St. Nicolaikirche

St. Nicolaikirche, also known by its local name St. Nicolai, stands as the elder of the two Evangelical-Lutheran parish churches in the charming town of Lemgo, located in North Rhine-Westphalia, Germany. Nestled near the marketplace on the east side of the Town Hall and south of Mittelstraße, which traverses the old town of Lemgo from west to east, St. Nicolaikirche is surrounded by verdant, tree-lined green spaces to the north and south.

The Architectural Marvel of St. Nicolaikirche

The construction of St. Nicolaikirche began shortly after the founding of the town around 1190. Initially conceived as a cross-shaped basilica in the Romanesque style, it was dedicated to St. Nicholas of Myra, the patron saint of sailors and long-distance merchants, befitting a Hanseatic town. The Romanesque church, completed after approximately 50 years, was significantly smaller than the current structure. The original low and narrow side aisles can still be discerned in the tower area, extending lengthwise to the step still preserved behind the altar.

Around 1300, the decision was made to demolish the narrow side aisles and construct new ones almost as high and wide as the central nave, transforming the church into a Gothic-style hall church. The Romanesque elements were retained only in the tower area. A beautiful transept portal from the late Romanesque predecessor building remains, showcasing the transition from the Romanesque round arch to the Gothic pointed arch.

The Gothic construction elements, such as the domical vault, originated from Anjou, a duchy centered around Angers on the Loire. It is believed that Bernhard II, the founder of Lemgo, brought a construction lodge from there, possibly having spent some time in the region. By 1375, the church had reached its present form. Plans to expand the choir area were abandoned due to a plague epidemic that halted construction activities.

The unusual double-tower facade for a town church was intended to demonstrate the power of the Lords of Lippe. However, only the southern tower, which houses the bells, belongs to the church. The tower's spire, which was blown off by a tornado in 1660, was replaced three years later with a twisted spire crafted by Salomon Möller from Hildesheim and covered with 17 tons of lead. Such twisted spires, known as clocher tors, are especially common in France. The northern tower, owned by the town, contains the watchman's room, which was inhabited until 1854, complete with a fireplace, living space, and lookout. The carillon chimes every two hours during the day.

Exploring the Rich Interior of St. Nicolaikirche

The oldest piece of interior decoration is an altar retable from around 1280, embedded in the north wall. It depicts three scenes: the Annunciation to Mary, the Nativity of Christ, and the Resurrection of Christ with the guards at the tomb. Notably, Joseph is depicted hiding under the bed, wearing a Jewish hat, a mandate from the Fourth Lateran Council in 1215 requiring Jews to distinguish themselves with specific clothing.

The tympanum in the west high wall of the southern side aisle, dating from the same period, shows Christ exalted between Mary and John. Post-1300, the church features angels on the north wall cornice and a statue of St. Christopher opposite the north portal. Gazing at this figure and crossing oneself was believed to bring blessings for the day.

The frescoes on the east and south walls, created around 1370, depict significant biblical figures. The east wall features James the Elder and John on the left, and Paul and Peter on the right, with consecration crosses below. The south wall showcases James, John, Bartholomew, and Thomas in tall, narrow housings under towers, holding scrolls with the Latin text of the Creed.

The large crucifix above the altar, dating between 1470 and 1480, hangs where the rood screen once separated the choir, accessible only to priests before the Reformation, from the main church area for the congregation. A significant piece of stonemasonry, the sacrament house from 1477, stands against the north wall. Iconoclasts from the Reformation period destroyed the figures in 1531, leaving only the pelican at the top, symbolizing Christ's sacrificial love.

Post-Reformation Additions

In 1533, the town magistrate of Lemgo introduced Johannes Bugenhagen's Braunschweig Church Order, making Lemgo Lutheran. This decision persisted even when Count Simon VI reformed the county to Calvinism in 1604 and appointed only Calvinist pastors. This defiant stance led the count's son to move the government seat from Lemgo to Detmold. The principle of cuius regio, eius religio, established in the Peace of Augsburg, initially applied only to Catholics and Lutherans, with the Peace of Westphalia in 1648 extending it to include the Reformed (Calvinist) confession.

The Magnificent Pulpit and Baptismal Font

The richly decorated pulpit, created shortly after 1600, emphasizes the importance of preaching in Lutheran worship. It features German inscriptions and intertwined Greek letters X (Chi) and P (Rho), the initials of the Greek word ΧPHΣTOΣ (Christ). The elaborately decorated pulpit cover, symbolizing the Holy Spirit as a dove, dates from around 1630. The railing of the stairs bears the inscription: The Gospel of Christ is a power of God that saves all who believe in it. The pulpit itself bears a text from the Epistle to the Romans in Low German.

The baptismal font in the east of the southern side aisle, created by Lemgo sculptor Georg Crossmann in 1597, features a Latin inscription from Mark 16:16. The movable cover, suspended from a chain, depicts Christ being baptized by John the Baptist. The balustrade, adorned with typical Weser Renaissance decorations, includes New Testament inscriptions related to baptism. The door is flanked by columns and topped with high-relief figures of Christ as ruler of the world and John the Baptist with the Lamb of God. The portal's gable features Peter and Paul, with Christ and two children above, referencing Mark 10:14.

The Early Baroque High Altar

The creation of the early Baroque high altar in the choir area is linked to a historical event: On September 12, 1636, a group of Swedish soldiers invaded Lemgo, leading to a thorough plundering of the town. After the Swedes' departure, the tower's garrison was to be held accountable. However, the sculptor Hermann Voß escaped to Hameln, where he earned enough to pay the town's fine. In 1641, Voß offered to donate a beautiful altar 32 feet high and 12 feet wide to the church in exchange for admittance to the Brüderkloster vor St. Johannispforten. The town council accepted, and in 1643, the high altar was created with auricular and cartilage forms. The paintings by Berent Woltemate depict the Ascension of Christ above and the Last Supper below, emphasizing the Reformation's central tenet of communion in both kinds.

St. Nicolaikirche, with its rich history, architectural splendor, and artistic treasures, stands as a testament to Lemgo's cultural and religious heritage. Its walls echo centuries of faith, resilience, and artistic achievement, making it a must-visit for anyone exploring this picturesque town.