Today I'm taking you to Lübeck Cathedral, whose twin spires are a defining feature of Lübeck's seven-tower skyline and which has experienced a varied history since its beginnings. The first wooden church building dates back to 1162, after Lübeck became the seat of the bishopric in 1160. The foundation stone for the brick building was laid in 1173. The patron was Henry the Lion, to whom a monument stands on the north side of the cathedral. The Romanesque structure was rebuilt in the Gothic style in the 14th century: the basilica became a three-aisled hall church, and both side aisles were raised to the height of the nave. With the Reformation, a curious situation arose—lasting a remarkable 41 years—in which the western part of the church became Protestant, while the choir remained the Catholic and episcopal center.
In 1942, bombs destroyed the cathedral's roof, and countless art treasures within the church were lost, though some were salvaged. Securing the ruins and rebuilding progressed slowly. The "Save the Cathedral" association collected donations throughout Germany for its restoration. Work could only begin in 1960, and it took almost 20 years to complete the restoration of the interior. The Paradise – the vestibule with the grand main entrance, which also served as the seat of ecclesiastical justice – was not reopened to the public and the cathedral community until 1982. Initially, criminals could evade secular authorities and seek refuge in the Paradise.
Inside, the cathedral has a simple, austere Protestant feel. This makes the triumphal cross from 1477 all the more impressive to me every time I visit. It was fortunately saved in 1942, even though it suffered considerable damage: Polish specialists worked on its restoration for 14 years, taking as long as Bernt Notke had taken to create it in the 15th century.
This magnificent carving stands 17 meters tall and features more than 70 carved figures. It was commissioned and donated by the then Bishop Albert Krummediek, who is also depicted as the donor among the sculptures on the triumphal cross. He kneels opposite the figure of the sinner Mary Magdalene, whose face is said to resemble that of the bishop's lover.
The fully preserved rood screen, depicting the church's four patron saints, is also the work of Bernt Notke – considered one of the most important artists of his time in the Hanseatic League. My gaze is always drawn to the rood screen clock, which dates from the 17th century and serves as a reminder that our time is only borrowed.
Four of the surviving medieval winged altarpieces have been returned to the cathedral, including the altarpiece of the Stecknitz boatmen, who lived in the cathedral quarter and transported salt from the Lüneburg saltworks to Lübeck. Incidentally, the famous Passion Altarpiece by Hans Memling was also originally located in the cathedral. It is now on display in the St. Anne's Museum. The pulpit, the baptismal font, the chandeliers, and the preserved pews could also be described in detail. In other words, a single visit to the cathedral is not enough!
If you'd like to delve deeper into the cathedral through leisurely reading: Cathedral expert Gustav Querfurt has compiled numerous details and stories in his new book, "From Lübeck Cathedral and Henry the Lion ." It is available directly from gustavquerfurth@web.de