In 1972, remains were archaeologically dug out of a first church, built in Carolingian style around the year 1000 on the site of current St. Martin church. Foundations of a second church built on that spot, in Romanesque style, were found as well. The present building had been constructed between 1234 and 1365 as the church of a college devoted to the cult of Martin of Tours, and since defunct. The current, conspicuous helmet crowning the bell tower had been added in 1572 in Renaissance style after a fire.
The church is surrounded by several portals of rather small dimensions, speaking relatively to the volume of the building. Some of these portals are bricked up. The largest portals display richly sculpted tympana. The coloured tile roof, reminding that of the Collégiale Saint-Thiébaut in Thann, is another striking feature of the church's exterior. The massive pillars that support the façade, an architectural rarity, give the front of the building a somewhat cumbersome aspect that contrasts with the airy look of the high apse windows. Another noteworthy detail of the building's exterior, testament to the troubled History of Jews in Alsace, is the presence of two 'Judensäue', one in the shape of a gargoyle, the other as a corner sculpture of a portal.
In the spacious interior, whose furniture had suffered bitter losses during the French Revolution, the most remarkable features are the exuberant Baroque organ case of 1755, (the mechanism and the pipes themselves, originally built by Johann Andreas Silbermann, were completely replaced in 1979), as well as the ambulatory, a unique feature in Alsatian churches. The many chapels that surround the choir display several medieval altars and statues. Of the remaining Gothic stained glass windows in the nave, the most noteworthy is a 13th century head of a beardless Christ, another rare feature.
Martin Schongauer's monumental Madonna of the Rose Bower was painted for the church in 1473 and stood there until 1972, when it was stolen. After its recovery in 1973, it was moved to the neighbouring former Dominican Church, another Gothic, but architecturally very different sanctuary.
References:Rosenborg Palace was built in the period 1606-34 as Christian IV’s summerhouse just outside the ramparts of Copenhagen. Christian IV was very fond of the palace and often stayed at the castle when he resided in Copenhagen, and it was here that he died in 1648. After his death, the palace passed to his son King Frederik III, who together with his queen, Sophie Amalie, carried out several types of modernisation.
The last king who used the place as a residence was Frederik IV, and around 1720, Rosenborg was abandoned in favor of Frederiksborg Palace.Through the 1700s, considerable art treasures were collected at Rosenborg Castle, among other things items from the estates of deceased royalty and from Christiansborg after the fire there in 1794.
Soon the idea of a museum arose, and that was realised in 1833, which is The Royal Danish Collection’s official year of establishment.