Sometimes, by the end of a trip, it’s possible to feel almost “churched out,” after visiting so many of what are probably Europe’s most predominant cultural relics.
By the time we got to Nürnberg, we’d had a bit over two weeks of church-heavy Sicily and Naples. And yet we visited three ancient churches in Nürnberg, all still active, only blocks apart, and each with its own history and ‘feel.’ All three are in the Old City, or Altstadt area of the city, with its mix of ancient and modern.
It always amazes us that cities can have had so many, and so large, churches at a time when populations were not as large. Of course, it’s a reminder, too, of how wealthy the wealthy were; it’s not just today that the 1% holds so large a portion. Some of the buildings and their decor reflect a rivalry among rich families for bragging rights.
And some reflect differences in religious movements over time. That’s particularly so in Germany, where any church over 500 years old was once Catholic, even if it’s been Protestant since Luther. Two of these churches are Lutheran; unlike southern Bavaria, Nürnberg has had a strong Protestant presence and even majority for centuries. Of course, the fact that it thinks of itself as Franconian rather than Bavarian may be part of it…
Lorenzkirche (St Lawrence Church
Protestant since 1525 (one of the first), St. Lawrence has a number of unusual distinctions, among them having the largest organ of any Protestant church in Germany. In fact, it now has three organs, and a 500-year unbroken string of organ music in the church.
But a more unusual distinction is that during a period of iconoclasm, when Lutheran congregations were stripping their churches of art, which they considered at the time to be idols, St Lawrence kept its; the wealthy parishioners who had contributed it turned deaf ears to the idea of getting rid of it.
Among the greatest artistic treasures in the church is the Angelic Salutation (above) by Veit Stoss. It’s a representation of the Annunciation, in an assemblage of limewood sculptures. During the iconoclastic period, it was covered with a cloth, but left in place because it was considered property of the Tucher family that commissioned it, not the church. At least that’s what they told themselves.
The other great attraction is a tabernacle by Adam Kraft, a Nürnberg stone sculptor responsible for several works in all three of the churches. One of the unique aspects of it, aside from its survival, is that the bearded man holding up the platform is Adam Kraft, in self-portrait. One of the other figures is his principal assistant of the time. It’s not often that the workmen are remembered when we marvel at the work!
Portions of this stone pulpit may be Kraft’s work as well.
There are also elements of new design and adaptation to be seen, and also a few grim reminders of the heavy damage the church suffered in World War 2. Reconstruction started almost immediately, but the church did not reopen until 1952.
Frauenkirche (Church of Our Lady)
Of the three churches, this is the one that has remained Catholic, but what gets the most attention is not religion but mechanics. The Frauenkirche faces directly on the marketplace, and is host to the Männleinlaufen, a mechanical clock that commemorates the Golden Bull of 1356.
No, not livestock, but a proclamation by the Holy Roman Emperor Charles IV, issued at the Imperial Diet of Nürnberg, which for 400 years determined the method of electing new Emperors. At noon every day, figures of the seven electors who had the right to vote circle the seated figure of the Emperor.
The balcony above the porch in the picture just above reflects the Church’s imperial role; it was added as a spot from which the Emperor or his delegates could make proclamations or hold ceremonies.
Inside, the church contains a good amount of art, some from other churches that no longer exist. That includes its altar. The church was built on the site of a synagogue that was destroyed in a pogrom in 1349. It’s said to have a capacity of 25,000, but that seems impossible. Very large nonetheless.
But perhaps the most unusual aspect of the church is the cycle of 12 pictures and their captions, capturing events in the life and death of Jesus, with members of the parish, in modern dress, playing the roles. It was created in collaboration with artist Dieter Ent, and was first presented live and in projection on Easter morning 2005.
Some find it shocking, and even sacrilegious; others find it compelling. A staff member told me that it is the most-photographed aspect of the church, and that in particular, the image of Mary and Mary Magdalene, with the empty tomb and shroud draws the most questions.
The caption, in German, says that “Mary and Mary Magdalene visit the tomb of Jesus and find it empty. The facial expressions of the two women show that they must choose between doubt or belief in the Resurrection.” As with the other photographs, it was staged in the church itself.
Sebalduskirche (St Sebald’s Church)
Rounding out the trio is St Sebald’s just above the market square, on the opposite side from Frauenkirche. For a contrast, compare the general style of the stonework on the outer walls and the modern door at one of the entrances.
Inside, a great deal of light, in part because the upper portions of the windows are clear. The original stained glass was destroyed in World War 2, and as with many churches, is being replaced as donations allow.
Protestant like Lorenzkirche, St Sebald had a lot of art of earlier times removed during the iconoclastic period, and most of what is in the church now is more recent, although some of the removed works were eventually returned when dogma changed again.
In its present form, you’d never suspect that it even went through that kind of change!
And so, in the end, I’m never really “churched out;” there’s always something new to learn and see. But, as with castles and mansions, I confess that after a while I have to remember: while the money for all the magnificence was spent by the wealthy, we can’t forget whose labor produced the wealth and the work.
