THE CHURCH
Patterned after churches in Oberammergau, Old World’s Kirche (church) features an “onion bell” tower (Zwiebeltürme) and Albrecht Dürer-inspired frescoes. The “onions” were popularized during the Counter-Reformation (1575–1770)—designed as ornate, energetic terminations for bell towers, often clad in copper and symbolizing "glowing" faith.
Contrary to popular belief that they were strictly an Eastern European feature, the German onion dome was inspired by Southern German architects who viewed sketches of the Dome of the Rock in Jerusalem which featured a similar bulbous shape in 15th-century woodcuts. The first onion dome in Germany was built in 1576 on the church of the Convent of the Franciscan Sisters of Maria Stern in Augsburg, designed by architect Johannes Holl. "Onions" became a defining feature of Catholic Baroque architecture to differentiate churches from Protestant structures during the 17th and 18th centuries.
The bell itself at the Old World church was cast in 1913 in München, Germany, the capital of Bavaria. For three decades, Archbishop Juergen Bless presided over the congregation. To this day Bible study and church services are conducted here. The hall seats 120.
The event that shaped Oberammergau:
The Plague: In 1632, during the Thirty Years War, the Bubonic Plague was ravaging Bavaria. The village of Oberammergau had remained isolated and healthy until a villager named Kaspar Schisler bypassed the quarantine to visit his family for a festival. He unknowingly brought the plague back, and he died shortly after.
The Mortality Rate: Following Schisler's return, eighty-four adults died in a single year, which was a devastating percentage of the small mountain population.
The Act of the Vow Gathering: In 1633, the village elders and the parish priest gathered at the local church. This is the "Council" or the "clusters of people in debate" often depicted in related art.
The Oath: They made a solemn promise to God: if the deaths from the plague ceased immediately, the village would perform a play depicting the suffering and death of Jesus every ten years as an act of perpetual gratitude.
The Miracle: According to village records, not a single person died of the plague in Oberammergau after the vow was taken, even though people were still dying in the surrounding towns. it is worth noting that the 1633 Vow happened during the final phase of this conflict. The war’s movement of troops across Bavaria was the primary reason the plague spread so rapidly into isolated mountain villages like Oberammergau.
The Play: The first performance took place in 1634 on a stage erected over the graves of the plague victims. It has been performed nearly every decade since, including today.
Moving on to the church in Old World ...
Above the church doors, a Bible verse is written—Matthew 11:28 “Come to me, all who labor and are heavy laden, and I will give you rest.”
Note: most of the mural pages on this site show a single image with a paragraph or two. This church page packs in a whole lot more, so get your scrolling finger ready.
MYSTERY
MURAL AROUND DOORS
Christ Among the Doctors?
The Vow of
Left side
Right side
We begin our perusal with a mystery. Painted in the style of Raphael's masterpiece, The School of Athens, this mural is thought to depict 12-year-old Jesus engaged in discourse with the elders in the Temple. The iconography however, is weak and hard to figure out. In fact it is the most faded and mysterious of all the murals in the village. Some say it shows The Vow of the Village when the citizens of Oberammergau pledged to put on the Passion Play every decade. But artwork depicting that event generally shows people on their knees praying to a cross. What do you think it depicts?
MURALS ON EXTERIOR SIDE WALL
The most famous of all the nearly 6 dozen murals in the village is the depiction of The Four Apostles (The Four Holy Men), a recreation of the diptychs painted by Albrecht Dürer in 1526, which the artist gave to the city of Nuremburg. Saints John and Peter are depicted in the left panel; and Saints Mark and Paul are depicted in the right panel. The monumental, two-panel oil painting is now located in Munich's Alte Pinakothek. As Dürer's last major work, it represents his Protestant leanings during the Reformation, featuring biblical warnings against false prophets. John holds an open Bible, Peter holds keys to the church, Mark holds a scroll, and Paul holds a sword and a closed Bible.
The second mural (from the left) is believed to depict St. Matthew, the author of the first Gospel, in his role as the "Chronicle of Christ."
Iconographic Details:
The Apostolic Scholar: Following the "Old Master" tradition of German artist Albrecht Dürer, Matthew is portrayed as a venerable, bald, and barefoot scholar. His seated position and open book signify his work transcribing the life and genealogy of Jesus for the early Church.
The Vision of Heavenly Harmony: In the sky above, adult figures are depicted with their hands held in the distinct, poised positions of string musicians (playing instruments such as the violin or cello). This is a classical Bavarian artistic device representing Divine Harmony.
The Meaning: Rather than a silent vision, the artist portrays the Gospel as a "symphony" of truth. Matthew is shown looking upward to capture the "Music of Heaven," symbolizing that his written Word is in perfect accord with the divine will.
As the first of the Four Evangelists and one of the original Twelve Apostles, Matthew is the foundational figure needed to round out the church's decorative program. His presence links the Ascension (the departure of Christ) to the Acts of the Apostles (the recording and spreading of the faith).
... which brings us to the next mural, The Ascension of Christ
This panel captures the pivotal moment from the Book of Acts when Jesus ascended into Heaven from the Mount of Olives. Within the four-mural cycle, this scene represents the divine authority behind the Apostolic mission.
The Figure of Christ: Depicted in a white robe with arms open in a final blessing, Christ is shown ascending toward a cloud. His long hair and serene expression follow the traditional "Nazarene" style of 19th-century German art, emphasizing his dual nature as both human and divine.
The Peak and Clouds: The mountain peak at the base represents the physical world, while the surrounding clouds and cherubs signify the opening of the heavenly realm.
The Witnesses: At the base of the mountain, the figures look upward in a mixture of sorrow and awe. This group represents the foundation of the early Church, witnessing the transition of their leader from an earthly teacher to a heavenly king.
Role in the Four-Mural Cycle:
While the other three murals focus on the individual Apostles and their written witness, the Ascension provides the historical context. It depicts the exact moment the Apostles were tasked with "going into all the world," bridging the gap between the life of Jesus and the work of the men pictured in the accompanying panels.