Walk-through

Above the bricked-up passage to the preaching house of the former cathedral monastery, there are two paintings from 1646 that illustrate the founding saga of the cathedral:

When Emperor Karolus Magnus was hunting one day on the Wendish border, he succeeded by peculiar art in setting a beautiful, large stag. He had already drawn the bow: then the proud animal sank to its knees and nestled kindly against him. Now the emperor puts a golden collar on it, adorned with jewels, and inscribes the number of years that have passed since the birth of Christ. Four hundred years later, Duke Henry the Lion sees a stag coming every morning from his castle in the Hertogen pit to the spring that rises on the mountain. He orders the stag to be caught and, looking at the neck ornament, sees that a golden cross has grown up between the mighty horns. This touches his heart; so he has the foundation of the cathedral church laid on the spot visited by the stag, and gives it a golden cross in a red field as its coat of arms.

But he was not able to completely conquer the spring, and if one listens carefully, it still rushes in the deepest ground. That is why the towers are crooked (Lübische Geschichten und Sagen, published 1852).

This graceful figure of Holy Mary was made shortly before the reformation. Deeply sunken in herself the angel's words seem to resound in her: Hail Mary, full of grace. She is looking at the Christ child, who raises his hand in blessing, reaching with the other hand for the grapes that Mary is holding in her hands. Though this might look playful, it is, however, a foreshadowing of the suffering of Christ and the feast of the Holy Communion.

Every Sunday and on feast days at 10:00 hours the Dom congregation celebrates a service with Holy Communion. Members of the congregation read scripture and help with giving out the sacrament. Confirmands light candles for baptised children, bridal couples, and the deceased and pray for them.

The pulpit is carried by the figure of Moses with the Tablets of the Law. The actual pulpit is decorated with 7 alabaster reliefs showing scenes from the life of Jesus. The sounding board from 1570 holds a statue of Christ resurrected. The pulpit is the place for the sermon, which every Sunday aims at relating the traditional scriptures to the people and challenges of our time. The Dom cathedral is place of sermon for the regional bishop of the Nordkirche (Northern Church) as well as the woman bishop for the parish of Hamburg and Luebeck.

All the windows of the Dom were destroyed in the air raid of 1942. During the reconstruction glazing with simple lead fittings were chosen. The western window, however, was recreated artistically by Lothar Quinte. When evening services are held, especially in March and September, the sun rays – in incredible colours – reach out through this window to cover the Triumphal Cross: a sermon without a single word!

On one of the old burial chapels sits a little baroque marble putto, who is far from being sad: he is blowing soap bubbles.
This is to show how colourful, tender, and unfathomable life is – and how dangerous, vulnerable, and transient. Unmoved
by that the little angel with his soap bubbles of stone becomes a symbol of the fact that human beings can enjoy themselves in the here and now and the happiness of the moment.

The altar of the canonical day times was created by a Luebeck master craftsman in the beginning of the 15th century. Jesus' 7 Stations of the Cross are mirrored in the 7 times of the day. The words were taken from a Latin hymn that – in a German version – has been incorporated into the Protestant Book of Hymns: Christ who brings salvation (hymn 77). During the 7 weeks of Lent before Easter the congregation assembles in front of this altar for a Lent prayer service to be reminded of the suffering of man and creation in our time.

Lighting a candle can be a prayer without words. A lot of people do this day by day. Twice monthly on a Friday night a meditational service is celebrated around the candle light altar. Part of this are Taizé songs, a time of silence, and the opportunity for general intercessions.

This altar dedicated to Mary shows the annunciation of the birth of Jesus using the image of a unicorn chase. God comes to this world in his son Jesus. This mystery is expressed in medieval symbolic language: according to legend only a virgin could catch the unicorn.

The rood screen, once erected to separate the choir area for the canons' Liturgy of the Hours, was opened up to form a gateway to the baptistery during the redesign. The carvings on the rood screen were created by Bernt Notke and completed in 1477 together with the triumphal cross. Four statues depict the cathedral's patron saints: St. Nicholas, Mary, St. John the Baptist and St. Blaise. The clock dates back to 1628, where Faith - a pilgrim with her pilgrim's staff - strikes the quarter hours. On the hour, a skeleton - Death - strikes a bell and turns over his hourglass: our time is limited, but not yet up. We are given another precious hour - trusting in God, who holds all time in his hands.

Originally the baptismal font had its place near the entrance to the church: Whoever entered the church was reminded of the fact that they had been baptized, that they belonged to God. In 1942 the Dom and much of its interior was destroyed in an air raid on Luebeck. The font's circular setting was newly designed by Friedhelm Grundmann. Almost every week baptising ceremonies are held here – each time a moving occasion. A special feature: the organ player does not sit down while playing. The sound of the organ accompanies baptisms and there are also special concerts in the circular space.

The south annex offers a large, well-lit space with a beautiful view of lush green and the Mühlenteich – miller's pond. It has become a meeting place for children's services taking place at the same time as the adult congregation's. The children have their own altar, sing songs, listen to Biblical stories, do handicrafts, and play.

The exhibition “Stunning Stones” illustrates the eventful history of Lübeck Cathedral and the great efforts that have to be made to preserve it.
You are welcome to support us at the donation column!

The baroque high altar with the choir stalls was burnt during the air raid on Lübeck on March 29, 1942. During the reconstruction, it was decided that the new altar should be in the middle of the congregation; on the other hand, a glass front to the then collapsed east choir was installed, which to this day separates the east choir as a magnificent event space.

In the place of the high altar hangs the St. Anthony panel from 1503, which shows scenes from the life of St. Anthony.

Henry the Lion laid the foundation stone for a three-aisled Romanesque basilica in 1173. After just a few decades, however, the building was slimmer, higher and lighter - and more space was needed for altars and chapels. A good 150 years after Heinrich, Bishop Bocholt completed the construction of the cathedral with the east choir. Today, the congregation meets in this choir for Easter breakfasts, church coffee, children's Bible days and exhibitions. Bocholt, the doctor and theologian, still rests in the middle of the room.

“Christ's complaint to an ungrateful world” is a painting that hardly will meet its match. Its caption – the so-called Luebeck Cathedral Proverb – reads like this:
“I am the light – and you don't see me.
I am the way – and you don't go me.
The Truth – and you don't believe me.
The Life – and you don't seek me.
I am Rich – and you don't ask for support.
I am Noble – and you don't serve me.
I am the most Be- autiful – and you don't love me.
I am Merciful – and you don't trust me.
I am Almighty – and you don't fear me.
I am a Teacher – and you don't follow me.
If you suffer damnation – accept it from me.”

Legend tells that the strong Christophorus, who only wants to serve the mightiest master, carries travellers across the river, as demanded by the hermit shown in the background. One day it is a child, and its burden is almost too heavy for him. Because this child is Jesus, carrying the sins of the world. Christophorus offers his life to Jesus. To this day he is recognized as patron saint of travelling people.

This altar depicts Christ becoming Man. There is a Christmas mood all year round: The central shrine shows Mary with the child and the saints Catherine and Barbara; the painted side wings present scenes of Advent and Christmas.

The structure of the organ corresponds to the classic North German organ: Hauptwerk, Rückpositiv, Oberwerk, lateral pedal towers. It is an outstanding instrument of its time. Organ concerts by the cathedral organist are held regularly throughout the year. During the Lübeck Organ Summer, many renowned organists from Germany and abroad also give concerts. The Marcussen organ was completely renovated in 2016 and 2022.
If you have a moment, take a seat in the rows and enjoy (with earphones only please!) the organ concerto by F. Poulenc for organ and orchestra in G minor (from the 850th anniversary concert at Lübeck Cathedral).

The cathedral community has experienced a varied history over the centuries - initially crammed between the cathedral towers, while over 100 canons looked after up to 40 altars, it has made the entire cathedral its own over the course of time. The exhibition does not spare the darker times.
Another aspect is the redesign of the worship space in the 1960-70s, after which a heavy air raid destroyed a fifth of Lübeck's city center on the night of Palm Sunday from March 28 to 29, 1942. The spires of the cathedral tower collapsed, as did the vault of the choir. As St. Mary's Church was rebuilt first after the war, the cathedral congregation had plenty of time to think about refurbishing the cathedral. The result was a wonderful place of worship with a central altar - a symbol of congregational life in the cathedral.