Mariä-Himmelfahrt-Kirche

The Mariä-Himmelfahrt-Kirche in Güstrow, known locally as Mariä Himmelfahrt, stands as a testament to the unique expressionist architecture that emerged in the early 20th century. Nestled in the heart of Mecklenburg-Vorpommern, this church is not just a place of worship but a striking piece of art that tells the story of resilience and faith in the region.

The History of Mariä-Himmelfahrt-Kirche

The roots of the Mariä-Himmelfahrt-Kirche stretch back to the late 19th century when Catholic worship was reintroduced in Güstrow after the Reformation. Initially, services were held in a room at the old cathedral school and later in a hall at the Heiliggeisthof. The influx of Catholic war prisoners during World War I highlighted the need for a larger space, leading to the establishment of a provisional church by 1919.

By the mid-1920s, it became clear that a more permanent solution was necessary. Plans for a new church had been conceived as early as 1914, but it wasn't until 1928 that construction began on the current site on Grüne Straße. Designed by architect Paul Korff, the church was completed in a remarkably short span of eight months, with its consecration taking place on August 25, 1929, by Bishop Wilhelm Berning of Osnabrück.

Architectural Marvel

The Mariä-Himmelfahrt-Kirche is a prime example of expressionist architecture, characterized by its bold and dynamic forms. The church is a hall church with a high, exposed Zollinger roof over the nave, and a recessed, flat-roofed chancel with a rectangular finish. Its exterior is dominated by a stepped gable wall made of brick, featuring a parabolic window above a simple portal.

Inside, the church is bathed in natural light, thanks to the clever design of the windows. The parabolic chancel arch and the five slender buttresses in the windowless chancel wall create a sense of upward movement, drawing the eye toward the heavens. The simplicity of the interior is further emphasized by the unadorned high altar made of artificial stone.

Artistic Features

One of the most striking features of the Mariä-Himmelfahrt-Kirche is the bronze sculpture of the Assumption of Mary by Osnabrück sculptor Ludwig Nolde, prominently displayed on the facade. Inside, the church houses additional works by Nolde, including altars dedicated to St. Mary and St. Joseph, situated at the chancel arch.

The church also boasts a baptismal font made of Belgian marble, accompanied by a wooden sculpture of John the Baptist. Other notable sculptures include those of St. Conrad of Parzham and St. Anthony of Padua, crafted by artist Paul Dierkes.

Modernization and Music

In keeping with the liturgical reforms of the Second Vatican Council, the altar was moved forward from its original elevated position in 1969. This change allowed for a more intimate and participatory worship experience for the congregation.

Music has always played a vital role in the life of the church. Initially, services were accompanied by a harmonium and later an electronic organ. In 1987, a new organ with 16 registers on two manuals and a pedal was installed by Gerhard Böhm, enhancing the church's musical capabilities.

A Place of Reflection

The Mariä-Himmelfahrt-Kirche is more than just an architectural gem; it is a place of reflection and community. Its serene atmosphere invites visitors to pause and contemplate, whether they come for a moment of prayer or to admire its artistic and architectural beauty.

For those exploring Güstrow, a visit to the Mariä-Himmelfahrt-Kirche offers a glimpse into the town's rich cultural and religious history. The church stands as a symbol of the enduring spirit of the community, a place where history, art, and faith converge in harmonious splendor.