Güstrow Cathedral

Güstrow Cathedral, known locally as Güstrower Dom, stands as a magnificent testament to the rich history and architectural prowess of Northern Germany. Nestled in the charming town of Güstrow in Mecklenburg-Vorpommern, this remarkable structure has been a beacon of religious and cultural significance since its inception in the 13th century. With its striking blend of Gothic and Renaissance elements, Güstrow Cathedral offers an immersive journey through time, captivating visitors with its storied past and stunning artistic treasures.

The Origins and Construction of Güstrow Cathedral

The origins of Güstrow Cathedral can be traced back to June 3, 1226, when the Mecklenburg Prince Henry Borwin II founded a collegiate church in Güstrow. Although he passed away later that year, the construction of the church was continued by his successors. The cathedral was initially dedicated to Saint Cecilia, the patron saint of music, which hints at the cultural aspirations of its founders.

The architectural style of Güstrow Cathedral is a prime example of North German Brick Gothic, characterized by its robust and enduring construction. The long choir, with its slightly skewed orientation, draws inspiration from Westphalian models, while the massive rectangular west tower, standing at an impressive 44 meters, commands attention with its broad, buttress-free design.

A Journey Through Time: Architectural Evolution

The construction of Güstrow Cathedral unfolded over several centuries, reflecting the evolving architectural trends and historical events of the time. The earliest parts of the cathedral, including the two rectangular choir bays, were erected in the third quarter of the 13th century. The western choir bay boasts a domical vault with eight slender ribs, a significant advancement from the earlier, more robust vaults found in Bremen's Liebfrauenkirche and the southern aisle of Bremen Cathedral.

The nave, with its elegant ribbed vaults, was completed in 1292, as determined by dendrochronological analysis. The early 14th century saw the extension of the choir with a polygonal apse, which was re-consecrated in 1335. The west tower, a defining feature of the cathedral, was completed in 1420, and the two rows of chapels, added in the 14th century, further enriched the architectural complexity of the structure.

From Collegiate Church to Protestant Stronghold

The Reformation brought significant changes to Güstrow Cathedral. In 1552, the collegiate church was dissolved, and the building fell into disuse and disrepair. However, Duchess Elisabeth, the wife of Duke Ulrich and daughter of King Frederick II of Denmark, took it upon herself to restore the cathedral. Between 1565 and 1567, she oversaw its transformation into a Protestant place of worship. The first Protestant sermon was delivered in the newly restored church in 1568.

Duke Ulrich himself contributed to the cathedral's interior, commissioning monuments and epitaphs to honor its founders and notable figures. Among these were the grand epitaph of Prince Henry Borwin II, the founder's sarcophagus, a pulpit, and a baptismal font. The cathedral thus became not only a place of worship but also a dynastic burial site, housing the monuments of the Duke and his wives.

The Treasures Within: Art and Sculpture

One of the most captivating aspects of Güstrow Cathedral is its rich artistic heritage, particularly the works from the 15th and 16th centuries. The Güstrow Apostles, created by Claus Berg, and the winged altar, attributed to the circle of Hinrik Bornemann, are among the most notable pieces. The main altar, dating back to 1495, is a late Gothic masterpiece with a central shrine, movable wings, and a predella depicting Jesus as the Man of Sorrows, surrounded by the four Latin Church Fathers.

The altar's various sides offer a visual feast: the weekday side features paintings of Mary with the Child, John the Evangelist, Cecilia, and Catherine; the Passion side, revealed during Lent, displays scenes from the life of Jesus, from the Last Supper to the Pentecost; and the festive side, unveiled on special occasions, showcases a richly adorned Crucifixion scene with numerous figures, including the altar's donors, Dukes Magnus II and Balthasar.

The Floating Figure: A Modern Masterpiece

Among the cathedral's more contemporary treasures is The Floating Figure by Ernst Barlach, created in 1927 as a memorial for the fallen soldiers of World War I. This evocative sculpture, initially removed in 1937 as degenerate art and later melted down, was recast in 1952 and now hangs in the eastern bay of the north aisle, gazing westward. Its serene yet poignant presence adds a modern layer to the cathedral's historical and artistic narrative.

The Organs: Voices of the Cathedral

Güstrow Cathedral is home to three remarkable organs, each with its unique history and characteristics. The main organ, built by Friedrich Hermann Lütkemüller in 1868, features 37 registers and has undergone several restorations to preserve its historical integrity. The choir organ, crafted by Kristian Wegscheider in 1996, boasts 15 registers and a variety of effect registers, adding a playful yet reverent touch to the cathedral's musical repertoire. Additionally, a small positive organ, built by Michael Braun in 2006, serves various liturgical purposes.

In conclusion, Güstrow Cathedral is not merely a building but a living chronicle of faith, art, and history. Its walls have witnessed centuries of change, from its origins as a collegiate church to its role as a Protestant stronghold, and its interiors are adorned with treasures that tell the stories of the people who shaped its destiny. A visit to Güstrow Cathedral is a journey through time, offering a profound appreciation of the architectural and artistic achievements that define this remarkable landmark.