Munich Cathedral. Frauenkirche Church (Dresden). Frauenkirche (Church of the Virgin Mary): description, history. Cathedral of the Blessed Virgin Mary

Frauenkirche(German: Frauenkirche), official name in German. Der Dom zu Unserer Lieben Frau (Cathedral of the Holy Virgin) - the tallest cathedral in MunichIn 2004 At the referendum, a decision was made banning the construction of buildings higher than 99 meters in the city. Why exactly 99 meters? Yes, because this is the height of the tallest cathedral and the symbol of the city -Cathedral of St. Mother of God, or, as it is more often called,Frauenkirche. At the time of completion (in 1525), the cathedral could accommodate 20 thousand people, while the population of Munich was only 13 thousand. Of course, the size of the Frauenkirche is still amazing, and it’s easy to guess what impression the church made on its contemporaries.

Frauenkirche is uncompromisingly Gothic. Pure, arrogant, clear. But in spoiled baroque Bavaria they were not used to it. When you walk along the elegant Kaufingerstrasse with its luxurious shops, and then suddenly find yourself under the echoing and deserted arches of the cathedral, you feel uneasy.
Gothic is the grandeur of space, the severity of lines. The main cathedral of the city was built in the Middle Ages, although the approach of the Renaissance can already be felt in its architecture. The massiveness of the structure is softened by onion domes - “Romanesque helmets”. The cathedral took 26 years to build and was consecrated in 1494, shortly before the start of the Reformation. At the same time, the first university was founded in Bavaria, and the first book was published in Munich.

“It’s somehow bare here!” a tourist whispers to her husband in fear. She looks skeptically at the massive columns of the Frauenkirche Cathedral until her gaze finally settles on Reinhard Behrens's long robe. The caretaker of the cathedral, Behrens, already knows what will follow - a woman will approach him and ask the classic question: “Is this a Protestant church?” There is obvious disappointment in this question.
Why does Munich's Frauenkirche Cathedral look so prim? Why do people avoid entering the temple, which is considered the symbol of the city? Local Catholics prefer churches that are more comfortable, and few tourists like its asceticism. Reinhard Behrens patiently explains that not all Catholic churches in Bavaria are built in the Baroque style. That his cathedral does not look like elegant churches with playful stucco and paintings on the ceiling, with angels, with high altars and sparkling monstrances.

But the church became even more famous thanks to the trace of the devil on the floor of the cathedral. The legend explains this by an agreement between Satan and the architect, in which the latter must build a temple without windows, which must always be illuminated, and then the devil will not interfere with his work. When the construction was completed, the architect showed a temple in which there was not a single window, and at the same time it was as bright as day. The devil got angry and stamped his foot, after which a mark from his right foot remained on the floor of the cathedral.

It is believed that if you step on this imprint while staying in Frauenkirche, the entire next year will be surprisingly successful.

Actually, there were two legends at once. According to the first legend, when the cathedral was built but not consecrated, the Devil himself was hanging around in these places. For some reason, forgive the tautology, he ended up in a church. He went into the narthex - and there, if you look at the photograph, there is a place where the windows are hidden by columns - and began to laugh at the unlucky builders who screwed up so much by building a temple without windows. Satan neighed and stamped his foot. This is how the black heel mark appeared. When the church was consecrated, people began pouring in. Satan became interested, galloped up again, and saw that the church did have windows, and what kind of ones! The demon became furious, turned into a hurricane and tried to demolish the cathedral. But the strength of hell was not enough. Since then, the devil has not calmed down and sometimes a tornado swirls near the gate, but in vain.

According to the second legend, the Devil entered into a pact with the architect of the church, Ganghofer. Satan promised all kinds of help in the construction of the building; the architect, in turn, promised the soul of the first person to enter the church. After the completion of the construction, the cunning architect brought Satan to that very place in the vestibule and reproached his “partner” that he, they say, had naturally screwed up and built a church without windows, and that he would get horseradish, not his soul. Satan went crazy and stomped his hoof! But it’s too late to rush around, the contract is terminated!

The brick building itself, built in the late Gothic style, is more than a hundred meters long, 40 meters wide and almost 37 meters high. Almost the same size as Shoigu’s dacha, but more modest, of course. The interior of the church does not create the impression of endless space, hidden by 22 hexagonal columns:

The interior is very ascetic, but light and light, which is not what you expect from Gothic churches.

The stained glass windows show the parishioner various scenes from the life of the Virgin Mary:

In Frauenkirche they do not flirt with the congregation and do not shorten services. Dominicans or Jesuits from other Catholic churches in Munich are free to pursue their parishioners. “We don't expect applause. The temple is not a booth, says ceremonial officer Anton Heckler. “The Frauenkirche Mass is an example to follow.” They serve according to all canons here. After all, if each church acts at its own discretion, what will happen to the unity of the church?

On Sundays, the cathedral, designed for 20 thousand people, has at most 100-200 parishioners. Vespers is served in a tiny chapel for 15-20 old women. At the same time, Bavarian television broadcasts the main masses live. So Wolfgang Huber, the rector of the temple, has enough worries with both their preparation and the visits of international delegations. After all, the Frauenkirche was never a “people's” church. She is a symbol of ducal power.

It is impossible to perform Baroque music here. Due to the powerful echo, the sounds merge, resulting in a cacophony. “Bach is hitting our ears,” the regent smiles. The acoustics in Frauenkirche are such that “the space simply cannot keep up” with fast-tempo music. But as soon as Gregorian chants or Mozart’s mass begin to sound, it becomes clear what the local chapel is capable of. When countless candles are burning and the air is thick with incense, you feel the invisible presence of the Holy Spirit within these walls. In such moments, the true power of the cathedral is revealed, the beauty of the church service, as if you were transported to Venice of the 17th century, to the famous St. Mark's Cathedral.

The main organ in the Western Empire. Built in 1994. Looks modern:

Since the 16th century, the rulers of Bavaria, the Dukes of Wittelsbach, were married and buried here. An army was recruited on the square in front of the cathedral, and the duke himself appointed the abbots of the Frauenkirche. The cathedral faithfully served the authorities; its mighty vaults and powerful towers, directed into the sky, were a symbol of the invincibility of the Bavarian rulers. Already its predecessor, the Marienkirche, built on this site in the 13th century, was the house church of the dukes.
Ordinary people prayed in the Church of St. Peter - beloved by the people and the oldest church in the city. Munich residents still cannot come to terms with the fact that it remains in the shadow of the privileged Frauenkirche.
Anyone who looks at old engravings is sure to be struck by the “secularism” of the cathedral. The tombstone of Ludwig of Bavaria, the most famous representative of the Wittelsbachs for all 8 centuries of the family’s existence, was erected right in front of the main altar, almost blocking it. Moreover, they hoisted the national flag of Bavaria on top.

Cenotaph (symbolic grave without remains) of Emperor Ludwig of Bavaria. The remains of the emperor are located here in the crypt of the church:

The cenotaph was built in 1622 by order of Duke Albrecht IV. At the head of the ensemble is a bronze statue of Albrecht himself, from which it becomes clear that Albrecht is not such an even boy with respect for the elders, but simply a narcissistic egoist selling his image on the grave of the authoritative boy in law Ludwig:

We spent only a day in the capital of Bavaria, Munich, so to someone (who knows this wonderful city better) my story will seem superficial and standard. I don’t argue that Munich has a huge number of attractions, museums, historical and architectural monuments, and it is simply physically impossible to get around them in one day. But you can get a general idea by reading the so-called “business cards”.

So, I will tell you about those attractions that, in my opinion, can be called the main calling cards of Munich (may other tourists who visited this city forgive me, but this list is compiled to my taste - something very important may not be included here, and something, on the contrary, someone will consider not worthy of attention).
Let's start, of course, the story about Munich with its main cathedral - the Cathedral of the Blessed Virgin Mary or, as the Munich people themselves call it, Frauenkirche. The cathedral was built in the 15th century on the site of an earlier church - a chapel dedicated to the Holy Virgin Mary - Marienkapelle, built in the 12th century in the Romanesque style. This building is notable for the fact that, firstly, it is the tallest building in the city. Despite the fact that this is a large industrial and scientific center of Germany and the third largest city in the country, you will not see skyscrapers or high-rise buildings here. In 2004, Munich even held a referendum on whether residents agreed that the city should prohibit the construction of buildings higher than the Frauenkirche. The overwhelming majority of city residents expressed their consent for the cathedral to continue to be the tallest building in Munich. Secondly, although the cathedral was built in the late Gothic style, its architecture contains a lot of unusual things that are not typical for this style, which makes it unique. Thirdly, there are many legends associated with the cathedral, which gives it a special romance and an aura of mystery.

One of the legends is related to the reasons for the construction of the cathedral. According to legend, a lot of people always gathered in the small chapel that stood on this place before, so that it was impossible to even move. During one of the services, the little girl became ill, but they did not have time to take her out into the street, so the church was packed with people, and the girl died. Touched by the residents of the city and Duke Sigismund, who was the lord of the local lands, they decided to build a new spacious temple in which this could not happen, and which could accommodate everyone.

The will of the duke and the townspeople quickly began to be translated into reality: with considerable donations from Sigismund himself and wealthy burghers, a huge building was built within just two decades, which even today amazes with its size. It could accommodate about 20 thousand people, while the population of the city in the Middle Ages did not exceed 15 thousand people.

The architect of the cathedral was Jörg von Halsbach, who had the nickname Ganghofer. It was he who proposed to build an unusual temple, devoid of traditional Gothic decorative excesses; he also came up with the idea of building a cathedral from brick, which was also a rarity for Gothic architecture, although construction from brick was both faster and cheaper.

An interesting legend is associated with the completion of construction. It was rumored that none other than the devil himself helped the architect to build such a large cathedral in such a short time. The architect made a deal with the devil that he would help him build an unprecedented cathedral, and in exchange for this the architect would give him his soul. That's what they decided on. And so the cathedral was built, the devil came to receive the cathedral, but the architect declared that the devil did not fulfill his part of the contract, since the cathedral has one significant drawback - it has no windows at all. The devil got angry and stamped his foot, leaving such a mark.

In fact, of course, there are windows in the cathedral; they are decorated with beautiful stained glass windows, and through them light penetrates into the huge inner hall of the cathedral.

Why didn't the devil see them? If you are not afraid and stand in the same place, then you will also not see a single window. The fact is that the entire internal space of the cathedral is intersected by two rows of snow-white octagonal columns. Merging, they seem to form a wall, and it seems that the cathedral was built without a single window.

Be that as it may, the angry devil apparently never forgave the architect who outwitted him. Having barely completed the construction of the main building, the architect died. The only thing he did not have time to see was how the domes would be erected on the towers. The architect was buried under the northern tower of the cathedral. Only 40 years later the construction was completed - the towers were topped with domes, again, of an unusual shape for Gothic. The onion-shaped domes are more reminiscent of the Romanesque cathedrals of Byzantium. At first it was planned to install pointed spiers typical of Gothic cathedrals, but then the architect decided to crown the towers with domes copying the dome of the Church of the Holy Sepulcher in Jerusalem. Then such domes began to be called “Welsh”, and they became quite common in southern Germany, as well as in Austria.

When we were in Munich, one of the towers was closed for restoration, so the impression was somewhat spoiled, but considering that they are almost identical, you can generally imagine what a colossal impression the Cathedral makes in all its grandeur. The towers of the cathedral are, indeed, almost identical, they differ only in height - only 13 centimeters (somewhere they say 12, somewhere 15). This difference is explained by the machinations of the same devil, who spied on the construction and distracted the workers, who made such a mistake.
Another element of the cathedral’s exterior “decor” is the slabs placed on the walls. In fact, these are tombstones. Previously, there was a cemetery around the cathedral, then it was demolished, and there was no better place for the tombstones than on the walls of the cathedral. You can spend an entire tour reading the tombstone epitaphs, the names of long-gone city residents and the dates of their lives.

The inside of the temple makes a special impression. The hall is actually very large, but because of the rows of columns it seems narrow, like a long corridor. The interior decoration amazes with its severity and asceticism. There are no traditional paintings, frescoes, stucco moldings, or rich decor. Everything is done in white - strictly, restrained, you may even get the impression that this is a Lutheran church. The only decor is an elegant cream-colored “cobweb” on the ceiling, laconic lamps and a crucifix “floating” in the snow-white space of the temple.

A light, airy, not at all overwhelming interior space that is more reminiscent of a fairytale palace than a Gothic temple. True, many leave here disappointed, expecting luxury and richness of the interior decoration from the main cathedral. But for my taste, everything here is incredibly harmonious, easy, and this is one of the most interesting and unforgettable cathedrals I have seen in Europe. The modern organ, made in the Art Nouveau style in 1994, fits in very harmoniously here.

Along the walls there are small “rooms” - chapels, fenced off with bars - in each chapel there is an icon and benches, each such chapel belonged to one of the rich families of Munich, where its representatives could come and pray in some solitude. As I already said, numerous windows of the cathedral, which the devil did not notice, are decorated with stained glass windows with scenes from the Holy Scriptures, with portraits of saints and other traditional subjects.

The cathedral was originally created as a tomb for representatives of the Wittelsbach dynasty, who ruled in Bavaria, and for some time throughout the Holy Roman Empire. Some rulers from this dynasty were buried right in the cathedral in a special crypt behind the altar, next to the Bavarian cardinals and archbishops. Some Wittelsbachs are buried in other churches in Munich: in the more elegant and ceremonial Church of St. Michael and Theatinerkirche, sometimes the heart of the deceased was buried separately in the Altötting chapel. The most famous tombstone of the cathedral belongs to Ludwig VI of Bavaria. This was the most famous and powerful king of the Wittelsbach dynasty. His power is evidenced by the fact that he was even able to remove the Pope of Rome he disliked and appoint another in his place. In fact, this black limestone monument is a cenotaph (“dummy”), and not a tombstone, since the emperor is buried below, in the crypt.

It is worth saying that the Munich residents themselves have an ambiguous attitude towards Fraunkirche. This is due to the fact that the cathedral initially had a rather official and representative purpose, and never received the status of “national”. Another Munich church, located nearby - St. Peter's Church, is considered popular.

In front of the cathedral, be sure to pay attention to the unusual fountain - its shape resembles either seats or mushrooms. It was built by the architect Josef Heiselmann in 1972 specifically for the Olympic Games held here, and this unusual work is called “Bennobrunnljan”. The bowl of the fountain is surrounded by small stone blocks, on which you can sit in the shade in hot weather, wet your feet, and then move on to new interesting discoveries.

To be continued...

The Cathedral of the Blessed Virgin Mary, also called Frauenkirche, is one of the symbols of Munich, as well as the tallest church in the city (99 meters). At a meeting of city officials in 2004, it was decided to prohibit the construction of buildings above it.

The cathedral is located near Marienplatz square. The history of the building is directly related to the Wittelsbach monarchy. The cathedral, in addition to its direct purpose, was to be used by the rulers of Bavaria as a family crypt.

The interior of the cathedral is surprising in that it is made in light colors: usually a darker atmosphere reigns in medieval Gothic churches. Daylight pours through the stained glass windows with images of saints. 22 columns hold up the vault of the building. When you stand at the entrance, you can hardly see the windows because of the columns and it seems as if light is streaming from nowhere. All this creates an unexpected feeling of spaciousness and lightness. Inside, attention is drawn to the tombstone of the Holy Roman Emperor Ludwig IV of Bavaria. It is decorated with the symbols of the dynasty and sculptures of kneeling knights. Also worth paying attention to is the Benno arch decorated with baroque stucco in the central nave near the choir. The fountain opposite the entrance portal also bears the name of this saint. The main altar is decorated in the same style, painted with the image of the Ascension of the Virgin Mary.

There is a footprint in one of the stone floor tiles right at the entrance to the cathedral. Several legends are associated with it. It is believed that the mark was left by the devil himself, who made his way into the church on the day the construction was completed. Not seeing the windows, he laughed and kicked. According to another legend, the architect entered into an agreement with the evil spirit that he would help him build a building in exchange for the soul of the first parishioner. On the day of completion, he refused to fulfill the condition, pointing out the lack of windows. The devil stomped in anger.

The observation deck of the South Tower can be reached by elevator, but you will have to walk up the stairs to get to the elevator. Access to the tower is available from April 1 to October 31. On Catholic holidays, services are held in the cathedral.

Photos of Frauenkirche

Opening hours: from Saturday to Wednesday from 7.00 to 19.00, on Thursday from 7.00 to 20.30, on Friday from 7.00 to 18.00.

Ticket prices: admission to the cathedral is free. Climbing the tower costs 3 euros for adults, for children – 1.5 euros.

How to get there: Marienplatz metro station is nearby.

Address: Frauenplatz 12, 80331 München, Germany Website.

The interior of Peterskirche is no less pleasing: milky walls and a ceiling fresco of amazing beauty are eye-catching.

One of the central places in the church is occupied by the figure of St. Peter and the altar of the Virgin Mary, which is a composition of several statues.

The temple is located on Marienplatz - the main square of the city. At the top of the chapel there is an observation deck that offers stunning views of Munich.

Cathedral of the Blessed Virgin Mary

Frauenkirche – Cathedral of the Holy Virgin, a pearl of Gothic architecture. Construction began in 1468, but it was completed only in 1525.

The abundance of white columns and the absence of windows make the interior of the temple unique. The painting on the altar illustrates the ascension of the Virgin Mary. On the walls you can see gravestones that were moved from a closed cemetery near the church. The Gothic appearance is complemented by the “devil's footprint” - a dark boot print located on one of the slabs of the cathedral.

The Frauenkirche is the tallest cathedral in Munich thanks to its towers reaching 99 m in height. The bell towers are connected to a long nave, which is covered with red tiles and reminds many of Noah's Ark.

After a referendum held in 2004, a temporary ban on the construction of buildings higher than 100 m was introduced, so the observation deck of the bell tower offers the best view of the city.

Catholic Church Theatinerkirche

Theatinerkirche is a collegiate Catholic church that bears the name of St. Cajetan. The construction of the church took place in the years 1663-1690, but the façade of the building remained unfinished for 100 years due to disagreements among the architects. The front part of the facade is decorated with 2 coats of arms: the coat of arms of Bavaria and the coat of arms of the Polish-Lithuanian Commonwealth.

When designing the temple, the Theatine Church in Rome was taken as a model, and everything was designed in the late Italian Baroque style. The interior decoration of Theatinerkirche is made in light colors with a predominance of white columns. The interior is decorated with detailed moldings, and dark wood elements provide contrast.

Ludwigskirche Church

Ludwigskirche is the university church of St. Ludwig. The construction of the temple was approved by Ludwig I in 1829. The unstable political and economic situation of that time made it possible to complete the project only in 1844.

From the outside, the church is distinguished by twin towers, a cross-shaped nave and a roof decorated with mosaics. Inside is the famous Last Judgment fresco, which is the second largest in the world in size. It is worth paying attention to the figures of Jesus and the evangelists.

Asamkirche is a church built by the Asam brothers in honor of St. John of Nepomuk. The official name of the church is associated with the name of the priest, but people call it “Azamkirche”, glorifying the name of talented architects. The temple is unique in that it occupies a smaller area compared to other similar structures. Initially, the church was private and only after some time it became public. The entrance to the temple is decorated with a statue of John of Nepomuk with angels.

The authors of the project were not guided by Catholic architectural canons. Inside, everything is more reminiscent of palace interiors: an abundance of sculptures, the use of gilding and a fairly bright design in general. The ceiling painting with scenes from the life of St. John deserves special attention.

Jesuitenkirche St. Michael is a church built for the Jesuit order in the 17th century and is one of the most beautiful buildings of the Renaissance. The appearance of the church is reminiscent of the classic design of the city hall. The upper part of the facade is occupied by the figure of Jesus Christ, and at the entrance you can see the statue of St. Michael.

The church hall is quite large and the feeling of scale is enhanced by the snow-white walls. Under the altar, in the underground chapel, is the Wittelsbach crypt, where William V and other representatives of the dynasty are buried. Nearby is a reliquary where Christian relics are kept.

The excellent acoustics of the room convey well the sounds of organ music during concerts (the schedule can be found on the website). On Christmas Eve, the church is popular and is often included in excursion routes.

Lukaskirche Church

Lukaskirche is a Protestant church located on the banks of the Isar River. Construction of the temple took place in 1893-1896. The architect Albert Schmidt gave the building features of the Romanesque style and was clearly inspired by the Gothic. The design familiar to these buildings is complemented by two towers and a high dome (64 m). St. Luke's Church (Lukaskirche) has a unique interior and boasts colorful stained glass windows - the only element that was damaged during the war. At the altar you can see a painting that depicts the burial of Christ.

St. Paul's Temple

Paulskirche is a Catholic church named after St. Paul, which belongs to the parish of Ludwigsvorstadt. Construction of the church began in 1896 and was completed at the beginning of the 20th century. The architect Georg von Hauberrisser maintained the image of the building in the neo-Gothic style.

The facade is decorated with characteristic sculptures, which is typical of Gothic buildings. The Paulskirche has one of the tallest (97 m) towers among Munich churches, so it is not surprising that there is an observation deck here.

The interior of the church is also worthy of attention - the spacious hall immerses you in a medieval atmosphere. It would be useful to see the architectural composition “Carrying the Cross”, created by sculptor Georg Busch. The sculpture, made in color, perfectly illustrates one of the last pages of the life of Christ.

The Catholic Church named after St. Benno was built at the end of the 19th century by the architect Leonhard Romeis. The temple occupies a worthy place among other religious buildings made in the neo-Romanesque style.

Towers 63 m high complement the majestic image of the building.

Among the interior features, it is worth highlighting an exact copy of the Venetian mosaic.

After the bombing of 1944, the church was restored to its original form, but the original frescoes were lost.

In the churchyard you can find an aluminum statue of a fish with a key: legend has it that Bishop Benno threw the key to the church into the Elbe River and later discovered it in the belly of a fish served to him for lunch.

Church of St. Maximilian

St. Maximilian's Church was the first Catholic church in Munich and is located on the banks of the Isar River. Construction took place from 1892 to 1908. The distinctive feature of the temple was the neo-Romanesque style and two high towers.

The original octagonal spiers of the towers were destroyed during World War II, and they were restored in a simplified version.

The interior is notable for the presence of arches and a sculptural ensemble at the altar.

Gothic Church of St. Mark

St. Markus is a Lutheran church built during Munich's population boom in the 19th century. The building, unremarkable at first glance, is distinguished by the presence of a mechanical clock on each side of the tower and narrow windows. The interior of the church is dominated by light colors. Otherwise, the architectural solutions are quite typical for the neo-Gothic style. St. Mark's Church performs several functions simultaneously:

Headquarters of the head of the church region in Munich;
parish church;
church for university students in Munich.

Shrine of St. Joseph

St. Joseph Kirche is a Catholic church named after the husband of the Virgin Mary. Construction of the temple began in 1898 and lasted 4 years. The facade of the building welcomes visitors with large arches and a high tower connected to the basilica.

Several bells were cast for the bell tower back in the 60s of the 20th century. The heaviest of them is the Holy Trinity bell, which weighs almost 3 tons.

During the day, the windows of the church hall let in a large amount of light and perfectly illuminate the interior. The walls of the temple are decorated with small statues, and at the altar you can see icons with images of saints.

Catholic Church of the Holy Spirit

Church of the Holy Spirit (Heilig-Geist-Kirche) is a Catholic church built at the beginning of the 14th century. The ancestor of the temple was the hospital, which was adjacent to the chapel of St. Catherine. It was in its place that a new church was eventually built.

Initially, the Church of the Holy Spirit had features of the Gothic style, but due to numerous wars and reconstructions, the final appearance also acquired neo-Baroque features.

The classic nave is combined with a high tower. The interior is notable for its stucco work by the Azam brothers and stunning ceiling frescoes. On the altar of the church there is a miraculous image of the Mother of God.

The abbey is located in the center of Munich, which is quite unusual for a monastery of this type. Construction took place in the 19th century on the territory of the former monastery of St. Benedict.

The facade of the building is greeted by columns, and on the sides there are statues of St. Peter and St. Boniface.

At the top of the facade there is a portrait of the architect - this case is rather an exception for religious buildings.

The image of the building corresponds to the Byzantine style. Inside the church hall you can see an impressive number of tall columns that visually expand the space. The interior painting, after being damaged in 1945, was only partially restored by modern craftsmen.

King Ludwig I is buried in the abbey along with his wife Theresa.

Munich – the heart of tourism in Bavaria

Munich is home to an impressive number of unique churches and cathedrals that are cultural monuments. By visiting the city, you will have the opportunity to study the architecture of the 12th–20th centuries in all its diversity using a clear example. For those planning their vacation for 2019, we recommend considering visiting Munich.

Munich Cathedral: Video

FRAUENKIRCHE

The symbol of the city is the late Gothic Frauenkirche.

Frauenkirche(German: Frauenkirche), official name in German. Der Dom zu Unserer Lieben Frau (Cathedral of the Holy Virgin) is the tallest cathedral in Munich. Since 1821, the main church of the newly created Archbishopric of Munich-Freising.
Construction of the cathedral began in 1466 and was completed in 1525 (1466-1492 architect Jörg von Halsbach, also known as Ganghofer). Actually, the cathedral itself was built quickly, but the towers were completed almost a century later.
Up to 20,000 parishioners could find a place in the cathedral, while at the time of completion of construction the population of Munich was only 13,000 people. Nowadays, the cathedral can accommodate about 4,000 people sitting, thanks to benches for parishioners installed there in recent years.
However, inside the cathedral does not give the impression of a huge structure, since the 22 columns supporting the roof create the illusion of a much smaller space.
The height of the cathedral is 99 meters. By decision of a referendum held in 2004, it was temporarily prohibited in Munich to build buildings higher than the Frauenkirche, that is, higher than 100 meters.
One tower is 12 cm higher than the other. According to the original plan, they were supposed to be crowned with spiers like those of the Cologne Cathedral, but due to lack of money, domes were erected that did not correspond stylistically to the cathedral.
The length of the cathedral is 109 m, width - 40 m. The interior decoration of the three-nave church was partially lost during the Second World War. The magnificent choir benches made by Erasmus Grasser in 1502, the tomb of Ludwig IV of Bavaria made of black marble, the altar of St. Andrey and paintings by Jan Polak. Although the rich Gothic interior of the cathedral was partially destroyed, partially removed during the era of the Counter-Reformation.
Representatives of the Wittelsbach dynasty (German: Wittelsbach), which ruled in Bavaria and the Palatinate, are buried in the crypt
The church is a poorly decorated but large brick building. It has a five-nave, hall system, without a transept, but is equipped with a choir bypass and two western towers. Its buttresses pushed inside and along the longitudinal sides turned into rows of chapels of extraordinary height. On their octagonal pillars without capitals rest service columns that branch into rich reticulated vaults. The austere but bright church is typical of the Bavarian brick style of the 15th century.

Teufelstritt, the devil's imprint. According to legend, the church builder made a deal with the devil that there would be no windows in the church, and the devil would help build the building. But the devil was deceived by the clever architect. The church was already consecrated and the devil could only stand near the entrance, and from this place the windows were not visible because of the columns. The devil stamped his foot in fury and left an imprint where a tail mark is visible at the heel.

Altar.

Ceiling.

Organ.

Tomb of the Holy Roman Emperor Louis IV by Hans Krumpper.

Altar of St. Andrey.

Article from GEO magazine, No. 12, 2006.

Cathedral of Our Lady of Bavaria
The symbol of Munich is the Frauenkirche Cathedral. No one will deny him his majestic and cold Gothic beauty. But Munich residents prefer other churches.
The remains of the Bavarian archbishops rest in the crypt of Munich's Frauenkirche Cathedral. According to tradition, clergy and aristocrats were buried in the vaulted room under the altar.
“It’s somehow bare here!” a tourist whispers to her husband in fear. She looks skeptically at the massive columns of the Frauenkirche Cathedral until her gaze finally settles on Reinhard Behrens's long robe. The caretaker of the cathedral, Behrens, already knows what will follow - a woman will approach him and ask the classic question: “Is this a Protestant church?” There is obvious disappointment in this question.
Why does Munich's Frauenkirche Cathedral look so prim? Why do people avoid entering the temple, which is considered the symbol of the city? Local Catholics prefer churches that are more comfortable, and few tourists like its asceticism. Reinhard Behrens patiently explains that not all Catholic churches in Bavaria are built in the Baroque style. That his cathedral does not look like elegant churches with playful stucco and paintings on the ceiling, with angels, with high altars and sparkling monstrances.
Frauenkirche is uncompromisingly Gothic. Pure, arrogant, clear. But in spoiled baroque Bavaria they were not used to it. When you walk along the elegant Kaufingerstrasse with its luxurious shops, and then suddenly find yourself under the echoing and deserted arches of the cathedral, you feel uneasy.
Gothic is the grandeur of space, the severity of lines. The main cathedral of the city was built in the Middle Ages, although the approach of the Renaissance can already be felt in its architecture. The massiveness of the structure is softened by onion domes - “Romanesque helmets”. The cathedral took 26 years to build and was consecrated in 1494, shortly before the start of the Reformation. At the same time, the first university was founded in Bavaria, and the first book was published in Munich.
Frauenkirche is one of the last monuments of the era when the Western Church was united. This is a laconic and austere temple. The means here are subordinated to the goal, in contrast to the Jesuit Baroque, where the goal is sacrificed to the means. The strict pious spirit of the Middle Ages did not tolerate pretentiousness and operatic effects.
It is impossible to perform Baroque music here. Due to the powerful echo, the sounds merge, resulting in a cacophony. “Bach is hitting our ears,” the regent smiles. The acoustics in Frauenkirche are such that “the space simply cannot keep up” with fast-tempo music. But as soon as Gregorian chants or Mozart’s mass begin to sound, it becomes clear what the local chapel is capable of. When countless candles are burning and the air is thick with incense, you feel the invisible presence of the Holy Spirit within these walls. In such moments, the true power of the cathedral is revealed, the beauty of the church service, as if you were transported to Venice of the 17th century, to the famous St. Mark's Cathedral.
300 children study in the singing school at the temple. In the cathedral, where Orlando di Lasso, the great composer of the Renaissance, served as conductor, false notes are not allowed. For Regent Nys, this is an art, not a craft. And if the parishioners are not able to maintain a high singing standard, then it is better to remain silent.
In Frauenkirche they do not flirt with the congregation and do not shorten services. Dominicans or Jesuits from other Catholic churches in Munich are free to pursue their parishioners. “We don't expect applause. The temple is not a booth,” says ceremonial officer Anton Heckler. “The Frauenkirche Mass is an example to follow.” They serve according to all canons here. After all, if each church acts at its own discretion, what will happen to the unity of the church?
Heckler, who looks like the famous American actor Gene Hackman, turns on his laptop and begins to calculate how much it will cost the parish to give communion to 400 believers. Heckler is a director and producer rolled into one. He determines which of the servants will bring the cover to the cup, and which will sing “I Believe.” He oversees everything - from the choice of the vessel for the wafers to the draping of the vestments. He reprimands the ushers for their jeans sticking out from under their surplices, and the readers for their poor articulation.
Heckler advocates for the continuation of the reforms of the Catholic Church, which began 40 years ago with the Second Vatican Council. Alas, “the sublime splendor of noble simplicity is incomprehensible to the inert consciousness.” For example, the vestments of priests in ordinary churches still look like some kind of clumsy breastplate. In Frauenkirche, priests wear modest attire.
The combination of gothic and modern trends leads Munich residents to a dead end. The choir in Frauenkirche, in their opinion, is located too low, the altar is not lavishly decorated, and the bishop's chair does not at all look like a throne. There is not even a pulpit from which heart-tugging sermons should be heard.
If it had been Heckler's will, he would have gone even further. I would remove the benches from the cathedral, which only hinder the unity of believers: let the parishioners stand during the service. He would break real bread instead of wafers and would commune with the Eucharistic wine not only to the clergy, but also to all believers, as in the rites of the ancient church. ( Note And there's an ancient church here. All this is fulfilled in our Orthodox churches.) But then, he fears, people will stop visiting them altogether. Munich residents rarely visit Frauenkirche anyway. On Sundays, the cathedral, designed for 20 thousand people, has at most 100–200 parishioners. Vespers is served in a tiny chapel for 15–20 old women. At the same time, Bavarian television broadcasts the main masses live. So Wolfgang Huber, the rector of the temple, has enough worries with both their preparation and the visits of international delegations. After all, the Frauenkirche was never a “people's” church. She is a symbol of ducal power.
Since the 16th century, the rulers of Bavaria, the Dukes of Wittelsbach, were married and buried here. An army was recruited on the square in front of the cathedral, and the duke himself appointed the abbots of the Frauenkirche. The cathedral faithfully served the authorities; its mighty vaults and powerful towers, aimed at the sky, were a symbol of the invincibility of the Bavarian rulers. Already its predecessor, the Marienkirche, built on this site in the 13th century, was the house church of the dukes.
Ordinary people prayed in the Church of St. Peter - beloved by the people and the oldest church in the city. Munich residents still cannot come to terms with the fact that it remains in the shadow of the privileged Frauenkirche.
Anyone who looks at old engravings is sure to be struck by the “secularism” of the cathedral. The tombstone of Ludwig of Bavaria, the most famous representative of the Wittelsbachs for all 8 centuries of the family’s existence, was erected right in front of the main altar, almost blocking it. Moreover, they hoisted the national flag of Bavaria on top.
The cathedral finally became a “court” cathedral under the stern and pious Bavarian electors of the Counter-Reformation era. Maximilian I, an ardent Catholic and fierce enemy of Protestants, knew how to deftly combine religion with politics. He even ordered the statue of the Madonna, the symbol of the Frauenkirche Cathedral, to be moved from the altar to the central square of Munich (now called Marienplatz). And he declared the majestic bronze figure of the Mother of God, installed near the walls of his residence, to be the patron saint of Bavaria. Madonna became a political weapon of the House of Wittelsbach. In the cathedral itself, Maximilian ordered the erection of a gloomy monument of black marble and dark bronze - the imperial cenotaph, the symbolic tomb of the dukes. The figures of knights clad in armor and images of skulls looked terrifying and struck terror into the believers. A powerful triumphal arch rose above the monument - a symbol of the unity of heavenly and earthly power.
So the Frauenkirche was and remains a church for the powers that be. Up until 1952, all Bavarian bishops came from aristocratic noble families. For the residents of Munich, the cathedral has always symbolized the union of throne and altar. That is why the townspeople never considered the Frauenkirche to be congenial to them.
When nun Jolant y Weiss from the Order of the Sisters of the Holy Family was transferred to Munich after 27 years of service in the town of Partenkirchen, she was alarmed that children never played on the porch of Frauenkirche. In her Alpine town, every year she prepared 60 children for their first communion. And in the huge, famous cathedral there are only 400 parishioners - the smallest parish in Munich. And no growth is expected: only 29 parishioners are under 18 years old. Most are old people living in a shelter near the cathedral.
Sister Jolanta takes care of them. She also visits 96-year-old Frau Bauer. Before the war, she lived well, worked in the Palace of Justice, but in 1945 her house was bombed, and she was given an apartment not far from Frauenkirche. Frau Bauer is completely dry - weightless as a feather. In her room, on the chest of drawers, there is a figurine of the Mother of God with the baby Jesus.
Sister Jolanta carefully peels a tangerine for the old lady - only half, so that the other does not dry out. Frau likes to always repeat the same thing: “Once my boss told me: “Girl, be simpler, and people will love you.” But not everyone can do this!”
These words are like a summation of life, they sound almost like a prayer. Sister Jolanta Weiss listens patiently to Frau Bauer's mutterings, thinking that perhaps the arrogant Frauenkirche church should listen to wise advice...

Wolfgang Michal