Saint Mary Church

Saint Mary Church, known locally as St. Marien, stands as a testament to the rich history and architectural splendor of Lemgo, a charming town in Nordrhein-Westfalen, Germany. This magnificent structure, with its towering spire and intricate stonework, has been a cornerstone of the community for centuries, offering a glimpse into the region's ecclesiastical and cultural heritage.

The Origins of Saint Mary Church

The origins of Saint Mary Church date back to the mid-13th century when the southern part of Lemgo began to develop as a self-sufficient new town. Recognizing the need for a place of worship, construction on the church commenced around 1260. According to local legend, the church was built on the site of an earlier chapel dedicated to the Virgin Mary, which is believed to have been the first structure in the area. The first documented mention of the church occurred in 1279 by Bishop Otto of Rietberg.

The Dominicans and the Church

On September 8, 1306, a significant event marked the history of Saint Mary Church. Forty Dominican nuns from Lahde near Minden were ceremoniously welcomed to Lemgo. Their special rights were detailed in a contract dated March 15, 1306, which stipulated that neither courts nor city councils could interfere in the affairs of the order. The nuns brought with them a comprehensive library that significantly enriched the cultural and educational landscape of the young town.

Although the church was still under construction during the nuns' relocation, it served both as a convent and a parish church for the citizens. The church was finally consecrated on November 18, 1320. In a document from 1323, the puellae scolares, or students of the convent school of Saint Mary, were mentioned, highlighting the church's role in education.

The Reformation and Modern Era

The Reformation brought significant changes to Saint Mary Church. Around 1528, the first Protestant service was held in the church, despite opposition from the ruling Count Simon V and the nuns. From 1555 to 1568, Hermann Hamelmann served as the pastor of the church. In 1575, the Dominican convent was transformed into an evangelical convent for unmarried women, with the privileges of the convent gradually being restricted. By 1713, the community had become a secular women's foundation. Since 1918, the Evangelical Foundation of Saint Mary has been dedicated to elderly care.

Architectural Evolution

Saint Mary Church is renowned as one of the most beautiful early Gothic hall churches in Westphalia. The initial construction phase, between 1260 and 1270, featured a semicircular apse in the late Romanesque style. Excavations in 1949 and 1965 revealed the foundation walls from this period. Starting in 1270, the choir square was constructed in a transitional style between late Romanesque and early Gothic.

Construction challenges arose due to the high groundwater level and sandy soil. The church rests on several wooden piles driven into the ground to provide stability. By 1288, construction intensified, and a new choir in the early Gothic style was built, featuring a rare ten-sided polygonal design.

The nave was completed between 1308 and 1320. The original design likely included transverse saddle roofs, similar to those seen at St. Nicolai, and possibly a turret, as suggested by a church account from 1664.

Between 1350 and 1375, an eastern tower was constructed at the intersection of the northern aisle and the choir square. The ground floor of the tower houses the sacristy, a high Gothic room with four vaulted windows and a central clustered pillar. To balance the tower, the southern aisle was extended by one bay, expanding the choir square to the south.

Alterations and Restorations

Over the centuries, Saint Mary Church underwent several necessary alterations due to structural issues. The gables above the aisles and the transverse saddle roofs were removed, and a longitudinal saddle roof was constructed. The ground level was raised multiple times, most recently in 1820, which altered the spatial proportions of the church.

In 1858, the church was closed due to its dilapidated state and was restored under the supervision of architect Ferdinand Ludwig August Merckel. The roof truss was reinforced with cement, the roof was lowered, and the exterior plaster was removed to reveal the rubble stone masonry. Between 1860 and 1867, the windows were fitted with stained glass.

A major restoration took place between 1964 and 1967 to prevent the church from collapsing. The floor was lowered to its original level, and a thick concrete slab was installed. The tower and exterior walls were reinforced with steel and connected to the concrete slab. The restoration also included the reconstruction of the stone west gallery, the preservation of Renaissance and Baroque galleries, and the stabilization of the tower with steel beams in 1982/83.

Architectural Features

Saint Mary Church is constructed from rubble and hard sandstone. The three-aisled hall church features a four-bay nave, a choir square, and a five-sided polygonal choir. The tower, built on a square base, is located in the northeast corner, with a corresponding extension of the southern aisle to balance the structure.

The church's interior is characterized by its harmonious proportions. The five choir windows are framed by a dense system of round shafts, with three grouped in the corners. The five-bay ribbed vault has its keystone at the apex of the choir arch. The supports in the choir square are based on a massive quatrefoil plan with small attached round shafts.

The reconstructed stone west gallery opens into the nave with a large segmental arch and pointed arches on the sides. The relationship between the aisles and the nave approximates the golden ratio, creating a balanced and harmonious space. Despite the visible tilt of some pillars, the overall effect is one of stability and elegance.

Notable Furnishings

The church's altars and pulpit are notable examples of its rich interior furnishings. Both the liturgical and choir altars are covered with original stone slabs dating from around 1300. The choir altar features a crucifix and carved figures of Christ and the twelve apostles, dating from around 1645.

The pulpit, carved from limewood by Lemgo master Hermann Voß in 1643/44, is adorned with figures of the four evangelists and Christ as the Man of Sorrows. The pulpit's sounding board is decorated with five angels holding instruments of the Passion, with Moses and the tablets of the law at the center. A candle-bearing angel carved by Friedrich Schwartze in 1635 is mounted on a nearby pillar, adding to the church's intricate and dynamic interior.

Saint Mary Church, with its rich history, architectural beauty, and cultural significance, is a must-visit landmark in Lemgo. Its walls tell stories of faith, resilience, and community, making it a captivating destination for visitors from near and far.