Church of Saint Nicholas in Mölln

Perched high above the medieval town of Mölln on the Eichberg, the Church of Saint Nicholas in Mölln (known locally as St. Nicolai) stands as a testament to centuries of architectural evolution and religious devotion. This iconic church, dedicated to Saint Nicholas of Myra, has been a spiritual and cultural beacon for the town since the late 12th or early 13th century.

The Architectural Marvel

The Church of Saint Nicholas in Mölln is a striking example of the transition from Romanesque to Gothic architecture. The earliest sections of the church, including parts of the nave, belong to the Brick Romanesque style. As you gaze upon its towering structure, you can see the seamless blend of architectural styles that have evolved over centuries. The tower and the south aisle, constructed in the Brick Gothic style, add a majestic touch to the church’s silhouette.

The initial construction of the church was as a late Romanesque three-aisled pillar basilica, inspired by the Basilica of Altenkrempe. The choir was likely completed around 1217, coinciding with the first synod held by the Bishop of Ratzeburg. Significant Gothic expansions took place in the latter half of the 15th century, including the addition of the south aisle in 1470/71, the present baptismal chapel, and the originally two-story sacristy in 1497. A chapel dedicated to Saint Jobst was also added to the north side of the nave.

In 1896, a comprehensive renovation sought to restore the basilica’s original appearance. This included the demolition of the Jobst chapel and the upper floor of the sacristy due to structural concerns and to enhance the overall aesthetic. The south aisle received a new roof with three hipped gables, and the interior was partially repainted in Neo-Gothic style, although most of these paintings were removed in 1959.

Rich Interior and Artistic Treasures

Step inside the Church of Saint Nicholas in Mölln, and you are greeted by a wealth of historical and artistic treasures. The oldest piece is a fragment of Gotland limestone from the early 13th century, featuring reliefs depicting the dream of the Magi. This stone is believed to have been part of a baptismal font or piscina.

The influence of Lübeck’s artistic workshops is evident in the church’s furnishings, a legacy of the town’s long association with Lübeck. The triumphal cross, attributed to the workshop of Bernt Notke, dates back to 1501 and is a striking centerpiece. The bronze baptismal font, created by Lübeck caster Peter Wulf in 1509, showcases both the Mölln and Lübeck coats of arms, symbolizing Lübeck’s dominion. The font is complemented by angelic figures holding anointing vessels, reminiscent of those in Lübeck Cathedral.

The high altar (1739) and the pulpit (1742) are Baroque masterpieces, likely crafted by the Lübeck workshop of Hieronymus Hassenberg. The original central crucifix of the high altar was replaced in the late 19th century by a crucifixion painting by Mathilde Block, donated by Johanna Dorothea Elisabeth Hoeltich. In 1967, this was further replaced by a depiction of the Return of the Prodigal Son, originally an epitaph donated by Joachim Werner Höltich in 1689. The torso of the original altar crucifix now resides in the sacristy, alongside a late Gothic crucifix.

One of the church’s most impressive features is the seven-branched bronze candelabrum from 1436, believed to have originated from the Birgittine monastery of Marienwohlde. Renovated in 1669 by the Stecknitz drivers' guild, it remains a symbol of the church’s enduring legacy.

The Scherer-Bünting Organ

The church’s organ, a marvel of historical craftsmanship, has roots dating back to at least 1436. The current instrument, behind a late Baroque facade from 1766, incorporates pipes from various periods and builders, including the renowned North German organ builder Jacob Scherer. Scherer’s work, particularly the almost entirely preserved Principal 8' in the main work, contributes to the organ’s unique and distinctive sound.

Following extensive restorations by Flentrop Orgelbouw from 2018 to 2022, the organ now boasts 39 registers across three manuals and a pedal, incorporating historical pipes and newly crafted ones based on traditional techniques. This restoration has revived the organ’s historical integrity, making it a highlight for music enthusiasts and historians alike.

The Bells and Library

The Church of Saint Nicholas in Mölln houses a significant collection of late Gothic bells. The largest, the Nicholas and Catherine bell from 1468, is one of only three medieval great bells in Schleswig-Holstein. A comprehensive renovation in 1991 restored the bells to their former glory, ensuring their continued use for generations to come.

The church also once housed a valuable library with incunabula and rare Reformation-era prints. Although the library was moved to the Mölln city archive in 2005, it remains an important part of the church’s historical legacy.

In conclusion, the Church of Saint Nicholas in Mölln is not just a place of worship; it is a living museum of architectural evolution, artistic heritage, and historical significance. A visit to this remarkable church offers a journey through time, providing a deep appreciation for the rich tapestry of history that has shaped Mölln and its spiritual heart.