From 2010 to 2015, the Marien Kirche Aulhausen near Rüdesheim was redesigned by the Atelier Goldstein of the Lebenshilfe Frankfurt am Main e.V.. In Aulhausen, the collaboration of artists, theologians, project planners and specialized craftsmen resulted in the first church designed by artists with disabilities. Julia Krause-Harder (*1973) designed and made this large mantle during the experimental design phase of the church, when they were considering the design of textiles for the liturgy. “The Life of Mary” is reminiscent of the choir robes on display in the Cathedral Museum. Like the liturgical vestments of past centuries, the mantle depicts scenes and figures of salvation history. The apostles in their niches – six on each side of the mantle – and the key scenes from Mary’s life can also be found on chasuble staffs or choir mantle shields. However, the artist uses techniques – knitting and crocheting – that were not common for such vestments in the past. The compositions of individual scenes arise from the shape of the mantle. So in the case of the Assumption of Mary in the hood, which is set off from the rest of the robe with plastically formed clouds. Unusual is the combination of the Annunciation and the Visitation at the bottom: Mary stands between the angel and her cousin Elisabet, who visits her during her pregnancy and stands, as it were, between the heavenly and earthly spheres.
December 6, 2016 – February 2, 2017
From 2010 to 2015, the Marien Kirche Aulhausen near Rüdesheim was redesigned by the Atelier Goldstein of the Lebenshilfe Frankfurt am Main e.V.. In Aulhausen, the collaboration of artists, theologians, project planners and specialized craftsmen resulted in the first church designed by artists with disabilities. Julia Krause-Harder (*1973) designed and made this large mantle during the experimental design phase of the church, when they were considering the design of textiles for the liturgy. “The Life of Mary” is reminiscent of the choir robes on display in the Cathedral Museum. Like the liturgical vestments of past centuries, the mantle depicts scenes and figures of salvation history. The apostles in their niches – six on each side of the mantle – and the key scenes from Mary’s life can also be found on chasuble staffs or choir mantle shields.
However, the artist uses techniques – knitting and crocheting – that were not common for such vestments in the past. The compositions of individual scenes arise from the shape of the mantle. So in the case of the Assumption of Mary in the hood, which is set off from the rest of the robe with plastically formed clouds. Unusual is the combination of the Annunciation and the Visitation at the bottom: Mary stands between the angel and her cousin Elisabet, who visits her during her pregnancy and stands, as it were, between the heavenly and earthly spheres.