Luther's Death House

Above the Eisleben market is the museum which today is the place of commemoration of Luther's death. Since 1726, the building has been considered Luther's death house. The Prussian state bought the house in the second half of the 19th century and established it as a memorial. In 2013, the listed house was renovated and expanded into a museum quarter by a modern new building.In the 18th century, a confusion between two houses of the same owner led to a misidentification when searching for Luther's death house. Thus, today's museum on Andreaskirchplatz became a place of remembrance instead of the actual house where Luther died. The house in which Luther actually died was located on Eisleben's market square - and was demolished in 1570.

Martin Luther's death house, on the left side the museum.

The courtyard of the Death House ensemble. Martin Luther died here on February 18, 1546.

The seminar room (carpet room) in the new museum building is used for museum educational programs and events.

The Ars Moriendi was a very important writing in Luther's time. It was about imparting practical knowledge and skills that ensured a blessed death.

On February 19, 1546, the painter Lukas Furtenagel, who had come from Halle, painted a portrait of Luther, who was already lying in his coffin.

Justus Jonas wrote the death report to the Elector of Saxony on February 18, 1546: Friends and opponents of the reformer alike expected a divine sign at his passing. Thus, pious Christians were expected to die peacefully, but the enemies of the faith were expected to die in pain or in undignified circumstances. Luther's death attendants therefore hastened to inform the Saxon elector immediately about Luther's behavior.

Only one remnant of the house where Luther died still exists today: The house sign (house mark) of the building that stood at Markt 56 until the 1570s.

View of Luther's bedroom and death chamber.

The shrine for Luther's pall, which, according to lore, was passed down from generation to generation by Luther's descendants.

The room is determined by the contrast between heaven and hell, between eternal bliss and eternal damnation. The picture shows the installation to hell with a horned devil.

It is unknown whether Furtenagel also made a death mask. Since the 17th century, a life-size wax figure was displayed in the market hall of Halle (Saale), of which it was later assumed that its face could have been based on a death mask of the reformer. Hans Hahne undertook a reconstruction in 1926 by matching a copy of the wax mask to Furtenagel's drawing.

In the 1890s, the rumor spread that Luther had killed himself. To put an end to these allegations, the historical painter William Pape was commissioned to capture Luther's last hours in a painting. He used the historical account by Justus Jonas and Michael Cölius as a basis. However, he was less interested in a realistic rendering of the situation than in the most dramatic depiction possible of Luther's last confession to Christ.

In the Middle Ages, it was believed that one's soul went to purgatory after death to be cleansed of sins. To shorten the time in purgatory, indulgences were sold, which Luther strongly criticized. He rejected the idea of purgatory as unbiblical and rejected the idea that man could bring about his salvation through his own actions.

Epitaph for the provost of the Eisleben Holy Spirit Monastery and his wife. Epitaphs were intended to encourage people to strengthen their faith. Luther saw the whole of life as a service to God, which is why one could also serve God in everyday life and at work. The depiction of the dead on the epitaph testifies to a righteous way of life.

John Aurifaber, a theologian who edited many of Luther's writings, also published this volume after the reformer's death. It collects the four last sermons of Martin Luther.

Furnishing of the death rooms by Friedrich Wilhelm Wanderer in 1894 based on historical accounts of Luther's death. The death rooms are intended to convey Luther-era furnishings.

Justus Jonas, Luther's death companion, and Martin Luther had an intimate relationship. This is illustrated, among other things, by the Venetian glass that Luther brought to Halle as a guest gift in 1546 and presented to Jonas. The original glass was made around 1530/40.

The pen and ink drawing shows Martin Luther in the last year of his life.