Settlements of the Herrnhut community

Building design
The Vogtshof in Herrnhut, the historical seat of the Herrenhut congregation, shows the characteristic architecture and the center of communal life in the Pietist settlement. Photo: Rixxo - Own work, CC BY 3.0, via: Wikimedia Commons

The Vogtshof in Herrnhut, the historical seat of the Herrenhut congregation, shows the characteristic architecture and the center of communal life in the Pietist settlement.
Photo: Rixxo - Own work, CC BY 3.0, via: Wikimedia Commons

The settlements of the Moravian Church are among the most important examples of early modern Pietist community planning. They are characterized by a strict order and clear architectural structure and reflect both religious convictions and social ideals. Their preservation and recognition as a transnational serial UNESCO World Heritage Site underline the cultural and historical significance of these places.

The Herrnhut community was founded in Herrnhut, Saxony, in the early 18th century on the initiative of Nikolaus Ludwig von Zinzendorf. A group of exiles and religious refugees, mainly from Moravia and Bohemia, formed a Pietist community with the aim of living according to biblical principles. The spatial organization of the settlements played a central role in this: houses, workshops, churches and communal spaces were arranged according to a clear, rational plan that took both practical needs and spiritual beliefs into account.
The construction and urban planning of the Herrnhut community’s settlements are deeply rooted in the Protestant reform tradition and at the same time unique in their social intention. Each building not only had a functional purpose, but also served to strengthen the community’s identity. The plans show echoes of ideal city-like concepts of the Enlightenment; the clarity of the structures and the simplicity of the forms reflect the religious ethos of the residents.

In addition to architecture, arts and crafts played a central role in the settlements of the Herrnhut community. The handmade Herrnhut stars, which were created in the community culture from the 19th century onwards and initially served as lights and symbols of the Christmas season in the homes and schools of the Herrnhut people, are famous. To this day, they have developed into a globally widespread, identity-forming element of the Herrnhut tradition.
Furniture, textiles and religious objects were also produced locally in many places and are characterized by simple, geometric shapes and functional elegance. These objects are an expression of a holistic design approach that combines aesthetics and everyday life, religious practice and material culture. In addition, paintings, prints and prints documenting congregational life reflect social organization and religious practices. Such works of art are not merely decorative testimonies, but provide valuable insights into the ideals and everyday reality of the community.

The planning principles and life of the Herrnhut congregation had a far-reaching influence beyond Germany. In the 18th and 19th centuries, its members founded missions and settlements in North America, Africa and Asia, often adopting the architectural and social concepts and adapting them to local conditions. The clearly organized structure, the emphasis on communal spaces, the separation according to living conditions and the close connection between work, education and spirituality still characterize the image of many Herrnhut settlements today.
This international context underlines the importance of the settlements not only as local landmarks, but also as testimonies to a globally effective social and religious experiment. The settlements of the Herrnhut community were inscribed on the UNESCO World Heritage List as a transnational serial World Heritage Site. Christiansfeld in Denmark has been on the list since 2015; in 2024, the site was extended to include Herrnhut in Germany, Bethlehem in the USA and Gracehill in Northern Ireland. They are recognized under criteria (iii) and (iv) as outstanding evidence of religiously motivated settlement and urban planning and an independent, community-oriented way of life.

Today, the settlements of the Herrnhut community are of great historical and cultural importance. They serve as objects of study for architectural and urban history research and as tourist destinations that enable a deeper understanding of the living environment of early modern and modern religious communities. Restored buildings, historic cemeteries (Gottesäcker), museum facilities and archives preserve the original substance and make the planning principles and religious practice comprehensible to visitors. At the same time, they are an impressive example of how religious beliefs can be translated into material culture and the built environment. The combination of architecture, craftsmanship and community life shows that the Moravian community is far more than a historical footnote: it is a living testimony to order, aesthetics, spirituality and social vision that remains inspiring for centuries to come.
The settlements illustrate how closely architecture, religion and community life can be linked and at the same time provide a valuable model for the study of other religious or utopian communities. Their preservation and international recognition underline that the vision of the Moravians is not only historically relevant, but also culturally enriching for today’s generations.

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Discovery of Rembrandt’s “Night Watch”

Building design
Amsterdam

Amsterdam

The team of restorers at the Rijksmuseum in Amsterdam made a sensational discovery. With the help of computer technology, a previously hidden sketch was found on the primed canvas of Rembrandt’s “Night Watch”, the most famous painting in the collection: A sketch that provides a precise insight into the history of the work’s creation For two and a half years now, a research team of 30 restorers has been busy […].

The team of restorers at the Rijksmuseum in Amsterdam made a sensational discovery. With the help of computer technology, a previously hidden sketch was found on the primed canvas of Rembrandt’s “Night Watch”, the most famous painting in the collection: A sketch that provides a precise insight into the genesis of the work

For two and a half years now, a research team of 30 restorers has been meticulously examining the world-famous painting using imaging techniques and computer technology. Museum visitors can look over their shoulders as they work in a glass box. “The Night Watch” belongs to the city of Amsterdam and has been part of the Rijksmuseum collection since 1808. Frans Banninck Cocq, the mayor and captain of the Citizen’s Guard of Amsterdam, commissioned the group portrait of officers and marksmen, which was completed in 1662.

“The discovery of the sketch is a breakthrough,” emphasizes Taco Dibbits, Director of the Rijksmuseum in Amsterdam. Researchers have long suspected that Rembrandt began his complex composition with a sketch – directly on the brown primed canvas. Later, he only made minor changes. For example, he painted over the feathers originally intended for the helmet of the militiaman Claes van Cruijsbergen. Scans also revealed that Rembrandt altered the position of Rombout Kemp’s legs. Originally, a larger number of spears were also intended in the upper right part of the work.

Looking at Rembrandt with different eyes

“Each new detail gives us further insight into Rembrandt’s creative process, his original idea, his thought processes and his material and artistic choices,” said Petria Noble, head of painting conservation. She is delighted that the varnish on the painting is still in excellent condition. However, some not-so-pleasing discoveries also came to light during the examinations. For example, a series of waves that developed across the painting after it was moved during an earlier renovation in 2003.

It will now be removed from the frame for three months and straightened. The depiction of the dog is also marked by decay. The research team had attributed its discoloration to the fact that the paint was decomposing. Instead, they have now discovered that the wear and tear in this part of the painting has led to greater exposure of the newly discovered bright sketch. “All these discoveries make us look at Rembrandt’s paintings with different eyes,” added Noble. “We now know what to look for.”

Reading tip: “Operation Night Watch” is the title of an ambitious project. In July 2019, a team of restorers began researching and restoring Rembrandt’s “Night Watch”. The artwork, one of the centerpieces of the Amsterdam Rijksmuseum, is to be secured for the future. Read more here.

Scenes from the Cimetière Saint-Pierre in Marseille

Building design

STEIN presents a photo gallery featuring historic tombs from France’s third-largest cemetery.

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Saint-Pierre has plenty of sculptures like these to offer. Photo: Anne Fischer
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Local limestone is the primary material used for most of the tombstones. Photo: Anne Fischer
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And depending on the section of the cemetery, they can be quite impressive. Photo: Anne Fischer
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A stone picture frame as a grave ornament. Photo: Anne Fischer
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In the background, a touch of modernity—in the form of large urn fields. Photo: Anne Fischer
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Even a hundred years ago, there were already off-the-shelf products—just on a mausoleum scale. Photo: Anne Fischer
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The ravages of time take their toll; the administration cannot preserve all the gravestones. Photo: Anne Fischer
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A mausoleum door clad in natural stone. Photo: Anne Fischer
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The historic gravestones are mostly found on pine-covered hills. Photo: Anne Fischer
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A flagship project, certainly even at the time of its creation. Photo: Anne Fischer

The mausoleums are falling into disrepair, while the urn fields are expanding

The Cimetière Saint-Pierre is one of the newer cemeteries of its kind: it was established in 1855 and officially inaugurated eight years later. Previously, the people of Marseille buried their loved ones in smaller parish, monastery, or hospital cemeteries—or at the central Saint-Charles Cemetery. Located in the city center, the latter quickly ran out of space and was permanently closed in 1876. Saint-Pierre replaced it, covering an area of 63 hectares.

At first glance, this seems overwhelming. But visitors quickly find their bearings by following the greenery: wherever pine trees grow on small slopes, they are sure to find the historic burial sites. Dozens of renowned French entrepreneurs and artists—including painters, sculptors, and singers—are buried here. Among them is the composer Vincent Scotto. He wished for the following epitaph: “All my life I have composed; today I am decaying.” However, it never came to pass—Scotto’s wife deemed this final wish inappropriate.

Saint-Pierre stands as a striking testament to the changing funeral culture in our neighboring country as well. Extraordinary—and above all, an extraordinary number of—mausoleums, sculptures, and funerary monuments commemorate the cemetery’s heyday—even if some of them are now aging and falling into disrepair in a regrettable state. Huge urn burial grounds down the hillside serve as their modern counterpart.

In total, around 150 employees now work at the cemetery, which contains 100,000 graves. Unusual to German eyes are the cars that, while not numerous, do pass through regularly. Saint-Pierre has a road network totaling 15 kilometers. In Marseille, too, the city administration is working to find solutions for the changing face of cemeteries. Among other initiatives, it has launched grave sponsorship programs and is attempting to catalog as many of the graves as possible in an online database. There is an interactive terminal at the cemetery (and also at the 20 others scattered throughout the city). Interested visitors can use it to search for the graves of famous people—or to find that of a relative on the vast grounds.


The editorial team will continue the series “Impressions from the Cemetery” at irregular intervals—and welcomes suggestions and requests via email to redaktion@stein-magazin.de