Marienkirche

Marienkirche, also known by its local name St. Marien, is a stunning example of ecclesiastical architecture nestled in the heart of Warendorf, Nordrhein-Westfalen, Germany. This Roman Catholic church, often referred to as the New Church, stands as a testament to the town's rich historical tapestry and architectural evolution.

The Historical Tapestry of Marienkirche

The origins of Marienkirche date back to the turn of the 12th to the 13th century, a period marked by the establishment of a new parish despite the town's modest population. This bold move was likely intended to spur the city's growth, a vision that unfortunately did not materialize as hoped. The first recorded mention of a priest serving at St. Marien dates back to 1253. Initially, the new parish covered only a small portion of Warendorf, housing a fraction of the town's inhabitants. For centuries, it remained overshadowed by the mother parish, St. Laurentius, and even faced potential dissolution, particularly after a devastating fire in 1741.

The First Marienkirche

The original Marienkirche, dating around 1200, featured a single-nave Romanesque design with a rectangular chancel. The catastrophic fire of 1741 left the church in ruins, sparing only the outer walls. During its reconstruction, larger windows were added, and the church received a Baroque interior, parts of which still exist today. In 1870, the church tower was elevated to 56 meters and adorned with neo-Gothic corner turrets and a pointed spire. The interior underwent further neo-Gothic modifications in 1882. However, in 1927, the chancel and nave were demolished, leaving only the tower, which now stands as a poignant reminder of the church's storied past.

The New Marienkirche of 1911

The current Marienkirche, designed by the Mainz Cathedral architect Ludwig Becker, was constructed in 1911. This new structure is a three-aisled neo-Romanesque basilica with elements of Art Nouveau. Initially, only two of the planned four nave bays were completed, with the remaining two added in the 1950s. The church’s exterior is characterized by pilasters and round arch friezes, with the gables of the transept adorned with blind arcades and slender columns, each featuring a large wheel window. The chancel apse is similarly divided by slender columns. The intended twin-tower façade was never realized, leaving the church with a distinctive, yet incomplete, appearance.

Inside Marienkirche

Stepping inside Marienkirche, visitors are greeted by a nave, transept, and chancel bay covered by a barrel vault in Rabitz technique, segmented by subtle transverse arches. This lightweight construction negates the need for massive wall and buttress supports, allowing the structure to rest on delicate wall templates with ornate capitals. The square pillars supporting the side aisle vaults and clerestory add to the church’s architectural elegance. The seven-bay chancel apse is illuminated by rectangular windows depicting the five Glorious Mysteries of the Rosary, with additional windows featuring floral motifs and angelic figures, crafted by the workshop of church painter Friedrich Stummel.

Art and Artifacts

The main altar, created in 1958 from Jura marble, features the nine choirs of angels on its frontal side. The associated tabernacle now stands on a pedestal, as the altar has been used as a post-conciliar celebration altar. A crucifix from 1725, originally part of the old Marienkirche, now replaces the 1958 oak crucifix in the left transept. The interior also houses a revered image of the Assumption of Mary, known locally as the Patronale, a depiction of the Crescent Madonna surrounded by angels, God the Father, and the Holy Spirit.

Among the oldest artworks is a pietà from around 1430, carved from Baumberg sandstone, located in a chapel beneath the organ loft. The 15th-century Easter candlestick, also from Baumberg sandstone, was transferred from the old church. The church’s 14 Stations of the Cross, created in an expressionist style by artist Hubert Hartmann, and a protective mantle Madonna in the southern transept, add to the rich tapestry of Marienkirche’s artistic heritage.

The church also boasts a Baroque-style choir stall and an ever-burning lamp from the post-1741 reconstruction period, painted in blue and white by a local artist in the 20th century. A stone relief depicting a monstrance with adoring angels, dating back to 1760, and a unique 18th-century Lenten veil depicting the crucifixion, further enrich Marienkirche's collection of historical artifacts.

Modern Enhancements

In recent years, Marienkirche has undergone several modern enhancements. The 1958 communion rail has been replaced with a movable altar island and a mobile celebration altar. The original pews have been replaced with a variety of blue, orange, and wooden chairs to allow for more flexible use of the church space. The current organ, built in 1959 by the Kreienbrink company, is in a state of disrepair and awaits extensive renovation.

Marienkirche, with its blend of historical and modern elements, stands as a vibrant symbol of Warendorf’s religious and cultural heritage. Its rich history, architectural beauty, and array of artworks make it a must-visit destination for anyone exploring this charming German town.