Wiesenkirche (Soest)

The Wiesenkirche, also known as St. Maria zur Wiese, is a stunning example of Westphalian hall churches, located in Soest, North Rhine-Westphalia, Germany. This remarkable church, with its nearly square layout, creates an impression of a pure window front supported by elegant clustered pillars, making it a sight to behold from various vantage points. The high window panes almost reach the floor in the choir, allowing the interior to be bathed in natural light during the day, giving the sacred space a light and airy feel. The three almost equally high and very flat-vaulted naves give the space its balance and symmetry.

The Architecture and History of Wiesenkirche

The history of Wiesenkirche stretches over centuries. The foundation stone for the current church was laid in 1313, replacing a Romanesque predecessor. The first master builder, Johannes Schendeler, designed the choir, which was completed by 1376. Another notable master builder, Godert van Sunte Druden from a Lippstadt council family, continued the work in 1392. The west façade, with its twin towers, was begun by Johannes Verlach in 1421 but was halted in 1525. The towers, which define the church's exterior, were only completed in the second half of the 19th century, thanks to funds provided by King Friedrich Wilhelm IV of Prussia.

The Wiesenkirche's unique architectural appeal lies in the main apse's seven-sided polygonal design and the elegant formation of the buttress-free side apses. Inside, the extraordinarily slender pillars, adorned with pear-shaped ribs extending down without capitals, dominate the space. This, combined with the well-balanced proportions and finely crafted architectural forms, results in an unusually harmonious and luminous interior.

Exploring the Interior of Wiesenkirche

Inside the Wiesenkirche, visitors are greeted by an array of artistic and historical treasures. The choir, adorned with glass windows dating from around 1320 to 1340, houses eleven larger-than-life statues. These statues form the most significant group of Westphalian monumental figures from the 14th century still in their original location. The central figures of Christ and Mary are flanked by apostles and John the Baptist, following an arrangement similar to the Cologne Cathedral choir.

One of the church's highlights is the Aldegrever Altar, located in the southern apse of the choir. This masterpiece, created by Heinrich Aldegrever in 1526, is actually a Marian altar. The central figure is the Madonna in a radiant halo, flanked by Saints Anthony and Agatha. The painted side panels, depicting the Nativity and the Adoration of the Magi, showcase Aldegrever's skill and his early use of Renaissance forms in his artwork.

The Westphalian Madonna and the South Portal

The South Portal, dating from the late 14th century, features replicas of statues, with the originals housed inside the church. The centerpiece is the legendary Westphalian Madonna, a striking figure that may have its origins in the Rhineland, with stylistic similarities to the Cologne Cathedral School's sculpture. The dynamic balance of the figure and the decorative beauty of the robe details reflect the influence of the Parler school, a family of master builders and sculptors who played a significant role in 14th-century German art.

Other Notable Features

The Annen- or Sippenaltar, now located in the high choir, dates back to 1473 and gave the Master of 1473 his name. The central section depicts three generations of the Holy Kinship, with Anne's husbands, her daughters, and their spouses. The left panels show scenes from Anne's life, while the right panels depict scenes from Mary's life.

The Jacobialtar, created by an unknown master in 1420, stands in the main choir. It features a central Crucifixion scene, the Adoration of the Magi on the left, and the Death of Mary on the right. The reverse sides display a bishop, St. Catherine, St. Agatha, and St. James the Greater.

Other significant pieces include a small sacrament house flanked by a sandstone Madonna with Child and an oak statue of St. Reinoldus from the early 15th century, a late Gothic sacrament house from around 1530 in the north aisle, and an alabaster relief of the Holy Trinity from the second half of the 15th century in the northern choir wall. Additionally, a Brabantine carved altar from the early 16th century, located under the Marian window, depicts scenes from the life of Mary and the Passion of Christ.

The Wiesenkirche, with its rich history and stunning architecture, is a testament to the enduring beauty and spiritual significance of Gothic church design. Its harmonious interior, filled with light and adorned with exquisite artworks, continues to inspire and captivate visitors from around the world.