The cathedral to our love woman or woman Mrs. building of churches mentioned in the residents of Munich old part of town is briefly the Kathedralkirche of the archbishop of Munich and freesings and is considered as landmark of the Bavarian state capital.

The dreischiffige lategothical building of bricks with circulating chapel ring is 109 m long and 40 m broad, its towers with the characteristic hoods is 99 meters high. Since the city administration in the city centre does not permit buildings with a height of over 100 meters within the middle ring, and also outside of this ring since November 2004 provisionally no higher buildings in the city to be more built may do, are the towers far away visible. The south tower can be mounted and offers a unique view of Munich and the close alps.

The church would offer about 20,000 standing humans place, which it is amazing if one considers that the city to the construction period in outgoing 15. Century of only about 13,000 inhabitants had. The interior for its size does not work nevertheless by any means crushing, because it is skillfully arranged by 22 double-row arranged high eight-cornerstone. From the Hauptportal seem seen the column rows through-cleared "„walls "“between the ships provided with stellar vaults to put up. For the spatial effect of the church there is a legend, is connected with an extra large foot casting in a square base plate in the input area of the church ship, the so-called devil footstep.

Building history

Already in 13. Jh. established the Wittelsbacher at the edge of the quarter, which surrounded their residence at that time, a church, which on its operation 1271 its own Pfarrrecht got. This church had those approximately resembles extent as the Franziskanerkirche to Salzburg, which still exists today. It was from Ludwig Bavaria and his Mrs. Beatrix as if grave-put to select. The new building was implemented by of Halspach, which built (1470) old resident of Munich at the same time the city hall. It decided for a simple building with simple picture program. The advice of the city had decided for it, since he was a "“bricklayer"”, and one for food and material reasons for a brick construction expressed oneself, since there was no obvious quarry. On 9 February 1468 by duke Sigismund and bishop Tulbeck the foundation-stone were put to the new Marienkirche. The building progressed comparatively briskly. The enormous roof framing was already finished still before the of the building of master Heinrich Carpenter from Straubing touched down, which became towers, apart from the Turmspitzen, 1488. One had become finished thus after only 20 years, which compared with other large churches a very short construction period was. Briefly after the completion of neck brook deceased and in the church was buried.

For the financing of the building the Pope granted a complete drain to those, which pilgerten to Munich, donated there its sins beichteten and weekly wages. In such a way taken funds were used for the financing of the construction costses. The inauguration of the place of worship, which smooth as last Hauptwerk in the tradition of the lategothical Bavarian city parish churches with their, restrained style applies, took place on 14 April 1494. The towers were completed then around 1525 with the putting of the characteristic Wel hoods on, after still during a military conflict cannons on the free towers had been set up before. Around the services appropriately to celebrate to be able duke Albrecht Vth created 1492/95 collegial pin to our love woman by combination of the pins and Schliersee, which along-brought also Reliquien of the new Nebenpatrone, hl. Arsatius of the Schliersee and Sixtus from At the time of the consecration also the windows were finished using old parts as donation of the Wittelsbacher and the most important Altarretabeln. 1502 were finished the by Erasmus Grasser. In 16. Jh. were added new donations.

1580 came the Reliquien hl. Benno from Meissen to Munich and the admiration of these Reliquien led to a re-equipment operated by the Hofe. In their course first 1604 were created by the sculptor Hans Krumper of the Bennobogen, a Triumphbogen at the entrance to the choir, which spanned five altars, among them that hl. Benno. A triumph cross locked the elbow at the point. 1620 were added the monumental high altar, which represented the Ascension Day Mariens and a work Peter Candids was. The Kenotaph for Ludwig Bavaria from black marble and bronze, among other things decorated with bronze figures of a not realized tomb for Albrecht V. of 1622 was shifted in history several times and does not come from Hans Krumper. Gradually 17 became. and 18 in. Jh. all altars equipped with new paintings and Retabeln. 1770/72 manufactured Ignaz new leaves and new reliefs for the 1780 were added finally still another pulpit of Anton Boos.

In the course of the secularization that was waived pin and destroyed parts of the equipment. However Munich in the following reorganization of the church administration became archbishop seat and came in such a way to the function as parish church as bishop seat. The Bennobogen became in 19. Century with a Purifizierung again removes like also the other baroque equipment. The "“restorer"” was M. Berger, but its work, after yardsticks at that time a restoration, was however from today's art-historical and denkmalpflegerischer aspect rather an eradication, which important works of art fell to the victim. The equipment was implemented after sample at that time in one to over-on-boardend Neogotik, which mixed different variants of the gothic. At the columns Apostel and holy figures were attached. These were worked in a rigid form, characteristic for the imitation of the gothic by 19. Century. New side altars and a new high altar were attached, as well as a pulpit, which was with a richly verzierten (again strongly imitating and idealizing) helmet, which happened also with the holy figures. 1944 were damaged the cathedral by air raids heavily, that resound-tightness-curve partly collapsed and the mechanism destroyed or The taste of the postwar years according to taken place the reconstruction of the church in sober and plain form, the renovation in several stages, last 1994 were accomplished. Only the glass paintings of the choir windows and individual paintings are from the original equipment and sculptures receive by other pieces were supplemented. The zero point in the Bavarian Soldner coordinate system, which was used from 1801 to 1927 as basis for the first Bavarian land surveying, forms the helmet seaweeds of the northern tower of the woman church.

The building

The building is a lategothical, dreischiffige resounding church, whose choir is five-angularly arranged. The church is completed and from the outside simply held, the Strebewerk shifted otherwise usual at gothical churches of neck brook into the interior. The individual columns are implemented as constant brick-work and function as partitions of the side chapels. The towers work powerfully and draw the view of itself, since they tower above the roofridge of the ship clearly. Their square Basen tapers itself upward easily up to the height of the Dachfirsts. There they change into octagons and by the so-called Wel hoods are locked, which however only 1525 were touched down. One regarded it a time long as product of the early Renaissance, but her after the model of woodcuts of 1483, which were manufactured on a Pilgerfahrt after Jerusalem by the there rock cathedral, was built. One regarded the rock cathedral at that time as temple Salomos, the hoods should for the therefore the himmlische Jerusalem symbolize. The building exhibits amazingly little ornament compared with other churches of the gothic. At the corners of the towers simplest dazzling tracery is in the form of three and attached in clay brick forms pressed relief ornament finds one at the side ship external walls. But straight this plain Schlichtheit lets the building appear more enormous and more impressive, than this of a sumptuous ornament could be carried out.

The picture program

The picture program of the church is held contrary to other gothical buildings like also the remainder very simply and simply. Of the Heilands and Christ, the Heilsbringer, as a hurting man, concentrates the Wundmale showing on two motives, which return at all entrances, i.e. Maria with the child as The figures are appropriate at the doors on consoles. In the interior one can recognize many small by the beginnings of the services, some Fratzenschneidend. There is of the craftsmen, who were involved in the building of the church. All figures are colored calm.

Structure of the interior

The interior of the church is not, like the exterior to assume leaves, darkly, like e.g. that Cologne cathedral, but brightly and inviting. When entering the Vorhalle one sees the eleven pair of columns as white wall. These octagonal, plain columns arranged the area into three ships. The soil is covered by a lozenge sample, consisting of a green-bluish and a reddish stone. The cover is implemented in most beautiful lategothical manners as stellar vaults. The services of this set very highly and are held after the restoration 1989/94 again in the original tender ocher clay/tone. At the sides are 21 chapels, by which inward Strebewerk shifted is of each other separate.

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