathedral portal. Kids do not play on the porch, and citizens run past under a piercing, powerful air current. There are up to 400 people in the parish. It is visited mainly by old people from the nearby shelter and tourists, who do not fully understand the gothic severity that denies comfort, magnificent decoration, the pursuit of money collections, human hearts. She recognizes one hundred percent asceticism in everything: clothing, food, attractions. He does not tolerate falsehood, does not give indulgence even to children brought up in a singing school (300 children), where the famous composer Orlando di Lasso once served.
Periodicals publish articles about the cathedral, a considerable number of television programs are filmed. It was not built for the common people, rather, it is intended for the powerful of this world. The union between the "earthly and heavenly" authorities is too strong here. Some local magazine wrote that an old parishioner liked to repeat the hackneyed phrase: "Be simple and people will certainly reach out to you." The 96-year-old old woman quite rightly asserted that this proverb could be applied not only to the laity, but also to the Frauenkirche. Whether the ruling circles will want to heed the wise advice given back in 2006, time will tell, but for now, festive services are always broadcast exclusively from here.
Carefully closing the door, going outside, slowly head towards the falling water, sit down, perhaps a quiet sadness will fill you to the brim. Let a quivering feeling of joy, splendor arise from contact with eternity, and the worm of doubt "Who needs such asceticism?" does not gnaw. Bow to the Great Mother, who, not looking at the tragic earthly fate of her son, at the feet of the Heavenly Father begs for forgiveness for all mankind.

Frauenkirche (Cathedral of the Virgin Mary)

Munich has many faces, bright and unpredictable. Having experienced many merciless wars and several times devastated by epidemics, survived the capture by foreigners during the Thirty Years' War of the 17th century and changed its appearance during the years of National Socialism, the city today impresses with its versatility and rich history. Among the monuments of old Munich, one of the central roles in the history of the city has played and still plays to this day the cathedral - Frauenkirche (it. Frauenkirche — "Cathedral of the Virgin Mary". Being the tallest building in old Munich, it is the first one that is visible to everyone arriving in the capital of Bavaria. It was precisely this goal that Duke Sigismund of Bavaria pursued, laying the first stone in the foundation of the future church in February 1468.

Frauenkirche was built in record time: it took only 20 years to build a building that could accommodate up to 20 thousand people (taking into account the fact that the population of Munich at the end of the 15th century was only 13 thousand). The church can rightly be called the church of the whole people, since there was not a person in medieval Munich who would not take part in the construction of the temple. Assistance in the construction of the church was also provided by Pope Sixtus IV, who promised absolution to all who go to Munich and donate their weekly earnings for the construction of the cathedral. One of the portals of the cathedral is named after the pope.

In the 1620s, the construction of the Frauenkirche towers was completed. After the war of 1503-1505. between the two lines of the Wittelsbach rulers of Bavaria, during which cannons were installed on them that served to protect the city, the towers received characteristic completions, the shape of which refers us to the Temple of the Rock in Jerusalem.

The architect of the cathedral was Jörg von Halsbach, who also designed the building of the Old Town Hall on Marienplatz. The city council chose this particular architect, as he suggested that the church be built entirely of bricks. This was advantageous, since there were no quarries near Munich. One thing is connected with Jörg von Halsbach one of the most popular legends among the Munich people. It says that the architect, despairing of the scale of the construction, entered into an agreement with the devil: the latter agreed to help in the construction of the church, but on the condition that there would not be a single window in it. The architect, however, deceived the devil. He designed the setting of twenty-two pylons in such a way that at the entrance to the cathedral, numerous windows were not visible. The devil, who came to take the job, saw that the architect had fooled him. In a rage, he stomped on the stone slab at the entrance to the cathedral and disappeared. His footprint is still visible at this place.

However, the power of the cathedral is determined not only by the participation of the devil in its construction, but also by its very size: the church reaches 109 meters in length, 40 meters in width, and the height of the towers is about 100 meters. simplicity. But still real values ​​are far from obvious and, looking more closely, you can see that the Frauenkirche hides real treasures. What is, for example, the largest in Germany collection of wooden figures of the apostles and the Old Testament prophets of the Munich master Erasmus Grasser. Or created in Vienna 15th century mechanical clock, which is one of the oldest clocks still in operation in Germany. In addition to their impressive size, the figures of God the Father, Jesus and Mary are surprising: every day at exactly 12.10, after the rooster flapped its wings three times, God the Father takes out his sword and freezes, starting a dialogue with people. At this time, Jesus and Mary kneel before him, begging for human sins.

Without a doubt, the gaze of visitors to the cathedral also attracts cenotaph(tombstone over an empty grave) Ludwig Bavaria - Duke of Bavaria and Holy Roman Emperor. It was erected by the first elector of the state, Maximilian I. the memory of a glorious ancestor who was a model of a wise, just and successful ruler for all the Wittelsbachs.

On the sides of the cathedral are numerous chapels- burial places of members of wealthy and privileged Munich families. The right to arrange a personal chapel was given to those who could order an “eternal Mass”, that is, a regular mention of their name during worship. Donations for these masses were the livelihood of the canons of the cathedral until the reforms of Napoleon. Among the most noteworthy chapels is the chapel of St. Sebastian, whose altarpiece was presumably painted by Anthony van Dyck, the chapel of St. Catherine of Alexandria, which contains a vessel with a relic - a particle of the hand of Pope Pius X, donated to the Frauenkirche during the Eucharistic Council in 1960. The chapel of Anna, Mary and the baby Jesus (Ger. Anna- Selbdritt), hosted by the rulers of Bavaria. In addition to the figures of Saints George (the patron saint of Kiev and Moscow) and the Bavarian knight Rasso, we see here a statue made of wood St. Christopher(gr. Χριστοφορος - "carrying Christ") - a giant carrying the baby Jesus on his shoulders and holding a tree branch in his hands. According to legend, one of the hermits sent Christopher, a Roman of enormous stature, to ferry people across a dangerous ford. One day a little boy asked to be carried across the river.

Christopher took him, but in the middle of the river he felt an incredible weight: the boy explained to him that he was Christ and carried with him all the burdens of the world. Then the boy invited Christopher to stick a lifeless branch of a tree into the ground, which soon turned into a fertile tree. This miracle converted many to the Christian faith. The legend of St. Christopher is one of the most beloved by the Bavarians, so the figure takes its rightful place in the altar of the cathedral.

Also noteworthy is the epitaph to one of the pastors of the cathedral, Johannes Neuhauser, located at the entrance to the sacristy. It depicts a worm-eaten skeleton, a frequent motif of the Vanitas style (lat. vanitas- "bustle"). Such images were intended to remind of the transience of life and the inevitability of death. Ideologically, this style in the art of the Baroque era is based on the well-known verse from the book of the Old Testament prophet Ecclesiastes "vanity of vanities - all is vanity."

Both for the cathedral and St. Benno is an important figure for all Munich people Bishop of the 11th century His remains are also kept in one of the chapels of the cathedral, having been moved here in the 16th century, at the height of the confrontation between Catholics and Protestants. The "saving" of the saint's relics was taken by the Bavarians as a sign of the truth and strength of their Catholic faith. From the end of the 16th century St. Benno is considered the patron saint of Bavaria. Above the entrance to the saint's chapel is a fish with a bunch of keys. This image refers us to another legend. According to her, Benno once, in connection with political intrigues, had to leave the place of the bishop and retire. When he returned three years later, the inhabitants did not recognize him, and as a simple wanderer he settled in a tavern. To the owner of the inn, Benno brought an unusually large fish he had caught in the river. While cooking, the keys to the cathedral were found in her gills, which Benno threw into the river before he left. The news of the bishop's return instantly spread throughout the city and aroused the rejoicing of the people. It is worth noting that the fish in Christianity is a symbol of Christ, and the keys are a symbol of power, which Christ gave to his disciple, the apostle Peter.

Holy of holies of the cathedral main choir chapel. In addition to the figure of Mary, made at the beginning of the 16th century. ivory, eye-catching image of the patroness of the Virgin(or Madonna with a mantle, German. Schutzmantelmadonna). On the right side, representatives of the clergy kneel before Mary, on the left - secular classes. Madonna, as it were, covers the Munich citizens with her cloak, protecting and protecting them. The cathedral, of course, is also protected by Mary: despite such an impressive age, numerous changes and reconstructions, severe destruction during the war years, the Frauenkirche still retains its majesty and, being in the very heart of Munich, sanctifies the life of the city. I. despite all life changes, remains unchanged, giving strong and clear guidelines

Yuri Snegirev, historian, undergraduate at Ludwig-Maximilian University Munich

Svetlana Moroz, historian, guide (Munich, Bavaria)

FRAUENKIRCHE

The symbol of the city is the late Gothic Frauenkirche.

Frauenkirche(German Frauenkirche), the official name of the German. Der Dom zu Unserer Lieben Frau (Cathedral of Our Lady) is the tallest cathedral in Munich. Since 1821, the main church of the newly created archbishopric of Munich-Freising.
The construction of the cathedral was started in 1466 and completed in 1525 (1466-1492 architect Jörg von Halsbach, also known as Ganghofer). Actually the cathedral itself was built quickly, but the towers were completed almost a century later.
Up to 20,000 parishioners could find a place in the cathedral, while at the time the construction was completed, the population of Munich was only 13,000 people. Nowadays, the cathedral can accommodate about 4,000 people sitting, thanks to benches for parishioners installed there in recent years.
However, inside the cathedral does not give the impression of a huge structure, as the 22 columns supporting the roof create the illusion of a much smaller space.
The height of the cathedral is 99 meters. By decision of a referendum held in 2004, in Munich it is temporarily forbidden to build buildings higher than the Frauenkirche, that is, higher than 100 meters.
One tower is 12 cm higher than the other. According to the original plan, they were supposed to be crowned with spiers like those of the Cologne Cathedral, but due to lack of money, domes were erected that stylistically did not correspond to the cathedral.
The length of the cathedral is 109 m, the width is 40 m. The interior decoration of the three-aisled church was partially lost during the Second World War. The magnificent choir benches made by Erasmus Grasser in 1502, the tomb of Ludwig IV of Bavaria from black marble, the altar of St. Andrew and paintings by Jan Polak. Although the rich Gothic interior of the cathedral was partially destroyed, it was partially removed during the era of the Counter-Reformation.
Representatives of the Wittelsbach dynasty (German: Wittelsbach), who ruled in Bavaria and the Palatinate, are buried in the crypt
The church is a poorly decorated but large brick building. It has five naves, a hall system, without a transept, but is equipped with a choir bypass and two western towers. Its buttresses pushed inward and along the longitudinal sides turned into rows of chapels of extraordinary height. Service columns rest on their octahedral pillars without capitals, which branch out into rich mesh vaults. The austere but bright church is typical of the Bavarian brick style of the 15th century.

Teufelstritt, the imprint of the devil. According to legend, the builder of the church made a deal with the devil that there would be no windows in the church, and the devil would help build the building. But the devil was deceived by a clever architect. The church was already consecrated and the devil could only stand near the entrance, and from this place the windows were not visible because of the columns. The devil stamped his foot in a rage and left an imprint where a tail mark is visible at the heel.

Altar.

Ceiling.

Organ.

Tomb of Holy Roman Emperor Louis IV by Hans Krumpper.

Altar of St. Andrew.

Article from GEO magazine, #12, 2006

Cathedral of the Bavarian Mother of God
The symbol of Munich is the Frauenkirche Cathedral. No one will deny him the majestic and cold Gothic beauty. But the Munich people prefer other churches.
The remains of the Bavarian archbishops rest in the crypt of the Munich Frauenkirche Cathedral. Traditionally, clergymen and aristocrats were buried in a vaulted room under the altar.
“It’s somehow bare here!”, Some tourist whispers frightenedly to her husband. She looks skeptically around the massive columns of the Frauenkirche until her gaze finally rests on the long robe of Reinhard Behrens. The caretaker of the cathedral, Behrens, already knows what will follow - a woman will approach him and ask the classic question: "Is this a Protestant church?" There is clear disappointment in this question.
Why does Munich's Frauenkirche look so prim? Why do people avoid entering the temple, which is considered the symbol of the city? Local Catholics prefer more comfortable temples, and few tourists like its austerity. Reinhard Behrens patiently explains that not all Catholic churches in Bavaria are built in the Baroque style. That his cathedral does not look like elegant churches with playful stucco and paintings on the ceiling, with angels, with high altars and sparkling monstrances.
Frauenkirche is uncompromising gothic. Clean, haughty, clear. And in the spoiled baroque of Bavaria they are not used to it. When you walk along the elegant Kaufingerstrasse street with its luxurious shops, and then suddenly find yourself under the echoing and deserted vaults of the cathedral, you feel uneasy.
Gothic is the grandeur of space, the severity of lines. The main cathedral of the city was erected in the Middle Ages, although the approach of the Renaissance is already felt in its architecture. The massiveness of the structure is softened by onion domes - "Romanesque helmets". The cathedral was built over 26 years and was consecrated in 1494, shortly before the start of the Reformation. At the same time, the first university was founded in Bavaria, and the first book was printed in Munich.
Frauenkirche is one of the last monuments of the era when the Western Church was united. This is a laconic and severe temple. The means here are subordinated to the end, in contrast to the Jesuit Baroque, where the end is sacrificed to the means. The strict pious spirit of the Middle Ages did not tolerate pretentiousness and operatic effects.
Baroque music cannot be performed here. Because of the powerful echo, the sounds merge, and a cacophony is obtained. “Bach hits us in the ears,” the regent smiles. The acoustics in the Frauenkirche are such that "the space just can't keep up" with fast-tempo pieces of music. But as soon as Gregorian chants or Mozart's mass are heard, it becomes clear what the local chapel is capable of. When countless candles burn and the air thickens with incense, you feel the invisible presence of the Holy Spirit in these walls. At such moments, the true power of the cathedral is revealed, the beauty of the church service, as if you were transported to Venice of the 17th century, to the famous St. Mark's Cathedral.
There are 300 children studying in the singing school attached to the church. In the cathedral, where Orlando di Lasso, the great composer of the Renaissance, served as bandmaster, false notes are unacceptable. For Regent Nis, this is an art, not a craft. And if the parishioners are not able to keep a high level of singing, then it is better to keep quiet.
Frauenkirche does not flirt with the flock and do not shorten services. Dominicans or Jesuits from other Catholic churches in Munich are free to chase after their parishioners. “We don't expect applause. The temple is not a farce, says ceremonial Anton Heckler. “The Mass in the Frauenkirche is an example to follow.” Here they serve according to all the canons. After all, if each temple will act at its own discretion, what will become of the unity of the church?
Heckler, who looks like the famous American actor Gene Hackman, turns on his laptop and begins to calculate how much it will cost the parish to receive communion for 400 believers. Heckler is a director and director rolled into one. He determines which of the servants will take out the cover on the bowl, and who will sing "I Believe." He oversees everything from choosing the vessel for the hosts to draping the robes. He reprimands the clerks for the jeans sticking out from under the surplice, and the readers for poor articulation.
Heckler stands up for the continuation of the reforms of the Catholic Church, which 40 years ago initiated the Second Vatican Council. Alas, "inert consciousness does not understand the sublime brilliance of noble simplicity." For example, the vestments of priests in ordinary churches still look like some kind of lurid bib. In the Frauenkirche, priests wear modest attire.
The combination of gothic and modern trends in Munich leads to a dead end. The choirs in the Frauenkirche, in their opinion, are too low, the altar is not richly decorated, and the bishop's chair does not look like a throne at all. There is not even a pulpit from which heart-rending sermons should be delivered.
Had it been the will of Heckler himself, he would have gone even further. I would remove the benches from the cathedral, which only hinder the unity of the faithful: let the parishioners stand during the service. He would have broken real bread instead of hosts and would have communed with Eucharistic wine not only the clergy, but all the faithful, as in the rites of the ancient church. ( Note. And there is an old church. All this is performed in our Orthodox churches.) But then, he fears, they will stop going to them altogether. Munich residents rarely visit the Frauenkirche anyway. On Sundays, in the cathedral, designed for 20 thousand people, 100-200 parishioners are recruited at most. Vespers are served in a tiny chapel for 15–20 old ladies. At the same time, Bavarian television broadcasts live the main masses. So Wolfgang Huber, the rector of the temple, has enough worries both with their preparation and with the visits of international delegations. After all, the Frauenkirche was never a "people's" church. She is a symbol of ducal power.
Since the 16th century, the rulers of Bavaria, the Dukes of Wittelsbach, were married and buried here. An army was recruited on the square in front of the cathedral, and the duke himself appointed the abbots of the Frauenkirche. The cathedral faithfully served the authorities, its mighty vaults and powerful towers, directed to the sky, were a symbol of the invincibility of the Bavarian rulers. Already its predecessor, the Marienkirche, built on this site in the 13th century, was the house church of the dukes.
Ordinary people prayed in the Church of St. Peter - beloved by the people and the oldest church in the city. The Munich people still cannot accept the fact that he remains in the shadow of the privileged Frauenkirche.
Anyone who looks at old engravings is sure to be struck by the "secularity" of the cathedral. The tombstone of Ludwig of Bavaria, the most famous representative of the Wittelsbachs for all 8 centuries of the existence of the family, was erected right in front of the main throne, almost blocking it. Moreover, the national flag of Bavaria was hoisted from above.
The cathedral finally became “court” under the stern and pious Bavarian electors of the Counter-Reformation era. Maximilian I, an ardent Catholic and a fierce enemy of the Protestants, knew how to deftly combine religion with politics. He even ordered the transfer of the statue of the Madonna, the symbol of the Frauenkirche Cathedral, from the altar to the central square of Munich (now called Marienplatz). And the majestic bronze figure of the Mother of God, installed at the walls of his residence, was declared the patron saint of Bavaria. The Madonna became the political weapon of the House of Wittelsbach. In the cathedral itself, Maximilian ordered the erection of a gloomy monument of black marble and dark bronze - the imperial cenotaph, the symbolic tomb of the dukes. The figures of knights clad in armor and images of skulls looked intimidating and terrified the believers. A powerful triumphal arch towered over the monument - a symbol of the unity of heavenly and earthly power.
So the Frauenkirche Cathedral was and remains a church for those in power. Up until 1952, all Bavarian bishops came from aristocratic noble families. For the inhabitants of Munich, the cathedral has always embodied the union of the throne and the altar. That is why the townspeople never considered the Frauenkirche close to them in spirit.
When the nun Jolant at Weiss of the Order of the Sisters of the Holy Family was transferred to Munich after 27 years of service in the town of Partenkirchen, she was alarmed that children never played on the porch of the Frauenkirche. In her alpine town, she prepared 60 babies for first communion every year. And in the huge, illustrious cathedral, there are only 400 parishioners - the smallest parish in Munich. And growth is not expected: only 29 parishioners under the age of 18. Most are old people living in an orphanage near the cathedral.
Sister Jolanta is taking care of them. She also visits the 96-year-old Frau Bauer. Before the war, she lived well, worked in the Palace of Justice, but in 1945 her house was bombed, and she was given an apartment near the Frauenkirche. Frau Bauer has completely dried up - weightless as a feather. In her room, on a chest of drawers, there is a figurine of the Mother of God with baby Jesus.
Sister Jolanta carefully cleans the tangerine for the old woman - only half, so that the other does not dry out. Frau likes to repeat the same thing over and over: “Once the boss told me: “Girl, be simpler, and people will love you.” But not everyone can do it!”
These words are like a summary of life, they sound almost like a prayer. Sister Jolanta Weiss patiently listens to Frau Bauer's mutterings, thinking that perhaps the arrogant Frauenkirche should heed the wise advice...

Wolfgang Michal

The Frauenkirche Cathedral in Munich (German: Frauenkirche) is a tourist symbol of Bavaria and the greatest architectural monument in Germany. The official name is the Cathedral of the Blessed Virgin Mary (German: Der Dom zu Unserer Lieben Frau). The temple is located near the central square Marienplatz (German: Marienplatz), and its towers offer a panoramic view of the city. Since the 15th century, the late Gothic church has been considered the main attraction of Munich.

About the Frauenkirche in Munich

Frauenkirche Cathedral is the current Catholic church of the diocese of Freising and Munich. The cathedral was built as a result of the secularization of the bishopric and the merger of the parish and collegiate churches under the Wittelsbachs and is a symbol of the political power of the dynasty, the personification of the union of the throne and religion.

In 2004, the authorities decided not to erect buildings higher than the Frauenkirche in Munich in order to preserve its cultural and architectural value.

The Munich Cathedral of the Blessed Virgin Mary is the oldest patron church in the diocese and the highest building in the city. The height of the towers is 98.5 m, the length of the nave is 109 m, and the height is 40 m.

Cathedral history

The construction of the Church of the Blessed Virgin Mary is closely connected with the rule of the Wittelsbach dynasty (German: Wittelsbacher). To strengthen his position on the throne, Duke Sigismund decided to build a new parish church. Subsequently, it became a family crypt, in the crypt of which the rulers of Bavaria and the Palatinate are buried.

The temple never belonged to the people, but was a symbol of the Wittelsbachs.

Prior to this, the Marienkirche was considered their family church, around which Der Dom zu Unserer Lieben Frau was built. Frauenkirche can accommodate 20 thousand parishioners, although at the time of construction, the population in Munich did not exceed 13 thousand inhabitants.

Frauenkirche construction phases

The construction of the temple began in 1468. The project was implemented by the famous architect Jörg von Halspach, who supervised the construction of the Old Town Hall on Marienplatz.

• In 1494, the main facade was erected, the cathedral was consecrated and opened to parishioners. The architect himself did not live to see the end of construction.
• Further work was carried out until 1525. The last to build domes and towers.
• In 1599, an additional triumphal arch decorated with stucco was erected in the temple, and in 1620, the image of the Assumption of the Blessed Virgin Mary appeared on the main altar.
• In 1821, the cathedral became an episcopal residence, which led to a radical reorganization of the interior.
• After World War II, the church was badly damaged. In 1989-1994 The temple was completely reconstructed.

Features of the architecture of the cathedral: exterior and interior

In the 15th century in Germany, it was believed that Renaissance and Baroque were more suitable for secular architecture, and religious buildings should be in the Gothic style. Therefore, the church is a laconic late Gothic brick building with elements of eclecticism and baroque.

The main part of the Cathedral of the Blessed Virgin Mary was built in 20 years. Then the construction was suspended due to lack of funds, which affected the architecture of the temple, which combines several styles and trends.

Frauenkirche - a five-nave cathedral without a transept with two towers. Inside, there are 22 massive columns supporting the roof. They visually hide the space, so it may seem that the capacity of the church is less than it actually is.

It was originally planned to decorate the domes with spiers, as in Cologne Cathedral, but under the influence of the architectural trends of the Renaissance, this idea was abandoned.

The design of the Frauenkirche is borrowed from the Church of the Holy Sepulcher in Jerusalem, made according to Byzantine designs. This created a striking contrast against the background of strict Gothic.

When Frauenkirche became an episcopal cathedral, the interior design of the temple changed, in particular, its altar part.

What the walls of the temple hide: shrines and relics

The history of the Frauenkirche dates back five centuries, but its construction is still shrouded in secrets and legends. At the time of construction, there were no similar structures in Bavaria. Especially questions were caused by the rapid construction of the church in 20 years, which was an incredibly short time for such a construction.

The Cathedral of the Blessed Virgin Mary is not only an amazing example of late Gothic, but also a valuable cultural heritage of Germany, the walls of which keep more than one secret.

Monument to the Wittelsbachs - the cenotaph of Ludwig IV

An important part of the Frauenkirche is sculpture. In the southern wing there is a cenotaph erected in 1622 on the initiative of Elector Maximilian I in honor of the deceased Emperor Ludwig of Bavaria. The cenotaph is intended to emphasize the significance of Ludwig IV for the Catholic faith, because in the history of the rule of the Wittelsbach dynasty, it occupies a central place.

Inside the marble crypt is a Gothic plaque. However, the authorship of the plate has not been established so far. The remains of the ruler himself are not here, since he is buried in the crypt along with the rest of the representatives of the monarchy.

Next to the monument are two bronze statues of Duke William IV (1508-1550) and Albrecht V (1550-1579), as well as four kneeling standard-bearers, creating a single sculptural composition.

Teufelstreet - the footprint of the devil

The Cathedral of the Blessed Virgin Mary is an atypical religious building for Bavaria in the 15th century. Its architecture has inspired many myths that are passed down by the locals from generation to generation. The most famous of these is der Teufelstritt, or the devil's footprint.

At the entrance to the cathedral on the floor there is a footprint, according to legend, left by Lucifer himself. During the construction of the Frauenkirche, a deal was allegedly made between the architect and the devil: Satan promised to help build the church in exchange for the soul of the architect.

At that time, there were plenty of religious buildings in Munich. Satan was afraid that the patronage of the Blessed Virgin Mary would weaken his position, so he decided to make a temple that would not attract parishioners.

When the construction was completed, the devil came for the debt. Entering through the main gate, he laughed, because there was not a single window inside, which means that such a temple could not be useful. For joy, the demon kicked the floor, leaving its imprint on it. But when he took another step, he saw a light falling through the glass. Enraged, he turned into the wind and tried to break the windows, which failed as people crowded into the church.

Indeed, when entering the church, the side windows are not visible. From 1622 to 1860 they were overshadowed by a huge Renaissance altar depicting the Assumption of the Blessed Virgin Mary, made by P. Candide.

There is another legend of the Frauenkirche Cathedral, according to which the devil in the guise of a storm is still trying to get inside and break the windows, so it is always windy around the temple.

An echo of the origins of Catholicism - a mechanical watch

Accurate timekeeping has been a necessary part of Western religion since the Middle Ages. Divine services began at the same time, for which clocks were set in churches. They not only determined when to start prayer, but also symbolized the praise of God and the transience of life.

The cathedral has a unique mechanical clock that shows a puppet show - the intercession of Jesus and Mary before God the Father.

The dial also demonstrates the solar system, lunar phases, signs of the zodiac.

In 1749, during the restoration, a crowing rooster was installed in the clock mechanism. But under the influence of different epochs, the watch case has repeatedly changed, so they have not been preserved in their original form. Today, there is a built-in musical accompaniment, which makes the whole design unique.

Crypt Frauenkirche - crypt of the Wittelsbach dynasty

Behind the walls of the central altar is a crypt - the burial place of monarchs, archbishops and cardinals. The Frauenkirche crypt is a family vault where the remains of the rulers of the Wittelsbach dynasty are buried.

Each grave is framed in a tomb with a memorial plate. The room is made of brick and does not differ in magnificent decoration, although back in the 19th century the crypt was decorated with bas-reliefs, paintings, stucco molding, which were removed after reconstruction. Tourists are not allowed to enter this part of the temple.

Opening hours and visit to the cathedral

The cathedral is open daily from 7.30 to 20.30. There are restrictions on visiting the temple by tourists during church services. Office hours of the parish office:

• from 8.30 to 12.30;
• from 14.00 to 16.30 from Monday to Thursday;
• Friday 8:30 am to 12:30 pm.

Sightseeing tours are held on Sundays from May to September and at 15.00 on Thursdays. The entrance to the towers is temporarily closed: reconstruction work is underway.

The schedule of excursions, as well as upcoming events that take place in the temple, are available on the official website.

How to get to the cathedral: route and address

Frauenkirche is located near the central Marienplatz square at Frauenplatz 12. Nearby is the Marienplatz (Theatinerstraße) stop. You can get there by metro or city train, as well as by public transport 19 and N19.

The churches of Munich - the spiritual heritage of Bavaria

Religious buildings are key attractions in Munich. Each church is an echo of a certain era, which is reflected in the architectural style of buildings. Although the Frauenkirche in Munich occupies a central place among the religious buildings of Bavaria, such temples are no less significant in the history of the region:

Official name	Years of construction, architectural style, denomination
Azamkirche (German: Asamkirche) or Church of St. John Nepomuk	1733-1746, baroque, catholicism
Church of St. Luke (German: Lukaskirche)	1893-1896, Romanesque with Gothic elements, Protestantism
Church of St. Mark (German: St. Markus)	1873-1876, Neo-Gothic, Lutheranism
Church of St. Michael (German: Jesuitenkirche St. Michael)	1583-1597 Renaissance architecture, Catholicism
Church of St. Peter (German St. Peter) or "Alter Peter"	1181, Romanesque, Catholicism
Theatinerkirche (German: Theatinerkirche)	1663-1690 Baroque, Catholicism

Conclusion

The Frauenkirche Cathedral is a Gothic palace, a family crypt and a valuable architectural monument of the 15th century, which attracts tourists from all over the world. Not a single photo will convey the atmosphere of mystery of this place. Here the history of the greatest dynasty is hidden and the original culture of Bavaria is reflected.

Frauenkirche. Munich. Saint Benno: Video

The address: Germany, Munich
Start of construction: 1468
Completion of construction: 1525
Architect: Jörg von Halsbach
Height: 100 m
Coordinates: 48°08"18.9"N 11°34"24.5"E

Content:

Short description

Not far from Munich's Marienplatz is the main cathedral of the capital of Bavaria - Frauenkirche. The official name of the tallest cathedral in Munich is the Cathedral of the Blessed Virgin Mary.

Surprisingly, in 2004, at a meeting of the city authorities, a rather controversial bill was passed, according to which in an ultra-modern city, famous for its research institutes and museums, it is forbidden to erect buildings that would be higher than the Frauenkirche.

Cathedral from a bird's eye view

The height of the cathedral, built in the Gothic style, is "only" 99 meters. Naturally, this figure cannot be called small, but it limits the construction of huge skyscrapers and office buildings in the city. What is the reason for such an attitude of the authorities towards the Frauenkirche, what is so unusual in this cathedral? It's no secret that many travel agencies call the Frauenkirche the symbol of Munich and recommend all visitors to the city to visit this attraction without fail. Naturally, the Frauenkirche can certainly interest historians, connoisseurs of architectural and cultural monuments. Its long history and close relationship with the legendary Witttelsbach dynasty, which once ruled Bavaria for 700 years, certainly deserves attention.

Many guides living in Munich, telling their tour groups about the Frauenkirche, quite often speak of the cathedral with a certain amount of skepticism. The thing is that the majestic cathedral, which is the tallest building in Munich, does not cause delight among the natives of the city. The Wittelsbach family is “guilty” in this state of affairs, which, by the way, are very respected in Bavaria, and the last descendant from this dynasty still lives at the expense of the state in the luxurious Nymphenburg Palace.

View of the Cathedral from the New Town Hall

It was the founders of this dynasty who made the Frauenkirche a cathedral for the powerful, and by and large, turned it into a kind of family crypt. True, this is already a story, which should be discussed a little below.

Frauenkirche Cathedral - history

As mentioned above, the Wittelsbach dynasty wanted to create a cathedral in which they could turn to God, and where they would find eternal rest. The first stone in the construction of the cathedral, which was decided to be erected in the Gothic style, was laid in 1468. The project of the building was developed by the then famous architect Jorg von Halspach, who owns the words that the building in the capital of Bavaria "was built in the style of uncompromising Gothic, where there is nothing superfluous."

Frauenkirche Cathedral was built of brick already by 1494. During the solemn opening ceremony, the consecration of the temple took place. In fairness, it should be noted that in 1494 the cathedral was not fully completed: its main architectural details - the domes on the towers, were completed in 1525. Since the middle of the 16th century, the Frauenkirche Cathedral could be called a secular cathedral, ordinary Munich people rarely looked into it. As you know, the church should not obey the politicians and the government of the country, and the Frauenkirche has become a kind of symbol, known in Bavaria under the name: "the union of the throne and the altar."

View of the towers of the cathedral

After the first consecration, the cathedral could accommodate more than 20 thousand people. When the towers were erected, the capacity of the Frauenkirche fell to 12,000 people. Already after the Second World War, no more than 4 thousand people can listen to sermons in the church. All places, as in many Catholic churches, are seated. It is worth noting that during the offensive of the Allied forces on Munich, the Frauenkirche Cathedral was damaged. However, the damage done cannot be called significant. All interior decoration items, tombs and valuable relics were not damaged. The restoration of the Frauenkirche after the Second World War took place in record time. And how could it be otherwise in the case of the temple, which is called "the union of the throne and the altar"? He has remained so to this day.

Frauenkirche Cathedral - architecture

Not a single modern architect will be able to say that the facades of the cathedral do not cause admiration for the Gothic style. Majesty, strict lines and, one might even say, some kind of chilling beauty, can be seen in every detail of the building. Despite the facade of the building, the interior of the temple disappoints many tourists. “This temple is somehow miserable”, “It is not cozy and cold here”, “Probably, we were not in a Catholic church”, - such words are quite often uttered by many guests of Munich, who for the first time crossed the threshold of the symbol of the capital of Bavaria, the Frauenkirche Cathedral.

Facade of the cathedral

As mentioned above, even the indigenous inhabitants of the city do not favor this main attraction with their attention. The austerity of the interior decoration, the arrogant attitude of the clergy towards the faithful, cannot attract the flock to the walls of the cathedral. During Sunday services on benches designed for 4,000 people, it will be difficult to count 80 parishioners. During evening services, the Frauenkirche is practically empty: only 10-15 elderly women listen to prayers ascending to God. They come here only because they live in an orphanage located near the cathedral.

Despite all of the above, it is from this cathedral that numerous broadcasts of services dedicated to the most significant Catholic holidays are conducted. The ceremonial of the Frauenkirche can be called an accountant, director, screenwriter and director. In addition, he arrogantly asserts that it is Frauenkirche Cathedral should be a role model for all Catholic churches. “The interior of the temple is not a circus venue, where everything should be decorated with bright colors. Mass, not clowning, it cannot be shortened, during it you need to sit and listen in complete silence, ”the ceremonial Anton Heckler once said in an interview. It was he who became the first minister of the Catholic Church, who scrupulously calculated on a personal computer the amount needed for the communion of parishioners. By the way, the officially registered parish of the Frauenkirche has less than 400 people.

Main entrance to the cathedral

The close connection of the Frauenkirche with power, which has lasted for more than 400 years, repels young people. Of the entire parish, there are less than 30 parishioners under the age of 18. It cannot be otherwise in the cathedral, where in front of the main altar there is a huge tombstone of King Ludwig of Bavaria, which completely covers the main place in the temple. In addition, the flag of Bavaria was installed over the tombstone: the banner almost completely hides the throne from the flock. At one time, Maximilian I decided to erect a strange-looking monument in the Frauenkirche Cathedral, which depicted skulls and knights ready for battle. This monument was supposed to symbolize the tomb of the Wittelsbachs. Maximilian I was one of those politicians who understood how beneficial it was to combine power and the church. He did not even hide his views, and erected a triumphal arch over the frightening dark monument. This arch in the Frauenkirche was supposed to show the faithful the close and inseparable connection between earthly and heavenly power.

After reading all of the above, many people who are brought to Munich may have the opinion that the Frauenkirche Cathedral does not deserve attention. However, this is not at all the case. After walking around the Marienplatz and visiting its many attractions and boutiques, the Frauenkirche is a must-see.

View of the south tower of the cathedral from Liebfrauenstraße

Firstly, you will not find such a sharp contrast anywhere else in the world, and secondly, it would be an unforgivable mistake not to capture the external facade of the cathedral, built in the “uncompromising Gothic” style, in a photo. Connoisseurs of music and choral singing will be especially interested in the acoustics of this unique, in its kind, architectural structure. Alas, it is not possible to listen to Bach's music there, the too fast pace of his works, the huge space of the room merges into a single rumble. In one of the interviews of the regent Frauenkirche, published in a Munich newspaper, it is said that "Bach in the cathedral hits hard on the ears." You can appreciate the beauty of choral singing or music only from the Mass of Wolfgang Mozart or the hymns ascended to God, dating back to the Gregorian era.