A short video of the Holy Trinity Orthodox Monastery, under the Bulgarian Patriarchate, located in Buchhagen. The German chant is wonderful...

Pro Arte Beuronensis

After reading Fr John Meyendorff’s article on the Orthodox Church in Funk & Wagnall’s Encyclopedia, the very first thing that I read about Orthodoxy was Photios Kontoglou’s hard-hitting, but, I felt, persuasive apologia for traditional Byzantine iconography, ‘The Hopelessness of Death in Western Religious Art and the Peace-Bestowing and Profoundly Hopeful Orthodox Iconography’ (printed in English, in, I believe, The True Vine—my own copy is buried in a box somewhere in my house). I very quickly wrote off Western religious art. If it wasn’t the fleshy naturalism of the Renaissance and Baroque eras (made for churches like this), it was the tacky, quickly dated, and hopelessly subjective modernism of the post-Vatican II years (made for churches like this). Neither one seemed right to me.

But then I was surprised to make a discovery. It was about two and a half years ago, when I was first looking into the history of the St Benedict medal. I learned somewhere (most likely here) that the medal as it’s typically produced now had been designed in something called ‘the Beuronese style of sacred art’, at the (I found here) ‘St Martin's Archabbey, Beuron, Germany’. Now, this name, ‘Beuron’, was familiar to me. In his wonderful conversion-to-Orthodoxy story, Fr Placide (Deseille) made a passing reference to this place, saying of his aunts that ‘the great abbeys of Beuron, Maredsous, and Solemnes were the high places of their Christianity’ (Archimandrite Placide [Deseille], ‘Stages of a Pilgrimage’, The Living Witness of the Holy Mountain: Contemporary Voices from Mt Athos, trans. and ed. Hieromonk Alexander [Golitzin] [South Canaan, PA: St Tikhon’s Seminary, 1999], p. 63). It was precisely this passage that sprang to mind when I came across that reference to the design of the medal. It sparked my curiosity as much as the expression ‘the great abbeys’ had fired my imagination.

The story I discovered is a long one, and I haven’t been able to work out all of the precise details. What I do know, is that the main figures in the development of Beuronese art were a group of German artists named Peter Lenz (1832-1928), Jakob Würger (1829-92), and Fridolin Steiner (1849-1906). The three young men went to Rome to work with some members of what had been the ‘Nazarene’ movement, a brotherhood of German artists devoted to St Luke the Evangelist (the first iconographer, according to tradition) who had lived a semi-monastic existence painting religious and neomediæval subjects in a simple, serene style. One critic in 1820 ascribed to the Nazarenes’ work the qualities of ‘simplicity, holiness, and purity’ (Fr Kenneth Novak, ‘The Art of Beuron’, Angelus Online). George Eliot referred to the Nazarenes as ‘the chief renovators of Christian art, . . . who had not only revived but expanded that grant conception of supreme events as mysteries at which the successive agess were spectators, and in relation to which the great souls of all periods became as it were contemporaries’ (George Eliot, Middlemarch I, Vol. VI in Works of George Eliot [NY: The Century, 1910], p. 310). James D. Merritt notes the Nazarenes’ influence upon and anticipation of the Pre-Raphaelite Brotherhood in England (Introduction, The Pre-Raphaelite Poem [NY: Dutton, 1966], pp. 9-10). A meeting with one of the Nazarenes, Peter von Cornelius, had a tremendous influence on the art of Ford Maddox Brown (1821-93), who subsequently was a mentor to Dante Gabriel Rossetti and a contributor to the Pre-Raphaelite periodical, The Germ (in a letter to Maddox Brown, Rossetti apparently writes ‘that if he ever does anything on his own account, it will be under the influence of such inspiration’—Joseph Knight, Life of Dante Gabriel Rossetti [London: Walter Scott, 1887], p. 22).

So, to return to Lenz, Würger, and Steiner, they were highly influenced by the Nazarene movement. But, in addition, they became fascinated with the ancient Egyptian art that had poured into Europe in the wake of Napoleon’s Egyptian campaign. According to Novak:

Lenz [the primary theorist among them] thought sacred art should reflect the natural laws of aesthetics through formulae he believed were forgotten after the Greeks and Egyptians. Geometrical proportions determine ideal forms, and the result is an innate harmony comparable to the mathematical relationships in musical composition.

Believing a monastic brotherhood to be the ideal context in which to put their ideas into practice, the three talked about forming a monastery. But in 1868 they met Fr Maurus Wolter, abbot of the new Benedictine monastery of Beuron. Wolter had initiated a close relationship with the centre of the Gregorian chant revival, Solemnes, corresponding with the abbot, Dom Prosper Guéranger, and even going so far as to model Beuron on the Solemnes Congregation. The cultivation of traditional Gregorian chant at Beuron dovetailed nicely with the approach to the visual and plastic arts of Lenz, Würger, and Steiner. The three were tonsured as monks of Beuron, taking the names Desiderius, Gabriel, and Lukas. They began an art school at Beuron that—besides designing the St Benedict medal—built churches, painted murals, created mosaics, and even hand-crafted church furnishings and altar vessels in Europe and later in America, based on the principles developed by Desiderius Lenz. Novak lists a few of these (apparently taken from Lenz’s writings):

The art speaks to the mind of the viewer. The art is itself worshipful and invites the viewer to worship. It does not stand out boldly of itself but is part of an environment of worship.

Works are anonymous, done by group effort, and not for the glory of the artist, but of God.

As in icons, the Beuronese style favors imitation over originality, with freehand copying revealing an artist's true genius.

There is full integration of art and architecture. Painting and sculpture are not ‘stick-ons’ to an architectural plan but an integral part of it. Beuronese art encompasses painting, architecture, altar vessels, and furnishings.

One can see some examples of these principles in practice at the Archabbey of Beuron itself here, in the crypt of the monastery church at Monte Cassino here, at the Mauruskapelle here, in the Basilica at Conception Abbey in Missouri, at the Abbey of St Hildegard here, at Maria Laach Abbey in Germany here, and at the chapel of the Gymnázia Teplice in the Czech Republic here. There is a beautiful photo of a Beuronese chapel at Daniel Mitsui’s blog here, and a few images at ‘History and Sources’ here. The photo above is of the 'Great Hall' at St John's University in Collegeville, MN, which was apparently restored some years ago.

The Russian Orthodox Cathedral in Munich

(From this article on the homepage of the Russian Orthodox Church Outside of Russia.)

The history of the Russian Orthodox community in Munich begins in 1798, when a Russian consulate was established on the Ottostrasse, where, as was customary, a chapel was erected. From 1832 on, the members of the consulate and their families would attend Salvatorkirche Greek Orthodox Church in the center of town. It was here that the poet and diplomat Feodor Tiutchev was married and baptized his five children.

In 1921, local Russians formed the Community of St Nicholas. The parish would assemble at two church locations they did not own: the Mathildenstift hall on a street of that name, and a barracks on Denningerstrasse. Priests would travel from afar, sometimes from as far away as Poland.

In the early 1990's, the parish was able to purchase an edifice from the German government for a church of their own—a church built in the middle of the 20th century by Americans and abandoned after they withdrew their military personnel from the country. This church drew the attention of the clergy and parishioners through its proximity to a prison in which one of the founders of the student group ‘White Rose’, Alexander Schmorell, was executed. Shmorell was glorified as a local saint by the German Diocese of ROCOR in 2007. The church is also close to the cemetery at Perlacher Forst, where Schmorell and his fellow members of ‘White Rose’, as well as a multitude of Russian prisoners of war and ‘Ostarbeiters’, are buried.

The church was remodeled from an American Romano-Gothic style to a traditional Pskovian style. In 2001, 13 bells cast by the Shuvalov brothers in Romano-Borisoglebsk (near Yaroslavl) were hoisted into the bell tower.

In May, 2005, the adjoining Chapel of St Nicholas was consecrated by His Eminence Metropolitan Laurus, then-Primate of the Russian Orthodox Church Outside of Russia.

The Munich Cathedral became the first church of the Russian Church Abroad in which His Holiness Patriarch Alexy II of Moscow and All Russia served after the signing of the Act of Canonical Communion: on November 29, 2007, His Holiness performed a moleben and akathist before the Kursk-Root Icon of the Mother of God here.

Today, the Cathedral on average hosts a hundred or so baptisms, 15-20 weddings and a similar number of funerals every year. Sunday services draw approximately 250 worshipers, and over a thousand people gather on Pascha. The main language used in the services is Church Slavonic, while the Epistles and Gospel are read in German. Every Wednesday, vespers is performed in German, and once a month, a choir of Orthodox Germans sings an early Liturgy. The parish publishes materials in both Russian and German.

Over 130 children are enrolled in the parish school. The curriculum includes Russian and Church Slavonic, Russian history and literature and choir. The Law of God is taught from the first grade on a high-school level, in accordance with a program approved by the Bavarian Ministry of Culture. Grades given at the school are counted on the students' educational record.

‘The number of Russian parishes in Germany is growing as a result of new immigrants and those who come here to work. Since the beginning of the 1990's, the greatest number of Russians—3.5 million—has come to Germany, a country of 80 million, while in comparison, 3 million have come to the USA, and 1.5 million to Israel’, noted Protopriest Nikolai Artemoff in an interview granted to RIA Novosti.

The cities of Germany now count some 90 Russian parishes, though sometimes a single priest must minister to several at the same time.

According to one source, Munich now has two Russian monasteries (ROCOR) and three Russian parishes (two belonging to ROCOR and one to the MP). The Munich Cathedral is the largest church, is an active participant in city life and collaborates with the Theology Department of Munich University.

‘The Cathedral of the Holy New Martyrs and Confessors of Russia and St Nicholas is today an active participant not only in Orthodox and Russian life in Munich, but in Munich life in general’, said the ROCOR representative.

Colomanskirche, Schwangau, Bavaria

I was intrigued by this picture of a Roman Catholic church in Germany with an onion dome. I recall seeing pictures of churches like this before, and apparently these domes are a ubiquitous feature of baroque church architecture in Bavaria and Swabia. Of course, baroque architecture in so many other respects, and particularly in its interiors, can scarcely be called Orthodox at all!

This church is dedicated to St Coloman of Stockerau, and is located in the village of Schwangau in southern Bavaria near the Austrian border, 1.5 km from the famous Neuschwanstein Castle of Ludwig II of Bavaria. St Coloman was an 11th-c. Irish monk who embarked upon a pilgrimage to the Holy Land. He was accused of being a spy at Stockerau, near Vienna, and being unable to speak German in order to clear his name, he was tortured and hanged. His body is said to have been incorrupt, hanging on the gallows, for a year and a half, and the scaffolding to have taken root and blossomed. Three years after his death, St Coloman’s relics were taken to the Benedictine Abbey of Melk on the Danube (the home of Adso in The Name of the Rose!), in what is now Austria.

The Saint is believed to have rested, preached, and pastured his cattle at Schwangau during as travels (see this site). There has been a market day in Schwangau in connection with the feast (Colomansfest) since the 16th c., and the current church was consecrated in 1685. Apparently, at Melk and at Schwangau, horses and cattle are blessed on the day of Colomansfest.