Frauenkirche(German Frauenkirche), the official name of the German. Der Dom zu Unserer Lieben Frau (Cathedral of the Holy Virgin) - the highest cathedral in MunichIn 2004 In a referendum, a decision was made prohibiting the construction of buildings above 99 meters in the city. Why exactly 99 meters? Yes, because such is the height of the highest cathedral and the symbol of the city -Cathedral of St. Mother of God, or, as it is more commonly called,Frauenkirche. At the time of completion (in 1525), 20 thousand people could fit in the cathedral, while the population of Munich was only 13 thousand. Of course, the size of the Frauenkirche is striking even now, and it is easy to guess what impression the church made on its contemporaries.
Frauenkirche is uncompromising gothic. Pure, haughty, clear. And in the spoiled baroque of Bavaria they are not used to it. When you walk along the elegant Kaufingerstrasse street with its luxurious shops, and then suddenly find yourself under the echoing and deserted vaults of the cathedral, you feel uneasy.
Gothic is the grandeur of space, the severity of lines. The main cathedral of the city was erected in the Middle Ages, although the approach of the Renaissance is already felt in its architecture. The massiveness of the structure is softened by onion domes - "Romanesque helmets". The cathedral was built over 26 years 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 printed in Munich.
"It's somehow bare here!" - some tourist whispers frightenedly to her husband. She looks skeptically around the massive columns of the Frauenkirche until her gaze finally rests on the long robe of Reinhard Behrens. 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 clear disappointment in this question.
Why does Munich's Frauenkirche look so prim? Why do people avoid entering the temple, which is considered the symbol of the city? Local Catholics prefer more comfortable temples, and few tourists like its austerity. 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 devil's footprint 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 lit, 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 was left on the floor of the cathedral.
It is believed that if you step on this imprint during your stay in the Frauenkirche, then the whole next year will be surprisingly successful.
In fact, there were two legends at once. According to the first legend, when the cathedral was built, but not consecrated, the Devil himself loitered in these places. For some reason, sorry for the tautology, he was brought into the church. He went into the porch - and there, if you look at the photo, 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. So there was a trace of a black heel. When the church was consecrated, people began to pour there. Satan became interested, galloped again, and saw that the church did have windows, and what kind of windows! The demon became furious, turned into a hurricane and tried to demolish the cathedral. But hellish strength was not enough. Since then, the devil has not calmed down and sometimes a tornado spins near the gate, but in vain.
According to the second legend, the Devil made a pact with the architect of the church, Ganghofer. From the side of Satan, all kinds of help were promised in the construction of the building, the architect, in turn, promised the soul of the first person who would enter the church. After the construction was completed, the cunning architect brought Satan to the very place in the porch and reproached the "partner" that he, they say, naturally went nuts and built a church without windows, and that he would get hell, not a soul. Satan freaked out and koptyk top! But it's too late to rush about, the contract is terminated!
The brick building itself, built in the late Gothic style, is over a hundred meters long, 40 meters wide and almost 37 meters high. Almost the size of Shoigu's dacha, but more modest, of course. The interior of the church does not create the impression of an endless space, hidden by 22 hexagonal columns:
The interior is very ascetic, but bright and light, which is not expected from Gothic churches.
The stained glass windows show the parishioner various scenes from the life of the Virgin Mary:
Frauenkirche does not flirt with the flock and do not shorten services. Dominicans or Jesuits from other Catholic churches in Munich are free to chase after their parishioners. “We don't expect applause. The temple is not a farce, - says the ceremonial Anton Heckler. “The Mass in the Frauenkirche is an example to follow.” Here they serve according to all the canons. After all, if each temple will act at its own discretion, what will become of the unity of the church?
On Sundays, in the cathedral, designed for 20 thousand people, 100-200 parishioners are recruited at most. Vespers are served in a tiny chapel for 15-20 old women. At the same time, Bavarian television broadcasts live the main masses. So Wolfgang Huber, the rector of the temple, has enough worries both with their preparation and with the visits of international delegations. After all, the Frauenkirche was never a "people's" church. She is a symbol of ducal power.
Baroque music cannot be performed here. Because of the powerful echo, the sounds merge, and a cacophony is obtained. “Bach hits us in the ears,” the regent smiles. The acoustics in the Frauenkirche are such that musical works with a fast paced "space just can't keep up". But as soon as Gregorian chants or Mozart's mass are heard, it becomes clear what the local chapel is capable of. When countless candles burn and the air thickens with incense, you feel the invisible presence of the Holy Spirit in these walls. At 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 western empora. 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 to 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. The Munich people still cannot accept the fact that he remains in the shadow of the privileged Frauenkirche.
Anyone who looks at old engravings is sure to be struck by the "secularity" of the cathedral. The tombstone of Ludwig of Bavaria, the most famous representative of the Wittelsbachs for all 8 centuries of the existence of the family, was erected right in front of the main throne, almost blocking it. Moreover, the national flag of Bavaria was hoisted from above.
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 kid with respect for the elders, but just a narcissistic egoist who sells his image on the grave of an authoritative kid in Ludwig's law:
Address: Germany, Munich
Start of construction: 1468
Completion of construction: 1525
Architect: Jörg von Halsbach
Height: 100 m
Coordinates: 48°08"18.9"N 11°34"24.5"E
Short description
Not far from Munich's Marienplatz is the main cathedral of the capital of Bavaria - Frauenkirche. The official name of the tallest cathedral in Munich is the Cathedral of the Blessed Virgin Mary.
Surprisingly, in 2004, at a meeting of the city authorities, a rather controversial bill was passed, according to which in an ultra-modern city, famous for its research institutes and museums, it is forbidden to erect buildings that would be taller than the Frauenkirche.
Cathedral from a bird's eye view
The height of the cathedral, built in the Gothic style, is "only" 99 meters. Naturally, this figure cannot be called small, but it limits the construction of huge skyscrapers and office buildings in the city. What is the reason for such an attitude of the authorities towards the Frauenkirche, what is so unusual in this cathedral? It's no secret that many travel agencies call the Frauenkirche the symbol of Munich and recommend all visitors to the city to visit this attraction without fail. Naturally, the Frauenkirche can certainly interest historians, connoisseurs of architectural and cultural monuments. His long story and the close connection with the legendary Witttelsbach dynasty, which once ruled Bavaria for 700 years, certainly deserves attention.
Many guides living in Munich, telling their tour groups about the Frauenkirche, quite often speak of the cathedral with a certain amount of skepticism. The thing is that the majestic cathedral, which is the tallest building in Munich, does not cause delight among the natives of the city. The Wittelsbach family is “guilty” in this state of affairs, which, by the way, are very respected in Bavaria, and the last descendant from this dynasty still lives at the expense of the state in the luxurious Nymphenburg Palace.
View of the Cathedral from the New Town Hall
It was the founders of this dynasty who made the Frauenkirche a cathedral for the mighty of the world this, and by and large, turned it into a kind of family crypt. True, this is already a story, which should be discussed a little below.
Frauenkirche Cathedral - history
As mentioned above, the Wittelsbach dynasty wanted to create a cathedral in which they could turn to God, and where they would find eternal rest. The first stone in the construction of the cathedral, which was decided to be erected in the Gothic style, was laid in 1468. The project of the building was developed by the then famous architect Jorg von Halspach, who owns the words that the building in the capital of Bavaria "was built in the style of uncompromising Gothic, where there is nothing superfluous."
Frauenkirche Cathedral was built of brick already by 1494. During the solemn opening ceremony, the consecration of the temple took place. In fairness, it should be noted that in 1494 the cathedral was not fully completed: its main architectural details - the domes on the towers, were completed in 1525. Since the middle of the 16th century, the Frauenkirche Cathedral could be called a secular cathedral, ordinary Munich people rarely looked into it. As you know, the church should not obey the politicians and the government of the country, and the Frauenkirche has become a kind of symbol, known in Bavaria under the name: "the union of the throne and the altar."
View of the towers of the cathedral
After the first consecration, the cathedral could accommodate more than 20 thousand people. When the towers were erected, the capacity of the Frauenkirche fell to 12,000 people. Already after the Second World War, no more than 4 thousand people can listen to sermons in the church. All places, as in many Catholic churches, are seated. It is worth noting that during the offensive of the Allied forces on Munich, the Frauenkirche Cathedral was damaged. However, the damage done cannot be called significant. All interior decoration items, tombs and valuable relics were not damaged. The restoration of the Frauenkirche after the Second World War took place in a record short time. And how could it be otherwise in the case of the temple, which is called "the union of the throne and the altar"? He has remained so to this day.
Frauenkirche Cathedral - architecture
Not a single modern architect can say that the facades of the cathedral do not cause admiration gothic style. Majesty, strict lines and, one might even say, some kind of chilling beauty, can be seen in every detail of the building. Despite the facade of the building, the interior of the temple disappoints many tourists. “This temple is kind of miserable”, “It’s not cozy and cold here”, “We probably didn’t end up in a Catholic church,” these words are often said by many guests of Munich who for the first time crossed the threshold of the symbol of the capital of Bavaria, the Frauenkirche Cathedral.
Facade of the cathedral
As mentioned above, even the indigenous inhabitants of the city do not favor this main attraction with their attention. The austerity of the interior decoration, the arrogant attitude of the clergy towards the faithful, cannot attract the flock to the walls of the cathedral. During Sunday services on benches designed for 4,000 people, it will be difficult to count 80 parishioners. During evening services, the Frauenkirche is practically empty: only 10-15 elderly women listen to prayers ascending to God. They come here only because they live in an orphanage located near the cathedral.
Despite all of the above, it is from this cathedral that numerous broadcasts of services dedicated to the most significant Catholic holidays are conducted. The ceremonial of the Frauenkirche can be called an accountant, director, screenwriter and director. In addition, he arrogantly asserts that it is Frauenkirche Cathedral should be a role model for all Catholic churches. “The interior of the temple is not a circus venue where everything should be decorated bright colors. Mass, not clowning, it cannot be shortened, during it you need to sit and listen in complete silence, ”the ceremonial Anton Heckler once said in an interview. It was he who became the first minister of the Catholic Church, who scrupulously calculated on a personal computer the amount needed for the communion of parishioners. By the way, the officially registered parish of the Frauenkirche has less than 400 people.
Main entrance to the cathedral
The close connection of the Frauenkirche with power, which has lasted for more than 400 years, repels young people. Of the entire parish, there are less than 30 parishioners under the age of 18. It cannot be otherwise in the cathedral, where in front of the main altar there is a huge tombstone of King Ludwig of Bavaria, which completely covers the main place in the temple. In addition, the flag of Bavaria was installed over the tombstone: the banner almost completely hides the throne from the flock. At one time, Maximilian I decided to build in the Frauenkirche Cathedral strange looking a monument depicting skulls and knights ready for battle. This monument was supposed to symbolize the tomb of the Wittelsbachs. Maximilian I was one of those politicians who understood how beneficial it was to combine power and the church. He did not even hide his views, and erected a triumphal arch over the frightening dark monument. This arch in the Frauenkirche was supposed to show the faithful the close and inseparable connection between earthly and heavenly power.
After reading all of the above, many people who are brought to Munich may have the opinion that the Frauenkirche Cathedral does not deserve attention. However, this is not at all the case. After walking around the Marienplatz and visiting its many attractions and boutiques, the Frauenkirche is a must-see.
View of the south tower of the cathedral from Liebfrauenstraße
Firstly, you will not find such a sharp contrast anywhere else in the world, and secondly, it would be an unforgivable mistake not to capture the external facade of the cathedral, built in the “uncompromising Gothic” style, in a photo. Connoisseurs of music and choral singing will be especially interested in the acoustics of this unique, in its kind, architectural structure. Alas, it is not possible to listen to Bach's music there, the too fast pace of his works, the huge space of the room merges into a single rumble. In one of the interviews of the regent Frauenkirche, published in a Munich newspaper, it is said that "Bach in the cathedral hits hard on the ears." You can appreciate the beauty of choral singing or music only from the Mass of Wolfgang Mozart or the hymns ascended to God, dating back to the Gregorian era.
FRAUENKIRCHE
The symbol of the city is the late Gothic Frauenkirche.
Frauenkirche(German Frauenkirche), the official name of the German. Der Dom zu Unserer Lieben Frau (Cathedral of Our Lady) is the tallest cathedral in Munich. Since 1821, the main church of the newly created archbishopric of Munich-Freising.
The construction of the cathedral was started in 1466 and 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 the construction was completed, the population of Munich was only 13,000 people. Nowadays, the cathedral can accommodate about 4,000 people sitting, thanks to the last years shops for parishioners.
However, inside the cathedral does not give the impression of a huge structure, as 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, in Munich it is temporarily forbidden 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 stylistically did not correspond to the cathedral.
The length of the cathedral is 109 m, the width is 40 m. The interior decoration of the three-aisled church was partially lost during the Second World War. The magnificent benches of the choirs, made by Erasmus Grasser in 1502, the tomb of Ludwig IV of Bavaria from black marble, the altar of St. Andrew and paintings by Jan Polak. Although the rich Gothic interior of the cathedral was partially destroyed, it was partially removed during the era of the Counter-Reformation.
Representatives of the Wittelsbach dynasty (German: Wittelsbach), who ruled in Bavaria and the Palatinate, are buried in the crypt
The church is poor decorated, but large sizes brick building. It has five naves, a hall system, without a transept, but is equipped with a choir bypass and two western towers. Its buttresses pushed inward and along the longitudinal sides turned into rows of chapels of extraordinary height. Service columns rest on their octahedral pillars without capitals, which branch out into rich mesh vaults. The austere but bright church is typical of the Bavarian brick style of the 15th century.
Teufelstritt, the imprint of the devil. According to legend, the builder of the church 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 a 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 a rage and left an imprint where a tail mark is visible at the heel.
Altar.
Ceiling.
Organ.
Tomb of Holy Roman Emperor Louis IV by Hans Krumpper.
Altar of St. Andrew.
Article from GEO magazine, #12, 2006
Cathedral of the Bavarian Mother of God
The symbol of Munich is the Frauenkirche Cathedral. No one will deny him the majestic and cold Gothic beauty. But the Munich people prefer other churches.
The remains of the Bavarian archbishops rest in the crypt of the Munich Frauenkirche Cathedral. Traditionally, clergymen and aristocrats were buried in a vaulted room under the altar.
“It’s somehow bare here!”, Some tourist whispers frightenedly to her husband. She looks skeptically around the massive columns of the Frauenkirche until her gaze finally rests on the long robe of Reinhard Behrens. 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 clear disappointment in this question.
Why does Munich's Frauenkirche look so prim? Why do people avoid entering the temple, which is considered the symbol of the city? Local Catholics prefer more comfortable temples, and few tourists like its austerity. 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 uncompromising gothic. Clean, haughty, clear. And in the spoiled baroque of Bavaria they are not used to it. When you walk along the elegant Kaufingerstrasse street with its luxurious shops, and then suddenly find yourself under the echoing and deserted vaults of the cathedral, you feel uneasy.
Gothic is the grandeur of space, the severity of lines. The main cathedral of the city was erected in the Middle Ages, although the approach of the Renaissance is already felt in its architecture. The massiveness of the structure is softened by onion domes - "Romanesque helmets". The cathedral was built over 26 years 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 printed in Munich.
Frauenkirche is one of the last monuments of the era when the Western Church was united. This is a laconic and severe temple. The means here are subordinated to the end, in contrast to the Jesuit Baroque, where the end is sacrificed to the means. The strict pious spirit of the Middle Ages did not tolerate pretentiousness and operatic effects.
Baroque music cannot be performed here. Because of the powerful echo, the sounds merge, and a cacophony is obtained. “Bach hits us in the ears,” the regent smiles. The acoustics in the Frauenkirche are such that "the space just can't keep up" with fast-tempo pieces of music. But as soon as Gregorian chants or Mozart's mass are heard, it becomes clear what the local chapel is capable of. When countless candles burn and the air thickens with incense, you feel the invisible presence of the Holy Spirit in these walls. At 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.
There are 300 children studying in the singing school attached to the church. In the cathedral where Orlando di Lasso served as bandmaster - great composer Renaissance, false notes are not allowed. For Regent Nis, this is an art, not a craft. And if the parishioners are not able to keep a high level of singing, then it is better to keep quiet.
Frauenkirche does not flirt with the flock and do not shorten services. Dominicans or Jesuits from other Catholic churches in Munich are free to chase after their parishioners. “We don't expect applause. The temple is not a farce, says ceremonial Anton Heckler. “The Mass in the Frauenkirche is an example to follow.” Here they serve according to all the canons. After all, if each temple will act at its own discretion, what will become of the unity of the church?
Heckler, outwardly looking like a famous American actor Gene Hackman, turns on his laptop and begins to calculate how much it will cost the parish to receive the sacrament for 400 believers. Heckler is a director and director rolled into one. He determines which of the servants will take out the cover on the bowl, and who will sing "I Believe." He oversees everything from choosing the vessel for the hosts to draping the robes. He reprimands the clerks for the jeans sticking out from under the surplice, and the readers for poor articulation.
Heckler stands up for the continuation of the reforms of the Catholic Church, which 40 years ago initiated the Second Vatican Council. Alas, "inert consciousness does not understand the sublime brilliance of noble simplicity." For example, the vestments of priests in ordinary churches still look like some kind of lurid bib. In the Frauenkirche, priests wear modest attire.
The combination of gothic and modern trends in Munich leads to a dead end. The choirs in the Frauenkirche, in their opinion, are too low, the altar is not richly decorated, and the bishop's chair does not look like a throne at all. There is not even a pulpit from which heart-rending sermons should be delivered.
Had it been the will of Heckler himself, he would have gone even further. I would remove the benches from the cathedral, which only hinder the unity of the faithful: let the parishioners stand during the service. He would have broken real bread instead of hosts and would have communed with Eucharistic wine not only the clergy, but all the faithful, as in the rites of the ancient church. ( Note. And there is an old church. All this is performed in our Orthodox churches.) But then, he fears, they will stop going to them altogether. Munich residents rarely visit the Frauenkirche anyway. On Sundays, in the cathedral, designed for 20 thousand people, 100-200 parishioners are recruited at most. Vespers are served in a tiny chapel for 15–20 old women. At the same time, Bavarian television broadcasts live the main masses. So Wolfgang Huber, the rector of the temple, has enough worries both with their preparation and with 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, directed to 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. The Munich people still cannot accept the fact that he remains in the shadow of the privileged Frauenkirche.
Anyone who looks at old engravings is sure to be struck by the "secularity" of the cathedral. The tombstone of Ludwig of Bavaria, the most famous representative of the Wittelsbachs for all 8 centuries of the existence of the family, was erected right in front of the main throne, almost blocking it. Moreover, the national flag of Bavaria was hoisted from above.
The cathedral finally became “court” under the stern and pious Bavarian electors of the Counter-Reformation era. Maximilian I, an ardent Catholic and a fierce enemy of the Protestants, knew how to deftly combine religion with politics. He even ordered the transfer of the statue of the Madonna, the symbol of the Frauenkirche Cathedral, from the altar to the central square of Munich (now called Marienplatz). And the majestic bronze figure of the Mother of God, installed at the walls of his residence, was declared the patron saint of Bavaria. The Madonna became the 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 intimidating and terrified the believers. Above the monument towered a powerful Triumphal Arch- a symbol of the unity of heavenly and earthly power.
So the Frauenkirche Cathedral was and remains a church for those in power. Up until 1952, all Bavarian bishops came from aristocratic noble families. For the inhabitants of Munich, the cathedral has always embodied the union of the throne and the altar. That is why the townspeople never considered the Frauenkirche close to them in spirit.
When the nun Jolant at Weiss of 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 play on the porch of the Frauenkirche. In her alpine town, she prepared 60 babies for first communion every year. And in the huge, illustrious cathedral, there are only 400 parishioners - the smallest parish in Munich. And growth is not expected: only 29 parishioners under the age of 18. Most are old people living in an orphanage near the cathedral.
Sister Jolanta is taking care of them. She also visits the 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 near the Frauenkirche. Frau Bauer has completely dried up - weightless as a feather. In her room, on a chest of drawers, there is a figurine of the Mother of God with baby Jesus.
Sister Jolanta carefully cleans the tangerine for the old woman - only half, so that the other does not dry out. Frau likes to repeat the same thing over and over: “Once the boss told me: “Girl, be simpler, and people will love you.” But not everyone can do it!”
These words are like a summary of life, they sound almost like a prayer. Sister Jolanta Weiss patiently listens to Frau Bauer's mutterings, thinking that perhaps the arrogant Frauenkirche should heed the wise advice...
Wolfgang Michal
Along with the world-famous Oktoberfest (Oktoberfest) - the largest folk festival in the world and Marienplatz (Marienplatz) - the central square of Munich, this city also has the famous Cathedral of the Holy Virgin. This is one of the most popular attractions in the Bavarian capital. It is about him that our story will go today.
They built the Cathedral of the Holy Virgin, better known as the Frauenkirche, from 1468 to 1525. The length of this brick structure is 109 m, width - 40 m. And its height, excluding the famous towers, is 37 m. In refutation of the old legend that the towers vary greatly in height, in reality they are almost the same. The height of the south is 98.45 m, and the north is 98.57 m. There are a great many interesting images of the Cathedral of the Holy Virgin on postcards and souvenirs. Often, such drawings are based on the plot of those same twin towers, which have long turned into a kind of symbol of the Bavarian capital. “My favorite asparagus” (asparagus, pr. ed.), as the Bavarian elector Max III Joseph called them.
Tragic incident
They say that the decision to build the cathedral was made after one tragic incident. In place of the Frauenkirche, there used to be a much more modest church in size. On holidays, so many people crowded into it that, not designed for an ever-growing crowd of parishioners, it literally burst at the seams. Once, when especially many believers gathered in the temple, shouts of “Fire!” were heard. People rushed to the only exit from the church, resulting in a terrible stampede. As a result, many people were hurt. Someone's sides were badly beaten, someone's feet were trampled. And one very young girl, as if the first beauty of the city, was crushed to death. It is clear that this incident could not remain without consequences. And the voices about the need for a new, more spacious church were getting louder. And soon the collection of funds necessary for the construction began.
Interestingly, today the Cathedral of the Holy Mother of God no longer gives the impression of that imposing building, which it no doubt was before. And the thing is that it is surrounded on all sides by modern buildings. By the way, buildings in Munich are still not allowed to be built higher than the Frauenkirche! So the church turned out to be squeezed, as it were, in a ring, and today it is not possible to cover it completely with a glance. However, the famous poppy domes are visible from afar. Under one of them, on the floor of the attic, there is a heavy wooden beam, with which one interesting story is connected.
At one time, this beam was part of the ceiling structure. But when the tower was ready, a master carpenter named von Stranbing took it and pulled it out. He did this with one single purpose - to prove to everyone what an unsurpassed specialist he really was. At the same time, he allegedly declared that now no one can say where she lay. And so far no one has been able to do this.
Around the temple of God, the wind almost always walks. Sometimes his impulses rip off caps and hats from gaping tourists, and, as if mocking people, roll them along the pavement. Why only guests of the Bavarian capital, you ask? Yes, because the inhabitants of Munich are well aware of this nasty feature of the surroundings of the church. And therefore, in a timely manner, they hold hats with their hands. known to them and old legend associated with mini-whirlwinds suddenly flying at the visitors of the cathedral...
Storm and Devil
The construction of the Frauenkirche was nearing completion when the news of it reached the ears of the lord of the underworld.
What! Another church in Munich! roared the horned one, and in a fury kicked with his hoof the imp who had brought him the bad news. “They are there already at least a dime a dozen!”
When the devil became aware that the new temple was dedicated to the Holy Virgin Mary, there was no end to his curses. The unclean one was very much afraid that the influx of sinners into the hellish chambers after the commissioning of the new church would begin to inexorably decline. He just couldn't let that happen. However, remembering his previous defeats in this kind of "trial" with the heavenly powers, Satan decided to enlist support. He acquired the necessary assistant in the face of the northern storm wind. We agreed that the devil would break into the still unconsecrated church and begin to destroy it from the inside. And the storm will have to deal with the facade of the building. When the devil flew under the arches of the Frauenkirche, he stopped in bewilderment under the church organ. He was confused by the fact that he did not see a single window in the new temple. In joy, the devil stamped his foot so hard that a deep mark was left on the stone floor!
These clumsy forgot to make windows in the new church,” the unclean man laughed. What kind of believer would pray here?
Having said this, the devil fell through the ground. What was his surprise when, on the day of the opening of the Cathedral of the Holy Mother of God, people poured there in droves. It was only then that the impure thought of looking at the new church from the outside. And to his great anger, he discovered that the windows of the building were in abundance. However, the devil was unable to change anything. For the Frauenkirche had already been consecrated by that time. But the storm, unlike Satan, cannot calm down to this day. Therefore, it is almost always windy around the building.
Teufelstreet
By the way, a warning sign is fixed on the right outer wall of the temple. Despite the fact that the paint on it has almost completely faded and peeled off, becoming like dragon scales, the inscription is still legible. Its text reads as follows: “Attention! During a storm and snowfall, the surroundings of the cathedral are a dangerous zone. This means that during bad weather, pieces of cladding may fall off the walls and roof of the building. But one cannot but agree that in the light of the legend told above, the inscription on the tablet acquires a slightly different meaning.
But how could it happen that the unclean, being inside the church, did not see the windows there? Everything is very simple. Central hall Cathedral "cut" by two rows of octagonal columns. There are 22 of them in total. It is due to their arrangement that the side windows of the church are not visible to visitors stopping under the church organ. Today, however, one window - directly opposite the main entrance - is still visible. But from 1620 to 1858. it was hidden behind a crossbar. And that place in the church where the unclean man stamped his foot... has been preserved! And it is called Teufelstritt or "damn trail". Strange as it may seem, today many people come to the cathedral solely to see it with their own eyes.
On a gray marble slab framed by a yellow square, a footprint is actually visible. True, the foot shod in a boot of about 46 sizes! The footprint is clearly of man-made origin. And it’s hard to disagree with this, even if we imagine that the cracks radiating from it in all directions and sealed with something like concrete came from contact with the floor of the devil’s claws.