Schreiber-Bogen Cardboard model Maria Laach Abbey

Item number 578

Item ID 578

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Schreiber-Bogen Cardboard model Maria Laach Abbey


Maria Laach Abbey

Colored cardboard model to cut out and paste together!

Material: paper, cardboard

Number of sheets: 3,5

Scale: 1:300

Difficulty: 1

Additionally required: paper scissors, glue
Useful Tools: scalpel, small clamps and needles for fixing

Manufacturer classifies the models in 5 levels of difficulty:

"Child model": very easy and with childlike motives
      "0": Beginner model
      "1": Easy
      "2": Moderately difficult
      "3": Difficult

Length:  28cm

Width:   12cm
Height   16cm

The Maria Laach Abbey

Nestled in the gently rounded Forest Hill is the Laacher See, the largest of the Eifel-Maare. This circular, now mostly water-filled depressions were caused by volcanic gas explosions and characterize this unique mountain landscape. On the flat south-western shore of the lake stands the imposing abbey church of Maria Laach. Local gray-blue basalt and gray-yellow Eifel rock formations characterize the well-proportioned building, which blends in perfectly with the landscape.


The name Maria Laach goes back to the former name Abbatia S. Mariae ad Lacum (Abbey of St. Mary on the lake). Maria Laach was founded in 1093 by Count Palatine Heinrich II. from the house of Luxembourg-Gleiberg. He donated his goods for the foundation of a Benedictine Order. Set on the banks of the Maar the construction of a Lombard Bauhütte was started. Just two years into the construction the Count died, so his wife, Countess Palatine Adelheid continued the work. The Tomb of the Palatine has been restored and can be visited inside the church. In 1802 was  the secularisation of the abbey was repealed. In 1855 a fire destroyed a large part of the building. In 1863 a German Jesuit Collegium built their maximum and in 1892 resettled Benedictine monks in the abbey and are still working there. Several times a day the monks come together to pray together in the church.

Although we know the owner of the church, the builders, however, are unknown. However,when you experience the building, you know that there was a great master at work. The church extends in an east-west direction. On both sides,  a group of three towers rises above the nave. Maria Laach is a highlight of Romanesque architecture, which is determined by the grouping of various elements (square and round, longitudinal and transverse standing, overlapping and emerging) into a coherent whole. In 1156 the church was consecrated by Archbishop Hillin von Trier. During the late 12th century, the buildings of the West and East buildings were completed.

The Laacher paradise is unique in its design. The name of the sculptor is unknown, it is called the Laacher Samsonmeister. The term paradise is derived from the Greek paradeisos, which means as much as hall or garden. Paradise will prepare them for entering the church. A covered walkway surrounds three sides of a small courtyard with lion fountains. Everywhere on the capitals of the arcades beautiful ornaments such as heads, hunting animals, and mythological creatures are found. There are ancient human motives of struggle and strife, envy and resentment to see, for example, the so-called hair Mauler. Elsewhere a devil is quoting the sins of the people on a blackboard. All these representations are to encourage the entrants, to know himself, to free himself from the burden of sin and be purified virtually by the church.
The interior of the church

The church impresses with its simplicity in material, color and equipment and the strikingly harmonious proportions. The windows let in very little light, so the church looks rather dark at any time. Your eyes are instantly drawn to the large Christ mosaic in the dome of east building. It dates back to 1911 and is a copy of the Abbey of Monreale near Palermo. Christ holds an open book in his left hand. Read the Latin words; I am the Way, the Truth and the Life (John 14: 6). Not without intention is Christ in the eastern apse. Thus, the turning of prayer is impressively underlined the Lord and Savior, because the person praying turns eastwards. In 1500 the frescoes of St. Benedict, Nicholas and Christopher at the piers were finished.