Sonntags 12:00 Uhr
St. Elisabeth, Oberstraße 65
Pater Andreas Leblang SJ
Michaelisstaße 5
20459 Hamburg
In 1948 the mosaic in the cupola of the apse replaced the original mural. The mosaic portrays the Assumption of Our Lady into Heaven as is to be seen in the Basilika Santa Maria Maggiore in Rome. The latin inscription means "Maria has been taken into heaven."
This mosaic was badly in need of restoration as the stones had begun to become loose.
The tabernacle in which the sacred hosts are kept is not new. What is new is the simple vertical stela on which it rests and the location has been changed, It has been moved from the right to the left side of the altar. The tree of life is to be seen on the front and at the back the burning bush can be seen.
The ambo is the point from which the gospel is read. It has been made from the same material as the altar. The four step-shaped blocks that carry the support for the book symbolize the four gospels.
The severe, sharply cut form of the altar causes it to be an unrivalled eyecatcher. The pale Vilhonneur sandstone is gently coarse which prevents any mirrowing that might distract from it's pure form. The three supports symbolize the Holy Trinity.
The basic form of the sanctuary is square which repeats itself in the design of the chairs. The bishop's chair is distinctly accentuated. Behind it the red vertical stripe refers to the origin of the office of the bishop, namely from above and points to the cross and the figure of Christ in the mosaic in the apse.
Christ appears on this cross as the risen one, not as the suffering one. He is clothed with a garment and is standing upright with his arms stretched open wide. Crosses such as this are called triumph crosses. The cross came to the Mariendom in 1993 for the 100th anniversary of the consecration of the cathedral. The wood came from a 4,000 year old bog oak. The body is gold-plated.
Christus erscheint auf diesem Kreuz als der Auferstandene, nicht als der Leidende. Er ist mit einem Gewand bekleidet und steht aufrecht mit ausgebreiteten Armen. Solche Kreuze nennt man Triumphkreuze. Das Kreuz im Mariendom entstand 1993 zum 100. Kirchweihfest. Das Holz stammt aus einer 4000 Jahre alten Mooreiche. Der Corpus ist vergoldet.
During the renovation the old foundation stone was opened and the names of each one of the 397,000 catholics living in the diocese at present, were added to the old documents.
The tombstone was created by the Hamburg artist Ricarda Wyrwol. The names of the bishops who were laid to rest in the crypt are to be seen on the epitaph. The slab opens slightly at the side giving a glimpse into the illuminated crypt.
The paintings were discovered during the renovation, then uncovered and restored in gentle colours. The paintings by Eduard Goldkühl(1922) depict scenes from the life of Our Lady.
The stone sculptures come from the high altar of the church of Our Lady. The High Altar was removed in 1962. After the second Vatican Council the Church of Our Lady as all catholic churches was given a free-standing altar.
During Lent devotions are held at the Stations of the Cross. This prayer contemplates the events from the moment Jesus was condemned to death until he was laid in the tomb.
Previously the baptismal font stood in the south side-chapel which does not exist anymore. Now the baptismal font has been moved to the centre of the church. This emphazises the central meaning of the sacrament and this reminds believers of their own baptism.
The eleven stained-glass windows created by Johannes Schreiter, as also the nine works of art by W. Gies, add a modern element to the history of the building of the cathedral. Each window stands for itself and describes a motif from the prophet Isaiah.
The plaque recalls the Blessed Niels Stensen who died in 1686 in Schwerin. The Danish naturalist who worked for many years in Florence became a priest and bishop. Being responsible for the catholic mission in Northern Europe, he worked in Münster, Hamburg-Altona and lastly in Schwerin. He was beatified in 1988.
The statue of the madonna stands at the south door. The entrant meets Mary and goes with her to her son Jesus Christ. The lifesize sandstone figure originally stood outside the main door.
The Beckrath organ was built in 1967 and with it the Cathedral has one of the best instruments in the city. It has been completely renovated. New is the newly added manual behind the main organ in it's own swellbox as well as two 32ft. stops in the pedal.
The sanctuary lamp near the tabernacle indicates the presence of Jesus.
This memorium to St. Ansgar was created by Hans Bornemann (1457). The original is hanging in the main Lutheran church in Hamburg, St. Petri.
Der Friedhof, auf dem die Mitglieder des Domkapitels begraben werden, bildet das Atrium eines Anbaus mit verschiedenen Funktionsräumen. Ein „Statiogang“ führt im Rechteck um den Domherrenfriedhof herum, am Eingang zur Unterkirche vorbei bis zur Kapitel-Sakristei. In den Glas-Vitrinen des Anbaus wird die Bistumsgeschichte, aber auch das Schicksal der Lübecker Märtyrer illustriert.
