Englisch English Tour through the Minster Minster

A 13th century Cistercian abbey church with rich medieval furnishings of international acclaim The Minster of Bad Doberan, an ex-Cistercian abbey, dedicated in 1368, is situated close to the old Hanse city of and is part of the “European street of Gothic brick architecture” in north-eastern . The abbey, founded in 1171, became historically and politically important as the first of its kind in and as the burial site for the regional rulers. 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. The architecture and furnishings in the Minster are of special importance as the interior was spared most of the turmoil and ravages of war. 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 wing-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 nobility as well as the place of worship for the Evangelical- Lutheran congregation.

The following is an excerpt from a statement by the state government department for the preservation of historical buildings: "The Minster in Bad Doberan is said to be the most important medieval building in Mecklenburg-Vorpommern, the best example of medieval creativity put in practice and it is a building of the highest technical and artistic perfection." The furnishings on display are of the highest artistic quality. No other church in northern Germany has such complete and historically important liturgical furnishings. The mostly well preserved Cistercian furnishings are unique. The abbey is a unique and precious artistic monument in the coastal region of the .

Chronicle - historical dates 1171 Founding of the Cistercian abbey in Althof, near Doberan 1179 Destruction of the abbey during a war for the succession to the throne 1186 Reopening of the abbey on the present site 1232 Completion of the Romanesque basilica 1280 Starting the construction of the Gothic Minster 1291 Fire in the abbey 1294 Start of building the Gothic Minster 1296 Completion of main parts of the Gothic Minster 1368 Consecration of the Gothic Minster 1478 The Abbey is portrayed as rich and happy 1552 Dissolution of the abbey through the reformation - no destruction of artefacts 1564 Magister Kruse becomes the first evangelical pastor in Doberan

2 1637 Extensive looting during the 30 Year War 1638 Major work done on the roof and furnishings of the Minster 1648 Removal of several abbey buildings begins 1793 Doberan becomes the summer residence of the dukes of Mecklenburg 1900 End of neo-Gothic restoration of the Minster 1945 Minster survives war and looting 1984 Completion of the general restoration. The Minster was considered the third most valuable national historic treasure during the former GDR. 2002 Start of the overall restoration (2013 interior, roof construction) 2012 Sunday services, guided tours and concerts are visited by approximately 200,000 visitors annually. 2012 An application for UNESCO World Cultural Heritage is being made.

Tour through the Minster Commencing at the high altar in the choir room / eastern part

20 21 25 17 18 19 22 23 24 26 14 tour begin- 2 7 6 ning 16 12 11 5 1 28 27 14 13 6 4 3 30 29 15 9 8 10 32 31 33

entrance

When sightseeing alone or as part of the guided tours please observe the following rules: Flash photography is prohibited. It destroys precious paintings. Please don't lean against the walls as it destroys the paint and rubs off on your clothing.

1 The main altar (restored in 2011). It 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.

3 Until around 1400 the figure of Mary on the candle holder graced 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 year 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 sacrificing Isaac, the brazen serpent, Samson and the city gates of Gaza. The lower row on the left wing shows: St. Fabian and the apostles Bartholomew, Thomas, Simon, Matthew, Andrew and Peter. The right wing shows: apostles Paul, James the elder, Evangelist John, Phillip, Judas the Galilean, Matthew and St. Sebastian.

2 The Tabernacle: 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.

4 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 sacrificing a lamb, Moses and manna, St. Bernard, the prophetess Debo-rah, priest and king Melchisedek and on the upper level: Ma-ry, mother of G o d , J o h n t h e Baptist, St Peter, St James, St Paul, St John the Evangelist.

The chalice cupboard, to the left of the taber- nacle, is an excep- tionally unique showpiece, created around 1310. There was room inside for 20 sets of utensils for celebrating mass (chalices, plates, jugs, spoons), pro- bably 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 sacrificial death of Jesus Christ. On top you can see Jesus giving his blessing.

3 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.

4 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

5 celebrating mass.

5 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 in Him 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 Jutta von Anhalt (14th century). The tombs are covered with medieval mosaic tablets, which are protected by metal grids (19th century).

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 apoca- lyptic 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 eternal prayer of the Cistercian monks to their main patroness.

6 Although nearly 700 years old, the rows of choir stalls have been preserved in excellent condition. These were built during the period from

6 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 very 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 section, the annunciation of Mary and, in the lower section, St. Benedict, 7 the founder of the Benedictine Order and the author of the rules of monas- tic life as well as St. Bernard of Clairvaux, the spiritual father of the Cistercian Order.

7 The pulpit in the nave was skilfully integrated into the interior in 1868 by Tobias Weiß from Munich. It shows the four evangelists, scenes with Moses preaching the law, the Sermon on the Mount and Jesus sending his disciples into the world.

8 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 remai- ning from this chapel are the chapel window spon-sored 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.”

9 Several steps further to the right in the southern side aisle 11 large and 5 small mostly wooden epitaphs (first half of 16th century, restored in 2005) are displayed on the wall. Most show Latin texts proclaiming the courageous deeds of the dukes of Mecklenburg. These wooden plaques were originally spread throughout the church and were moved here during the 19th century and set up in chronological order.

8 10 Taking several steps back in the southern side aisle you will see the choir balcony built during the 19th century. Beneath it - during abbey times - was an entrance from the cross walk into the church.

11 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 constructed under the supervision of a Bohe- mian or south German master builder, with the help of north Ger- man master Bertram von Minden.

The time of construc- tion is dated 1360 - 1370. It is the most monumental of its kind in Europe.

The greater part of it was probably finished for the dedication of the church in 1368.

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 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.

9 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), the flight 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).

12 The side of Christ : The Latin inscription between the cross and the altar: "Effigiem Christi qui transis pronus adora sed non effigiem sed quem designat adora" translates to: "The portrait of Christ - you who walk past - pray earnestly (or bow humbly) - not to the portrait, but pray to whom it represents".

The vine leaves on the cross were restored 1982 using a medieval type mixture of colours. The leaves, which are carved of oak, were dusted with a layer of chalk then covered with a thin layer of metal and coated in oil mixed with patina. This layered process was used instead of enamel which was often used by goldsmiths at that time and was more time consuming and costly than covering the same area with gold foil.

10 As time goes by, due to an oxi- dation process, the colour of the restored area will gradually turn darker.

The contrast of colours is only enhanced by the dull golden co- lour of the altar paintings which w a s a p p l i e d sometime du- ring the 19th century.

The gold co- vered areas ori- ginally done du- ring medieval times, are shining brightly. The original green colour was more subdued and the gold covered areas were brighter.

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 brazenserpent , to the right: David kills Goliath (1. Samuel 17, 4 (38-51) 58).

In the half round areas on the cross arms are represented the heads of prophets.

13 The chalice shaped Romanesque baptismal font from the 13th 11 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 .

14 The western part of the Minster up to the former Lettnerwand and the cross altar was, as in all 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 (next to no. 19). The script says: "Brother, what are you doing here? Come with me!" and the stoic lay brother replies: "You will not find anything bad in me, you repulsive beast, depart from me!".

Another pew end (see picture) shows a pelican representing the sacrifice of Christ, still another pew end shows a lion representing the risen Christ.

One pew end shows a wolf and dragon, from whose mouths vines and hops grow. Thus these evil creatures bring forth goodness.

15 Above the western entrance is the face of the astronomical clock, which was destroyed during the 30 year war.

It was built in 1390 by Nicolaus Lilienfeld ac- cording to the belief of a geocentric universe.

The clock was origi- nally located on the

12 western wall of the southern transept, above the steps to the monks dormitories. The four corners depict famous philosophers and astronomers of ancient times..

16 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 remaking 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. (next to no. 7).

17 The granite sarcophagus of Great Duke Friedrich Franz I. von Mecklenburg (died 1837) took 16 years to finish and was put in front of the high altar in 1843. It was moved to its present place in the western part of the Minster in 1976. Friedrich Franz was the first Great Duke of Mecklenburg and founded the first seaside resort spa in 1793 in . He chose Doberan as summer residence for the dukes of Mecklenburg and thus brought growing fame to Doberan.

18 In the side aisle, valuable medieval tombstones of abbots were arranged as a new display in 2004 and 2005. These tombstones were originally located in the crossing. After the reformation they were moved and set into the church floor. During the late 19th century the master builder Möckel remo- ved them from the church floor and inte- grated them into the side walls. They were removed from the side walls, desalinated, res- tored and set, at a distance, against the walls, permitting a constant flow of air to avoid further damage. The tombstones are now placed as follows: to the right side the two nameless abbots, f o l l o w e d b y t h e abbots Martin I. (died 1339), Jakob (died 1361), Martin II. (died 1391), Johannes Plate (died 1420) as well as

13 the vicar von , Hermann von Giwertze (died 1449); to the left the abbots Gottschalk (died 1391), Hermann Bockholt (died 1423), Bernhard (died 1441), Johannes Wilkens (died 1489), Franz Meyne (died 1499) and Heinrich Mützel (died 1504).

Above these tombstones are the pictures of Duchess Anna von Brandenburg (died 1567), the spouse of Albrecht VII., Duke Albrecht VII. von Mecklenburg (died 1547), Johannes VI. von Mecklenburg (died 1474), Albrecht VI. von Mecklenburg (died 1483), Johann V. von Mecklenburg (died 1422), Heinrich IV. (the Fat) von Mecklenburg (died 1477), Albrecht II. (the great) von Mecklenburg (died 1379), Pribislav, duke of the Obotrite tribe and founder of the abbey Doberan, the first Christian ruler of this region (died 1178) and Niklot, duke of the Slavs (died 1160).

19 Pieces of medi- eval glass and stone tablets. This window was restored from 1978-1980. Valuable pieces of medieval glass (1300) were used in the restoration pro- cess. The abbey star- ted operating two glassworks in the 13th century. During the glass making process various pigments from natural resources, for example earths, salts or metal-oxides were added to the clear heated glass to achieve u n i q u e c o l o u r schemes. The coloured glass sections were then held together with strips of lead. Then the ornamental motifs were painted. Despite early Cistercian rules stressing simplicity, the entire abbey church was completely fitted with stained- glass windows during the 14th century. Depicted are John the Baptist, the Virgin Mary with the Christ child in Bethlehem, John the Evangelist and beneath him Duchess Anastasia von Mecklenburg (died 1317), who sponsored a window for the abbey church (see picture).

14 Beneath the windows are stone tablets commemorating the victims of war and violence. The church community added the two outermost plates in 1985, 40 years after the ending of World War II. They name some places of murder and cruelty and admonish us to keep peace and justice.

20 The von Bülow Chapel (Room of silence) was named after the family von Bülow. For three quarters of a century the bishops of came from this family. The interior frescos were painted in 1873 since most of the medieval frescos were lost. Depicted are bishops, several family members and, on the eastern wall, the crucified Christ with John and Mary as well as Saint Thomas of Canterbury and Knight Olav.

In front of the chapel is the tombstone of Magister Hermann Kruse (died 1599), the first Lutheran pastor taking office in 1564. Magister Kruse is shown carrying a layman’s chalice which was in accordance with the reformatory convictions of that time. This depiction of the chalice is a statement of evangelical teaching meaning that the Lutheran belief is the proper religion. Tombstone restored 2007.

The organ, built in 1980 by the organ builder Schuke from Potsdam, is above the von Bülow Chapel. The first organ was installed in the Minster around 1600, the second organ was built and installed by the organ builder Friese from Schwerin. Today’s organ has 3220 pipes, 44 registers and three manuals. It is played during church services, organ recitals and concerts. Starting in May through September concerts are held every Friday at 19:30. The present organ gallery was the gallery of the House von Mecklenburg during medieval times.

21 The Chapel of Pribislav was the burial place and chapel of the House von Mecklenburg from 1302. It was named after Duke Pribislav, founder of the abbey, who died in 1178 in Lüneburg. His remains were transferred to Doberan in 1219.

In the chapel there are numerous noteworthy exhibits. In the eastern wall a partially medieval window, dated to the 16th century, shows Mary with Jesus as a child, God the father and the Evangelist John. In front of it there is a late-Gothic cross (1480) from Lübeck and two cupboards (14th century). It is assumed that the cross was originally located in the inner yard of the abbey. In front of the altar is the tombstone of the first Lutheran bishop and administrator of Mecklenburg, Magnus III (died 1550). He was a friend of Philipp Melanchtons. Furthermore there is the tombstone of Duchess Ursula, the mother of Magnus III. Set into the northern wall is a renaissance script epitaph, in Latin and German, for Magnus III with the Duke’s coat of arms. 15 To the left there are several memorial plates of the nobles buried here and below it are medieval stone slabs displaying heraldic animals (14th century) to mark the ducal graves (restored in 2005/06).

Beneath the organ gallery you can see the painting of Great Duke Friedrich Franz I. von Mecklenburg, the founder of the first German seaside health resort in Heiligendamm in the year 1793. The marble sarcophagus serves as final resting place for Princess Feodora von Reuß (died 1918), wife of Duke Adolf Friedrich von Mecklenburg. Next to it is the renovated tombstone (19th century) of Duke Pribislav (died 1179).

Inside the archway to the organ gallery, valuable wall paintings were preserved showing vines and the suffering Jesus, dated 15th century.

On the pillar to the choir there are two statues, one of Duke Balthasar (died 1507) and the other of Duke Erich (died 1508). Both are dated from the transitional period between Gothic and Renaissance. These are epitaphs of the highest quality.

The colourful tile paintings on the central column (see picture) in the nor- thern transept (a simi- lar one is in the sou- thern transept), were created in the 14th century based on oriental designs. The central column, the arches in the crossing, the rafters beneath the vaulted ceilings and the side columns sta- bilise the church buil- ding which was built in a swampy area.

On the other side the tombstone of Duch- ess Anna von Meck- lenburg (died 1464), the daughter of Duke Heinrich IV von Mecklenburg and sister of Duke Magnus II.

16 22 The “Mill Altar” (1410/20) was created as one of the first of its kind. The middle section shows a very picturesque depiction of the transformation of the word to the flesh, or the Eucharist.

The four evangelists pour the word of God into the mill funnel, the mill in cross form represents Jesus Christ and shows the place of transformation, the 12 apostles power the mill and the four church fathers catch the trans- substantiated nourishment in a chalice and pass it on to the believers. On the side section, scenes from the life of St. Martin are portrayed.

23 The wooden standing lantern (around 1300) on the left probably stood next to the tombs and to the right of it was a medieval obelisk.

The scaled model of the Abbey shows the abbey buildings at the time of the dissolution in 1552 with the crosswalk and numerous side buildings. Several of those buildings are still intact today e.g. the charnel-house (1250) to the north of the Minster as well as the grain storage and the ruins of the trade building (1290) to the south of the abbey grounds. The abbey wall, 1400 metres long, remains almost as it was in medieval times.

Behind are the remains of a medieval altar (14th century) in which is a very rare small recess for relics in the bottom of the central panel.

On the other side is the tombstone of Heinrich von der Lühe, restored in 2004. It shows the inscription “In the year of Our Lord 1401, on the day of the martyr Vincentius, the good Heinrich von Lühe, a sincere friend of the abbey, died and is resting under this stone. May he rest in peace. Amen.”

24 In 2009, a Composite Retable was compiled in this form. The individual parts are from the Middle Ages and the Baroque period.

17 25 The tomb of Lord Samuel von Behr (died 1621) was built by Julius Döteber from Leipzig and the canopy was erected in 1626 by Cheer Evert Pilot. Samuel von Behr was chancellor, marshal, minister, manager and mentor of Duke Adolf Friedrich who had this memorial erected in gratitude to his mentor.

To the right of the chapel and opposite, the swan and antlers remind us of the abbey’s founding legend. After the first abbey was destroyed, Duke Nikolaus from Rostock looked for a new building site for the abbey. The new abbey’s building site would be the place where the first stag was killed in the hunt. The Prince killed the stag here. The monks surveying the site thought that this ground would be too wet as it was swampland. However suddenly a swan rose out of a thicket into the air and shouted “dobr, dobr” (Slavic = good) which the monks took as a sign from God, and decided to build the abbey on that spot. ”dobr“ –> Doberan (Slavic = good place).

26 The early-Gothic figure of Queen Margarete of Denmark (died 1282) carved from oak, is supposed to be the oldest tomb sculpture in Mecklenburg-Vorpommern and the oldest female sculpture of all Cistercian abbeys (see picture next page). After Margarete’s husband Christopher I. of Denmark was murdered in his homeland, she made a journey to Rome and upon her return lived as a contributor and inhabitant of the Holy Cross abbey in Rostock. Although she lived in Rostock, she was buried in the Minster, since that was the place where the Dukes and Duchesses of the House von Mecklenburg were buried.

To the right, behind the tomb sculpture, the centre section of the altar of the crucifixion of Christ (around 1340 - see second picture next page) depicts seven women representing the seven virtues: obedience, persistence, compassion, love, humility, justice and peace. This rare 18 exhibit is based on Isaiah 4.1 which tells of the struggle of the virtues for the human soul: Christ died so that the virtues could come into the world and the place where the virtues reign there the Kingdom of God has come.

On the inside of the wings you see the prophets, Isaiah, Ezekiel, Jeremiah and Daniel. On the outside of the wings you can see the annunciation scene with Mary, the birth of Christ, the 3 kings worshipping and the dedication in the temple. The altar was renovated 2003/2004.

The Altar of the Passion of Christ from the 14th century with parts of a further side altar, is only partially preserved.

The Corpus Christi Altar with The Last Supper (1330) shows one of the oldest tablet paintings in Mecklenburg. It is thought to have stood in the gate chapel at the western gate of the abbey, and is associated with the Doberan holy blood relics.

19 The tablet is attributed to the second quarter of the 14th century. The left folding wing section was already missing around the year 1700.

The paintings of dukes show Duke Johann Albrecht I. von Mecklenburg (died 1576) and his wife Anna Sophia von Preussen (died 1591).

In the chapel there are parts of medieval choir stall ends (14th century)

27 The Tomb and crypt of Duke Adolf Friedrich I von Mecklenburg (died 1658) and wife Anna Maria von Ostfriesland (died 1634) was built by Julius Döteber from Leipzig and Daniel Weber from Rostock in the transitional style of renaissance to baroque in 1634.

The monument is made of limestone, the ceiling is of carved wood with tiny win- dows.

The carved life- size figures of the duke and duchess were made in Spanish fashion which was the dominant style at that time.

After the looting du- ring the 30 year war, Adolf Friedrich had the roof and furni- shings renovated in 1637.

The monument was restored in 2008.

28 The Octagon is an octagonal burial chapel for 13 dukes of Mecklenburg, built around 1370 using Romanesque columns and capitals from around 1240. The location behind the high altar was a privileged burial place. Please note the ornamental carvings along the balustrade.

The wall paintings on the Octagon, restored in 2004, depict King Albrecht III of Sweden (died 1412), Duke Heinrich III (died 1383), Duke Johann IV (died 1422) as well as Duke Magnus I von Mecklenburg (died 1384).

20 29 The Tomb of Duke Albrecht III von Mecklenburg and King of Sweden (died 1412), buried in the octagon and his first wife Richardis von Schwerin (1377), bu- ried in Stockholm, is an important example of Gothic burial art (see picture).

Swedish nobility vo- ted for Albrecht to become the Swedish King. After a reign of 25 years, in the year 1389, he was defeated in battle by the Danish Queen Margaret I. From then on his po- wer and influence was limited to Mecklenburg. The lion and dog beneath the figures symbolize strength and loyalty. Worth noticing are the beautifully arranged folds of Richard’s dress in Gothic style.

Further treasures in the chapel are the pictures of Duke Ulrich III von Güstrow (died 1603) and Duchess Anna von Pommern (died 1626) painted 1587 by the Dutchman Cornelius Crommeny. Furthermore one can see medieval burial plates for Knight Matthias von Axekow and his wife Ghese, Johann and Werner von Axekow, Matthias and Clawes von Axekow. Worth noting are the baroque style pew ends.

The altar of the Glorious Virgin Mary (15th century) is one of many side altars. After the reformation they were no longer used and were removed or fell into decay. Beneath the predella, a part of another medieval altar.

30 The memorial statue of Duke Magnus II von Mecklenburg (died 1503) is said to be the most complete form of an epitaph. In his right hand he holds a dagger and wound around his head is a death bandage.

Magnus was an energetic ruler, enacting fundamental land reforms which showed his farsightedness concerning economic and financial matters. Two similar statues are on display in front of the Pribislav chapel (21).

21 31 The Tomb of Duke Johann Albrecht von M e ck l e n b u r g (died 1920) and his wife Elisa- beth von Saxony We i m a r - E i s e - nach (died 1908) was created in 1910 by the ma- ster builder Win- ter from Braun- schweig. It consists of a pedestal of grey- blue Norwegian Labrador, roofed by a ciborium made partially of Italian mar- ble, which is decorated with a valuable glass-mosaic. Johann Albrecht travelled extensively as the president of the German colonial society. The style of the tomb was influenced by Byzantine style of buildings in Ravenna as well as by Prussian-style architecture.

In the chapel, in contrast to the rest of the church, the restored neo- Gothic ceiling painting by Gotthilf Ludwig Möckel 1896-98 is preserved. The pictures in the chapel show Sophie, Queen of Denmark and Princess of Mecklenburg (died 1631), her spouse, the Danish King Friedrich II, as well as Duke Karl Ivon Mecklenburg (died 1610).

32 On the southern wall you'll see the translation of the "Dedication Certificate" from 1368, the memorial tombstone of Heinrich von der Weser and his wife (14th century), the memorial burial plate of Peter Wise (died 1338), a merchant from Lübeck and sponsor of the abbey. Above it is the picture and text plaque of Peter Wise in German and Latin. It mentions three altar donations from Wise and shows him dressed in the fashion of the 14th century.

The rear of the Levite pews: The lower parts originate from the 14th century, the baldachin and the rear are a reconstruction of the 19th century. In the display cases, literature, postcards and souvenirs which can be bought at the cashiers booth. 22 33 In the southern transept on the southern wall are the paintings of Duke Christian Ludwig von Mecklenburg (died 1692), Duke Adolf Friedrich I von Mecklenburg (died 1658) and of his wife Anna Maria von Ostfriesland (died 1634).

Beneath it is the tombstone of Johannes Moltke (died 1388) and his wife Margaretha (died 1391) as well as the tombstone of Knight Heinrich Moltke and Katharina Moltke. Both stones were restored in 2006 and placed at this site in the autumn of 2010 following the redesign of the entrance area in 2009.

In the corner to the right is a limestone pillar from the 13th century, which was probably moved here from some other, now non-existent, building of the abbey.

On the western wall to the right is a Renaissance style ducal epitaph made of four separate marble plates. It was made in 1583 at the request of Duke Ulrich and his wife Elizabeth, Duchess of Mecklenburg, born Princess of Denmark. The epitaph honours all members of the House von Mecklenburg laid to rest in the Minster up until that time. This epitaph exceeds all others in style and form and was restored in 2006.

Above that is a blind (false) window. This was brought to light in 2005 underneath the overpainting of several centuries. The architectural painting has its origins in the 14th Century.

23 Interesting facts about the building and its architecture

-basilica with triple nave -nine sections long with 5/8 internal-chancel -length 79 m, width 39 m, height of the central nave 26.5 m, -height of church tower 72 m -5 chapels along the outside walls -built with handmade glazed brick -colours used during renovations from 1974-1984 were mixed according to medieval standards

-exterior style according to the Cistercian rules of simplicity

-western gable and the gables of the transept with rose shaped decorations

-five metre deep foundations made of rocks cemented together with Roman style cement which was made of lime heated to 160 degrees Celsius. 24 The monastery area around the Minster

Monastery reconstruction attempt by Lorenz

The Gates Originally the monastery could be entered and exited through three gates. The western gate, which was linked with the gatekeeper's house and the former gate chapel, permitted both a wider and a narrower passage. The southern gate is similar, however without any decoration on top. The northern gate, as it looks at present, is newer. The wide opening to the east dates from the 18th century (1795). Low arches serve the flow of the streams.

The Ring Wall The 1.4-km-long ring wall was erected between 1283 and 1290. Kirchberger's Chronicle wrote about Abbot Konrad III "und das Clostir ummemuren" (and builds a wall around the monastery). The average height is 2.50 m. The wall is almost completely preserved. It was built in one go using the same technology and it passes marshy subsoil for long stretches. In the 19th century the wall was partly reconstructed. At present it is being repaired and rebuilt. Nowhere else is such a big brick monastery wall so completely preserved.

The Trade Building The impressive main building (see picture next page) is situated from north to south, three-storeyed and previously there were three more granaries. The eastern nave was two-storeyed and has been without a roof

25 since the 19th century. Before it was set on fire by a young fireman it was used as a restaurant for students and working people. Now the northern part is an open ruin. A makeshift roof protects the southern part. The north and south gables of the main building are magnificently designed: pointed and segment arch windows with transoms, trefoil friezes at the bottom of the gable divide and decorate the surface. To the west is the mill house, whose gable is marked by graduated pointed blind arches over trefoil arch friezes. You can recognize the openings for the mill stream that used to drive the mill wheel on the north and south wall. The stream was given an artificially raised bed and is still runs through the building. The malt house, the brewery as well as the granary, working and living rooms were inside the two buildings.

The Granary From 1270 to 1280 the Granary was erected as a three-storeyed brick building for storage purposes. Originally there were six storage levels. In the 17th century the building was shortened at its eastern end. The undivided eastern gable dates from that time. The western one and the long sides are divided by pointed arch blinds reaching up to the main moulding. The Granary was reconstructed and became a two-storey school-house. Today it is a youth and recreation club run by the Grain House Association. (Renovation 2009/10).

The Wolf's Barn The so-called Wolf's Barn was built from about 1280 to 1290 as a two- storey brick building and presumably served as a hospital and inn. The present name may stem from the former name "wool barn" for it was used as a store and work house for the production of cloth up to the 19th

26 century. Only the northern wall and parts of the east and west gables are preserved. The two gables are divided by pointed and segmented arches.

The Office House The so-called Amtshaus was erected by Johann Christoph Heinrich von Seydewitz as a hunting lodge of the duke from 1793 to 1801. Later on, it served the ducal administration. It was built on the foundation of the monastery guest hou- se. The one-storey half- timbered building with a half-hipped mansard roof is c r o w n e d b y a triangular front gable on the northern side. T h e A m t s h a u s belongs to the group of buildings erected since 1800 which iden- tify Dobe-ran, together with Heiligendamm, as the former summer re sidence of the Mecklenburg dynasty.

The Charnel - house The eight-sided brick building (see picture) was constructed on the north-east side of the later erected church in the middle of the 13th century. It is also named Michael's Chapel which was used to keep the remains of later brethren, becoming their final resting place when their graves where reused. Apart from the one in Harderhausen near Paderborn, this is the only example of its kind. Round sticks and masonry built alternatively of glazed and unglazed bricks point to a late Romanesque early Gothic style. There is a brick rosette above the portal and a round arch frieze decorates the wall over the windows. A stone lantern with a death light used to hang on the roof. It was restored in stages between 2001 and 2010.

The Monks` Cemetery In the north of the death gate of the cathedral is the monks` cemetery, which can now only be recognized as a flat hill. Even today it is an area of quiet and remembrance. Another cemetery was opened on the eastern ring wall in the 18th century.

27 Visitors information

The Minster is open daily for tours May - Sept. Mon-Sat 09:00-18:00 Sundays and holidays 11:00 - 18:00 Mar., Apr., Oct. Mon-Sat 10:00-17:00 Sundays and holidays 11:00 - 17:00 Nov. - Feb. Mon-Sat 10:00-16:00 Sundays and holidays 11:00 - 16:00

There is an entry fee (€ 2.00 per adult, € 1.50 Group P.P.) to help cover the cost of the upkeep and opening of the Minster. The main sightseeing season is from April – October between 11:00 and 15:00. On Good Friday and Christmas Eve the Minster is only open for mass.

Guided tours through the Minster are given daily in German, and if reserved, in English and Swedish. Please notify us as early as possible.

Church services are held on Sundays and church holidays only at 9:30.

Concerts in the Minster from June - September, every Friday at 19:30. Details and additional dates are on our website at: www.muenster- doberan.de After each concert on Friday an extra bus goes to Heiligendamm, Kühlungsborn, and and a second one to Warnemünde. Reservations are possible.

We recommend: a trip to the concert with the Molli-train departing Kühlungsborn west at 17:35 or 18:03 from Heiligendamm to Bad Doberan.

28 Reconstruction and Restoration

This former abbey church has been, for centuries, a beacon of faith and hope as well as a meeting place. It is also a symbol of human creativity and genius at its best. The building, the furnishings and its upkeep have been a community responsibility for generations. Despite the ongoing restoration work on this building, which is of national importance as well as an international art treasure, it shows the scars of time. Much of the real damage is not visible to the untrained eye. The Evangelical-Lutheran community of Bad Doberan is unable to cover all the cost for the upkeep and restoration of the Minster. During the coming years parts of the interior furnishings and the roof construction need to

be restored. It takes about € 300,000 annually to maintain and continue the restoration of the most valuable pieces. Subsidies from state or local government have to be matched by funds of our own. We are grateful for any help and donations!

There are several ways to help support the upkeep and restoration : 1. Putting cash donations into the donation box in the Minster. 2. Transferring donations directly to the account for donations Ev.-luth. Kirchgemeinde, Bank: Ev. Kreditgenossenschaft eG, BLZ: 52060400, Konto: 505350115. 3. Sponsoring a certain project.

Contact and information: Kustos Martin Heider, Doberan Minster Klosterstraße 2, Germany D-18209 Bad Doberan Tel. 0049 (0) 38203 – 77 95 90, Fax 0049 (0) 38203 – 74 890 Internet: www.muenster-doberan.de E-mail: [email protected]

Every donation helps! Thank you very much! 29 Location and connections

-situated along the European street of Gothic brick architecture in Mecklenburg-Vorpommern, in the north-east of Germany - set in spacious abbey grounds close to the town centre -Autobahn A 20 (Lübeck-Rostock-Stettin)- exit Bad Doberan - Main Road B105 Rostock (15 km) - Wismar (40 km) -coastal road to the sea side resorts of Warnemünde and Kühlungsborn -6 km to the oldest seaside resort in Germany - Heiligendamm -hourly railway connection between Rostock and Wismar -enjoy a ride with the narrow-gauge steam train "Molli" from Kühlungsborn and Heiligendamm to Bad Doberan and back.

Baltic ferry Baltic Sea Rostock (D) Gedser (DK) Bergen Ostsee 1:45 h (Rügen)

Kiel Warnemünde Heiligendamm A 20 Kühlungsborn Rostock Rerik Lübeck BAD DOBERAN Wismar Usedom--> Güstrow A 1 A 20 Schwerin A 20 to A 19 Waren A 24 to Stettin Hamburg A 14 Berlin

30 Impressum

Minster BadDoberan - Tour through the Minster - English Third revised edition, with a new tour and new layout - 2013

Publisher: Evangelic-Lutheran Church community / Doberan Minster Klosterstraße 2, Germany D-18209 Bad Doberan Tel. 0049 (0) 38203 – 77 95 90, Fax 0049 (0) 38203 – 74 890 Internet: www.muenster-doberan.de E-mail: [email protected]

Text / layout: Martin Heider, Custos at the Doberan Minster pages 25-27: Klosterverein Bad Doberan e.V.

Translation: Konrad Kathan Andrea Strobach-Morris

Pictures: Martin Heider (Bad Doberan)

Literature: W. Erdmann, Zisterzienserabtei Doberan, Königstein/Taunus 1995. W. Kühne, Die Kirche zu Bad Doberan, 2. Auflage Rostock 1938. F. Schlie, Kunst- und Geschichtsdenkmäler des Großherzogtums Mecklenburg-Schwerin, vol. 3, Schwerin 1899. Archiv der Münsterverwaltung, unveröffentlicht, Stand 2013.

Reprint of text, or excerpts thereof only with written permission of Publisher 2013 copyright

European Route of Littenstrasse 10 D-10179 Berlin T: +49 30 2061325-59 F: +49 30 2061325-1 www.eurob.org

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