Talk:Maria Laach Abbey

Info-box
Perhaps someone could add a detailed Info-box to the article? KirkCliff2 (talk) 14:28, 31 July 2017 (UTC)

Concerns
A reference to the abbey's role in the history of the Liturgical Movement is suggestedClive Sweeting

One might have more slightly more confidence in the claims about the war years if the abbot´s name was not mistakenClive Sweeting

Ideas to expand

 * Histoy of the Abbey during the last century
 * Art contained in it's church

- Figarema |Talk 17:10, 15 September 2007 (UTC)

Cited review
Nearly the complete review by Mark Edward Ruff of Marcel Albert´s book is cited in the section on Maria Laach in the Third Reich (see below). My word count check says about 85%. Basically, this historian can be accepted as reliable expert, however, a published opinion is not a historical source itself. Overall, this personal point of view section is too extended and should be rewritten with a focus on the essential historical content.

The original review by Mark Edward Ruff, Saint Louis University 1b) Marcel Albert, Die Benediktinerabtei Maria Laach und der Nationalsozialismus (Paderborn: Schoningh Verlag, 2004), 261 pp, ISBN: 3-506-70135-5


 * The Benedictine abbey, Maria Laach, poses a number of interpretative challenges for historians writing on Roman Catholicism during the Third Reich. This influential monastery in the Eifel became known as a center for right-wing Catholicism already during the Weimar Republic. Its leaders enthusiastically greeted the Nazi seizure of power in 1933. It was the only Benedictine monastery in the Rhineland not to be confiscated by the Nazi regime, even if part of the facility was converted into a hospital for wounded soldiers. Yet at the same time, it provided a sanctuary for Konrad Adenauer in 1934, who had been unceremoniously removed from his position as mayor of Cologne. In addition, its leaders became the target of numerous Gestapo interrogations, even as rumors spread that the monastery was to be appropriated by the state. Maria Laach, in other words, resists simple categories of resistance, collaboration, victimhood or capitulation. Marcel Albert's book deftly navigates this difficult terrain. Refreshingly concise, it relies heavily on the unpublished memoirs of Ildefons Hedwegen, a conservative monarchist who served as abbot of Maria Laach until his death in 1946. At times self-serving, these memoirs provide the narrative thread for this book. Albert quotes extensively from these, all the while commenting on the accuracy and reliability of Hedwegen's account. He also makes extensive use of the archival holdings of the monastery itself, supplementing these with official state and police reports. Throughout, he retains a morally dispassionate tone, letting the events and Hedwegen's words speak for themselves.


 * Albert underscores that Maria Laach became a focal point in the Weimar Republic for those right-wing Catholics disillusioned by the collapse of the Hohenzollern monarchy and outraged at the Center Party's coalitions with the SPD. The monks, politicians, businessmen, theologians and students who gathered there were strongly influenced by the idea of a coming "Reich," hoping to build a third Holy Roman Empire. Men such as Carl Schmitt, Emil Ritter, Carl Eduward Herzog von Sachsen-Coburg all participated in events sponsored by the monastery. Why did Maria Laach assume this function? Albert convincingly explains that the Benedictines here attracted members of the Catholic aristocracy, those who were more receptive to the right-wing nationalist movements of the time.


 * Not surprisingly, both Hedwegen and many others at Maria Laach embraced Hitler's regime and even chided other Catholics for failing to work with the new state. "Blood, soil and fate are the appropriate expressions for the fundamental powers of the time," Hedwegen avowed. The rise of the Third Reich, was part of the workings and designs of God. Hitler's promise to build Germany on a Christian foundation on March 21, 1933 led several monks to hang a picture of Hitler in the abbey and to unfurl the black white red flag of the bygone Kaiserreich. As late as 1939, one of the members of the abbey, an artist who had converted to Catholicism, P. Theodor Bogler, published a "Briefen an einen jungen Soldaten," in which he let loose a virulently anti-Jewish polemic. This openness to National Socialism by many at Maria Laach did not go unnoticed by the Nazi press. The "Westdeutsche Beobachter" reported that "one knows that the spirititual-religious educational work of the Benedictines of Maria-Laach for years has increasingly viewed itself responsible for all of the duties to renew the national conscience."


 * Yet the Nazis did not always reciprocate the embrace of the monks. Instead, the Gestapo began to interrogate the monks, arresting one monk on charges of homosexuality. The printing of Rosenberg's "Myth of the 20th Century" and the demotion of Franz von Papen politically forced Hedwegen to temper his hopes already in 1934 of exerting a Christian influence on the new state. Although the monastery was not closed down, as were all other Benedictine abbeys in the area, its members had become a regular target of state attacks. Albert makes it clear, however, that it was only the Nazi persecution of the churches and not the attacks on the Jews or Nazi military aggression that forced Hedwegen to see the regime in a new light. Similarly, Hedwegen housed Adenauer for almost a year in his abbey not necessarily because he agreed with the Center Party politician's Weltanschauung, but because Adenauer was a childhood friend from his days at school. The book falls short only in its closing chapters. Albert shows that the abbey cultivated a positive relationship to Adenauer and the CDU after 1945, but retained its monarchist beliefs. One would have liked a more extensive description of the role that the monastery played in the construction of the West German state and culture. One might have also welcomed a discussion of how the abbey dealt with criticism of its support for National Socialism launched by Heinrich Boll, who famously pilloried it in his work, "Billard um halb Zehn." This criticism notwithstanding, this remains an excellent, brief account of Maria Laach, one that thanks to its morally neutral tone will leave readers eagerly awaiting a sequel. — Preceding unsigned comment added by Discordion (talk • contribs) 15:53, 7 February 2014 (UTC)

I forgot ... Discordion (talk) 17:48, 7 February 2014 (UTC)

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