In the charming town of Memmingen, nestled in the scenic region of Bavaria, Germany, stands a remarkable testament to modern ecclesiastical architecture – the Mariä Himmelfahrt Church. This Catholic parish church, located on Augsburger Straße, is not only a place of worship but also a beacon of post-war architectural innovation and community spirit.
The story of Mariä Himmelfahrt begins in the aftermath of World War II. Memmingen, like many towns in Europe, saw an influx of refugees and displaced persons. Over 7,000 war refugees and 1,000 Baltic immigrants found shelter in the eastern part of the city. This sudden population increase necessitated the construction of a new Catholic church to serve the spiritual needs of the burgeoning community. The groundbreaking ceremony took place on October 11, 1954, and the cornerstone was laid on April 30, 1955, by Bishop Josef Freundorfer of Augsburg, who also consecrated the church upon its completion on November 18, 1956.
The architectural genius behind Mariä Himmelfahrt was Thomas Wechs, a native of Bad Oberdorf in the Allgäu. Wechs was known for his innovative approach to integrating various art forms into his architectural designs. For Mariä Himmelfahrt, he conceived a unique sector church, which stands out for its modernist aesthetics and functional design.
Approaching the church from Augsburger Straße, visitors are immediately struck by the imposing tower, which rises to a height of 48.50 meters, extending to 58.50 meters with the addition of the tower cross. This cross, a striking upside-down Latin cross known as the Petrus Cross, symbolizes the humility of Saint Peter, who, according to tradition, was crucified upside down. The tower's ground floor houses a poignant war memorial in the form of a Pietà by Munich-based artist Andreas Bindl, with the Latin inscription Quo vadis? prominently displayed.
The interior of Mariä Himmelfahrt is a harmonious blend of modernist design and spiritual symbolism. The square nave is dominated by two massive reinforced concrete arches, spanning 42.50 meters with a peak height of 18 meters. These arches create a sense of openness and grandeur, drawing the eye upwards towards the heavens. In 1974, the church underwent renovations to align with liturgical reforms, including the addition of an ambo to the side of the altar.
The altar itself is an understated yet powerful focal point, flanked by a gilded brass tabernacle designed by Therese Hössle-Seidel, depicting the Last Supper. Above the altar, a chandelier with twelve candles symbolizes the holy city of Jerusalem, with its twelve gates. To the south of the chancel lies the sacristy, while the north houses a serene Marian chapel.
Music plays a vital role in the life of Mariä Himmelfahrt. The church's original organ, built by Zeilhuber of Altstädten, featured 37 registers. In 2004, it was replaced by a magnificent new organ from Rieger of Vorarlberg, boasting 45 registers across three manuals and a pedal. The mechanical action and electric stop action of this instrument allow for a wide range of musical expression, making it a joy for both organists and congregants alike.
The towering structure of Mariä Himmelfahrt houses a modest yet melodious set of bronze bells, tuned to the Salve Regina motif with the notes cis1 - f1 - as1 - b1. Despite its imposing appearance, the bell ensemble is relatively understated, adding a gentle, resonant voice to the church's daily life.
The side altars of Mariä Himmelfahrt are masterpieces in their own right, crafted by Augsburg artist Georg Bernhard. Each altar features mosaics of four saints, depicted with distinctive attire, attributes, and facial features. The northern altar honors Saints Joseph, Anne, Jude Thaddeus, and Nicholas, while the southern altar pays tribute to Pope Pius X, Niklaus von Flüe, John Nepomuk, and Saint Hedwig.
Under the organ loft, visitors will find a replica of a late Gothic statue of the Redeemer by Ivo Strigel, depicting the resurrected Christ in golden robes, with a distinctive opening in the garment revealing the wound in His side. Opposite stands a 16th-century Schutzmantelmadonna from Austria, portraying the Virgin Mary as a protector of those seeking refuge under her mantle. Additionally, a statue of Saint Anthony of Padua graces the staircase leading to the choir and organ.
The Marian Chapel, located on the north side of the church, offers a tranquil space for prayer and reflection. The stained glass windows depict six scenes from the life of the Virgin Mary, casting a serene light into the room. The chapel also features a baptismal font adorned with a hovering dove, symbolizing the Holy Spirit. The inscription on the font's lid reads: You are to proclaim the mighty acts of Him who called you out of darkness into His marvelous light. (1 Peter 2:9). This sacred space was designed by Munich artist Josef Henselmann.
In conclusion, Mariä Himmelfahrt in Memmingen is more than just a church; it is a symbol of resilience, innovation, and community. Its modernist architecture, artistic treasures, and spiritual ambiance make it a must-visit destination for anyone exploring the rich cultural heritage of Bavaria. Whether you are drawn by its history, its art, or its serene atmosphere, Mariä Himmelfahrt promises a memorable and enriching experience.
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