Aachen Cathedral

Aachen Cathedral
UNESCO world heritage
	Aachen Cathedral, north facade, view from the town hall over the Katschhof
Contracting State (s):	Germany
Type:	Culture
Criteria :	(i) (ii) (iv) (vi)
Area:	0.2 ha
Buffer zone:	67 ha
Reference No .:	3bis
UNESCO region :	Europe and North America
	History of enrollment
Enrollment:	1978 ( session 2 )
Extension:	2013

Location map

The Aachen Cathedral , also known as the High Cathedral of Aachen , Aachen Minster or Aachen Marienkirche , is the episcopal church of the diocese of Aachen and the most important landmark of the city of Aachen . The cathedral consists of several sub-buildings, each of which was built from the early Middle Ages to the late modern period . The Carolingian Octagon , formerly the Palatine Chapel of the Aachen Royal Palace , is the most important architectural example of the Carolingian Renaissance .Charlemagne had the central building and the westwork built towards the end of the eighth century as the core of his palace complex. The foundation stone was laid around 795, the completion around 803. The consecration of the church is assumed for July 17th, 802 (not certain). The arrival of the relics took place in the two years before. The postulated consecration in 805 by Pope Leo III. comes from a legend from the 14th century. Today the church is consecrated on July 17th, but since 1803 the patron saint of the cathedral is celebrated on August 15th on the Assumption of Mary. The Carolingian Palatinate Church is surrounded by several additions from later times, including the Gothic choir hall in the east and the varied chapel wreath .

Aachen Cathedral, which is more than 1200 years old, is a heterogeneously structured structure, influenced by many stylistic epochs , which is characterized by numerous remodeling, laying down and additions. The function of the church building changed in the course of history from the once Carolingian palatine chapel, via the cathedral church of the Marienstift to the contemporary bishop's cathedral . As the mausoleum of Charlemagne, the collegiate church was the coronation site of Roman-German kings from 936 to 1531 . Since the 14th century Aachen has developed into an important place of pilgrimage with the sanctuary tour that takes place every seven years . It was not until the early 19th century was the Aachen Cathedral - even if only temporarily - Cathedral meets the church since 1930 reinstated permanently a function.

The patroness of the cathedral is the Mother of God, Mary .

Architecture and building history

Architectural history demolition

The on Byzantine and Mediterranean models, especially at San Vitale in Ravenna , ajar building design an octagonal central building with a two-storey handling one of the outstanding examples of early medieval religious architecture . The church was built over the remains of a Roman thermal baths with building material from many parts of the Franconian Empire and realized through spoilage , such as the ancient columns in the Hochmünster and reusable Roman building material from the region. Outstanding in the Carolingian sacred building are the valuable furnishings, such as the Carolingian bronze doors and the grilles in the upper circumference, most of which are still preserved. In addition to the octagon, two stair towers in the west were built in this construction period . After the death of Charlemagne, Aachen's importance as the spiritual center of the Franconian Empire waned. The church with the grave of Charlemagne exercised a great attraction after Charlemagne's death. The Roman-German kings have been crowned here on the marble throne of Charlemagne in the Hochmünster since 936 . Ottonian and Hohenstaufen rulers venerated the church and increased the art treasures through generous donations and foundations . Under Otto III. From 997 onwards, mainly the interior of the church was changed. In addition to the painting of the church, it was partially decorated with mosaics .

Romanesque alterations are only sparsely preserved except for the portals of the Nikolauskapelle, the facade of the Allerseelenkapelle and the decorative architectural elements in the cloister. The Romanesque monastery buildings were erected from 1187 to 1193. The octagon was raised (around 1190) and equipped with eight ornamental gables (1240/1250) and a blind gallery. During this time, the building was painted white, with the exception of the colored gable. The Romanesque roof structure, like the ornamental gable, was lost in the course of the following centuries due to fires and renovations.

In the 14th century, the four great Aachen textile relics began to be worshiped . Structural changes in the church went hand in hand with the sanctuary tours, which take place every seven years. The small, rectangular east choir was laid down and a capella vitrea - a tall Gothic choir building to present the shrines and reliquaries - was built, which was consecrated on the 600th anniversary of Charlemagne's death in 1414. At the same time, two chapels were added to the octagon on the south side , the Hungarian Chapel (1367) and, directly adjoining the Gothic choir, the Matthias Chapel (1379/1420), the basement of which took on the function of the sacristy . The Annakapelle (1449) was also added a little later on the south side. The Carolingian smaller bronze doors were to separate the entrances to the Anna, Hubertus and Charles Chapel (1456/1474) translocated . On the north side, adjacent to the former portico , the Gothic St. Nicholas Chapel (1487) was built. High Gothic tower domes with flanking turrets were placed on the Carolingian stairwells around 1350. From these exposed parts of the building and a bridge that connected the west tower with the octagon , the healing instruction took place during the pilgrimages, in which up to a hundred thousand pilgrims took part .

The architecture and furnishings of the church changed during the 17th and 18th centuries, not least because of the enormous damage caused by the Aachen city fire in 1656. The roofs of St. Mary's Church were destroyed and the Gothic west tower, which was already cut in 1624 after a lightning strike , had to be removed down to the two lower floors. The roof of the choir hall and the octagon were restored in 1664 with a baroque roof dome. Due to financial difficulties, the west tower only got a temporary bell tower . The interior of the church was given a Baroque style from 1719, in particular by the Italian plasterers Vasalli and Artari . From 1731 to 1733 the barrel vault in the Hochmünster was repainted by the artists Bernardini and Aprili . Plans by the Danish architect Christian Zuber to modernize the Gothic choir hall by bricking up the high windows as far as possible and pulling in a barrel vault were not implemented. However, the monastery chapter had the medieval glazing and tracery removed after the remains of the Gothic choir glazing were badly damaged after a storm in 1729. The ring anchors of the choir hall were cut through in ignorance of their function . Iron-reinforced clear glass windows were used to replace the colored glazing. The windows of the octagon were decorated with baroque bottles .

The Hungarian chapel, which was completely redesigned in the middle of the 18th century, has been preserved from the baroque building era. The construction was carried out in 1748 by the well-known Aachen architect Johann Joseph Couven . However, the new chapel already showed serious defects in the shell , so that the almost completed chapel had to be removed again in 1755 and rebuilt by Joseph Moretti between 1756 and 1767. In 1786 the Marienchor was demolished in order to create a connection between the Gothic choir and the hexagon. The stones of the Marienchor were reused in the gate of the Drimborn grove . With the construction of the baroque portal on the westwork, the Carolingian bronze door, which still forms the entrance portal of the church, was moved in 1788.

During the French rule , parts of the interior were dismantled and - like the ancient columns - brought to Paris . The lead covering of the roofs was removed in 1794. Until it was covered with slate in 1803, the church only had a temporary roofing. Since 1802 the Marienkirche was the seat of the bishop. The collegiate chapter was converted into a cathedral chapter . Due to the secularization , the new episcopal church lost substantial income. During these financial difficulties, the Marien Altar, the Petrus Altar and the high grave of Otto III. tore off. The baroque high altar was built as early as 1789, and the first Aachen bishop Berdolet had it moved again in 1804. From 1804 to 1875 the altar was in the choir head, but was moved to St. Johann (Burtscheid) in the 1970s . Berdolet had the choir stalls removed from the secularized Franciscan monastery in Kempen moved to Aachen. After the death of Bishop Berdolet in 1809, his heart was walled into the choir hall. In this place, a black marble slab in the choir reminds of him.

After the Congress of Vienna in 1815, the monastery chapter tried to win over the Prussian royal house for the preservation and reconstruction of the church, but this was only slowly achieved. It was not until 1842 that the ancient columns, some of which were restored and some of which were newly made, could be re-erected in the Hochmünster with the financial help of Friedrich Wilhelm IV . When the columns were set up, the organ also had to be relocated, as its front side filled the east yoke. Between 1845 and 1847 the neo-Gothic organ prospectuses were made by Wilhelm Korfmacher .

In the 1880s, various considerations were made as to how the temporary bell tower, which had been in place for over 200 years, could be replaced. The suggestion of Hugo Schneider , which envisaged a neo-Gothic tower structure above the Carolingian westwork with two sanctuary chapels and a gallery to direct the pilgrims to the pilgrimage, prevailed. The neo-Gothic west tower was built in 1884. In the second half of the 19th century, the purification of the building began: the baroque window reveals , the baroque decorative elements and the stucco were removed in 1869 and large areas of the Carolingian masonry were exposed. In addition, the Gothic choir was re-glazed from 1853 and provided with five-lane tracery.

The design of the interior - especially the hexagon - was a long and very bitter argument. First, the dome mosaic by Jean-Baptiste Bethune was carried out on the basis of historical drawings in 1880/1881 . The competition for the design of the church was won in 1898 by Hermann Schaper , who from 1902 to 1913 carried out the neo-Byzantine mosaic, the cladding of the interior with marble and the design of the window niches and window grilles. The result of this redesign was viewed critically by the monument protection authorities , as the materials and mosaics used did not correspond to the Carolingian style context. Because of the politically and economically difficult times, major work on the structure was not carried out until the mid-1920s. Static problems in the Gothic choir hall, which led to the choir being closed to the public in 1916, made it necessary to install the Pirlet anchors for stabilization in the 1920s . A sprinkler system was installed in the roof structure as a fire protection measure .

During the Second World War , the building was severely damaged by bombing attacks , but - like the Cologne Cathedral - the basic structure remained intact , especially thanks to the voluntary cathedral guard . Many works of art were outsourced or, where this was not possible, secured in the cathedral itself. The glazing of the Gothic choir hall and the neo-Gothic altar, a large part of the cloister and the sanctuary chapel on the southern stair tower of the westwork were irrevocably destroyed. Many other components - especially the roofs of the chapels - were badly damaged by the bombs.

After the Second World War, the building defects that were damaging to the substance - especially in the glazing and the roofs - were removed after the debris was removed in order to enable the first tour of the sanctuary after the war in 1951. Structurally, the location of the main altar in particular was changed after the Second Vatican Council . A general renovation of the building began in 1985 and is to be provisionally completed in the next few years with the renovation of the roof of the sixteenth corner. The over 30-year renovation is expected to cost around 40 million euros.

Roman and early Christian buildings

On the site of today's cathedral complex, there were already Roman buildings, which were replaced by a Christian place of worship and burial in the Merovingian era .

The oldest datable building remains in today's cathedral area are building remains made of wood and clay , which have been proven in the area of the vestibule. They date to a first construction phase before and shortly after the birth of Christ . Before the construction of the Roman baths two wooden building phases and a stone construction - - prove the first stone of 50 AD were built at the beginning of the 2nd century for the construction of spas already back.. Three phases have resigned were.

In the area of the foundations of today's Palatinate Church, remains of the multi-phase Münsterthermenanlage can be found, which was built between 120 AD and 125 AD and had the function of a hygiene bath. The thermal baths consisted of a bathing section with a cold water basin , thermal bathing rooms, utility and changing rooms, a latrine and a hostel . The Roman thermal baths with numerous rooms equipped with hypocausts were discovered for the first time during the archaeological excavation of the cathedral and palace between 1910 and 1914 in the area of the foundation of the cathedral as well as on the Münsterplatz and Katschhof . The exact service life of the thermal baths can only be limited approximately. Ceramic and coin finds from the north-east yoke attest to at least partial use of the facility in the middle of the 4th century.

It is believed that bathing was given up at the end of the 4th century. More recent ceramic finds from the 5th and 6th centuries, jewelry fragments from the late 7th and early 8th centuries and two Eastern Gothic bronze coins prove that the area was continuously settled in post-Roman times. Pre-Carolingian building finds are archaeologically documented in the form of wall remains below the Carolingian St. Mary's Church . The building findings were interpreted during excavations in 1861 and 1910 to the effect that the round wall and the two box-shaped foundations belonged to a pre-Carolingian chancel and the rectangular foundations could represent part of a reliquary altar . The interpretation as an early Christian hall church with a flat round apse is received more cautiously in modern research, since the evidence does not allow such a far-reaching interpretation. In recent excavations, the south-eastern wall of the pre-Carolingian building was re-examined and dated as a Roman reconstruction. The interpretation of the north basilica on the Katschhof as a small forerunner building in the Palatinate from the Pippin era is conceivable.

The use of the area below today's octagon as a burial place in the time of the Merovingians is considered to be secure. During the cathedral excavation in 1910/11, the remains of three body burials were discovered. Dating of presumed grave goods , tombstone inscriptions and dendrochronological examinations of a wooden coffin show that it was used as a burial site between the second half of the 6th century and the first half of the 8th century.

Carolingian period (9th to 10th centuries)

Choice of location and construction concept

Karlsdenar from the foundation area of the octagon

Floor plan and cross-sections

Play media file

Animation of the Aachen royal palace with the cathedral

While the young King Karl, like his father Pippin, still had a wandering court who traveled from Palatinate to Palatinate, from 788 he developed the will to settle down in the center of his empire . With Aachen, Karl continued a clear tradition that was based on Roman culture. The justification of Einhard as Karl's biographer for the choice of location due to the nearby, rich hunting grounds and hot springs is viewed as too trivial by current research. Ultimately, Karl held the Great the Aachen location both geographically and climatically and geostrategic terms more appropriate to this new headquarters of the Frankish empire and a new cultural - this is the foundation was Aachener Hofschule crucial - and spiritual center with its behalf erected St. Mary's Church as the most important sacred building north of the Alps . In addition, it is assumed that the settling down of Charlemagne is also likely to be related to the increasing age of the king.

At the beginning of the nineties of the 8th century, Karl started his planning with the monumental construction of the Palatinate Church with administration buildings and accommodation for the nobility . After dendrochronological investigations of the oak pile foundation of the Marienkirche, construction of the church began in 793 at the earliest. By finding a Karlsdenar below the foundation that could be dated to 794 at the earliest , the Alcuin letter of July 22, 798, which reports on the installation of the columns in the octagon, as well as the latest annual ring of the ring anchor (803 ± 10 years), the construction time of the Marienkirche can be narrowed down relatively precisely to around 795 to 803.

Contrary to the existing Roman orientation of the buildings, the building axis of the complex was pivoted by 40 ° and strictly aligned with the cardinal points, with the portal to the Palatinate Church in the west and the altar in the east.

The structure consists of a sixteen-sided chapel and an internal octagon with an imposing dome. The throne complex was in the upper western orbit of the sixteenth corner, the Hochmünster. In front of the hexagon to the east was a rectangular chancel. To the west, the central building is adjoined by a massive part of the building with two stair towers and a portal niche. This addition of a west building was an architectural element that was forward-looking for the time. The length and width of the facility and the height of the octagon are almost the same (approx. 29 m). This corresponds to the harmony of numbers in the heavenly Jerusalem ( Rev 21:16 EU ).

The concept of structural engineering must be viewed as a technical masterpiece of the time. The foundations consist of pillars of the octagon that are five meters deep in the ground, which in turn are connected by meter-thick foundation walls. Further walls radiate out to the corner pillars of the hexagon. The subsoil below the Carolingian part of the building is very heterogeneous. The adjacent basement , in which most of the foundation pillars are based , is formed from more or less karstified limestones overlaid with loose sediments of different thicknesses from the Cretaceous and Quaternary periods . In areas with less stable subsoil, several hundred wooden foundation piles were driven into the rock to stabilize it. One of these foundation pillars (under pillar 7) provided the dendrochronological evidence for a Carolingian foundation.

The statics of the central building is guaranteed because the forces are diverted to the outside as far as the outer pillars of the hexagon and six iron bands and two wooden rings in the form of a ring anchor hold the extremely heavy dome together in such a way that the walls cannot be pushed outwards and the weight is vertical acts on the pillars of the octagon. In 2003/4, another, mostly exposed, ring anchor was installed below the main cornice in order to guarantee the statics in the future as well, as the inspection of old anchors revealed that some of them had lost their effectiveness due to the influence of moisture.

During renovation work in recent years, a crack was discovered that goes through the foundation and through the entire Carolingian masonry. It is attributed to an earthquake during construction in 803. It is concluded that this required the installation of the Carolingian ring anchor.

Numerous advisers from Charlemagne's circle of scholars, in particular the Anglo-Saxon Alcuin and Karl's biographer Einhard, made a name for themselves in developing the idea on which the building of the Palatine Chapel is based. According to Notker von St. Gallen's testimony from the 9th century, the building design goes back to Karl himself. According to a marginal note in a manuscript from the late 9th century, which contains the vita of Charlemagne according to Einhard, the practical construction was in the hands of the Franconian master builder Odo von Metz . Italian craftsmen were probably also involved in the construction.

Dimensions and geometry

The view into the vaulted ceiling illustrates the strictly geometric concept

At the time of construction, a central building of this size was unique in Northern Europe. The octagon height is 31.40 m, the foundation depth up to 5.80 m, and the wall thickness 1.75 m. The column heights of the octagon are 3.20 m at the top and 3.70 m in the lower row. The question of which geometric The concept and the basic dimensions of the structure of the chapel have not seemed to be clear for a long time. Studies by earlier cathedral builders were mostly based on the units Drusian foot or Roman foot . These dimensions require complex theories to explain the actual dimensions. In 2012, the building researcher Ulrike Heckner presented a theory based on a new, previously unknown basic dimension of 32.24 cm, the so-called Carolingian foot , to which all the geometric relationships of the Palatinate Chapel can be traced back. Based on the similarly large Parisian king foot , this measure is also known as the “Aachen king foot”. The building grid, from which all structural dimensions can be derived, is 6 feet. The dimensions of the octagon are therefore 48 feet (1 × 8 × 6 feet), height and width 96 feet (2 × 8 × 6 feet) and the total length with westwork 144 feet (3 × 8 × 6 feet). The proportions of Roman domed buildings are perfected in Aachen. Geometrical ideal ratios - 1: 1 for the ratio of width to height of the central building and 1: 2 for the ratio of width to height of the octagon - characterize the Carolingian building in Aachen. Thus numbers and dimensions as well as the harmony of the building correspond to the Heavenly Jerusalem:

“The [heavenly] city [Jerusalem] was square and as long as it was wide. The angel measured the city with the measuring stick; their length, width and height are the same. "

Central building (octagon and hexagon)

Octagon and hexagon with Carolingian masonry (today's condition with a baroque tower dome)

Octagon and hexagon, interior view

The Carolingian octagon in the center of the cathedral was built between 795 and 803 based on Byzantine models ( San Vitale in Ravenna , Santa Constanza in Rome , Church of Saints Sergios and Bakchos in Constantinople ) as a chapel of the Aachen imperial palace . It is assumed that these buildings, with their ideal central building geometry, were based on ancient models such as the Pantheon in Rome, which in the Middle Ages was regarded as the ideal of perfect architecture. The Palatine Chapel of Charlemagne was the first post-antique dome building north of the Alps and remained unsurpassed in its height (31 m) and vault width for over 200 years.

The Palatine Chapel consists of a high, octagonal room with a lower two-story gallery. The inner octagon is formed by strong pillars on which a vault consisting of eight curved surfaces (cheeks) lies, covering the central space. A 16-sided gallery with low groin vaults runs around this inner octagon , above which there is a high gallery, forming the gallery. This upper floor is called the Hochmünster. The arched openings of the basement are only about half as high as those of the Hochmünster, which makes the basement appear bulky and stocky. The lower and upper floors are separated from each other by a powerfully projecting cornice . As Einhard reports, this cornice was already provided with a versified, red building inscription in Carolingian times, which was taken up again during the mosaic work at the beginning of the 20th century. This inscription praises Charlemagne's role in the construction of this building:

“The living stones are joined together with the binding agent of peace and everything agrees evenly. | The work of the Lord who builds the whole hall shines | and gives success to pious endeavors of men. | Your edifice of eternal adornment will exist, | if the author protects and rules it after completion. | So God grant that this safe temple will stand on a solid foundation that the ruler Karl founded. "

The main altar and imperial throne are in the upper gallery of the palatine chapel. This area is connected to the palace by a corridor. The octagonal room is covered by a sloping barrel vault. An octagonal drum with window openings rises above the gallery arches, on which the dome rests.

The upper gallery openings are adorned by bronze Carolingian column grids. The columns in the pillar arches are partly antique and originally come from the transalpine region, mainly from Italian, Greek and Egyptian deposits. After the end of the 8th century, Charlemagne had other spolia from Rome and Ravenna brought to Aachen . In their original setup, the distances between the columns were the same and formed a symmetrical column grid. In autumn 1794 they were broken out during the French occupation of the Rhineland and taken to Paris - except for the pieces that remained in the Louvre , they could be brought back to Aachen in 1815 . In the 1840s they were reinstalled in their original location, eight missing columns were made from Oderberg granite by the Berlin stonemason company CG Cantian on the instructions of the Prussian King Friedrich Wilhelm IV Aachen re-established.

The original motif of the dome mosaic with Christ as the triumphant ruler of the world (Pantocrator) surrounded by the symbols of the four evangelists , to whom the 24 elders from the Apocalypse of St. John offer their crowns, was originally created in the years 1880/81 Newly created in the style of Neo-Byzantineism according to designs by the Belgian architect Jean-Baptiste Bethune by the Venetian workshop Antonio Salviati .

Only recently was a fragment of the early painting of the octagon discovered in a window niche, which, after iconographic comparisons with the Carolingian frescoes in the monastery church of St. Johann in Müstair and the Carolingian book illuminations, can be regarded as a relic of the first Carolingian painting.

The outer walls of the Carolingian octagon, made of quarry stone , are largely undivided and without any further architectural decoration. Only the pillar protrusions on the dome are crowned with antique capitals . Above the Carolingian masonry there is a Romanesque series of blind arches , above it is a Late Romanesque gable. The octagon is crowned today by the peculiar baroque roof hood with a mounted glare lantern , which is visibly warped by the prevailing wind pressure from the west.

The octagon is equipped with lavishly designed mosaics from 1896 to 1902 based on designs by Hermann Schapers of the glass mosaic company Puhl & Wagner , as well as rich, two-tone marble cladding on the arcade arches . First the mosaics in the octagon were made, later the precious marble floor, from 1907 to 1911 the mosaic and marble decorations of the walkways. The mosaic depictions contain biblical as well as historical and contemporary political motifs, such as B. a portrait of Otto von Bismarck . The precious alabaster lamps hung in the hall also date from around 1900 and are still in use today.

The Heavenly Jerusalem, ceiling mosaic at the entrance yoke of the gallery
Neo-Byzantine dome mosaic
The mosaic and marble cladding form a complementary and at the same time contrasting unit
Hochmünster - upper floor of the central building
Miraculous image (Rhine-Maasland, originally 14th century) on the southeastern octagonal pillar

Westwork and vestibule

West view with a view of the cathedral courtyard

Westwork

The westwork of the cathedral is of Carolingian origin. The central part of the westwork, crowned with a neo-Gothic bell tower since the 19th century, and the two flanking stair towers have been preserved. It is a two-storey building with a barrel vault in the basement and is now closed to the west by an 18th century vestibule and forms the main entrance to the church building.

The upper floor is characterized by an elaborately bricked west wall. In the interior it forms an outward curvature, while the outside forms a cone with an inward curvature . Seen from the atrium, the Carolingian west facade was therefore particularly representative up to the extension of the vestibule in the 18th century: The conche on the western upper floor corresponded to the semicircular barrel vault in the basement.

The west wall is now broken through by a large west window. The frame size of the window comes from the Gothic and replaces a much smaller window from the Carolingian period, originally probably structured with an inserted column in the form of a round-arched biforium . The current window was designed by Ewald Mataré from 1952 to 1954 . Matarés' design takes up the structure of the Carolingian bronze grids in the interior of the cathedral. Bronze and unworked rock crystals form the actual window.

The function of the westwork on the upper floor has not yet been clearly clarified. The baptismal right in Aachen , which had long been reserved for the Marienstift, was exercised on a baptismal font behind the marble throne until the end of the Ancien Régime . The room may have been involved in this ceremony. Furthermore, is still in the west wall below the large west window, a Fenestella , by a line of sight to the underlying space, the former atrium was possible. It is certain that the Carolingian corridor led to this room on its northern wall , which connected the Aula regia (King's Hall ) in the north of the King's Palatinate with the church. The floors of the westwork above this room were redesigned in the first half of the 14th century and in the 17th century. Until the 19th century, the ropes of the church bells, which were installed in the bell room above the upper vestibule, led to the vicinity of the baptismal font. The westwork received its present form between 1879 and 1884 with the construction of the neo-Gothic tower and the addition of the two sanctuary chambers.

Gothic niche with alabaster Madonna

In the literature it has long been debated whether the lower barrel-vaulted room in the west might have served as his burial place after the death of Charlemagne on January 28, 814 . Archaeological excavations in 2010 showed that the grave vault is much younger and is therefore probably out of the question as the original grave of Charlemagne. The mayor of Aachen, Gerhard Chorus, was buried in the northeast corner of the vestibule . A bronze plaque made by the Aachen goldsmith Zaun in 1915, which is located below the statue of Our Lady next to the entrance to the octagon, reminds us of his crypt. The alabaster statue was already placed in a niche next to the church entrance in the Middle Ages. When the entrance was rebuilt in 1788, the niche was walled up and only refurbished in 1915 in the old place and lined with gold glass mosaics. These mosaics could come from the medieval dome mosaic. You can clearly see the different ages of the stones. The niche houses the above-mentioned Lorraine alabaster statue of the Mother of God with child from the time before 1400. Here, as at every entrance to the cathedral, a statue of the Virgin greets visitors to Aachen's Marienkirche. The vestibule features a large holy water basin to the right of the entrance as well as the “she-wolf” and the large pine cone, both made of bronze (see below).

Atrium

In front of the westwork there was an atrium in the form of an inner courtyard enclosed on both sides by arcades in Carolingian times . The height of the columned halls was based on the eaves height of the connecting passage to the King's Hall . The atrium was 127 x 83 Carolingian feet (42-42.50 mx 27.70-27.90 m). The two-story north and south wings had a low upper floor with small arched windows and an arcade. When building the arcades , a large arch alternated with three smaller arches, which were supported in the middle by columns. Excavations suggest that as early as Carolingian times, the atrium was converted from a secular apse courtyard to a sacralized courtyard. The reconstruction of the east and west ends of the atrium has been discussed controversially in the literature. The west end was presumably formed by a columned hall, which could be reached from the fish market by taking a few steps. More recently, based on archaeological findings, it has been discussed whether a Carolingian gate - similar to the Lorsch gate hall - was in front of the portico further west . There was no east wing of the atrium, but there were entrances to the stair towers of the westwork.

The rooms that are now in the place of the arcades still indicate this structure today. Today they serve, among other things, as apartments for the resident canons .

East building

In the Carolingian period, a two-storey extension was in front of the sixteenth-corner in the east; In the older literature, the extension was referred to as the east choir or east apse. This room was neither in the form of an apse nor did it function as a choir in Carolingian times . The actual choir was in the octagon. The east building belonged with the east yoke of the sixteenth to the sanctuary of the Marienkirche. There was an altar in both rooms: the St. Mary's altar in the east building and the Petrus altar in the middle of the east yoke.

Annex buildings

Two-storey annex buildings connected to the north and south of the Palatinate Church , which were connected to the central building via corridors and Carolingian bronze doors. The bronze doors were later reused as an entrance to the gothic Hubertus and Anna chapel. With the south-west building, the north annex is part of the oldest, early Carolingian construction phase of the Palatinate complex.

Due to the fact that the north annex has been shifted by 4 ° to the alignment of the other Palatinate buildings, it is now assumed that the north annex belonged to an older predecessor building and was included in the construction of the Palatinate complex. Archaeological findings that were made when the eastern outer wall of the north annex was demolished in 1878/86 show that the 13.20 m × 22.00 m building was divided into three naves, an apse and an anteroom.

The undivided southern annex (internal dimensions: 13.10 m × 22.50 m) was built over the remains of a Roman bathing pool as an external counterpart to the northern annex together with the Palatinate Church. The hexagon was connected to the south annex via a narthex corridor in the form of an apsidal hall.

Two thirds of the foundations of the southern annex were discovered during excavations by Erich Schmidt at the beginning of the 20th century. A large-format pavement on Münsterplatz today traces the archaeologically secured outlines of the southern annex. The function of the annex buildings in Carolingian times cannot be clearly demonstrated. Ecclesiastical, representative and memorial functions of the outbuildings were discussed.

In the area of the building yard of the Dom Bauhütte , a plinth of a pillar of the north annex building, translocated by a few meters, is still preserved today. There were very different ideas about the function of the annex buildings in research. The north annex was, for example, the first royal hall or burial chapel of Charlemagne, the south annex as domus pontificis. viewed.

Ottonian period (10th to 11th centuries)

The importance of the Palatinate Church as a place of royal coronations as well as the grave of Charles and the rich reliquary and art treasures were decisive for the secular and spiritual power for the preservation of the building. The church was given rich gifts under the Ottonians. Otto I. gave the right Provost to determine as spiritual head itself. Otto III. was an admirer of Charles and, in his admiration for him, had a picturesque decoration on the walls. He also had important relics of St. Corona and St. Leopardus transferred from Italy to Aachen. Otto III. was embalmed after his death in Palermo in 1002 and buried in the Marienkirche in Aachen. Under the Ottonian Heinrich II. Aachen lost its central position in the empire. Heinrich II made the Otto III. The establishment of the parish districts and the rich donations for the Marienstift are reversed. During the reign of Henry II, a valuable church treasure was donated, including the ornate golden ambo .

Otto III. commissioned the Italian painter Johannes to paint the church building. Remnants of the wall painting were described for the first time in 1869 after Carl Rhoen had removed the baroque furnishings . The painters A. Olbers and Hermens as well as the Cologne restorer Anton Bardenhewer made numerous findings watercolors , which are now kept in the monuments archive of the Rhineland Regional Council. The painter Johannes, who carried out the wall painting, signed his works with an inscription in Leon hexameter : A PATRIAE NIDO RAPUIT ME TERTIUS OTTO. CLARET AQUIS SANE, TUA QUA VALEAT MANUS ARTE ("Otto III stole me from the nest of the fatherland. Aachen really shines through what your hand can do in art").

The remains of the well-preserved Ottonian wall painting were visible up to the installation of the marble cladding and the mosaic on the octagonal pillars, in the vaults of the imperial box and the lower octagonal hallway, in the northern Carolingian stair tower and on the walls of the upper octagonal hallway and the imperial box. In addition to geometric ornamental patterns in the predominant yellow, brown and red shades, the Ottonian design also includes figural busts, fantasy animal figures and numerous inscriptions. A fragment of Ottonian ornamental painting in a Carolingian window reveal in the southeastern yoke of the upper octagonal aisle is preserved today.

Staufer period (11th to 13th centuries)

The Staufer Friedrich I , known as Barbarossa, had an ornate wheel chandelier, the so-called Barbarossa chandelier , made hanging from the dome of the octagon . The Coronation Church has been referred to as the main church of the empire since Charlemagne was canonized in 1165 . The bones of Charles were exhibited in a reliquary for veneration.

Romanesque conversions

Structural extensions to the Carolingian hexagon had already been carried out in the Romanesque period. After the city fire in 1146, the tambour in the octagon was increased in 1170 during the first Romanesque renovation phase. During the second Romanesque renovation phase around 1230, the round arched blind gallery was supplemented with triangular gables. The baroque redesign of the dome in the 18th century led to the almost complete dismantling of the Romanesque structures. Only on the east side of the octagon, at the transition to the choir hall behind Gothic facing masonry, have Romanesque components been preserved. A representation of the dome with the raised drum can be seen on the donor relief of the Karlsschreins (1215). At the end of the 12th century the church building was newly plastered. While the Carolingian components were plastered in red for over 200 years, white colors were used for the new Romanesque plastering.

Romanesque extensions

On the north side the Nikolai, Agidius and Armseelenkapelle were built. The buildings of a claustrum and dormitory date between 1187 and 1215, some of which can be seen on hand drawings by Albrecht Dürer . The chapels from the Romanesque period were rebuilt in later building periods, partly replaced by new buildings or abandoned.

Armseelenkapelle

The Armseelenkapelle , equipped with a Carolingian barrel vault , was later attached to the eastern cloister. The chapel was built around 1200 and borders the Carolingian portico to the east and west and is based on the Carolingian architecture in the construction plan. The west side of the chapel, which adjoins the cloister, is characterized by a late Romanesque facade made up of several cloverleaf arches supported by bundles of black limestone columns. Richly decorated capitals and column shafts made of light sandstone form a color contrast to the dark columns. The facade of the Armseelenkapelle is considered to be one of the most outstanding examples of late Romanesque architecture in the Rhineland. At the end of the 19th century, the Armseelenkapelle with its richly structured ornamental facade was restored according to plans by the cathedral master craftsman Baecker.

Aegidius Chapel

On the east side of the Armseelenkapelle, the Aegidius Chapel, which was built in the 13th century and was built in the 13th century, was 5.07 meters long and 6.75 meters wide and is only preserved today as an archaeological finding. In the older Aachen literature it was sometimes referred to as the Pippinskapelle. It had access to the Armseelen- and Nikolauskapelle.

Gothic (13th to 16th centuries)

During the Gothic period, the building was extensively redesigned and structurally expanded. A high, lead-covered tent roof formed the structural completion of the dome of the octagon from the 13th century until the fire in Aachen in 1656. Chapels have been built around the central building since the 14th century in order to provide space for prayer for the numerous pilgrims during the pilgrimages that take place every seven years. In order to be able to present the reliquary shrines effectively, the construction of the high Gothic choir hall began in the middle of the 14th century.

Sanctuary chambers and bridge

Around 1350, two-storey Gothic chapels were placed on the Carolingian stair towers of the westwork to store and direct the sanctuaries during pilgrimages. While simple Gothic pointed arch windows were used on the lower floor of the sanctuary, the windows on the upper floor are made in two parts. These Gothic tower chapels were included in the neo-Gothic tower extension at the end of the 19th century and were rebuilt. In July 1941, the southern chapel was completely destroyed during an air raid.

In order to direct the sanctuaries, a covered bridge, decorated with tracery galleries, was built between the westwork and the Carolingian drum in the middle of the 14th century.

Choir

Ribbed vault

East to the octagon of the initiative was to Marie pin and Aachen Mayor Gerhard Chorus 1355-1414 the Gothic , because of their magnificent stained glass windows from Aachen glasshouse called Choir Hall grown.

The Carolingian east end of the church was removed to create a visual connection between the octagon and the newly built Gothic choir hall. The Marian or coronation choir was built from free-standing pillars and arches on the site of the Carolingian chancel, for which the provost Gerhard Graf von Sayn donated the dais in 1455 . The Marienchörchen was demolished as part of the baroque redesign in 1786 and replaced by a Baroque Mary altar with a baluster wall. The Marian shrine was removed and set up alternately in different side chapels.

The Gothic choir hall measures 25 meters in length, 13 meters in width and 32 meters in height. Its outer wall is largely dissolved into windows which, with a height of 25.55 meters, are among the tallest Gothic windows in Europe. The more than 1,000 square meters of glass was as it were glass reliquary for the Marienschrein kept Aachen sanctuaries and the bones of Charlemagne, which in Karlsschrein intended to be kept. The choir hall was designed as a hall choir with a centering polygon. The end of the choir consists of nine sides of a fourteenth corner.

The architecture is based on the model of the Sainte-Chapelle in Paris , also a repository of important relics and a royal palace chapel. To secure the vaults of the Aachen choir hall, iron tie rods were installed during the construction period in order to reduce the sideshift on the narrow supporting structure and to leave as much window space as possible in between.

During restoration work from 1995 to 2000, gothic, colored scratch drawings were discovered on the entire north wall and on a small section of the south wall of the choir hall . The drawings, which were made around 1400, only became visible after the choir stalls had been dismantled . The nine drawings for eight components represent late medieval construction drawings of the building works . The components were drawn in their original size and corrected several times. In addition Maßwerkzeichnungen and a section through the floor wall are plan drawings of Blendfialen the buttresses , pointed arches , a four- been identified and a five-pass and a compound of the buttresses. It is believed that the drawings were made by the master Enghelbertus. They offer a rare insight into late medieval building planning.

Shortly after the completion of the choir hall around 1430, the pillars of the choir made of Baumberger sandstone were erected. The ambo of Henry II from the early eleventh century is attached to the south side of the first choir bay . In the floor of the choir hall is the grave of Emperor Otto III. admitted, which was buried on Easter of the year 1002 in the former Aachen collegiate and coronation church St. Marien, in the sixteenth corner. After the completion of the choir hall, the sarcophagus of Otto III. reburied in the middle of the choir hall. Another special work of art is the radiant Madonna from 1524, which is installed in the choir hall . It was made by the important Maastricht carver Jan van Steffeswert . The double-sided Madonna and Child is surrounded by a wreath of rays and clouds that was added later.

After the medieval colored stained glass windows were destroyed by hailstorms in 1729 and the restored glazing was exchanged for simple clear glass windows in 1779/80, a decision was made at the end of the 19th century for neo-Gothic, five-lane glazing with a central motif. The windows of the choir hall were almost completely destroyed by bombing during the Second World War . Between 1949 and 1951, the windows were re-glazed according to designs by Walter Benner , Anton Wendling and Wilhelm Buschulte, financed by numerous public and private donations. They show the history of salvation and the ascent of man to God. The ornamental windows are "luminous curtains".

Murals

Wall painting in the choir hall - Aachen monastery coat of arms and St. Christophorus

The choir hall was designed in several colors. The first painting was done around 1430. The western arcade was designed with an annunciation scene , a tape was attached to the polygon and consecration crosses were attached to the long choir walls . In 1486 the walls of the choir hall were provided with figurative representations. The painting was donated by Emperor Friedrich III. 1486 on the occasion of the coronation ceremony of his son Maximilian I. The founder was immortalized in the coronation scene of Mary, his motto Austriae est imperare orbi universo can be found as the abbreviation AEIOU in banners in the representation of the pairs of saints in the polygon.

Annunciation to Mary (west wall, 1430)
Annunciation to Mary (north wall, starting in the west)
Visitation of the Virgin Mary (north face)
Hike to Bethlehem (north face)
Nativity (north wall)
Adoration of the Magi (north wall)
Presentation of Jesus in the temple (north wall)
Heiliger Heribert (north wall, transition to the polygon)
Saint Kunigunde and Saint Heinrich (north wall, north-northwest polygon)
Empress Helena and Charlemagne (north-northeast polygon)
Aachen Abbey Coat of Arms (northeast polygon)
Aachen monastery coat of arms, painted over in 1622 with the scene Jesus walking on the sea (east-north-east polygon)
Crucifixion of Christ (east polygon), presumably 1622
Aachen monastery coat of arms, painted over in 1622 with the depiction of Saint Christopher (east-south-east polygon)
Aachen monastery coat of arms (southeast polygon)
Consecration of the Aachen Minster by Pope Leo III. (South-southeast polygon), in the 17th century
Adoration of the Magi (south-southwest polygon), 17th century
Escape to Egypt (south wall, starting in the east)
The twelve year old Jesus in the temple (south wall)
Jesus saying goodbye to his mother (south wall)
Descent of the Holy Spirit (south wall)
Marientod (south wall)
Coronation of Mary (south wall, on Heinrichs-Ambo).

In the Baroque era, the painting of the choir hall was changed again in 1781/82 and 1803 according to instructions from Bishop Berdolet. During the baroque redesign at the end of the 18th century, the wall paintings were painted over and provided with a surrounding stucco cornice. The choir pillars and the radiant Madonna were also painted over in white. At the beginning of the 19th century valuable tapestries were hung in the white polygon fields .

After the short-term exposure of the Gothic wall paintings in 1867, the wall surfaces were again painted over with a leaf frieze and angels. As part of the redesign of the church building at the beginning of the 20th century, the wall surfaces were redesigned with red ornaments on a yellow background in 1908. Anton Bardenhewer began in 1916 with the partial uncovering of the Gothic wall paintings. The installation of a heating system in 1912, which led the warm air directly onto the walls, had a negative effect on the state of preservation. At the end of the 1990s, as part of the renovation work in the Gothic choir hall, the Gothic wall paintings were also restored and the heating situation changed.

Choir pillar sculptures

Choir pillar figure Charlemagne with a model of the Aachen Minster

Around 1430 life-size pillar figures were attached to each pillar of the choir polygon. The colorful figures made of Baumberger sandstone stand on consoles made of Herzogenrath sandstone . The consoles are decorated with angels making music. The figures are crowned by high, filigree sandstone canopies . The twelve apostles, Mary and Charlemagne are shown. The figures have been painted over several times since the 15th century. During the fire in Aachen in 1656, they were partially badly damaged and painted over white as part of the baroque redesign. The current shape and color of the figures comes from the fundamental revision in 1849–1851. On December 23, 1943, a bomb hit the roof of the Gothic choir hall, ricocheted off the vault cap above the pillar with the figure of Charles and exploded two days later outside the cathedral. The high altar and numerous canopies of the figures were destroyed by the bomb hit. The war damage to the figures was repaired by 1951. During the renovation of the choir hall at the end of the 20th century, the dirty varnish was removed, the sensitive layers of paint cleaned and resealed .

Vault, vault keystones and western blind window

Charlemagne vault stone

The ribbed vault of the choir hall is made of ribs made of Herzogenrath sandstone and vaulted caps made of Limburg marl stone. The vault caps are formed by a single-layer cap masonry made of brick-sized sand-lime bricks. Stonemason's marks are often found on the rib stones. The vault of the choir hall has been substantially damaged several times in the course of history. In particular, the Aachen city fire and the bomb damage in World War II impaired the stability of the structure, so that the vault had to be partially rebuilt. The limestone marl stones were partly replaced by bricks and in the post-war period by material from rubble. The two destroyed vault ribs were replaced by rib stones made of tuff and limestone after the war. Starting 2.50 meters from the keystones, the vault ribs are colored. The blue rib stones are decorated with gold stars and a red and gold ribbon. The keystones of the vault ribs are formed by 80 or 90 centimeter gold-plated medallions, which are decorated with bust portraits in relief:

Risen Christ with flag of the cross and gesture of blessing in the right hand (easternmost keystone in the choir polygon)
Angel with banner SURREXIT
Mary with the blessing baby Jesus on a crescent moon
Angel with banner AVE MARIA
Charlemagne with a scepter and the model of the Carolingian octagon
Angel with banner S. CAROLO MAGŌ
Pope with tiara , cross staff and aspergillus
Bishop with miter , gesture of blessing and holy water kettle (westernmost keystone)

In the transition between the Gothic choir hall and the Carolingian octagon, a window with Gothic tracery has been preserved on the choir side . This tracery is the only remaining Gothic tracery after the tracery on the choir windows was broken off in 1779. In the lower part the tracery is formed by intersecting pointed arches , the fillings vary between three-pass and fish-bubble ornaments . The central motif is a circular ornament structured by a five-pass . A couronnement with a curtain-like banner rises above it.

Gargoyles

Gargoyles on the choir hall

A gargoyle made of Herzogenrath sandstone was attached to each pillar below the roof parapet during the construction of the choir hall. The medieval gargoyles lost their function in the 19th century after the downpipes were installed. During the extensive renovation of the choir hall at the end of the 20th century, five of the gargoyles - all in the area of the choir polygon - had to be replaced, although the stone substance was still relatively well preserved. The incorporation of the gargoyles into the masonry using wrought iron clamps was no longer possible, as the clamps were largely rusted and the figures were increasingly detaching from the pillars. Although the gargoyles are now inoperable, the new spouts have been designed with openwork throats in order to preserve the visual uniformity. The expanded spears are now kept in the lapidary of the cathedral.

sundial

Sundial on the south side of the Gothic choir

On the south side of the choir hall, a late Gothic sundial is attached between the choir polygon and the nave above the coffin cornice . The clock made from Herzogenrath sandstone around 1450 to 1500 is one of the oldest surviving sundials in the Rhenish region , along with the St. Kunibert sundial in Cologne. The Aachen sundial is one of the exactly vertical south clocks. During the renovation of the structure of the choir hall in 1997, the clock broke into two parts along an old dividing area. The stone was soaked in silicic acid ester for conservation purposes and bonded together with epoxy resin adhesive .

Extensions

Several side chapels, which have been added over the centuries, are clustered around the octagon, as the old palatine chapel was no longer able to cope with the increasing streams of pilgrims from all over Europe, especially during the Aachen sanctuary tour, which takes place every seven years . The individual chapels clockwise:

In the southeast is the Matthias Chapel , which was built at the same time as the choir hall next to it.
South of the Matthias Chapel is the Gothic Anna Chapel . In the basement it was originally the vestibule to a cathedral portal, but the walls were later closed and the room was used as a chapel.
To the south of the westwork is the Hungarian Chapel , originally also a Gothic side chapel, it was rebuilt in baroque forms in the 18th century according to plans by the Italian architect Joseph Moretti . Today it serves as a sacrament and devotional chapel.
To the north of the westwork is the St. Nicholas and St. Michaelis Chapel from the 15th century with its neo-baroque altarpiece in the choir, designed by Joseph Buchkremer in the 20th century . It is the former burial place of the canons of the Aachen Minster.
To the northeast, the Karl and Hubertus chapel was added to the octagon.
Next to it are the All Souls Chapel and the All Saints Chapel , which was established in 1955 in the Carolingian vault as a crypt chapel for the deceased bishops and auxiliary bishops of Aachen .

Other chapels belonging to the cathedral complex are located in the cloister and in the cathedral courtyard.

Hungarian Chapel

Structural condition of the cathedral before the city fire with a Gothic Hungarian chapel (1622)

In the area of today's Hungarian Chapel (also Hungarian Chapel), remains of Roman buildings were discovered as early as 1755/56, which were interpreted as part of the bathing complex of the Münstertherme. In 1357 the construction of a Gothic chapel, donated by King Ludwig of Hungary , began. The legal relationships between the Marienstift, the Hungarian ruling house and the city of Aachen were regulated in a donor letter in 1370.

From pictorial representations, such as that by Abraham Hogenberg from 1622, it is known that the Gothic chapel had a rectangular floor plan with a three-sided choir. The unplastered chapel was the same height as the hexagon and was crowned with a hipped roof. The roof gallery was decorated with a quatrefoil like that of the sixteenth corner. The pillars between the tall Gothic choir windows were decorated with figures.

At the beginning of the 16th century, the structural condition of the chapel deteriorated as donations of money generated from the pilgrimages to Hungary temporarily waned. During the great fire in Aachen in 1656, the roof was badly damaged. It was not until 1746, when the imperial army was in Aachen during the War of the Austrian Succession , that a foundation from General Emerich von Mórócz made it possible to finance a new building.

Matthias Chapel

The Matthias Chapel is the oldest preserved Gothic chapel in Aachen Cathedral. Although there are no written records of the construction activity, it can be assumed from building findings (matching stonemason marks and decorations) that the construction of the Matthias Chapel together with the Gothic choir hall in the late 14th to 13th centuries early 15th century.

The room on the ground floor of the two-story chapel was used as a sacristy from the start . During the coronation ceremonies, the vestments were put on in this room after the anointing . The upper floor was never used for liturgical purposes , but as a magnum archivum - as an archive or depot - and was originally the only one of the chapels to have no access to the Hochmünster. In the 19th century, the room was used as a repository for relics. Between 1873 and 1939 the room housed the bellows for the organ. This required major renovations; Among other things, a new path to the Hochmünster was laid through a Carolingian window on the north wall of the chapel.

In contrast to all other roof structures of the chapels of the cathedral, the Matthias Chapel has a stone roof structure that was built in the 17th century.

In the basement, blinded pinnacles adorned the buttresses , while on the upper floor they were adorned with a cycle of sculptures, canopies and consoles designed as grotesque figures. Many of the Gothic figures were replaced in the 19th and 20th centuries because they were too badly damaged. In the second half of the 19th century, the outer facade of the Matthias Chapel was extensively restored. There were big differences about the redesign of the sculpture program. Canons, such as Franz Bock , rejected the representation of the twelve apostles in order not to duplicate the theme of the program of figures, as an apostle cycle was already shown in the choir room. Instead, it was proposed to show the kings crowned in Aachen as figurines. From 1865 to 1867, Gottfried Götting ultimately carried out the cycle of apostles, supplemented by the four evangelists, in Udelfanger sandstone .

During the Second World War, the Matthias Chapel remained largely undamaged, only the glazing was partially damaged. Due to moisture damage and weathering of the pinnacles, figures and parapets, it was decided to extensively renovate the Matthias Chapel between 2001 and 2006.

Anna Chapel

The Anna Chapel adjoins the west wall of the Matthias Chapel and was probably built in the middle of the 15th century. Written evidence of the construction activity has not been handed down. The southern Carolingian annex building was located at the site of the Anna chapel, which is documented by the access to the church interior from the Anna chapel on the lower and upper floors. It is assumed that the Carolingian bronze portals were integrated into the new building, of which only the bronze door on the upper floor is preserved today.

The mention of a predecessor building of the Anna Chapel in the deed of foundation of Charles IV for the Wenceslaus Altar has not yet been archaeologically proven.

The basement of the six-sided Anna Chapel was open on three sides to Münsterplatz, the chapel room was on the upper floor. The chapel was consecrated on January 29, 1449 by the Liège bishop Johann von Heinsberg and the St. Anne's altar was consecrated. The altarpiece , made in Hildesheim around 1525 and depicting the mass of Bolsena and the twelve apostles, was purchased as an altar retable in the 16th century and is now kept in the cathedral treasury. The Brotherhood of Our Lady, which held the services in the Anna Chapel, received approval in 1491 to bury its members in the vestibule under the chapel.

Services were held in the Anna Chapel until 1581. In the period that followed, the faithful preferred prayer rooms, which were more accessible on the ground floor, and the Anna Chapel could only be maintained with great difficulty through foundations and financial support from the Marian Brotherhood until the 18th century. In 1772 the arcades in the basement were closed and a connection to the sacristy in the Matthias Chapel was created. The space gained by closing the arcades was used as a second sacristy; Rococo cupboards built into the niches of the former arcades.

In contrast to the Gothic chapels of the cathedral, the masonry of the Anna chapel is also richly decorated with a facing tracery . Late Gothic consoles and medieval but reworked canopies take up the lavish sculptural decoration. In the middle of the 19th century, major renovations were carried out, financed by raffles and donations from Aachen citizens. Numerous building decorations had to be renewed, the wall surfaces were scratched and in 1865 the arcades to the Münsterplatz were reopened. In the same year the arcades were bricked up again because the sacristy could not do without the additional space in the basement of the Anna chapel. At the same time, considerations were made to equip the Anna Chapel with a cycle of sculptures. There were no documents or images available about any earlier figures. Based on the patronage of the chapel, Anna selbdritt , the canons of the canons decided on the depiction of Anna selbdritt, the holy clan and accompanying angel figures, which were executed by Gottfried Götting from 1869 to 1871 in Savonnières limestone .

Apart from minor restoration work on the roof structure in 1913 and on the masonry in 1934, the Anna Chapel was not subjected to a major renovation until 1967 to 1969, during which thin stone slices from earlier restoration work that were not stably connected to the masonry were replaced by deeper embedding sandstone blocks.

A comprehensive renovation of the chapel took place in the years 2001 to 2006, whereby the roof structure, the slate covering and above all natural stone work on the parapets, pinnacles, limestone figures, canopies and wall crowns were carried out. In some places, the masonry had to be re-grouting. The Anna Chapel has five iron ring anchors (+7.35 m; +8.04 m; +12.98 m; +15.18 m; +18.64 m) that have been treated with anti-rust penetrating oil.

Karls- and Hubertuskapelle

The foundation stone for the Gothic chapel on the northeast side of the cathedral was laid on June 23, 1455. After nineteen years of construction, the lower chapel was consecrated in 1474 by the papal nuncio , Gerolamo Santucci, the bishop of Fossombrone - the lower chapel to Saint Hubert , the upstairs chapel Dedicated to Charlemagne. The irregular heptagonal chapel is crowned by a seven-pointed vault with a hanging keystone. There are three small arched windows on the west side of the Hubertus Chapel. The interlocking on the western buttress of the chapel shows that it was originally planned in the 15th century to build another chapel between the Karls- and Hubertus- and the Nikolauskapelle.

The Karlskapelle is located on the upper floor. It has a star vault with a three-pass keystone. The bronze doors to the Carolingian building to the south are still preserved. Charlemagne, who in 1165 by the antipope Paschal III. was canonized , a separate altar is dedicated in this chapel. The later kings are said to have kept vigil here before their coronation. In 1867 the restoration of the chapel began. Similar to the chapels on the south side, the Karls- und Hubertuskapelle was decorated with figurines, made by Gottfried Götting in Savonnières limestone.

In 1984 it was found that the Karls- und Hubertuskapelle statically detached from the main building. To ensure the stability of the building, a ring anchor was drawn in above the vault of the Karlskapelle and above the vault of the Hubertuskapelle and connected to the hexagon. Since 1989, canopies, consoles and figures have been refurbished in the area of the shop door. Three of the seven figures made by Götting were publicly restored during Expo 2000 in a workshop on the exhibition grounds. In the garden of the chapel stood a Carolingian brick column, which was part of the rising masonry of the Carolingian north annex, until it was destroyed in World War II.

In 2014/2015, the outer facade of the chapel was cleaned as part of a model project by the German Commission for UNESCO as a cultural sponsorship of the Kärcher company using hot water high pressure and particle jet processes.

Nikolaus- and Michaelskapelle (Kreuzkapelle)

Nicholas Chapel

Instead of a Romanesque chapel on the north-west side of the cathedral, the Gothic St. Nicholas and St. Michael's Chapel made of Aachen bluestone was built between 1473 and 1485 . Three Romanesque portals - two to the northern stair tower and another on the west wall - are reminiscent of the Romanesque predecessor building. The position of the portals on the stair tower is evidence of a previous two-story building, albeit with different dimensions.

The chapel consists of a rectangular, three-aisled hall, which is surrounded by a three-sided gallery ( Michaelsempore ) and has a hexagonal closed choir facing east. The southern gallery is supported by a granite column with an octagonal base. In the west it borders on the Carolingian pathway between the Marienkirche and the palace auditorium. In 1513, the Liège Auxiliary Bishop Franziskus Callen consecrated the Michael's altar on the upper floor. Michael’s stairs lead from the cloister to this upstairs chapel. In contrast to the other Gothic chapels, the chapel has no figural decorations. The Nikolaus and Michaelskapelle housed a total of six altars with the Nikolaus, Agatha, Andreas, Maternus, Gregor and Michaels altars, of which only the Nikolaus and Michael altars can be found today. There is only sparse information about the whereabouts of the other altars. The name Kreuzkapelle , used in 19th century literature, refers to the erection of a baroque cross by the Aachen bishop Berdolet, who acquired the cross from Kasteel Erenstein .

There are memorial plaques on the floor and on the walls, commemorating the deceased canons of the cathedral chapter. The chapel was also the burial place for the higher clergy of the monastery until the 18th century. During the French era, the granite column in the St. Nicholas Chapel was also broken out and transported to Paris. The replacement column made of bluestone was exchanged for a granite column again in 1857. In 1869 and 1870, a large tracery window was designed on the north side based on a design by Robert Cremer and city architect Friedrich Joseph Ark , which is marked by a large imperial eagle under the apex. Originally, a structural extension of the chapel to the north was planned at this point. In 1871 the chapel was painted in neo-Gothic style. In 1895 the foundations of the chapel had to be statically secured because the building site was flushed out below the foundation. In 1919 the north window was re-glazed, which was largely destroyed in the Second World War. After emergency repairs shortly after the war, the window was redesigned in 1954 based on designs by Wilhelm Geyer . Static problems in the building fabric made it necessary to install a wall anchor in 1955/56 .

Due to the static overstressing of the vaults, tie rods had to be replaced in 1990/91, which can better absorb the shear forces. The damaged southwest corner of the chapel extension was stabilized with two friction anchors as part of the renovation work.

Chapels in "Paradise" - baptistery

Baptistery, view of the westwork

In the 13th and 14th centuries, the atrium halls were converted into small chapels, the chapels in “Paradise”, with the help of foundations. The Quirinus and Katharinenkapelle were set up on the north side of the atrium.

By subdividing the south hall of the atrium, the Georg, Martins, Antonius, Servatius, Barbara and Johannes chapels were created, which today is called the baptistery and was first mentioned in 1215. The western end of the atrium was formed by a passage arch in the 14th century, which was replaced by a Gothic double portal as early as 1429, which gave pilgrims a better view of the sanctuaries.

Of the chapels in “Paradise”, only the 9.45 m by 7.55 m baptistery (Johanneskapelle) on the fish market is preserved today. The chapel, mainly made of bluestone, was fundamentally redesigned in the Baroque era and in 1766 was given a decorative cartouche with the symbol of the Trinity on the north wall above the entrance. The four-sided, curved, slate-covered roof is crowned with a pommel tip. On the north-west corner there are still fragments of the entrance hall to “Paradise”, which was demolished in 1811. The long sides are decorated inside with two pilasters each , which, together with the corner pilasters, structure the walls of the chapel. On the west side, facing the fish market, three arched windows were used. The baptistery is equipped with a baroque altar decorated with figures, which is framed by putti and volutes . Several stucco cartouches and floral stucco elements from the 18th century decorate the walls of the chapel.

In 1985 the baptistery had to be completely renovated. In addition to the renovation of the baroque roof structure and the rebuilding of the floor, the suspended stucco ceiling also had to be reconstructed. During the renovation of the floor, the remains of a baptismal font were found during excavations in the area of the foundation , which was then reconstructed and placed in the baptistery. Today you can also see the late Baroque episcopal chair of the first bishop of Aachen , Marc-Antoine Berdolet , in the baptistery .

Cloister

Cloister with quadrum

Around 1500, the cloister was built on the northwest corner of the cathedral , which encloses a square 29.25 meters, in the middle of which is the Paradise Fountain, created in 1897 by Georg Frentzen . It is assumed, however, that a Romanesque predecessor building already existed in place of the Gothic cloister. In the place of the fountain there was a late Gothic court column with a sundial crowned by a pine cone until the 1780s. The column was demolished to make room for a school building in the Kreuzgarten. The cloisters were originally characterized by rich, late Gothic star and reticulated vaults . The north and east wings were completely destroyed in the Aachen city fire in 1656 . The later reconstruction was based on the still existing vaulted yokes on the south and west side, but with relatively unadorned, simple vault constructions. In the course of this repair work, the windows were filled with tracery and fish bubble motifs . Two windows with figurative representations were made by the Cologne-Lindenthal glass painting company Schneider and Schmolz . During the Second World War, the south and west wings, which were still in their original condition, were almost completely destroyed by a bomb hit, except for a few vaults and three yokes.

Baroque period (17th to 18th centuries)

Structural changes

Baroque entrance portal to the vestibule

The cathedral was substantially spared from the city fire in 1656, only the wooden roof structures were damaged. During the restoration, the roofing of the octagon was replaced in 1664 by a folding dome with a glare lantern on top , and the eastern tip of the choir roof was given a small monopteros in 1793 . In 1720 the windows of the sixteenth were given baroque ashlar walls and a roof.

From 1719 to 1731 the interior of the minster was completely redesigned in Baroque style by Johann Baptist Artari . The octagon and the tambour were provided with extensive stucco work and wall paintings, for which even valuable mosaics were removed or reused. In addition to the "crowned double-headed Habsburg eagle with scepter and sword", the symbolism of the Baroque was shaped by the worship of Charles and the pilgrimage. There are no reliable records of the detailed baroque interior of the cathedral today. Views from this period show a stucco-decorated interior in which there was a pulpit with a sound cover on the southeast pillar of the octagon. There were no church stalls in the octagon at this time. The octagon pillars were decorated with life-size statues around the top.

In 1788, a one-storey baroque porch in the shape of three sides of a non-uniform octagon was placed in front of the westwork. The main portal of the church building is formed by the Carolingian wolf door, which has been moved here and is only opened today on high church holidays and for trips to the shrine. Above the entrance portal, under a segmented gable, there is a large, semicircular window framed by stars. The entrance to the church is formed by the two much lower portals on the sloping sides of the baroque porch.

In 1782 the flooring of the church was changed. The Dinant stonemason Hubert Josef Boreux laid a marble mosaic made of black and white, square and triangular floor slabs.

Due to static problems in the choir hall, the Danish architect Christian Zuber suggested demolishing the choir hall in 1776. Alternatively, he recommended relieving the high vault of the hall with low, stucco-decorated vaults and reducing the high Gothic church windows to small baroque window openings. However, these proposals were not implemented. The statics of the choir hall were also modified from the outside. Booth owners who built their stalls into the pillar niches to sell devotional objects , broke stones from the pillars to enlarge their sales area. In order to curb further deterioration, it was decided in 1780 to increase the base walls in order to enable the stalls to be increased.

New construction of the Hungarian Chapel

Hungarian Chapel

In the years 1756 to 1767 the Hungarian chapel and in 1788 the vestibule were rebuilt from bluestone .

The Aachen city architect Johann Joseph Couven was commissioned by the Hungarian field marshal Karl Josef Batthyány to build the new chapel in 1747 . Couven's plans are still preserved today, the chapel was demolished in 1756 due to construction defects. As early as July 5, 1756, work began on building the new Hungarian chapel according to plans by Joseph Moretti . Some of the equipment details planned by Couven were adopted in the new building and the altar was consecrated on May 11, 1767. In 1776 the Hungarians were forbidden to make a pilgrimage to Aachen and the chapel lost its function. Due to renovation work in the octagon, the Hungarian chapel was used for church services in 1870. In 1881 the treasury was transferred from the Karlskapelle to the Hungarian Chapel because the Karlskapelle had considerable structural defects. Extensive renovations were necessary for this, such as moving the altar into the former baptistery, redesigning the entrance and installing reliquary cabinets. The cathedral treasure was stored in the chapel until 1929. It was then redesigned as a sacrament chapel and the altar was put up again.

In the Second World War, rubble from the tower chapel fell onto the roof of the Hungarian chapel after a bombing raid, severely damaging the roof structure. After the war, the damage was initially repaired in a makeshift manner. Rising damp, which led to lowering and damage to the altar, as well as damp damage in the area of the dome attachment, which resulted in the destruction of the stucco work and the gilding, made extensive renovation necessary between 1991 and 1994. The Hungarian Chapel has been used again as a sacrament chapel since April 29, 1994.

French rule and secularization (1794 to 1814)

Aachen was occupied by French troops on September 23, 1794 and was under French administration until January 17, 1814. With the French rule, a difficult time began for the cathedral: the church building was looted and temporarily used as a horse stable . On the basis of a decree of the Welfare Committee of May 13, 1794, culture commissioners were appointed who confiscated cultural goods and transferred them to France. The lead roof covering was removed as early as September 27, 1794 and the cathedral has been exposed to the weather since then. The stucco, the paintings and the floors were destroyed by the ingress of rainwater. At the beginning of October 1794, on the instructions of Pierre-Jacques Tinet, the Proserpine sarcophagus was transported to Paris. It was damaged in transit and had to be restored. While the sarcophagus was one of the unique showpieces, it was withheld from the public in a magazine in Paris. Also in 1794, the art commissioners Charles Dewailly, Barthélemy Faujas de Saint-Fonds, Michel Leblond and André Thouin had two valuable bronze figures - the she-wolf and the pinecone - confiscated.

In addition, the French had the column arcades with the Carolingian column bases and capitals and the shafts from the windows of the hexagon break out of the octagonal arches. These were brought to Paris with two other columns from St. Gereon in Cologne . Two valuable porphyry columns broke during the transport and were left behind in Liège . Initially, the columns were not used in Paris. It was not until November 1800 that eight columns were installed as decorative room dividers and pseudo supports in the antique collection in the former royal palace.

By August 4, 1795, all works of art were stolen from inside the minster. Works of art that were directly related to Charlemagne were particularly affected. The precious cathedral treasure itself remained largely intact, he was from Aachen pen chapter before the occupation of Paderborn been brought to safety. After the proclamation of the French Empire in 1804, he returned on the instructions of Napoleon . The Aachen imperial regalia ( Stephansbursa , imperial evangeliar , saber of Charlemagne ) had meanwhile been transferred to Vienna by Emperor Franz I in 1801 . All efforts to bring them back to Aachen failed not least because of a legal opinion commissioned by Klemens Wenzel Lothar von Metternich .

In the course of secularization , the Marienstift was dissolved in 1802 and most of the property was sold. After Napoleon's Concordat with the Pope, the Diocese of Aachen was founded in 1802 and Marcus Antonius Berdolet was enthroned as the first bishop. As one of the first measures, Berdolet had the church roof covered with slate again . Due to the difficult financial situation, the emergency repairs dragged on over four years. In 1803 the Gothic Petrus altar was demolished and replaced by the Baroque Marien Altar ( Berdolet Altar ). In the course of this redesign, the tomb of Otto III in the center of the choir was also removed. demolished, the sarcophagus opened and the bones distributed among those present.

During a spa stay, Empress Joséphine visited the cathedral on August 1, 1804. Among other things, the bishop presented her with small pieces of the four Aachen sanctuaries, the talisman of Charlemagne , the Lukasmadonna and the Hohenstaufen arm reliquary . Because these church treasures came to France as a private donation, they passed into the private property of Joséphine and were passed on to their children from their first marriage, Hortense de Beauharnais and Eugène de Beauharnais .

During the French period, archaeological excavations were carried out inside Aachen Cathedral in 1794, 1803 and 1804 in order to locate the grave of Charlemagne, but this was unsuccessful. Bishop Berdolet had a symbolic grave slab placed in the middle of the octagon in 1804, which was only removed again in 1911 and is now placed on the outside on the south side of the Gothic choir hall.

The late Gothic double portal ( Parvis ) that delimited the atrium from the fish market was demolished in 1811 on the occasion of the baptism of Napoléon's son , so that the prefect Jean Charles François de Ladoucette and his entourage could drive up to the cathedral courtyard in four horses.

Kingdom of Prussia (1815 to 1918)

On November 20, 1815, after the Congress of Vienna, Aachen was incorporated into the Kingdom of Prussia , initially into the Province of the Grand Duchy of Lower Rhine , and from June 1822 into the Rhine Province . After the Second Peace of Paris in 1815, the Prussian side demanded the return of the Aachen art objects and the ancient columns. While the repatriation of the Proserpine sarcophagus, the bronze figures and the column shafts stored in the warehouse were quickly approved, a violent dispute broke out over the ancient columns. The French museum administration offered to send other columns from the Louvre's holdings to Aachen as replacements. Although King Friedrich Wilhelm III. considered this to be quite acceptable and was supported by Alexander von Humboldt , among others , the Prussian officials around Karl vom Stein zum Altenstein , Johann August Sack and Eberhard de Groote vehemently advocated the repatriation of the Aachen columns.

On December 7th, 1815 the works of art, the 28 antique column shafts, ten capitals and some of the columns were returned to the Aachen cathedral chapter. However, due to a lack of money, these could only be used again in the 1840s with financial support from the Prussian King Friedrich Wilhelm IV . Four columns that originally stood in the Hochmünster were used as columns in the neo-Gothic altar in 1875.

After the reinstallation of the ancient columns, Aachen citizens founded the Karlsverein in 1847 , which set itself the goal of restoring the cathedral in a historically accurate way. The missing funds should be found through collections and donations.

The restoration of the choir hall and chapels began in 1849. The restoration of the choir, during which, among other things, the windows were given new rods and tracery and the galleries and ornaments were completely renewed, was completed in 1861 and cost 307,704 marks.

The restoration and repair of the Anna chapel took place in the years 1857 to 1876. The extensive cycle of statues on the outer facade was created by Gottfried Götting . The Matthias Chapel was restored in 1866 and the Karl Chapel in 1868.

From 1869 to 1873 the baroque stucco decorations and paintings in the vault of the Carolingian building were removed again. A new dome mosaic was designed by the Belgian painter and architect Jean-Baptiste Bethune of the Mosaic Institute Antonio Salviati from Venice executed and completed the 1,881th In 1875, a neo-Gothic altar ciborium based on a design by Hugo Schneider , into which four ancient columns were integrated, was installed in the choir hall . In the years 1860/61, the ridge ornament of the choir hall was also renewed: instead of the dilapidated lantern on the east side, a cross was erected in 1860, and a year later a double-headed eagle was installed on the west side.

Neo-Gothic bell tower

After five years of construction, in 1884 the extension of the neo-Gothic bell tower, in keeping with the spirit of the times, was completed according to plans by Hugo Schneider. Schneider had attached great importance to the preservation of the Carolingian substructure and the arched niche as well as the gallery floor and the bridge to the octagon. The porch of the portal, which was added in 1788 and accommodated the ancient she-bear and the pine cone in 1893, was also included in the building concept.

After a competition among four artists, Hermann Schaper was commissioned to decorate the Carolingian building in 1889. His planning, which was also implemented, provided for further mosaicization and cladding of the pillars and wall surfaces. After years of discussion and protests by art historians, the extensive mosaic and marble work was carried out by Puhl & Wagner from 1896 to 1902 . The windows of the hexagon and other details of the interior design were also made according to Schaper's designs. The preliminary completion of the renovation work was the laying of the marble floors in the octagon and in the walkways in 1913. On July 21, 1913, the marble pulpit donated by Kaiser Wilhelm II - the so-called Kaiserkanzel - was erected in the vicinity of the octagon.

The Schaper interior, which is based on Byzantine art, is characterized by “ Wilhelmine pomp”. It was criticized that in the old, plain plastered surfaces, compared to today's marble cladding, the exquisite stone structure as well as the ancient columns and possibly originally gilded capitals and bronze grids came into their own. In addition, only the Carolingian dome had a mosaic; there were no mosaics in the tambour or in the corridors before.

Allied occupation of the Rhineland and the Weimar Republic

After the end of the First World War , in accordance with the provisions of the Versailles Treaty, Aachen was until November 30, 1929 part of the Belgian occupation area as part of the Allied occupation of the Rhineland and thus economically isolated from the Reich. During this time, only urgently needed work was carried out on Aachen Cathedral. In 1920 a new tower clock was installed, in 1924 the Wolfstür was repaired and in 1926 the nine-year restoration work on the Heinrich pulpit began. In 1932 the neo-Gothic essays from the side altars in the choir were removed . After the cathedral treasure, which had been relocated to Paderborn during the First World War, returned to Aachen on February 19, 1921, planning began for the construction of a new cathedral treasury, which was opened in the expanded Armseelenkapelle in 1931. In 1929 a new fire protection and sprinkler system was installed by the Cologne company Walther & Co.

time of the nationalsocialism

In the years 1938 to 1939 a new main organ was installed in the cathedral by the Bonn organ building company Klais. With the outbreak of the Second World War in 1939, precautions were taken to secure the art treasures and the structural fabric of the historic church building in the border town in the far west. Considerations to move the church treasure and the royal throne to Berlin were rejected in 1939. A shield-shaped protective walling was built around the throne in 1939, but it was supported on wooden beams and not structurally connected to the building, so that it would not have offered effective protection against explosive bombs . Due to the weight of the protective walling, the first yoke in the octagon also had to be walled up for structural reasons. In the vestibule, a massive semicircular brick wall was built with only narrow passages into the church, the bronze wolf doors were opened and paneled with wood . The church entrance was now a heavy wooden door. The Gothic windows in the westwork were walled up, the Barbarossa chandelier was suspended and placed on a wooden frame in an octagon. The non-movable furnishings, such as the pillar figures of the choir hall and the Heinrichsambo, were protected from possible splinters by wooden boxes, some of which were filled with sand, as was the front of the All Souls Chapel. The station pictures in the cloister were covered with reed mats that were coated with cement. The large tapestries in the end of the choir were placed behind the confessionals in the hexagon.

In the southern stair tower of the Carolingian building, a shelter for the cathedral treasure was set up on the instructions of the cathedral master builder Buchkremer. When the war broke out, the sanctuaries were removed from the Marian shrine and walled up in a secret place in the northern stair tower.

The “movable” cathedral treasure with the Pala d'oro, the Twelve Apostles panel and the neo-Gothic high altar had already been evacuated to Bückeburg Castle on September 9, 1939, together with the city's art treasures . Instead of the Pala d'oro, a large image of the Virgin, borrowed from St. Foillan , now adorned the octagon. Due to the increasing number of air raids, the art treasures were no longer safely stored in Bückeburg. On January 14, 1941, the Pala d'oro and the Twelve Apostles Table returned to Aachen and were stored in the southern Carolingian stair tower of the cathedral. The remaining parts of the Aachen cathedral treasure were relocated to the Albrechtsburg in Meißen , and the first moisture damage to the wooden boxes, especially to the Karlsschrein, was discovered. Due to the advancing war front, the transfer to a mine tunnel to Siegen took place in September 1944 . On June 13, 1945, the cathedral treasury was returned to the cathedral chapter by the American deputy city commander, Major Bradford.

During the Second World War, the cathedral was badly damaged by several air raids. During a heavy bombing raid on Aachen city center on the night of July 9-10, 1941, an explosive bomb destroyed the neo-Gothic sanctuary chapel that crowned the southern Carolingian spiral staircase tower and severely damaged the Hungarian chapel with rubble. In addition to damage to the roof and the roof crown, the baroque stucco of the chapel was also badly damaged. Bomb remnants and a spire rushed to the Southwest roof of the octagon and led to the downfall of 1 m² dome mosaic splinters proposed several marble slabs and the Carolingian fighters -Gesims was damaged. During this bomb attack, several buttresses of the choir, a quarter of the glazing in the choir hall and the tracery of the Matthias Chapel were damaged.

Likewise, the four wings of the cloister, the provost house and the singing school burned out completely. The treasury and the cathedral archive were also badly damaged. The material could be saved because the vaults withstood the fire for a long time. Only the Noli me tangere box burned. The pectoral cross of Charlemagne, believed to be lost, was later found in the sifted rubble. A spread of the fire to the Nikolauskapelle could be prevented by voluntary fire fighters and external fire brigades. The miraculous image in the chapel could be saved.

Another high-explosive bomb hit the roof of the Karlskapelle, but lost the fuse on impact, so that apart from some damage to the roof and the main cornice as well as to a figure canopy, the damage was limited.

Memorial plaque for the cathedral guard during the Second World War in Aachen Cathedral

The realization that the town fire department could not protect the cathedral, led in July 1941 establishing the Domwache , a firefighting group consisting of 20 young people who minor in bomb attacks individual fires choked and thus the spread of fires in the cathedral prevented. So the wooden roof structure of the octagon was spared.

In 1942 the bells had to be removed and the metal was donated by the German people . Due to the size of the Marienglocke it was smashed on site for over a week. A piece of metal was overlooked when it was melted down and returned to the new casting of the Marienglocke after the war.

During an air raid on the night of 13 July 14, 1943, six fires spread through thermite - incendiary bombs and magnesium operations of target marker bombs caused below the roof in the attic of the octagon and could be deleted with difficulty. The fire fighting group had an extinguishing water reservoir created in 1942 in the atrium as well as temporarily installed extinguishing water ponds in the Elisengarten , in the monastery in Blendelstrasse and the two swimming pools in the Elisabethhalle , which provided extinguishing water for the cathedral via hose lines.

During an air raid by the Royal Air Force on the night of December 23-24, 1943, the cathedral, especially the Gothic choir, was hit by an explosive bomb and the entire glazing of the choir hall was destroyed. A vault rib was smashed and the bomb ricocheted off the vaulted cap of the choir pillar, at whose feet the figure of Charlemagne stood. The time fuse was hurled out of the choir hall and detonated at the time of Christmas mass on December 24, 1943 in the neighboring Hartmannstrasse. The neo-Gothic altar canopy, the altar candlestick and the altar structure were destroyed. A second time fuse also detonated on the afternoon of December 24th in the south wing of the cloister. Five yokes were completely smashed, but the art-historically valuable Gruppelo cross remained intact. In a bombing raid on April 10, 1944, stick incendiary bombs were used again, causing great damage in almost all the roof trusses of the church and side chapels. At the end of May 1944 an explosive bomb again destroyed parts of the cloister and houses in the atrium.

During the last fighting in Aachen in autumn 1944, two buttresses of the southern choir wall, parts of the Hungarian chapel, mosaics in the octagon and the octagon lantern were badly damaged by German artillery fire.

post war period

On October 19, 1944, two days before Aachen surrendered, the cathedral was occupied by the Americans. Immediately began to provisionally secure the badly damaged cathedral and prepare it for services. From the remains of the cladding of the pillars and figures, a 12 m high wall was built in the choir hall, including 4 strips of the first choir window. The first service after the end of the fighting was held on November 12, 1944 in the octagon in front of a makeshift altar that was erected in the Ostjoch after the bombing at Christmas 1943. The pews from the Nikolauskapelle initially replaced the choir stalls . The organ was put into operation on a makeshift basis and the cathedral choir began rehearsing again on November 26, 1944. The Georgsmesse, the Grupello cross and the miraculous image were arranged as a retable according to Buchkremer's ideas. The emergency altar in the octagon remained in place until June 23, 1951.

On November 1, 1944, Hans Königs was commissioned by Aachen's first mayor, Franz Oppenhoff, to take care of the construction of the cathedral. Until Joseph Buchkremer's return in August 1945, Königs coordinated the most urgent security work on the cathedral. Above all, the clearing of rubble from all roofs, the makeshift repair of the split lead roofs, which led to the removal of parts of the dome mosaic, and the provisional roofing of the Hungarian chapel with sheet metal were all initiated by Königs.

Immediately after Siegen was captured by US troops on April 2, 1945, efforts were made to bring the cathedral's art treasures stored in the Hainer tunnel there back to Aachen. The retrieval of the church treasures on May 8, 1945 failed due to the unclear order situation as a result of the surrender.

In May 1945 the first six Carolingian bronze grilles were uncovered and the first window in the entrance was replaced. On the evening of May 26, 1945, the cathedral treasure and the coronation insignia returned to Aachen on the initiative of the American plastics officer Hancock. On June 13, 1945, the boxes with the art treasures were opened in the presence of the American city commandant and on July 20, 1945, in the provisional cathedral treasury, they were shown to the population of Aachen for the first time. The Barbarossa chandelier could be hung up again in the octagon in June 1945.

In 1947 the emergency glazing of all chapels was finished and the roof of the Hungarian chapel was repaired. During clearing-up work, a previously unknown Carolingian door was discovered on the upper floor of the north wing of the atrium. In 1948 the provisional restoration of the Hungarian chapel and baptistery was completed.

At Christmas 1948, the protective wall around the Aachen royal throne was removed. It was found that the wooden seat had suffered irreparable damage from moisture. The bricks were used to carry out the first renovation work in the choir hall.

In the spring of 1949 slate was imported from the Ardennes and the renovation of the slate roofing of the octagon could begin. The buttress on which the time fuse ricocheted at Christmas 1943 showed severe damage, in particular cracking and moisture penetration, so that the statics of the entire cathedral hall was endangered. In a makeshift manner, the damage to the buttresses (4a & 5a) of the choir hall was secured with temporary brick seals. The areas that were repaired in this way were redeveloped in 1952 to make them suitable for historical monuments.

Every effort was made to re-glaze the choir hall for the first official sanctuary tour in 1951 after the Second World War in the years 1949 to 1951. For this purpose, the tracery of the windows was repaired and the destroyed vaults were repaired with Limburg marl stone, which had been salvaged from the rubble of Aachen houses. The windows of the choir hall, which were destroyed in the war, were restored from 1949 to 1951 on the basis of designs by Walter Benner and Anton Wendling.

The Salvator altar, which used to stand on the upper gallery, was moved to the center of the choir hall in 1950. As an antependium , the Pala d'Oro was set up in a simple, provisional wooden frame. In place of the neo-Gothic altar damaged during the war, the Karlsschrein was re-erected on the historic site for the sanctuary tour in 1951, while the Marienschrein was moved to the treasury until it was restored. Between the altar and the Karlsschrein was now in front of the grave Otto III. placed the eagle's desk . The damaged floor of the choir hall was rebuilt with slate and some of the Aachen bluestones that were still there were integrated. The restoration of the damaged neo-Gothic tower gallery was of great urgency for the execution of the sanctuary tour in 1951. The completely destroyed tower chapel on the southern stair tower was initially not rebuilt. The greatest damage had to be repaired in the area of the cloister, in which only two old vaulted yokes had survived the war. Using these yokes, the construction of the cloister and the adjacent buildings began in the early 1950s. In 1951 and 1952, the bronze windows loosened as a result of the effects of the war had to be anchored again on the octagon and splinter damage in the southwestern drum window had to be removed. When the west tower and the neo-Gothic satellite towers were re-slated in 1958, the most serious war damage was repaired. In 1968, cathedral builder Felix Kreusch was able to identify three Corinthian capitals and three Carolingian bronze bases for the ancient columns in the Louvre depots. They were transferred to Aachen on permanent loan and are now accessible to the public in the lapidarium of the cathedral building administration.

All Saints Chapel (Bishop's Crypt)

All Saints Chapel

In 1955, the All Saints Chapel was set up in the northern wing of the atrium in the former chapter house as the burial place of the Aachen bishops. It was consecrated in November 1955 - together with the newly designed Nikolauskapelle - as part of a solemn triduum on the occasion of the 25th anniversary of the re-establishment of the Aachen diocese. On November 11th the solemn transfer of the bones of the Aachen bishops Joseph Heinrich Peter Vogt , Hermann Joseph Sträter and Johannes Joseph van der Velden took place . Above a small bluestone altar, the north wall is adorned with a 2.10 meter oval relief by the Neuss artist Hein Minkenberg , who also created the grave slab set into the ground. The epitaphs of the deceased bishops are placed on the walls of the simple chapel. The window above the door to the atrium was designed by Felix Kreusch in 1955 and shows a crosier in the ornamental tracery.

Canon Crypt

Before the Second World War, the bishops were buried in individual tombs in the quadrum . After the Second World War, the deceased canons and bishops were initially temporarily buried in crypts in the northwest corner of the cloister. In the spring of 1959, construction work began on a canon crypt in the southwest corner of the square and below the cloister. During the archaeological investigations one came across Roman, Romanesque and Gothic findings. In 1991 the crypt had to be expanded in the quadrum for reasons of capacity. The access to the crypt is in the southern cloister and is adorned with the Grupello cross, memorial plaques on the walls and an embedded brass plate.

After the Second Vatican Council

In the decrees and edicts of the Second Vatican Council (1962–1965), the liturgical orientation was adapted to the changed social conditions. In particular, the central determination to carry out the celebration versus populum (facing the people) made a fundamental redesign of the equipment of the Gothic choir hall necessary. By concentrating on a main altar, the Salvator Altar, which was moved to the choir hall in 1951, was moved with the Pala d'oro in the east yoke of the sixteen-sided and slightly raised in order to move closer to the community. In addition, the communion bench has been removed. The slightly raised cathedra was also moved to the old Carolingian annex. The other altars in the cathedral are rarely used for liturgical purposes or have been dismantled.

Chronology of the most recent restoration work

1984: Baptistery: The baroque chapel was completely renovated, the moisture-damaged floors rebuilt, the stucco and plastering of the walls repaired and renewed.

1985: Nikolaus- and Michaelskapelle: At the Gothic chapel numerous stone damages on the pillars had to be repaired.

1985–1986: Roof structure of the octagon: The roof structure from 1656 had twisted due to the prevailing west wind load and led to instability of the roof. New wind brackets were built and rotten and woodworm-infested roof beams were replaced.

1984–1991: Karls- und Hubertuskapelle: Insertion of a reinforced concrete ring over the vault of the Karls- and Hubertuskapelle in order to prevent the chapel from drifting further away from the hexagon. Beams from the roof structure had to be replaced and a new slate covering was made. Some of the heavily weathered consoles and canopies of the figures had to be replaced, and sensitive components such as the tracery of the windows and figures had to be fitted with pigeon protection systems.

1986: Wolf door : since 1986 sealed the Wölfstüre every two years with liquid beeswax.

1998: Anna and Matthias Chapel: conservation of the painting, new grouting;

1986–1987: Pirletsche anchoring: The anchoring of the pillars of the choir hall, installed in 1920, was provided with an asbestos coating in the 1960s, which had to be encapsulated with gypsum plaster.

1987: Octagonal roof: The lantern above the octagonal roof had to be replaced because the wooden supporting structure had become rotten and the stability was no longer given.

1987–1988: Cloisters: replacement of the final cornice

1987–1989: West tower: The iron brackets that connect the sandstone facing with the brickwork of the west tower were badly rusted due to moisture penetration. Some facing bricks fell and endangered the visitors of the cathedral. The iron brackets had to be checked and replaced with stainless steel brackets.

1988: Repair of storm damage in the area of the four-headed eagle in the choir hall;

1989: Renovation of the bridge between the west tower and the roof structure of the octagon;

1989–1990: Nikolauskapelle: washing off the post-war overpainting; Exposure of the wall paintings from the 15th and 19th centuries

1990–1991: Nikolauskapelle: replacement of rusting iron clips, which had led to stone flaking; Increase in stability by installing two friction anchors;

1991: Bishop's Crypt: The facing panels on the south wall had detached from the back wall and had to be connected to each other again;

1991–1993: Redesign of the Quadrum and the Fountain of Paradise

1991–1994: Hungarian Chapel: The baroque chapel was completely renovated. In addition to the reconstruction of the roof, the cornice, the attic and the baroque ring anchor, the interior fittings with the stucco decorations and the windows were also renewed;

1992: Karlskapelle: restoration and fixing of the loose layers of paint in the paintings in the chapel;

1993–2000: Choir hall: It had to be extensively renovated: Renewal of the ring anchors, the roof structure, replacement of weathered stones and pinnacles as well as the broken sundial. The restored figures in the outdoor area were given a pigeon defense, and some collapsed lead glass windows had to be renovated. The vault keystones were re-gilded and the Gothic paintings in the choir hall were made visible again.

1994–1998: Cloisters: renovation of the pillars and wall surfaces;

1995: Treasury: renovation and redesign of the exhibition;

1999–2000: Cloisters: Implementation of a new lighting concept;

2000–2004: renovation of the Carolingian masonry and the ring anchors;

2001–2002: Kleines Drachenloch : The figures were subjected to laser cleaning and the stability of the portal was restored.

2001–2002: Octagon: Renewal of the lead roof;

2002: Conservation of Ottonian painting;

2003–2004: renovation of the tower cross on the west tower;

2003–2004: New slate roofing for the spiers of the west tower;

2003–2006: Matthias and Anna Chapel: repair of water damage, renewal of the roof structure, slateing of the roofs with old German covering, conservation and restoration of the figures;

2010–2013: renovation of the mosaics: dome mosaic and mosaic in the corridors;

2013: Nikolauskapelle: renovation of the roof structure;

2014: Northern tower chapel: renovation of the roof structure (infestation by the pied rodent beetle ).

2015: Hexagon: renovation of the roof; new lead cladding

2016: Choir hall: replacement of the glass panes destroyed by vandalism

Natural stone and building material

Exterior masonry

Natural stone on the southern stair tower with Carolingian mortar

Carolingian masonry on the southern staircase

During the construction of the Palatinate Chapel, over 20 different natural stones were used, including in the outer facade of the octagon Grauwacken from different mining sites, Aachen bluestone and Herzogenrath sandstone . In addition to these regionally quarried stone, numerous large-format stones from older buildings were reused as so-called spoilage. Lorraine limestones make up a large part of the Carolingian masonry . The Roman inscription stones probably came from the Roman baths in the area around the Palatine Chapel. For the most part, the stones that were used in Carolingian times are still present on the hexagon. Only the stones of the upper ledge and most of the edges of the windows were replaced in later times by various sandstones as well as Weiberner tuff , Lorraine limestone and travertine . Trachyte from Drachenfels was already used as building material for the Palatinate Chapel in Carolingian times, and was used on a large scale 450 years later in the construction of Cologne Cathedral .

During the construction of the Carolingian palace buildings, large quantities of Roman bricks, which were processed into brick chippings, were used. The brick chippings were added to the mortar and caused the characteristic light red color of the Carolingian mortar. In addition, the added brick chippings resulted in a favorable setting behavior of the mortar.

According to the latest research results of the Rhenish Office for the Preservation of Monuments, the Aachen Cathedral was plastered in red at the time of Charlemagne . The durability of the mortar was increased by adding red brick chippings to the mortar. In addition, the red color - based on the valuable red porphyry of antiquity - was possibly an indication of the imperial importance of the building and clarified the claim to power.

During the restoration work, an attempt was made to use materials that were as similar as possible. In politically difficult times it was often not possible to use adequate building materials and substitute materials had to be used. In the course of the construction history of the cathedral, certain natural stones were no longer available due to the exhaustion of the deposits. After the Second World War, when trade relations with the Netherlands were interrupted, substitute material for the Valkenburg marl, which, due to its material properties, was preferably used in the vaulted caps, had to be used from the rubble of the neighboring Aachen houses. In more recent renovation work on the westwork, the greywackes from the Aachen region were replaced by reddish greywackes from Treis-Karden and gray-brown greywackes from Schuld (Ahr). The almost exhausted deposits of Herzogenrath sandstone were often substituted by Obernkirchener , Miltenberger or Rote Eifel sandstone after the Second World War .

Conservation measures to preserve the outer masonry / pigeon defense

Due to the different weathering resistance of the rocks used in the construction and the mechanical stresses that the structure experienced as a result of the bombing in World War II, some components were so badly weathered and weakened that they had to be replaced. In particular, moisture damage as a result of weathering and leaching has had a negative effect on the statics and functionality of the ring anchors. During the three decades of external renovation, the masonry was thoroughly checked, preserved, re- grouted and, if necessary, replaced.

The components made of limestone, marlstone and sandstone with carbonate binders turned out to be particularly susceptible to weathering . In addition to atmospheric influences, aggressive deposits of bird droppings on exposed components such as cornices , pinnacles , figures and capitals are responsible for the loss of richness of shape and even instability of the component. During the extensive renovation of the exterior, technical measures were taken to prevent pigeons from flying towards, sitting on and nesting . Recently, the pigeons have been kept away from the building by peregrine falcons , which have lived in the west tower for a number of years and are successfully breeding.

Marble cladding and floors

At the beginning of the 20th century, the stone-faced walls, arches and pillars in octagons and hexagons were clad with marble slabs. Particularly dark, green and white varieties of Swiss Cipollino were used. The walls of the hexagon and the imperial box are also clad with red Lahn marble , Belgian and Westphalian limestone and marble tablets donated by Pope Pius IX and characterized by gold inscriptions. Red Lahn marble and white Greek marble were used in the arcade of the Imperial Lodge. The round marble inlay on the arcade comes from the foundation of the marble slabs by Piux IX. The same natural stone was also used to design the floor mosaics. On the ground floor and in the vestibule, the floors of the corridors are laid out with gray-blue bluestone slabs.

The wall and floor panels were extensively renovated from 2007 to 2010. On the wall panels there were clear signs of micro karst - caused by high carbon dioxide concentrations in the room air (up to 2000 ppm ), caused by the breath of the visitors. During the renovation, automatic ventilation was therefore installed through the floor grids, which is intended to minimize the concentration of carbon dioxide. The floor had to be completely renovated because a substructure had to be put in for static security.

Earthquake damage and stability

Earthquake crack in the area of the foundation (Südjoch)

Seismometer of the earthquake station under Aachen Cathedral

The Aachen Cathedral is structurally and geologically in the area of the Lower Rhine Bay , which is one of the most seismically active regions in Germany. The sinking of the Lower Rhine Bay and the simultaneous uplift of the Eifel and the Rhenish Slate Mountains led to the development of a north-west-south-east trending fault system that is seismically active since the Upper Jura .

Archaeological findings and cracks in the area of the foundation and the structure show that earthquakes must be regarded as the cause of damage several times. Already during the construction phase, in the winter of 803, an earthquake shook the church building. More recent archaeoseismic considerations see a possible connection between this earthquake and the installation of the stabilizing ring anchor.

Archaeological investigations in recent years have been able to assign cracks to this earthquake in various places: In the north-west yoke, at the stairs to the entrance to the Nikolauskapelle, a Carolingian "repair" in the form of coarse cement can be found, while a long crack in the roof of the hexagon with lead and Carolingian cement was filled. The cracks caused by earthquakes run, partly traceable over several yokes, in a north-west-south-east direction, i.e. parallel to the faults in the Lower Rhine Bay.

Open fissures that do not run exclusively in the joints , as is often observed with settlement cracks , have also been observed in the area of the apse of the Roman cold water basin ( frigidarium ) in the southwest yoke. Comparing with other damage patterns, it is assumed that the earthquake reached a minimum magnitude of 5.5 during the Carolingian construction phase. Another damaging earthquake is documented for March 27, 829, in which lead tiles fell from the roof and the bell rang during the quake.

The severe earthquake series with the epicenter near Düren , which lasted from Christmas 1755 to March 1756, caused damage to the church. On March 25, 1757, the Earthquake Brotherhood was founded in St. Foillan. Every year an earthquake procession still takes place today, which ends with the erection of an earthquake candle in front of the miraculous image in the cathedral.

In view of the complex building structure, a structural dynamic assessment of the stability of the cathedral was carried out a few years ago, taking into account the assumed earthquake load. For this purpose, a complex simulation model (finite element model) was created of all components and the prestressed building anchors. In the evaluation, it was found that the stability is guaranteed in accordance with the loads to be set in DIN EN 1998-1 (formerly DIN 4149) and that the Pirlet anchors in particular have sufficiently high bearing reserves.

In order to monitor the seismicity on the western edge of the Lower Rhine Bay, an earthquake measuring station of the Geological Service North Rhine-Westphalia was set up on November 15, 2012 in the area of the foundations of the sixteenth corner near the entrance to the Anna Chapel.

Furnishing

The Aachen Cathedral is home to a collection of medieval art objects from the Carolingian, Ottonian and Staufer epochs that are exemplary in terms of their originality and their art historical and liturgical significance. Individual items of equipment were replaced or modernized over time, others were lost, especially during the French occupation of the Rhineland and in World War II. Some furnishings - especially the windows - had to be replaced in the post-war period.

Wolf

Bronze she-wolf

In the vestibule there is a cast bronze sculpture of a she-wolf or, according to another view, a she-bear, which is mostly dated to Roman late antiquity . The latest research dates her as part of a hunting party to the Hellenistic period, to the 3rd century BC. The left front leg was added in the 19th century. It is 85 cm high, 75 cm wide and has a depth of 95 cm. It is mentioned for the first time in 1414 in the report on Sigismund's coronation. Interpreted as a she-wolf, the work, which can be used as a model for the lion heads of the wolf door, once again makes Charles's claim to create a new Roman Empire very tangible: the unmistakable borrowing from the legend of Romulus and Remus as the mythical founding couple of Rome would ensure the continuity of the Carolingian empire to emphasize the old world empire and the legitimacy of its new establishment. The ruler who was crowned in the church swore the oath of the she-wolf when he moved out that from now on he would take care of the protection of the people.

Ancient columns

As reported in a letter from Alcuin in 798, Charlemagne had non-load-bearing, antique columns erected in the Hochmünster . The ancient Spolia were brought to Aachen mainly from Italy. Pope Hadrian I gave Karl permission in 786/87 to take the ancient building material from Rome and Ravenna. Since the beginning of the 19th century it has been discussed whether some of the ancient columns from other places in the Rhineland - including from St. Gereon in Cologne - were brought to Aachen. The gray granite columns are said to have been brought from Italy to Cologne under Empress Helena . In addition to the gray granite columns ( Granito bigio ) from Egypt , precious red porphyry columns ( Porphyry Imperial ) from Egypt, columns from Porfido verde antico from Laconia and light gray marble columns from Carrara were used. Under French administration, the ancient columns were removed from the autumn of 1794 to the summer of 1795 and transported to Paris. In 1815 only 25 columns, some of which were damaged, were returned. The valuable red porphyry columns remained in the Louvre in Paris . Eight of the missing columns were replaced from 1844 to 1847 from reddish Oderberg granite , a giant boulder from Sweden, the so-called Great Stone from Neuendorf ( Barnim ). The missing marble columns were replaced by coal-lime columns.

Of the ancient column capitals made of Carrara marble , 18 original workpieces are still preserved today, eight of which have remained in Paris. At the beginning of the 20th century, three damaged capitals were also kept in Aachen's Suermondt Museum . The original column bases made of Savonnières limestone ( Jura oolite ) were already partially badly damaged in the 19th century. Cathedral builder Felix Kreusch was able to identify three Carolingian bronze bases and three Corinthian capitals in the Louvre depot in 1968 . They are now open to the public on permanent loan in the cathedral's lapidarium .

Carolingian bronze fittings

The original furnishings of the Marienkirche included a large number of large bronzes that were made using the lost wax technique. In addition to smaller, but probably no longer available, items of equipment such as holy water kettles and smoke barrels, at least 16 (presumably 18) large bronze castings - eight gallery grilles and eight (presumably ten) door leaves and possibly also - were made in a metal casting workshop in Aachen's Pfalzhof (on today's Katschhof ) Cast bronze bases for the installation of the ancient columns. These works represent the largest surviving ensemble of large medieval bronze castings.

Wolf door

The bronze gate wings attached to the vestibule, which together have formed the main portal of the cathedral church since the 14th century as the so-called wolf door (cf. the Aachen Dombausage ), were cast in Aachen around 800. The bronze portal is 3.95 meters high, 2.75 meters wide and weighs 43 quintals. Until 1788, the portal was located between the westwork and the octagon in the hexagon, where today there is a modern portal made of glass panes framed with black steel, but based on this old location in a manner similar to the Carolingian bronze grids. Above this, on the lintel, the old inscription is emblazoned in golden letters: SANCTISSIMUM TEMPLUM VIRGINIS MARIAE DEVOTE MEMENTO INGREDI (“Remember that you enter Mary's shrine in reverence”). In 1924 the portal was restored. Each of the wings is divided into eight rectangles - a number that in Christianity as a reference to Sunday, the day of the resurrection of Jesus Christ , and thus - similar to the twelve - to perfection has a religious-symbolic meaning and is repeated again and again in the Measures of the Palatine Chapel can be found. These deep-lying fields are framed by decorative strips that were decorated with pearl and egg rods and pearl rods as well as tongue frieze ornaments.

The door pullers in the shape of lions' heads are surrounded by 24, i.e. two twelve or three times eight acanthus leaves - again a game of numbers that can be understood in depth theologically . The simple beauty of the design of the Wolfstür, based on the model of ancient Roman temple portals, already suggests Charlemagne's claim to have a Roma secunda , a new Rome, with the Palatine Chapel as its unmistakable representative building built in Aachen .

Remaining Carolingian bronze doors

In addition to the wolf door, the Carolingian furnishings (presumably) included four other bronze doors that were 2.40 meters high and 1.40 meters wide. The wings of the doors were divided into three fields, which were bordered by pearl rod and leaf frieze decorations. The bronze doors equipped with lion's head pullers were installed between the northern and southern annex buildings and the octagon. After the Carolingian annex buildings were demolished, they were integrated into the subsequent Gothic buildings. Today two of the smaller bronze doors still exist. You can find them today at the entrance from the octagon to the Hubertus Chapel and the Anna Chapel.

Carolingian bronze grilles

East grid (detail)

In the Hochmünster, the gallery openings are delimited from the interior by eight Carolingian bronze railing grilles . During excavations in 1911, molds were found in the former Pfalzhof, which confirm a Carolingian age. Archaeometallurgical investigations could prove that the bronze grilles and the bronze doors were made in a workshop at the Aachen court. The bronze grids were originally gilded and were arranged in pairs opposite one another. The original arrangement of the grilles is unknown. During the period of French rule, the bars were dismantled, but not transported from Aachen. All grids can be divided into a frame and several rectangular inner fields, which have a geometrically arranged inner field division. Two of the grids - today's west and east grids - were made using the hollow casting process. The west lattice (1.24 meters high; 4.27 meters wide) is divided into five fields, whereby the middle field, which is located directly in front of the royal throne, was designed as a "door field". The function of this door is controversial in the literature. The opposite, equally large east grid is built up by three fields, which are characterized by a coarser inner field structure. The other six grids were produced with a little less effort using the á jour technique. The 1.20 to 1.24 meters high and 4.23 to 4.30 meters wide grids are structured by four framed fields. By comparing the ornamentation of the framing and inner field structure with ivory and book illumination work of the court school, the production time of the bronze grating could be dated to the early 790s.

Royal throne

Karlsthron

In the western gallery yoke, on the upper floor opposite the choir, there is the Aachen royal throne, which has been the subject of recent studies in recent decades. The Carolingian throne, originally placed on precious red and green porphyry slabs, is a simple marble armchair, which probably consists of spoils from the Church of the Holy Sepulcher in Jerusalem .

The exact function of the throne in Carolingian times is still largely unknown. It is likely that the room on the back of the throne was used to hold relics, such as the lost cross relic or the Stephansbursa, and that a relic was combined with a reliquary.

The appearance and location of the throne have not changed over the centuries. Between 936 and 1531, 30 German kings ascended this throne after their anointing and coronation at the main altar.

Pine cones

Bronze pine cone

Opposite the she-wolf in the vestibule is a bronze pine cone with a base 91 cm high and 68 cm wide with 129 hollow, pierced scales . Its dating is controversial and ranges from the 3rd to the 10th century. Its clearly Ottonian square base with a side length of 59.5 cm is provided with four water-carrier sculptures still partially existing with an inscription in Leonine hexameter , which refers to the paradise rivers Euphrates and Tigris . It is possible that the pine cone was originally set up as a gargoyle for a fountain in Carolingian times in the atrium of the Palatine Chapel in front of the westwork. A deliberately chosen reminiscence of the fountain set up in the atrium of the old St. Peter's Basilica in Rome, which was crowned by a bronze pine cone almost four meters high, can be assumed. The pine tree with its many cones and the innumerable seeds contained therein stood in ancient times as a fertility symbol for health, strength and life - in Christian tradition for the tree of life . This would make the statement a political and ecclesiastical one: the empire in which Charles ruled with the blessing of the church should bring unlimited fertility. This spoil could also come from a Roman grave, as we know it from the Eigelstein in Cologne. The pine tree here stands for eternal life. According to the cathedral story, the pine cone symbolizes the soul stolen from the she-wolf. The ruler crowned in the church took the oath when he moved out on the pine cone to look after the welfare of the people from now on.

Ambo of Henry II.

Between the years 1002 and 1014, Heinrich II had an ambo built in the eastern gallery , which is one of the most magnificent art treasures of Ottonian art . The inscriptions on the upper and lower edge clearly indicate a foundation by Heinrich II, who is dubbed REX PIUS HEINRICUS . The pulpit consists of an oak wood substrate and is over with filigree , precious stones, precious with several vessels from the ancient times , Agatean chess pieces and four driven copper reliefs with evangelists representations as well as six ivory relief decorated of the sixth century AD. After the choir hall was completed in 1414, the ambo was moved from the octagon to its current location, the south side of the first choir bay. The wooden staircase was built in 1782. In the years 1816/17 and 1926 to 1937 the ambo was extensively restored. It is in liturgical use to this day for high celebrations .

Altars

Historical records show that there are over 50 altars in the church, almost all of which have been torn down or lost. In many cases, due to the lack of records, it is no longer possible to fully trace the locations at which the altars were erected. The altar of Mary, which was moved back to the east yoke of the sixteenth corner after the Second Vatican Council, is today the main altar of the church. The Nikasius Altar, like the other altars in the chapels, are only rarely used today on major religious holidays. The other altars were relocated, dismantled and the foundations were merged with other altars due to a lack of financial resources (mostly as early as the 16th and 17th centuries) as a result of renovations and political changes as well as liturgical reorganizations.

Altars of the central building

Mary Altar

Main altar with pala d'oro

In the eastern yoke of the gallery stands - again today - the main altar made of marble slabs at the time of Charlemagne, which, like the church as a whole, is consecrated to Mary, the Mother of God. It is assumed that the altar of the previous Pipinian chapel was located in the same place . In Carolingian times, the 1.20 meter high box altar stood in the east building outside the hexagon. The copper-clad wooden canteen of the altar, which is regarded as a reference to the Lateran Basilica in Rome, is unusual for the time . Karl's grandson, Karl the Bald , adopted the construction principle of the altar when building the collegiate church in Compiègne . After Otto III. 14 Aachen canons had appointed cardinal priests and cardinal deacons , the Marian altar was reserved for them as well as the Bishop of Liège and the Archbishop of Cologne until the end of the Ancien Régimes , in order to celebrate Holy Mass there. On June 6th, 1786 it was decided to demolish the Marian altar with the Gothic housing from the 15th century and to replace it with a baroque marble altar by the Dinant artist Dumont. On the instructions of Bishop Berdolet, the Marien Altar was moved to the choir polygon in 1803 after the Petrus Altar was torn down and in 1805 it was reworked as the Berdolet Altar , which is now known as it is today . The cafeteria was made of black limestone from Dinant with a marble tabernacle on top. The door of the tabernacle was decorated with a silver relief with scenes from the Lord's Supper from 1712. The altar was crowned by a wooden canopy supported by columns. In addition to the Aachen miraculous image, the altar was decorated with two standing angels. The altar was framed by a balustrade decorated with floating angels. The altar was consecrated on November 20, 1803.

The baroque altar was dismantled in 1875 and moved to the St. Johann church in Burtscheid . The Marien altar was replaced by a ciborium altar in the choir polygon. The neo-Gothic canopy above the altar was supported by four ancient columns made of green porphyry and granite, which were originally part of the octagon's furnishings and could no longer be built into the column grid in the central building after returning from France. The around 1000 by Otto III. The donated Pala d'oro served as an altarpiece. Four standing figures of the four evangelists were placed at the corners of the canopy, the eyelash contained a relief of the Annunciation.

During the Second World War, the altar was destroyed in a bomb attack and was not rebuilt in the neo-Gothic form. However, the pillars and the Annunciation relief could be salvaged damaged. As a replacement, a provisional choral altar was built in front of the Karlsschrein at this point immediately after the war . The main altar made of marble slabs from the Carolingian Marian altar was placed in the center of the choir. The canopy and the altar pieces were not rebuilt. The altar received as an antependium the Pala d'oro, which was framed in a simple frame. Candlesticks and crucifixes were not placed on the altar, but on the suppedaneum at ground level .

Pala d'oro

A golden altar panel, the Pala d'oro , which was probably built in Fulda around 1020 , now forms the antependium of the main altar. It consists of 17 individual panels with reliefs made of embossed gold sheet. In the middle, Christ is enthroned in the mandorla as Savior , accompanied by Mary and the Archangel Michael. Four round medallions with the evangelist symbols form the connection to the twelve relief panels with representations from the Passion of Jesus Christ . It begins with the entry into Jerusalem and ends with the meeting of the women with the risen One in front of the empty tomb on Easter morning ; the representations are read from left to right like in a book. Stylistically, the Pala d'oro is not worked in a uniform manner. The first five reliefs presumably come from a goldsmith trained in the Rhineland and are characterized by a striking narrative enthusiasm. Presumably they go to a foundation of Emperor Otto III. return. The rest, together with the middle group of Christ, Maria and Michael, are based on Byzantine and late Carolingian models and were only added under Otto's successor, Emperor Heinrich II , who also founded Heinrich II's ambo . In the late 15th century, the golden altar panel together with the twelve apostle reliefs from the Aachen Cathedral Treasury and altar panels with scenes from the life of the Virgin Mary probably formed a large altarpiece, which was only dismantled in 1794 when the French revolutionary troops approached Aachen. The Pala d'oro seems to be the forerunner of the many medieval and late medieval altars designed in carving or painting, which were intended to convey the history of salvation graphically to believers who were ignorant of reading and writing.

Petrus Altar

An altar consecrated to Peter was already part of the Carolingian Church of St. Mary. The altar consecrated to Peter was set up in the sanctuary, in the east yoke of the sixteenth corner, 7 meters west of the Marian altar. The place of installation has changed several times in the course of history. After the construction of the Gothic choir hall, it was placed in the choir polygon. In 1789 a marble altar was erected here, made by the Dinant artist Dumont. The material of the altar harmonized with the alternation of blue-black bluestone and white Carrara marble with the black and white marble floors of the baroque choir hall. The tabernacle was crowned by a domed canopy supported by six Corinthian columns made of white Carrara limestone. In 1803, at the behest of Bishop Berdolet, the Petrus altar was moved to the sacristy and replaced by the redesigned St. Mary's altar.

After the Second World War, the Petrus altar, which had the function of the choir altar in the choir hall, was removed after the Second Vatican Council in the early 1970s.

In 2013 it was decided to set up an altar again in the choir hall and to organize an artistic competition for it. The artistic competition was won by the Aachen architect Ulrich Hahn, who placed a simple altar made of Roman travertine with a base area of three by three Carolingian feet in front of the Karlsschrein. The Petrus altar was put up for the 600th anniversary of the construction of the choir hall in March 2014. During the sanctuary tour in 2014, the Aachen miraculous image and the small Aachen sanctuaries were placed on this altar.

Trinity Altar; All Saints Altar

According to written records, the Trinity altar was placed in the middle of the octagon from the 11th century. Whether the Holy Trinity altar was also part of the furnishings of the Carolingian church is controversial in recent research.

Nicasius Altar

Nicasius altar on the back of the throne

The small Nikasius altar at the back of the royal throne was consecrated on September 11, 1305. The 1.05 meter high altar is covered with a 1.41 meter long and 0.85 meter wide cafeteria plate supported by four posts. On the west side, the posts are connected by a deep marble slab. The sides are closed with two small wooden doors, the northern door being replaced in the 19th century. An altarpiece in the form of a triptych from the 15th century - the so-called Falkenstein Altar - adorned the Nikasius Altar until the 19th century .

Altars of the side chapels

Anna Altar

The Anna altar was consecrated in 1449. The simple cafeteria was paneled with colored wood carvings in the 19th century. A folding altar from the 15th century, rich in figures, was set up in the cafeteria. In the middle part of the 1.42 meter high altarpiece, the Bolzano mass is depicted with four church fathers. The corners of the middle section are occupied by Maria with the child, Anna selbdritt, Kosmas and Damianus. In the wings of the altar there are six apostles with their attributes. The base with an inscription was added later, and the colored design was also carried out later. The altarpiece is now in the cathedral treasury.

St. Stephen's Altar

St. Stephen's Altar in the Hungarian Chapel

The Stephan altar in the chapel in honor of Hungary on September 15, 1767 I. King Stephen consecrated. On a baroque, curly strip , which is marked with the Order of St. Stephans is decorated, a small altarpiece rises from structured, light marble with decorated side volutes . The tabernacle is closed by a gilded door with a pelican motif. The feeding pelican is shown here as the symbol of Christ's sacrificial death.

The altar was originally built for the baroque Hungarian chapel. After the Hungarian Chapel was used as a treasury at the beginning of the 20th century, the altar was moved to the baptistery. After the Second World War it was placed in the Hungarian Chapel again. In the 1990s it was extensively restored, missing parts added and a stable foundation installed.

Barbarossa chandelier

The Barbarossa chandelier , a wheel chandelier 4.16 meters in diameter, hangs from the dome of the octagon about four meters above the ground. The shape is based on the geometry of the building and thus differs from the wheel lights that were customary in the Middle Ages and were based on the number twelve. The work of art, which symbolizes the city wall of the Heavenly Jerusalem with its wreath and eight large and eight small tower-like lanterns , is a foundation of Emperor Frederick I and his wife Beatrix of Burgundy . The candlestick was dated to the period around 1165 to 1170. In addition to the ambo of Henry II, the Barbarossa chandelier is the only medieval piece of equipment in the cathedral that attests to an imperial foundation via a datable inscription. The iron chandelier with the fire-gilded copper towers is held by a support frame and a 26-meter-long and 350-kilogram chain. The candlestick frame is decorated with a two-row band of inscriptions in which the vision of Saint John of Saint Jerusalem and the donors are immortalized. In 1902 the chandelier was electrified and thus slightly changed. After the Second World War, the electrification was dismantled and the candlestick was fitted with wax candles. At the end of the 1980s, the Barbarossa chandelier was in a precarious condition, so that an extensive eight-year renovation was necessary. The DM 875,000 restoration was completed in October 1998. The 48 candles of the chandelier are lit today for high feasts and other special celebrations, including the Charles Festival and the Shrine Trips.

Karlsschrein

The Karlsschrein in the form of a single-nave basilica was commissioned by King Friedrich II and completed by Aachen goldsmiths in 1215 , after Friedrich I, grandfather of Friedrich II, in 1165, the year of the canonization of Charlemagne He had raised bones from his grave in the Aachen Palatine Chapel for solemn veneration. Frederick II personally carried out the transfer of the bones and the closing of the shrine on July 27, 1215, the first anniversary of the Battle of Bouvines , which brought the decision in the German controversy for the throne . Two days earlier he had been crowned Roman-German King again and for good in Aachen . The figural decoration, designed in relief, shows Christ, Charlemagne, Pope Leo III on the front of the shrine . , Archbishop Turpin of Reims and on the back face the patroness of the Aachener Marienstiftes, the Mother of God with the baby Jesus , as well as on the long sides instead of the usually expected representations of apostles and saints eight kings of the Holy Roman Empire as descendants of Charlemagne, of his Son Ludwig the Pious, beginning with Friedrich II. This impressively expresses the imperial claim to rule of the Staufer Empire. The Karlsschrein represents a masterpiece of the Maasland goldsmith's art.

Shrine of Mary

The Marian shrine, completed in 1239, was also made in Aachen and is one of the most important reliquary shrines, also in the tradition of Rhine-Maasland goldsmith work of the Middle Ages. Commissioned by the Aachen Abbey Chapter around 1220 , the Marian shrine, designed in the form of a single-nave basilica with a transept , represents a transitional model from Romanesque to Gothic goldsmithing . However, the shrine also houses a spiritual treasure in the form of the four great Aachen sanctuaries: These are According to tradition, the diapers and loincloth of Jesus , the dress of Mary and the decapitation cloth of John the Baptist , which has been shown to the faithful every seven years since the plague year 1349 as part of the Aachen Shrine Tour. The masterfully crafted shrine impresses above all with its excellent figural decoration and richness of detail: Depicted in the center of the front side is the enthroned Mother of God with the Christ child, opposite Charlemagne, on the right front side Christ, on the left Pope Leo III. On the sides of the nave there are statuettes of the twelve apostles , while the roof surfaces depict scenes from the life of Jesus.

Other equipment

Baptismal font

The cathedral's Romanesque baptismal font probably dates from the second half of the 12th century, although the base is more recent. It is made from Belgian bluestone from the Namur region . The embossed brass lid dates to the year 1696. The location of the baptismal font has changed several times. It is not known since when the Marienkirche had the right to baptize. It is assumed that the chapel of John the Baptist, built in 1215, was used as a baptistery. During excavations at the northwest corner of this chapel, fragments of a bluestone baptismal font were discovered in 1987/88. Since the collegiate chapter had the right to baptize all Aachen baptized people , the baptism ceremony was usually held in the Johanneskapelle. Historical records show that it was the custom in Aachen to carry out all baptisms between Holy Saturday and Pentecost Saturday in the Hochmünster in a baptismal font behind the throne in front of the Nicasius Altar, consecrated in 1305. At the instruction of Bishop Berdolet on April 7, 1803, all baptisms since then have only taken place in the Johanneskapelle; the baptismal font in the Hochmünster was moved to the Johannes chapel and completed. The tradition that all baptisms were carried out in the cathedral between Holy Saturday and Pentecost Saturday remained in a modified form until the 20th century after all parish churches in Aachen were granted baptism rights in 1811 and after the baptism rights were abolished in 1825. The baptisms on Holy Saturday and Pentecost Saturday continued to take place in the baptistery. However, it increasingly lost its function. In order to protect the valuable cultural assets, the Romanesque baptismal font was also moved to the Nikolauskapelle during the Second World War.

On April 13 and 14, 2014, the baptismal font was again moved from the Nikolauskapelle to the Karlskapelle. Today it is the only preserved baptismal font in the cathedral.

Madonna enthroned

The wooden sculpture of the enthroned Mother of God with Child from the last quarter of the 13th century came into the possession of Aachen Cathedral through a private donation in 1988. The lime wood figure originally comes from the Rhine-Maas or Upper Rhine-Seeschwaben area. After the figure was taken over, it was extensively refurbished and restored in 1988/89. Then it was placed in the Nikolauskapelle.

Falkenstein Altar

Falkenstein altar, opened

Probably the most valuable altarpiece in Aachen Cathedral is the so-called Falkenstein Altar from the early 15th century, which was probably made in an Aachen workshop. The altarpiece initially adorned the Nikasius altar and was placed on the north side altar of the choir in 1878 before being moved to the Michael's Chapel in 1932. Today it is in the cathedral treasury . On the outside of the three-winged altar, under painted stone canopies, you can find the Apostles Peter and Paul, the Archbishops of Trier Kuno II von Falkenstein and Werner von Falkenstein , recognizable by their coats of arms. The backs of the outer wings, which could be seen with the altar closed, show a representation of Charlemagne with a fantasy model of the Aachen Minster, as well as John the Baptist. Unfortunately, viewing is currently (2021) not possible because the altar in the treasury is fixed on a metal stand with brackets. The middle part of the altar is formed by the enthroned Mother of God with the child, around whom Saints Benedict, Matthias and Erasmus and Maria Ägyptiaca have gathered. The painting of the 1.40 meter high triptych is in its original condition, except for the gilding that was renewed in 1833.

Eagle desk

Eagle desk with bat

The eagle lectern from cast brass stands today in the choir room. The 1.87 meter high, Gothic desk was cast in Dinant in the Maasland around 1450 . A narrow, ascending structure in the form of two-part Gothic window tracery rises above a three-sided base . The structure bears an eagle with 92 cm long, spread wings, the symbol of the Evangelist John. The open gospel is kept through the symbolic eagle wings . In 1715 and 1722 the substructure of the desk was reworked and the eagle wings were shortened. The substructure was redesigned during the Napoleonic period. In 1804 the desk was to be melted down together with the three-king chandelier. The city of Aachen offered to buy the lectern, but Bishop Berdolet refused to sell it. The back of the desk has been adorned with a bat made in Stolberg since 1874 , as a symbol of evil and night. An inscription attached at this time refers to the restoration, which was donated by the Concordia singing choir in Aachen. The necessary static reinforcement of the desk was achieved by attaching the bat. Due to its construction, the desk can be moved in the cathedral.

In the literature it is assumed that the desk originally had the function of a singing desk for choral services. The lectern was converted several times into a preacher's lectern in the 18th and 19th centuries. In 1865 the three feet were supplemented by lying lions. The last restoration and static test of the desk took place in 2015 by an Aachen specialist company.

Miraculous image

Aachen image of grace, January 2020

The miraculous image of Aachen Cathedral is located on the southern east pillar in the octagon . The first figure of Mary with the child made of oak from the 14th century burned almost completely in 1656 during the great fire in Aachen . The heads of the Gothic figures, as well as the right hand of Mary, could be recovered, restored and integrated into the new statue of the Virgin Mary made of lime wood . The ashes of the burned figure were placed in a concealed cavity in the back . In terms of art history, the statue of Mary is compared with the Münstereifel image of grace (1320/1330), the image of grace from Bruchhausen (1330) and the Madonna from the Hack collection of the Schnütgen Museum in Cologne .

Since the 15th century at the latest, the statue of Mary has been furnished with valuable textile garments and pieces of jewelry. Today, over 40 vestments and over 100 pieces of jewelry for the figure of grace are kept in the cathedral treasury. The most valuable pieces of equipment that adorn the miraculous image during the journey to the sanctuary include the wedding crown of Margaret of York from 1468 and a robe embroidered with over 10,000 pearls and 72 diamonds , donated by Isabella Clara Eugenia of Spain in 1629. In the course of a year the vestments are changed a dozen times, often with reference to the liturgical colors .

In 1987 the statue was completely restored. The substance of the figure was endangered by the wood beetle infestation . Some parts were already missing, such as Mary's little finger and the fingertips of the two statues. In addition to the removal of older paintings, the little finger of the figure of the Virgin was also added again.

Radial Madonna

Radiant wreath Madonna (side facing the octagon)

The double-sided Radiant Madonna was created in 1524 by the Maastricht sculptor Jan van Steffeswert (1465–1531) and has been hanging in the apse of the Gothic choir for the veneration of Mary since then. The Radiant Madonna is one of the most important pieces in the Aachen Cathedral treasure today. The 286 × 223 centimeter radiant wreath sculpture made of oak is equipped on both sides with 172 centimeter statues of the Madonna in front of stylized clouds. The Madonna, wrapped in a wide robe, rests on a crescent moon on the side facing the octagon. She carries the baby Jesus on her left arm. The group of figures is framed by a crowd of angels. The figure of the Madonna on the back is less elaborate. She carries the child on her right arm. Angels and a halo, visible from both sides, also surround the sculptures here.

The Radiant Madonna has been reworked and painted over several times since the late Gothic period. A fundamental reworking took place in 1685, during which the oak wood panel was exchanged for poplar wood and individual figures were replaced and added. In the course of the baroque renovation of the church in 1782, the Madonna was painted over in white and gold. The colored painting was not restored until 1849 in the style of the then understanding of art. In the course of the static renovation of the choir hall after the First World War, the Radiant Madonna was removed and restored for some time. During the Second World War, the sculpture was relocated to the actual halo, the sculpture was fundamentally revised and statically secured in 1947 and most recently during the renovation of the Gothic choir hall in the 1990s.

Grupello crucifix

Grupello cross

The 2.55 meter high cross was made around 1725 by the Flemish sculptor Gabriel de Grupello . The cross comes from the possession of a French nobleman who left the cross to the church in Nemmenich while fleeing from Napoleonic troops . In 1805, Bishop Berdolet brought the cross with the life-size statue of Christ to Aachen, where it was placed in the cloister. On December 24, 1943, a 500 kg time fuse hit the cross, which could be discovered but not defused. The detonation destroyed the cloister, but the cross was not destroyed. Today the crucifix adorns the south wing of the cloister again.

Cathedra

Bishop Berdolet received the first cathedra in December 1803 from the possession of Cologne Cathedral . The baroque chair, probably made in France in the 18th century, was originally purchased for the Capella Clementina by Archbishop Clemens August on the occasion of the coronation of Emperor Charles VII in 1742 . The gilded throne chair was covered with a silver fabric made in Lyon around 1700, which was decorated with gold ornaments. Since the piece of furniture was no longer needed in Cologne, shortly after Marc-Antoine Berdolet was called to the office of the first bishop in Aachen. The baroque cathedra was stylistically integrated into the baroque interior of the church in the 19th century. After the re-establishment of the diocese of Cologne , all furnishings were returned to Cologne in 1825, only the bishop's chair remained in Aachen and was later exhibited in the Suermondt Museum . As part of the re-establishment of the Aachen diocese, it was placed again in the choir hall in 1929/30. In the past few decades, the chair has been restored several times, mainly damage that had been caused by use had to be repaired.

At the beginning of the 21st century it was decided to replace the opulent, opulent baroque bishop's chair. The new, simple cathedra was made in 2001 based on a design by Elmar von Reth. Usually today the cathedra stands on the north side of the choir hall; when the bishop presides over the liturgy , the cathedra is placed in front of the shrine of Mary.

Lecture cross and cantor's staff

The lecture cross of the cathedral is formed by a replica of a gothic Cologne lecture cross from St. Kolumba , which belongs to a series of neo-Gothic replicas from the 19th century, which today are among the treasures of the Cologne Cathedral and the treasure of the Mönchengladbach Minster St. Vitus belong. The 59 centimeter high and 50.5 centimeter wide cross is made of gold-plated silver. The cross with quatrains and medallions with the symbols of the evangelists, flower buds and free crab ornaments shows on the back a figure of Mary crowned by a canopy. In the 19th century, the lecture cross adorned the cantor's staff, which is now exhibited in the cathedral treasury and is now crowned with a Gothic eagle. The eagle, made around 1470, rests on a nodus that is about 50 years older than it is in the form of a hexagon , which is decorated with Gothic ornamental facades and reliefs of saints. The cantor's staff is seen as a gift from Charles the Bold to the coronation pen on the occasion of the sanctuary trip in 1473.

window

Southern ornamental window on the ground floor of the sixteenth corner with the Charles monogram, Hermann Schaper (1853–1911)

Little information is available about the glazing of the octagon in Carolingian times. Only the design of the drum window, which is divided into two by small columns, and the Carolingian design of the window frames are known from building findings. In the course of the Baroque renovation of the central building between 1720 and 1730, the windows were also redesigned, the columns were removed from the drum windows and subdivided with simple rectangular glazing. Already in 1867 the baroque-decorated window reveals were removed again. In the years 1900 to 1913 Hermann Schaper redesigned the eight drum windows, later the windows on the ground floor and Hochmünster as well as the Carolingian windows in the area of the imperial box and above the entrances to the Anna and Karl chapel. The ornamental windows were made of antique glass and bronze and were made by the Aktiengesellschaft für Bronzegießerei vorm. C. Swiftly cast in Mannheim . The glazing from 1902 was replaced again in 1914 because it was too translucent. During the Second World War, the Schaper windows in the south of the hexagon and a window next to the shopkeeper door were damaged or destroyed.

Today the cathedral is decorated with stained glass works from the 20th century. Numerous windows, especially the more than 1000 m² glass windows in the Gothic choir hall, were completely destroyed during the Second World War. Only a few windows are still preserved sketches today as of the so-called Carolingia window in the chapel of St. Nicholas, the 1921 from the workshop Oidtmann in Nazarene were exported and to the 17 victims of the student association Carolingia recalls. Shortly after the end of the war, a building committee, to which the cathedral chapter, the bishop of Aachen , representatives of the Technical University, the Karlsverein as well as the municipal art and state monument preservation belonged, commissioned certain artists and glass painting workshops to redesign the windows without a tendering process. The windows of the choir hall were created by Walter Benner from 1949 to 1951, among other things with motifs from the history of salvation and with historical figures. The stained glass was made by the Dr. H. Oidtmann in Linnich , some of the ornaments were carried out by the Hein Derix workshop in Kevelaer . On the south side of the choir there are two windows by Anton Wendling depicting circular ornaments. Other church windows in the choir were designed in 1979 as geometric compositions by Wilhelm Buschulte .

The chapels were fitted with new windows, especially in the 1950s. Wilhelm Geyer , Anton Wendling, Felix Kreusch , Ludwig Schaffrath , Ernst Jansen-Winkeln and Ewald Mataré were active as artists . The Sternenweg Charlemagne created Ludwig Schaffrath 1997 with three windows in the lobby.

The large west window behind the imperial box was redesigned from 1952 to 1954 by Ewald Mataré, supported by his student Joseph Beuys . The plates of the cast iron latticework, into which ground and roughly hewn pieces of glass were inserted, were cast free of charge in 1953 at the foundry institute of the RWTH Aachen .

The windows in detail

Choir hall window
Window in the gallery of the Nikolauskapelle: St. Raphael, St. Gabriel, St. Korona, St. Leopardus von Aachen; Ernst Jansen-Winkeln, 1958
Mataré window in the westwork
Aachen Cathedral ornament window, lower access, Hermann Schaper (1853–1911)
Gothic window of the Matthias Chapel
Window in the Michael and Nikolaus chapel

motive	number	Artist, year	Location	material
Charlemagne's Star Path	3	Ludwig Schaffrath, 1997	Window in the porch	Opal, opaque / lead / magnifying glasses
The secrets of the glorious, joyful and painful rosary	1	Wilhelm Geyer, 1955	Window in the Nikolauskapelle	Antique glass / lead / black solder
Scenes from the life of St. Lambert from Maastricht	1	Wilhelm Geyer, 1955	Window in the Nikolauskapelle	Antique glass / lead / black solder
Scenes from the life of St. Nicholas of Myra	2	Wilhelm Geyer, 1955	Window in the Nikolauskapelle	Antique glass / lead / black solder
the four great sanctuaries and angels	1	Wilhelm Geyer, 1955	Window in the Nikolauskapelle	Antique glass / lead / black solder
geometric ornament	2	Artist unknown, around 1955	Window in the Nikolauskapelle	Antique glass / lead
Circle ornament. Foundation of the cath. Carolingia student association, dedicated to its fallen and dead	1	Anton Wendling, 1951/52	East window in the Nikolauskapelle	Antique glass / lead
Ornamental composition, in the tracery relief with bishop's staff	1	Felix Kreusch, 1955	Window in the Carolingian arch of the All Saints Chapel (burial place of the Aachen bishops)	Antique glass / lead
Circle ornament.	2	Anton Wendling, 1951/52	Window in the choir hall on the north side	Antique glass / lead
Ornament and historical figures that have served as carriers of salvation history - holy homeland: Albertus Magnus, Thomas von Aquin, Hildegard von Bingen, Britta of Sweden, Nikolaus von Kues, Petrus Canisius	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Ornament and historical figures of the Holy Kingdom: Augustine of Hippo, King David, Alcuin, Charlemagne, Gertrud von Nivelles, Foillan	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Ornament and historical figures of sacred science: Servatius, Martin von Tours, Willibrord, Norbert von Xanten, Lambert von Maastricht, Hubert von Lüttich	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Prehistory of salvation and figures accompanying salvation history: Creation, Noah and Mose, Virgil and Isaiah, Catherine of Alexandria and Stephen, Franz Xaver and Patrick, Vincent of Paul and Peter, Matthew and Mark, angels	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Prehistory, revelation and consummation of salvation: creation of Eve, fall, proclamation, adoration, baptism of Jesus, wedding in Cana, Ecclesia and synagogue, second coming of Christ, glorification of God	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Prehistory of salvation and figures accompanying salvation history: Creation of the animals, Abraham and Melchizedek, Joachim and Anna, Joseph of Nazareth and Agnes of Rome, Athanasius and Benedict, Clement of Rome and John Chrysostom, Paul and Theresa of Avila, Luke and John, Angel	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Ornament and historical figures of the holy homeland: Bonifatius and Adalbert, Bernhard and Hermann Josef von Steinfeld, Thomas von Kempen and Dante	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Ornament and historical figures of the Holy Empire: Emperors Heinrich II. And Otto III., Kunigunde of Luxemburg and Adelheid, Ludwig IX and Edward the Confessor	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Ornament and historical figures in sacred art: Solomon and Einhard, Eligius and Bernward, Gregory the Great and Orlando di Lasso	1	Walther (Hugo) Benner, 1949–1951	Window in the choir hall	Antique glass / lead
Circle ornament	2	Anton Wendling, 1951/52	Window in the choir hall on the south side	Antique glass / lead
ornament	6th	Hermann Schaper, 1900–1913	Window on the ground floor of the hexagon	Antique glass / bronze
free composition	5	Ludwig Schaffrath, 1958	Window in the Matthias Chapel	Antique glass / lead
Diamond pattern with frame stripes	3	Workshop draft, without year	Window in the Anna chapel	Antique glass / lead
free composition	6th	Maria Katzgrau, 1993	Window in the Hungarian Chapel	Opaque glass / lead / gold foil
ornament	1	Ewald Mataré, 1952/53	Window in the chapel on the 1st floor.	Glass flux crystals / antique glass / chunks of glass / cast iron
stylized tree	1	Felix Kreusch, 1958	Window on the Michaelsempore of the Nikolauskapelle	Antique glass / lead / black solder
The Lord's Prayer in the rosary. In the tracery of the Holy Trinity	1	Felix Kreusch, 1958	Window on the Michaelsempore of the Nikolauskapelle	Antique glass / lead / black solder
the Church and the communion of saints	1	Felix Kreusch, 1959/60	Window on the Michaelsempore of the Nikolauskapelle	Antique glass / lead / black solder
St. Michael the soul guide	1	Felix Kreusch, 1959/60	Window on the Michaelsempore of the Nikolauskapelle	Antique glass / lead / black solder
Scene from the secret revelation of John: stream, tree of life, throne of God (Rev 22: 1-2)	1	Felix Kreusch, 1959/60	Window on the Michaelsempore of the Nikolauskapelle	Antique glass / lead / black solder
St. Raphael, St. Gabriel, St. Korona, St. Leopardus von Aachen	1	Ernst Jansen-Winkeln, 1958	Window on the gallery in the Nikolauskapelle	Antique glass / lead / black solder
ornament	3	Hermann Schaper, 1900–1913	Window on the upper floor of the sixteenth corner	Antique glass / bronze
ornament	1	Hermann Schaper, 1900–1913	Door skylight on the upper floor of the sixteenth corner	Antique glass / bronze
geometric composition	2	Wilhelm Buschulte, 1979	Window in the choir hall on the north side	Opaque glass / lead
ornament	3	Hermann Schaper, 1900–1913	Window on the upper floor of the sixteenth corner	Antique glass / bronze
ornament	1	Hermann Schaper, 1901	Window in the drum	Antique glass / bronze
Victory of light over darkness.	1	Monika Rütten, 1989	Window in the west tower	Antique glass / lead / black solder

Cathedral organs

Prospectus of the main organ in the upper north aisle

There are no written records of the first organs in the Marienkirche in Aachen. It is known that in 826 a priest from Venice built an organ for Louis the Pious . Between 1598 and 1599 a new organ was built by the Liège organ builder Bernhard Spiring. In 1628 a new organ was built on two red porphyry columns by Johann Schaden, which was equipped with an elaborate prospectus and 24 registers . In the course of the eruption of the valuable porphyry columns during the French occupation in 1795, the organ was also dismantled. A new instrument was placed between the choir and the octagon between 1807 and 1809. It originally came from the 1802 secularized imperial abbey of St. Maximin in Trier .

Due to the re-erection of the ancient columns, this organ also had to be dismantled for reasons of space. In the years 1845 to 1847 an organ with a neo-Gothic prospect was installed by the Linnich organ builder Wilhelm Korfmacher based on a design by Cologne cathedral builder Ernst Friedrich Zwirner . This instrument had 60 registers spread over three works . The organ's fan was installed on the upper floor of the Matthias Chapel. This instrument was redesigned by Johannes Klais in 1939 and expanded to 65 registers, which have now been divided into five works. The Klais organ has a main console with four manuals and a choir console with two manuals . The fan was connected directly to the organ cases so that the upper floor of the Matthias Chapel could be restored. The organ was set up in the eastern yokes of the Hochmünster.

Between 1991 and 1993 the organ system was restored by the Klais organ building company and expanded to a total of 89 registers. The swallow's nest organs were combined to form a new, independent instrument with 30 registers, which is now located on the Hochmünster, between the octagon and the choir hall. The Hochmünster organ, which has its own console, can be connected to the main organ if required.

In addition to the large organ, Aachen Cathedral also has a small organ, the so-called Zoboli organ with 16 registers from around 1850, which is set up in the sixteenth corner. In addition, since 2004 a new positive organ from the company Martin Scholz from Mönchengladbach has been used at cathedral concerts and church services in the Nikolauskapelle .

Bells

In the belfry of the tower, eight bells hang on wooden yokes in the wooden belfry. The bells were cast in 1656 and 1659, just after the city fire of 1656, by the Aachen bell caster Franz von Trier and his son Jakob. The changed disposition of the medieval bells has been retained to this day, although the Marienbell had to be renewed twice. Today's Marienglocke dates from 1958 and was cast by the bell foundry Petit and Gebr. Edelbrock .

Technical data and inscriptions of the bells

No.	Surname	Nominal ( HT - ¹ ⁄ ₁₆ )	Weight (kg)	Ø (mm)	inscription
1	Maria	g ⁰ +8	5800	2075	+ O MATER ALMA CHRISTI CARISSIMA — SUSCIPE PIA LAUDUM PRAECAMINA. ( O dearest and dearest Mother of Christ, listen to our pious hymns of praise ) PASTED 1535 + DESTROYED 1656 + RENEWED 1659 + RUBBISHED 1818 + REPASTED 1881 + SMASHED 1942 + AGAIN RENEWED 1958
2	Carolus	h ⁰ +7	2900	1628	HONOR ET CULTUS, QUEMREGALIS ECCLESIA AQUEN: SANCTISSIMO IMPERATORI PATRONO AC FUNDATORI SUO CAROLO VIRTUTE, MERITO, IMPERIO VERE MAGNO DEBET ET DEFERT MIHI NOMEN DEDIT ANNO 1 6 5 9 ( Praise and admiration for the founder and the royal imperial church of Aachen , great in virtue, merit and domination. That is why I was given his name ).
3	John Evangelista	d ¹ +8	1400	1367	NASCENTES INTER SOCIAS MECUM ORDINE PONOR TERTIA, SED CUM QUINTA TONO APPELLATA JOHANNES ( My name is Johannes and, among the companions cast with me, I take third place, but fifth in the scale )
4th	John Baptista	e ¹ +7	1225	1217	JOHANNES BAPTISTA ORA PRO NOBIS. IN LUDO HAUD IN AGRO FLORENS NOS CURIA FECIT SED LONGO SUB AGRO FUDIT NOS IPSE DECANO. A O. 1 6 5 6 ( John the Baptist, pray for us. Blossoming in the game, not in the field, the curia created us, but in a wide field we were poured for the dean. )
5	Leopardus	f sharp ¹ +3	850	1078	SANCTE LEOPARDE ORA PRO NOBIS ANNO 1 6 5 9 ( Saint Leopard, pray for us. In 1659. )
6th	Stephen	g ¹ +8	715	1027	SANCTE STEPHANE ORA PRO NOBIS ANNO 1 6 5 9 ( St. Stephen, pray for us. In 1659. )
7th	Peter	a ¹ +1	425	894	SANCTE PETRE ORA PRO NOBIS ANNO 1 6 5 9 ( St. Peter, pray for us. In 1659. )
8th	Simeon	h ¹ +8	290	793	SANCTE SIMEON JUSTE ET TIMORATE ORA PRO NOBIS ( Holy Simeon, just and God-fearing, pray for us. )

The bell motif forms the Latin hymn Veni creator spiritus , German “Come, Holy Spirit, who creates life” or “Come, creator spirit, come to us” (cf. God's praise nos. 341, 342 and 351).

Notation of the bell motif

${\ clef "petrucci-g" \ override Staff.Stem # 'transparent = ## t \ override Staff.TimeSignature #' stencil = ## f \ set Score.timing = ## f \ override Voice.NoteHead # 'style = # 'baroque \ set suggestAccidentals = ## f e'4 fis'4 e'4 (d'4) e'4 fis'4 (e'4) a'4 b'4 a'4} \ addlyrics {Ve - - ni cre - a - tor spi - ri - tus}$

Figurine jewelry

Anna Chapel

Anna Chapel: Statues of the Holy Kinship

Karls- und Hubertuskapelle: Hildegard

In the course of the restoration work on the cathedral in Prussian times, the sculptor Gottfried Götting was commissioned to create a neo-Gothic figure program for the outside facade of the church. The plans for furnishing the Anna, Matthias, Karl and Hubertus chapels as well as the choir hall with 94 neo-Gothic figures were drawn up by Robert Ferdinand Cremer on behalf of the Karlsverein . Gottfried Götting was able to prevail in the competition against the favored Cologne sculptors due to the more favorable price calculation.

As a first cycle, 16 figures from the Matthias Chapel were made in Udelfanger Sandstein from 1865 to 1867 . The 1.88 meter to 2.00 meter high figures replaced the remains of the original building ornament, of which only six figures have survived in the middle of the 19th century, but which were so badly weathered that only one figure could be recognized as the Apostle Bartholomew . Contrary to the ideas of the collegiate canon Franz Bock, who thematically preferred a representation of the kings crowned in Aachen, the proposal of the Karlsverein - the apostle cycle, supplemented by four evangelists - was implemented. The funds for the figures in the Matthias Chapel were provided by the Marian Brotherhood .

No remains of the former figures in the Anna Chapel were preserved in the 19th century. It was decided to implement the proposal submitted by Johannes Theodor Laurent . The financial means for making the figures were raised through a lottery organized by influential Aachen women on the occasion of the sanctuary tour in 1867. The income of 7,657.20 thalers exceeded the estimated costs of 6,340 thalers. The 23 figures representing the Holy Kinship were made in Savonnières limestone from 1869 to 1871 . The execution was delayed by delivery problems during the Franco-German War . The originally planned central figure of Our Lady was removed from the console after a veto by the archbishop's general vicariate and replaced by an Anna-selbdritt figure. The figure of the Mother of God was later included in the figure program of the Karls- und Hubertuskapelle. The lower window arches of the Anna Chapel are decorated by 38 cm tall angels who carry smoke barrels, musical instruments and tools of the fine arts .

In February 1870. the figure program (was Carolingian and Bishop cycle ) approved for the decoration of the Karls and Hubertuskapelle from Cologne Generalvikariat after much controversy about the list of Hildegard had discussed -Figur as the third wife of Charlemagne not canonized was . The eight-part cycle is based on panel painting in Cologne from the second half of the 15th century. The coat of arms angel attached above the chapel door (1874) was the most expensive single work of Götting at the Aachen Cathedral with 400 thalers. Financing the stone masonry turned out to be difficult, as the figures had to be realized through sporadic individual donations, as the influential Cologne politician August Reichensperger spoke out against renewed financing through a cathedral construction lottery. On the central console above the door, the figures of Our Lady - and flanking the patrons of the chapels Charlemagne and St. Hubertus of Liège were placed. The 1.90 meter tall figures of Hildegard and St. Arnulf were placed on the left buttress, and the figures of St. Lambertus and St. Floribertus were placed on the right buttress . The installation of the figures at the Karls- and Hubertuskapelle was realized in the years 1871 to 1874. In 1987 the heavily weathered figures were removed, cleaned, preserved and put up again in February 2014.

In 1870 Götting also submitted the offer for the 29 choir statues made of Savonnières limestone. The financing of the choir statues also caused great difficulties, so that the figure cycle was to be discontinued at the end of 1874. Thanks to individual donations from wealthy Aachen citizens, the figurative decoration was finally realized in full in 1877. The figure program of the choir statues thematically shows the court of Mary. Of the figures made at the end of the 19th century, the figures of John and Luke on the choir pillar 4a were destroyed in the bombing on the night of December 23rd to 24th, 1943. The figures have been carefully preserved for several decades.

Earlier equipment

In the past, the church's equipment included a large number of items of equipment that are no longer in the church for various reasons - relocation, loss or destruction in times of war, donations, church political decisions.

Epiphany chandelier

The six-meter-high three- king chandelier was used as a funeral chandelier on Otto III's grave in 1513 . erected in the Gothic choir. The three-sided brass chandelier was characterized by a triangular, high canopy structure, flanked at the corners by pinnacle-like turrets. The sides are decorated with Gothic struts and tracery. Figures were arranged on three levels: Mary with the Child (below), the Three Kings (middle) and Charlemagne in the upper canopy. Bishop Berdolet had the candlestick dismantled and melted down in 1803 in order to use the proceeds to improve the financial resources of the church.

Marble pulpit of Kaiser Wilhelm II.

On the occasion of the completion of the reconstruction of the interior of the church building in the spring of 1913, Kaiser Wilhelm II decided to donate an item of furniture to the Aachen Cathedral - like earlier German emperors. He commissioned the conservator of the Rhineland, Paul Clemen , to design a monumental pulpit made of Italian marble . The geometrically simple design of the pulpit without a sound cover was manufactured by the Köstner company in Berlin. The polished Pavanazzo marble was decorated with golden edges. A straight, nine-step staircase led to the pulpit. The figurative jewelry - two lions and an eagle that carries the desk - was made by Professor Rauch in Berlin. The marble pulpit was inaugurated on July 21, 1913 and placed in the south yoke of the lower gallery. After the art-historical reassessment, it was removed from the hexagon in 1982 and stored.

Cathedral treasure

Bust of Charlemagne , placed in the cathedral for the Charles Festival

The Aachen Cathedral Treasure is one of the most important church treasures in the world, it was added to the UNESCO World Heritage List in 1978 together with the cathedral . The cathedral treasure comprises an abundance of treasures from various epochs from late antiquity to modern times. Part of the cathedral treasure is presented today in the cathedral treasury, which was redesigned in 1995. From the Middle Ages until 1861, the cathedral treasure was kept in a closet in the Matthias Chapel. After the Karlskapelle had largely lost its function as a prayer room for Francophone spa guests in 1861, a treasury was set up here. Due to structural deficiencies, the valuable works of art were moved to the Hungarian Chapel in 1881, where they were kept in wall cupboards made for this purpose until 1929. After the open arcades of the Armseelenkapelle were closed, the cathedral treasure was initially stored there in a makeshift manner. The room was extended to the north by 1931 and provided with an alarm system. After the war damage had been repaired, the treasury was reopened in 1946 and rebuilt again in 1958.

The focus of the approximately 100 exhibits in today's exhibition is the presentation of works of art created in the vicinity of Charlemagne. In addition to valuable goldsmith's work, ivory carvings, manuscripts, especially works of Carolingian book illumination , the treasury also has an extensive textile treasure and a collection of valuable chasubles . In addition to the art objects exhibited in the treasury, the Aachen Cathedral Treasure also includes the cathedral's art-historically significant furnishings, such as the royal throne, the Barbarossa chandelier, the reliquary, the Pala d'oro or the ambo of Henry II.

Some of the exhibits are still regularly in liturgical use on particularly solemn occasions: for example the Ottonian Lothar cross , which is used in pontifical offices and used exclusively for episcopal ordinations , also Ottonian golden book covers, or the coat of arms of Richard of Cornwall , which is used to store the cloth relics during the journey to the sanctuary will. The Karl bust of 1349 is regularly each year on January end held Karl festival and the award of the International Charlemagne Prize , which each year on the Solemnity of the Ascension of Christ erected in the cathedral occurs.

Historical, religious and cultural importance

Coronation place

Coronation of Charles V

At the express instruction of Charlemagne, his son Ludwig the Pious crowned himself king in the Palatine Chapel. From the coronation of King Otto I in 936 until 1531 almost all German kings were crowned in the Aachen Palatine Chapel. The anointing and coronation took place at the main altar, and the later enthronement took place on the throne of Charlemagne, which can still be viewed today. All German rulers - regardless of whether they were crowned in Aachen or not - took their places on the Karlsthron during this period.

On the occasion of Charles V's coronation on October 24, 1520 in Aachen, Albrecht Dürer wrote in the diary of his trip to the Netherlands: "There I saw all the wonderful delicacies, likewise no one who lives with us has seen any delicious thing."

Burial place

Tomb of Charlemagne

Charlemagne died on January 28, 814 in Aachen. According to historical records of his biographer Einhard, he was buried in the Palatinate Church on the same day. The exact place of burial is unknown. The location of the grave was the subject of archaeological excavations for several centuries. In addition to a burial in the east choir, in the east or south-east or south-west yoke of the sixteenth corner, the grave was always assumed to be on the threshold of the church or in the atrium in front of it. In addition, the grave was also assumed to be in the center of the octagon, under the Romanesque Aegidius chapel or in the anteroom of the northern annex building. This hypothesis of a burial in the vestibule could not be confirmed by archaeological excavations in 2010. In the scientific literature, a burial in the Proserpine sarcophagus from the 3rd century in an arched arcosol grave in the southeast yoke of the sixteenth corner is favored . This sarcophagus was part of a funerary memorial for Charlemagne, which was demolished in 1788 by decision of the monastery chapter. The grave of Charlemagne was in the year 1000 by Otto III. opened and closed again. In 1165 Charlemagne was canonized in the presence of Frederick I and his bones were first transferred to a temporary shrine. In 1215, on the occasion of his coronation , Emperor Friedrich II is said to have hammered the last nail into the Charlemagne Shrine , in which the remains of Charlemagne are still to this day.

Grave of Otto III.

Former grave slab of Otto III.

After his death at the age of 21 the body of Otto III. transferred from Paterno Castle to Aachen and buried on Easter Sunday 1002 in St. Mary's Church east of the Petrus Altar in the Ostjoch. After the completion of the Gothic choir hall, the grave was relocated. In 1804 the remains of Otto III. taken. They were lost when they were brought to France. The 3.10 meter long and 1.80 meter wide grave slab donated by Elector Friedrich von Sachsen in 1512, which covered a low monument, was reworked on the instructions of Bishop Berdolet in 1803 and given the name Carolo Magno . Today the plate is on the outside of the south wall of the choir. The red sandstone sarcophagus Otto III is covered by a marble slab made in 1834, 2.2 meters long and 1.05 meters wide. today in the middle of the choir hall.

Adoration of saints and relics, sanctuary tour

Already in the Middle Ages the devotion's turn to the veneration of the saints and the appreciation of the biblical sanctuaries increased. Valuable sarcophagi and valuable reliquary containers were made and, according to their importance, always placed above the canteen of the altars. Presumably the shrine with the bones of Charlemagne stood in the center of the octagon below the Barbarossa chandelier, while the Maria shrine with the most important shrines was positioned behind the main altar in the eastern annex of the Carolingian building. The presentation of the important relics also determined the iconographic concept of the church and displaced other functions - such as the liturgical assembly of the community - into surrounding buildings and new side chapels.

Shrine Tour 2014

Since 1349 the Aachen Pilgrimage in the seven-year cycle takes place, a pilgrimage , in which the four kept in Marienschrein cloth relics are venerated. According to tradition, the late antique fabrics are said to be the diapers of Jesus, the loincloth of Jesus, the dress of Mary and the decapitation cloth of John the Baptist . The relics are taken from the Marian shrine and shown to visitors and pilgrims for ten days. To improve the presentation of the sanctuaries, the construction of the Gothic choir hall began at the beginning of the 15th century, as the Carolingian building was no longer sufficient for the numerous pilgrims to Aachen. At the same time, a wreath of chapels was built around the octagon to provide the pilgrims with a place for devotions and prayers.

The last Aachen Shrine Tour took place in June 2014 and had the motto "Faith in motion: move to the land that I will show you." anniversary of the death of Emperor Charlemagne.

Parish and Collegiate Church

Already at the time Pippin the Younger St. Mary's was the parish church of manorial Aachen. As a parish and fiscal church, baptism was donated here, the deceased were buried and the church had the right to raise tithes . Charlemagne founded a monastery here, whose clerics had the task of organizing the celebration of the liturgy . Initially, the community consisted of twelve canons headed by an abbot. There are no written sources about the foundation of the monastery in Carolingian times and about any endowments . In the course of the founding of the monastery, a monastery was built, presumably in the area of today's Claustrum, the church of Charlemagne was equipped with a treasure trove of relics, liturgical books and equipment were purchased and finally the church was given immunity and protection of the kings . The burial place of the collegiate canons is believed to be in the area of today's Michael's Chapel.

The different liturgical functions of the church are also expressed in the spatial arrangement in Carolingian times. The sanctuary (chancel) comprised the east building with the main altar, the Marien altar and the east yoke of the sixteen-sided in the lower and upper floors with the Petrus altar (on the ground floor) and the Salvator (Savior) altar in the upper gallery. Until the construction of the Gothic choir hall, the room of the octagon formed the choir , in which the choir stalls and, at times, the All Saints Altar were housed. The entire Hochmünster - with the exception of the Ostjoch - was reserved for lay people in the parish. The redeemer altar, which functioned as the parish altar, was later referred to as the cross altar. To the west of the throne was the baptismal font of the church, where baptism was administered until 1803.

Episcopal Church

Aachen was not a bishopric until the 19th century. The area of today's diocese of Aachen belonged predominantly to the dioceses of Maastricht / Liège and Cologne . It was only Napoleon who made Aachen the bishopric of the bishopric of Aachen, which he founded in 1802 for the new departments of Roer and Rhin et Moselle , possibly out of veneration for Charlemagne. The first bishop was Marc-Antoine Berdolet from 1802 until his death in 1809 . His successor remained unclear; In 1821 the diocese was abolished by the Papal Bull De salute animarum and incorporated into the Archdiocese of Cologne.

On August 13, 1930, the diocese of Aachen was founded by Pope Pius XI. newly built. After being elected by the cathedral chapter in December 1930, Bishop Joseph Vogt took office in the spring of 1931. The Aachen Cathedral has been the diocese's cathedral church ever since.

After the retirement of Bishop Heinrich Mussinghoff in December 2015, after a nine-month vacancy, the Trier auxiliary bishop Helmut Der was appointed by Pope Francis as the new bishop of Aachen in September 2016 .

World Heritage

World heritage plaque on Aachen Cathedral

As the first German cultural monument, Aachen Cathedral was included in the list of UNESCO World Heritage Sites in 1978. UNESCO declared that the cathedral was of universal importance in terms of architecture and art history and was regarded as one of the great models of religious architecture. Four criteria for inclusion on the World Heritage List were considered to be met:

Criterion (i): With its columns made of Greek and Italian marble, the bronze doors, the largest mosaic in a dome (now destroyed), the Palatine Chapel in Aachen has perceived an extraordinary artistic creation since its inception. It was the first arched structure north of the Alps since ancient times.
Criterion (ii): Heavily influenced by the Classical and Byzantine tradition during the Carolingian Renaissance and the beginning of the Middle Ages, the chapel was one of the prototypes of religious architecture and inspired copies or imitations.
Criterion (iv): The Palatine Chapel of Charlemagne is an excellent and striking example from the family of the "Aulian chapels", which are based on a central building with stands.
Criterion (vi): The construction of the emperor's chapel in Aachen symbolizes the unification of the West and its spiritual and political revival under the aegis of Charlemagne. In 814 Charlemagne was buried here and throughout the Middle Ages until 1531 the German emperors continued to be crowned in Aachen. The collection of the treasury of the cathedral is of inestimable archaeological, aesthetic and historical value.

Architectural significance and succession

The cathedral was already admired in the Middle Ages and its architecture was cited for various reasons, for example in the Essen Minster , the Old Tower in Mettlach , the Nikolauskapelle on the Valkhof in Nijmegen , in Sankt Maria im Kapitol in Cologne and in the Alsatian abbey church Ottmarsheim .

Institutions, organizations and associations

Cathedral chapter

The service in the Marienkirche at the time of Charlemagne was held by the canons of the affiliated Marienstift. Otto I granted the canons in 966 the right to appoint their own provost. In 997, Pope Gregory V renewed the privileges of the monastery and appointed seven cardinal priests and seven cardinal deacons to serve at the Marian altar. The function of the Marientift as a coronation pen increased the property of the monastery and the number of canon beneficiaries and monastery offices. In Aachen there were two royal vicars and three dignity offices : provost , dean and cantor . Even after the construction of the neighboring church of St. Foillan , the cathedral with the baptistery retained its sole baptismal rights. With the elevation to the bishopric in 1801, the coronation monastery was converted into a cathedral chapter . After the dissolution of the Aachen diocese, a collegiate chapter was set up in 1825. The Prussian Concordat of 1929 established the number of cathedral capitulars and vicars. The Aachen cathedral chapter has consisted since 1930 of the cathedral provost as chairman and speaker, six resident cathedral capitulars, four non-resident cathedral capitulars and six cathedral vicars. In addition, another six retired cathedral capitulars currently belong to the chapter.

The cathedral chapter deals with different areas of responsibility, such as the divine service , the dispensing of the sacraments and the liturgy at the cathedral, the preservation of the cathedral, the care in the management of the diocese and the election of a new bishop.

Cathedral archive

In the Aachen Cathedral Archive, all existing documents on Aachen Cathedral are stored, made usable and preserved. This includes documents that relate to the "large medieval liturgical manuscript collection", as well as documents and files that still come from the Aachen Marienstift up to the time of secularization .

Dombauhütte

The Dombauhütte takes care of the building maintenance of the Aachen Cathedral through conservation and restoration measures, the documentation during and after renovation measures, the structural supervision of all annex and ancillary buildings as well as the maintenance and repair of the facilities of the entire cathedral area. The Dombauhütte coordinates the renovation measures in coordination with the Cathedral Construction Commission, the representatives of the federal, state, city, RWTH Aachen , the monument authorities and the Karlsverein-Dombauverein. The cathedral builder Helmut Maintz has been in charge of the cathedral construction works since 2000 .

Cathedral music

Cathedral concert in April 2016

Regular concerts take place in Aachen Cathedral. The October music performed in October recalls the liberation of Aachen in 1944 and is performed by the Aachen Cathedral Choir and the Aachen Symphony Orchestra under the direction of the Cathedral Music Director . Further concerts will take place with the Aachen Cathedral Orchestra, the Aachen Cathedral Brass and the Aachen Cathedral vocal ensemble. During the Passion , the Cathedral Choir and the Concert Royal Cologne perform the St. Matthew and St. John Passions by Johann Sebastian Bach on historical instruments every year . Organ concerts with cathedral organist Michael Hoppe take place several times a year (e.g. during the Charles Festival ). The concert format Dom im Licht premiered in October 2015 : A cathedral concert was broadcast live via video walls to the Katschhof , where seven high- intensity projectors projected a video mapping onto the facade of the cathedral in sync with the music . The concert had to be stopped after about 45 minutes because instead of the expected 3,500 visitors, about 6,000 visitors had filled the Katschhof to the last standing room and there was an acute danger of mass panic .

Cathedral singing school and cathedral choir

The Aachen Cathedral Choir can look back on more than 1200 years of history. As the oldest German boys' choir, its founding goes back to the Choralschola at the court school of Emperor Charles, the Schola Palatina . Over the centuries, the chanting of the cathedral choir and its predecessors has made up the essential element of the musical design of the liturgy at the Marienkirche in Aachen and thus, in addition to the Sunday services , also contributed to solemn occasions such as royal coronations , Charles Feasts and trips to the shrine. In 1707 the choir house on the Katschhof was built after a donation from Johann Leonhard Blanche, in which the students could live and take part in music lessons. During the French rule, the choir ran into economic difficulties, was closed and only reopened on November 3, 1826. In 1881 the church music school St. Gregorius-Haus was opened, which has taken over the vocal training of church musicians. After the destruction of the building at Katschhof in World War II, the Cathedral Singing School was reopened in 1960 as a primary school, which has offered early musical education since 2001 under the sponsorship of the cathedral chapter with a focus on church music.

Since 2000 the cathedral choir has been directed by cathedral music director Berthold Botzet . Marco Fühner has been the cathedral choirmaster and director of the girls' choir at Aachen Cathedral since July 2013.

Hymns

The oldest German Christmas carol has come down to us from Aachen and, according to the latest research, dates back to the 11th century. In today's version it welcomes us, Herre Christ , in the Old High German Syt willekomen, heire Kirst . This song was sung on Christmas night by the Aachen aldermen from the choir stalls of the cathedral after the gospel had been read out. Another church hymn from Aachen, the Urbs Aquensis from the 12th century, has undoubtedly represented the Aachen jubilee song from the Middle Ages to the present day. The hymn was written for festive masses in the cathedral. In the midst of the praise stand the city itself, Charlemagne as anointed emperor and holy, great ruler as well as Mary, who leads the people to the gates of heaven and to the light of eternity .

Karlsverein Cathedral Building Association

In 1847 some citizens of Aachen founded the “Karlsverein for the Restoration of Aachen Minster”, today “Karlsverein-Dombauverein”, with the task of “the Aachen Cathedral, the Marienkirche of Emperor Charlemagne, in its spiritual, religious and historical aspects To make dimension the concern of many people and institutions ”. With the founding of the association, the institutional prerequisites were created to raise donations. In the period that followed, the association took over most of the building management and accounting tasks for the Prussian ministries in relation to the restoration work on the cathedral from the Stiftskapitel.

To this day, the Karlsverein is an important institution for the maintenance and repair of Aachen Cathedral. According to the statutes of the association, all donations and allowances have been and will be used for the structural maintenance of the Aachen Cathedral.

Munster Altar Association

In 1872 the Münster-Altar-Verein was founded on the initiative of the canon of the monastery, Franz Bock . In particular, ways were sought to replace the baroque main altar, which after the renovation work in the 19th century no longer matched the overall ensemble in terms of style. When it was founded, the association had a financial basis of 10,000 thalers , which was topped up by further donations. The association accompanied the redesign of the altars in the choir hall and the Kreuzkapelle (Nikolauskapelle).

European Foundation Aachen Cathedral

In 1995, the cathedral chapter established the "European Aachen Cathedral Foundation " with the aim of intensifying efforts to preserve Aachen Cathedral and to finance it through donations from all over Europe. More than 100 personalities from all over Europe belong to the board of trustees who have set themselves the task of helping to preserve this unique building, to represent the European dimension of the cathedral church and to promote identification with a common European culture. The Foundation's Honorary Board of Trustees includes kings, presidents, ministers and ambassadors as well as cardinals and bishops.

Trivia

The Aachen Cathedral has already been depicted several times on philatelic and numismatic products, and the Aachen Cathedral has also been depicted on banknotes.

On the lapel of large pennies, Friedrich I. “Barbarossa” (1152–1190), Friedrich II. (1215–1250), Richard von Cornwall (1257–1271), Rudolf von Habsburg (1273–1291), Adolf von Nassau (1292–1298), Albrecht I of Austria (1298–1308) and Heinrich VII. Of Luxembourg (1303–1313) the Aachen Marienmünster.

On January 13, 2000, the sales point for collector coins of the Federal Republic of Germany issued a 10 DM commemorative coin made of .925 sterling silver with the motif " Emperor Charlemagne - Aachen Cathedral - 1200 Years ".

On October 1, 2012, the VfS issued a 100 euro commemorative coin made of .999 fine gold with the motif " UNESCO World Heritage - Aachen Cathedral ". To date (October 27, 2018) it is the most expensive German commemorative coin when it was issued (€ 738.70 excluding shipping costs), as the gold price was so high in autumn 2012. Erich Ott's motif prevailed against Bodo Broschot , Reinhard Eiber and Victor Huster .

On November 1, 1930 (single stamp ) and September 12, 1930 (block), the Deutsche Reichspost issued an 8 + 4 Reichspfennig stamp in the series “ Nothilfe Bauwerke ” with the motif “Cathedral and City Hall of Aachen”.

On April 24, 1972, the French Republic issued a 50 centimes stamp in the “ CEPT ” series with the motif of Aachen Cathedral.

On October 19, 1973, the Deutsche Bundespost issued a 40 Pfennig stamp in the series " Tourism " with the motif Aachen. Both the Aachen Cathedral and the Aachen City Hall were shown.

On July 20, 1923, the city and district of Aachen issued an emergency money banknote with a face value of 1,000,000 marks. The Aachen Cathedral served as the "Burning Cathedral" as a motif.

literature

Franz Bock : The sanctuary at Aachen. Brief information and illustration of all "large and small relics" of the former coronation minster, as well as the most excellent art treasures there . Schwann, Cologne / Neuss 1867 ( digitized version ).
Karl Faymonville : The cathedral to Aachen (= The art monuments of the Rhine province . Volume 10, 1). Schwann, Düsseldorf 1916 (reprint 1981, ISBN 3-590-32109-1 ).
Ludwig Falkenstein : Charlemagne and the emergence of the Aachen Marienstift (= sources and research from the field of history. NF, 3). Schöningh, Paderborn 1981, ISBN 3-506-73253-6 ( digitized version ).
Hans Belting : The Aachen Minster in the 19th Century. On the first crisis of the monument concept. In: Wallraf-Richartz-Jahrbuch. Volume 45, 1984, pp. 257-290.
Walter Maas: The Aachen Cathedral . Greven, Cologne 1984, ISBN 3-7743-0211-1 .
Ernst Günther Grimme (text), Michael Jeiter (recordings): The Aachen Cathedral (= great architectural monuments. Volume 374). Deutscher Kunstverlag, Munich a. 1986.
Leo Hugot : The Aachen Cathedral. A guide. Aachen 1986, ISBN 3-920284-23-2 .
Helga Giersiepen: The inscriptions of the Aachen cathedral (= The German inscriptions. Volume 31). Reichert, Wiesbaden 1992, ISBN 3-88226-511-6 . ( Complete, modified digitized version in Deutsche Insschriften Online ).
Ernst Günther Grimme: The Aachen Cathedral. Architecture and equipment. Einhard-Verlag, Aachen 1994, ISBN 3-920284-87-9 .
Georg Minkenberg : Guide through the cathedral to Aachen. Aachen 1995, ISBN 3-9804836-0-6 .
Günther Binding : German royal palaces from Charlemagne to Frederick II (765–1240) . Scientific Book Society, Darmstadt 1996, ISBN 3-89678-016-6 .
Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . B. Kühlen, Mönchengladbach 1999, ISBN 3-87448-203-0 .
Ernst Günther Grimme: The Aachen Cathedral . Einhard-Verlag, Aachen 2000, ISBN 3-930701-75-8 .
Dieter PJ Wynands: The Aachen Cathedral. A tour (= island library . 1205). Insel-Verlag, Frankfurt am Main, Leipzig 2000, ISBN 3-458-19205-0 .
Walter Maas, Pit Siebigs: The Aachen Cathedral. Greven, Cologne 2001, ISBN 3-7743-0325-8 .
Ernst Günther Grimme: The golden cathedral of the Ottonians . Einhard-Verlag, Aachen 2001, ISBN 3-930701-90-1 .
Gisbert Knopp, Ulrike Heckner: The Gothic choir hall of Aachen Cathedral. Building history - building research - renovation (= workbooks of the Rhenish preservation of monuments. Volume 58). Imhof, Petersberg 2002, ISBN 3-935590-38-5 .
Ruth Schlotterhose: The choir windows in Aachen Cathedral . Einhard-Verlag, Aachen 2004, ISBN 3-936342-28-8 .
Hans-Karl Siebigs : The central building of the cathedral in Aachen: the unexplored and the uncertain . Wernersche Verlagsgesellschaft, Worms 2004, ISBN 3-88462-195-5 .
Peter Offergeld: Marienstift. In: Manfred Groten , Georg Mölich, Gisela Muschiol, Joachim Oepen (eds.): Nordrheinisches Klosterbuch. Lexicon of the monasteries and monasteries until 1815. Part 1: Aachen to Düren (= studies on Cologne church history. Volume 37, 1). Franz Schmitt, Siegburg 2009, ISBN 978-3-87710-453-8 , pp. 121-139 ( text example ).
Hans Jürgen Roth: An image of the sky. Aachen Cathedral - liturgy, bible, art. Thouet, Aachen 2011.
Helmut Maintz : Renovation of mosaics, marble cladding and floors in the central building of Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 14). Thouet, Aachen 2012.
Walter Maas, Pit Siebigs: The Aachen Cathedral. Schnell & Steiner, Regensburg 2012, ISBN 978-3-7954-2445-9 .
Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - Structural Engineering - Restoration (= workbook of the Rhenish Monument Preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, ISBN 978-3-88462-325-1 .
Harald Müller , Clemens MM Bayer, Max Kerner (eds.): The Aachener Marienkirche. Aspects of their archeology and early history. Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 .
Jan Pieper , Bruno Schindler: Throne and Altar, Octagon and Hexagon. The iconography of the rule of the Carolingian Palatine Chapel in Aachen. Scriptorium Carolinum, Volume 5, Geymüller Verlag für Architektur, Aachen - Berlin 2017, ISBN 978-3-943164-38-1 .
Georg Minkenberg: The Aachen Cathedral. 2nd edition, Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-6891-0 .
Herta Lepie , Georg Minkenberg: The Aachen Cathedral Treasure . 2nd edition, Schnell & Steiner, Regensburg 2015, ISBN 978-3-7954-2320-9

Web links

Commons : Aachen Cathedral - Album with pictures, videos and audio files

The Aachen Cathedral. Church and World Heritage Site. Aachen Cathedral Chapter, accessed on March 15, 2016 .

Karlsverein-Dombauverein Aachen

Christiane Schillig: The Aachen Cathedral. Against the ravages of time. In: Monuments Online. German Foundation for Monument Protection , October 2005, accessed on March 15, 2016 .

The Aachen Cathedral as a 3D model in SketchUp's 3D warehouse

Aachen Cathedral Full bells on the festive days - big bells first. In: WDR Glockenpforte . Westdeutscher Rundfunk Köln , accessed on March 15, 2016 .

Mysterious places - the secret of Aachen Cathedral. In: WDR television . Westdeutscher Rundfunk Köln , accessed on March 15, 2016 .

Aachen Cathedral Pictures sekulada.com, accessed on June 18, 2016

Remarks

↑ The function of the church as a palatine chapel is occasionally questioned, see Clemens MM Bayer: On the problem of the palatinate chapel. In: Series of publications by the Karlsverein-Dombauverein . Volume 13 (2011): Dombaumeistertagung in Aachen 2009 . P. 45: “Research has long assumed that the word“ chapel ”( capella ) in the period around 800 denoted the ruler's private oratorios. [...] In contrast, the Marienkirche in Aachen was not a palatine chapel. It is indeed called capella in the sources , but it means something completely different from what we understand by chapel today: With the word capella , these texts denote a non-episcopal church where pastoral care is exercised. In the sources of the 9th century, St. Mary's (like other churches) is assigned a whole series of different expressions: It is called church ( ecclesia ), basilica ( basilica ), temple ( templum ), house of prayer ( oratorium ), Münster ( monasterium ) or chapel ( capella ) - but never palatine chapel ( capella palatii ). ” Harald Müller summarizes in Harald Müller, Judith Ley, Frank Pohle and Andreas Schaub: Pfalz and vicus Aachen in Carolingian times - Chapter 7.7. Functions of the Marienkirche according to written sources. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765–1137 (= Publications of the Aachen City Archives . Volume 14) (= Supplement to the journal of the Aachener Geschichtsverein. Volume 8). Aachen 2013, ISBN 978-3-87519-252-0 , pp. 193–209 summarizes the functions of the Marienkirche in Carolingian times: “The disposition seems to be independent, probably also as a collegiate church founded by Karl. Its role as a parish church for the manor and the tax authorities of Aachen is also indisputable. [...] If one wants to assume a threefold function of the house of God - parish church, collegiate church, ruler's oratorio - then the last task is the least compelling and the least permanent. "

↑ Burghart Schmidt, Ulrike Heckner and others: The woods from the Carolingian octagon of the Aachen Palatine Chapel - possibilities of dendrochronological dating. In: Yearbook of the Rhenish Preservation of Monuments. 40/41 (2009), pp. 220-235; Ulrike Heckner: The construction time of the Aachen Palatine Chapel. In: The preservation of monuments. 67 (2009), pp. 195-196.

↑ Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 356 .

^ Georg Minkenberg: The cathedral at Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 4.6 .

^ Georg Minkenberg: The cathedral at Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 6.8 .

↑ ^a ^b ^c ^d ^e Georg Minkenberg: The cathedral at Aachen . In: Quick Art Guide . 2nd Edition. No. 2775 . Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 18-24 .

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . tape 3 : 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 22 .

^ Ernst Günther Grimme : The cathedral at Aachen. Aachen 2000, p. 11.

↑ Andreas Schaub: The Roman settlement in the cathedral area before the construction of the thermal baths. In: Harald Müller, Clemens MM Bayer, Max Kerner (Eds.): The Aachener Marienkirche. Aspects of their archeology and early history . Regensburg 2014, p. 19 ff.

↑ Andreas Schaub: The Roman settlement in the cathedral area before the construction of the thermal baths . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 26 f .

↑ Raban von Haehling , Andreas Schaub (ed.): Römisches Aachen - Archaeological-historical aspects of Aachen and the Euregio. Regensburg 2013, p. 165 ff.

↑ Tanja Kohlberger-Schaub: The "Münsterthermen". In: Harald Müller, Clemens MM Bayer, Max Kerner (eds.): The Aachener Marienkirche. Aspects of their archeology and early history . Regensburg 2014, p. 36 f.

^ Joseph Klinkenberg : Early Christian from Aachen and the surrounding area. In: Journal of the Aachen History Association. Volume 37 (1915), pp. 337-350.

^ ^A ^b Clemens MM Bayer: The grave of Charlemagne . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 65 .

↑ Andreas Schaub, Klaus Scherberich , Karl Leo Noethlichs , Raban von Haehling: Kelten, Römer, Merowinger (1st century BC to 8th century AD). In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 1: The Natural Basics. From prehistory to the Carolingians. Aachen 2011, pp. 230–440, here p. 348.

↑ Andreas Schaub, Klaus Scherberich, Karl Leo Noethlichs, Raban von Haehling: Kelten, Römer, Merowinger (1st century BC to 8th century AD). In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 1: The Natural Basics. From prehistory to the Carolingians. Aachen 2011, pp. 230–440, here p. 417.

↑ Sebastian Ristow : Everything Karl? To the problem of the construction phase sequence of the Pfalzanlage Aachen . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-092-5 , p. 230 .

↑ ^a ^b Andreas Schaub, Klaus Scherberich, Karl Leo Noethlichs, Raban von Haehling: Kelten, Römer, Merowinger (1st century BC to 8th century AD). In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 1: The Natural Basics. From prehistory to the Carolingians. Aachen 2011, pp. 230–440, here p. 413 f.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 12.

↑ Andreas Schaub, Klaus Scherberich, Karl Leo Noethlichs, Raban von Haehling: Kelten, Römer, Merowinger (1st century BC to 8th century AD). In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 1: The Natural Basics. From prehistory to the Carolingians. Aachen 2011, pp. 230–440, here p. 414.

↑ Sebastian Ristow: Everything Karl? To the problem of the construction phase sequence of the Pfalzanlage Aachen . In: Frank Pohle (Ed.): Charlemagne . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-092-5 , p. 232 .

↑ Andreas Schaub, Klaus Scherberich, Karl Leo Noethlichs, Raban von Haehling: Kelten, Römer, Merowinger (1st century BC to 8th century AD). In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 1: The Natural Basics. From prehistory to the Carolingians. Aachen 2011, pp. 230–440, here p. 416.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137 . Aachen 2013, pp. 1–409, here pp. 54 ff.

^ Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . Mönchengladbach 1999, p. 21.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 14.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137 . Aachen 2013, pp. 1–409, here p. 64.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Why Aachen? In: Thomas R. Kraus (Ed.): Aachen - From the beginnings to the present . 1st edition. tape 2 : Carolingians - Ottonen - Salier. 765-1137 . Aachen 2013, ISBN 978-3-87519-252-0 , pp. 60-65 .

↑ On the conception of Aachen as the center of the Reich, in particular on the outstanding position of the Palatinate Chapel: chap. Aachen. In: Michael Imhof , Christoph Winterer : Charlemagne. Life and impact, art and architecture. Imhof, Petersberg 2013, ISBN 978-3-932526-61-9 , pp. 124-132.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137 . Aachen 2013, pp. 1–409, here pp. 145 ff.

↑ ^a ^b Ulrike Heckner: The Temple of Salomon in Aachen - dating and geometric design of the Carolingian Palatine Chapel. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - Structural Engineering - Restoration (= workbook of the Rhenish Monument Preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, p. 57 f .; Ernst Günther Grimme: The Aachen Cathedral. Aachen 2000, p. 14 f.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 17 f.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 24 ff.

^ ^A ^b Klaus Reicherter, Andreas Schaub, Tomas Fernandez-Steeger, Tanja Kohlgruber Schaub, C. Grützner: Historical earthquake damage in Aachen Cathedral: Aquisgrani terraw motus factus est . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 13 : Cathedral master builder conference in Aachen 2009 . Thouet, Aachen 2011, p. 109-124 .

↑ Helmut Maintz: Foundation timbers under pillar 7 of the octagon . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 14 : Renovation of mosaics, marble cladding and floors in the central building of Aachen Cathedral . Thouet, Aachen 2012, p. 116 f .

↑ Ulrike Heckner, Christoph Schaab: Recognize and maintain - inventory and construction-accompanying studies on the Carolingian building of the Aachen Cathedral . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 13 : Cathedral master builder conference in Aachen 2009 . Thouet, Aachen 2011, p. 77 f .

^ Helmut Maintz: Renovation of the Carolingian building . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 7 . Thouet, Aachen 2007, p. 24-52 .

↑ Andreas Fasel: The riddle about the construction of the Aachen cathedral . World, June 16, 2012.

↑ Ulrike Heckner: The perfect geometry of Charlemagne's palatine chapel. (PDF; 376 kB) (No longer available online.) Andrea Pufke , June 8, 2012, archived from the original on November 12, 2013 ; accessed on January 13, 2016 .

↑ Ulrike Heckner: The Temple of Salomon in Aachen - dating and geometric design of the Carolingian Palatine Chapel . In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen - material, construction technology, restoration . Workbook of the Rhenish Preservation of Monuments, No. 78 . Wernersche Verlagsgesellschaft, p. 43-58 .

↑ ^a ^b Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 358 .

^ Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . Mönchengladbach 1999, p. 41.

↑ Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 357 .

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 106 .

^ Arwed Arnulf: Architecture and descriptions of art from antiquity to the 16th century . German art publisher edition. Berlin, Munich 2004, ISBN 978-3-422-06410-2 , pp. 113 f .

↑ Günther Binding: From the triple value of the column in the early and high Middle Ages. Hirzel, Stuttgart 2003, ISBN 3-7776-1229-4 , p. 10 ( PDF , 163 kB); Marianne Gechter: Early sources on the building history of St. Gereon in Cologne. In: Cologne yearbook for prehistory and early history. Volume 23, 1990, pp. 531-562, here pp. 557-559.

^ The art monuments of the city of Aachen - the minster . In: Paul Clemen (Hrsg.): The art monuments of the Rhine province on behalf of the provincial association . tape 10 , no. I.1 . Schwann, Düsseldorf 1916, p. 77 .

↑ Peter Dahmen: A fresco in the Aachen Cathedral - a little noticed fragment . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 17 . Thouet, Aachen 2015, p. 66-71 .

↑ Securing and preserving the mosaics, marble cladding and floor coverings in the octagon, hexagon and westwork. ( Memento from March 11, 2014 in the Internet Archive ) Report by cathedral builder Helmut Maintz on the renovation measures carried out in 2006.

^ Stephan Beissel : The Palatine Chapel of Charlemagne at Aachen and its mosaics. In: Voices from Maria Laach. Vol. 60 (1901), pp. 136-153, 284-297.

↑ Ludwig Falkenstein: Charlemagne and the emergence of the Aachen Marienstift . Paderborn 1981, ISBN 3-506-73253-6 , p. 64.

^ Leo Hugot: The west building of the Aachen cathedral. In: Aachener Kunstblätter. 24/25 (1962/63), pp. 108-126.

^ Clemens MM Bayer: The grave of Charlemagne . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 230 .

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . tape 3 : 100 years of monument preservation at Aachen Cathedral . Wilhelm Metz, Aachen 1955, p. 74 f .

^ Joseph Buchkremer: The atrium of the Carolingian Palatine Chapel in Aachen. In: Journal of the Aachen History Association. 20 (1898), pp. 247-264; Felix Kreusch : About the Palatine Chapel and atrium at the time of Charlemagne (= Aachen Cathedral. Contributions to the history of construction . Volume 4). Metz, Aachen 1958.

^ ^A ^b Sebastian Ristow: Archeology of the Aachen Cathedral between Late Antique and Ottonian times (400–1000) . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 73 .

^ Frank Pohle: 1000 years of archeology in search of the grave of Charlemagne . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 88 .

^ Frank Pohle: 1000 years of archeology in search of the grave of Charlemagne . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 88 f .

^ Clemens MM Bayer: St. Marien as a collegiate church . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 204 f .

↑ Christoph Keller: Archaeological research in Aachen. Catalog of the sites in the city center and in Burtscheid (= Rhenish excavations. Volume 55). Mainz 2004, p. 53 f.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times - Chapter 7.7. Functions of the Marienkirche according to written sources. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137. Aachen 2013, pp. 93–272, here p. 120 ff.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times - Chapter 7.7. Functions of the Marienkirche according to written sources. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137. Aachen 2013, pp. 93–272, here p. 132 f.

↑ Harald Müller, Judith Ley, Frank Pohle, Andreas Schaub: Pfalz and vicus Aachen in Carolingian times - Chapter 7.7. Functions of the Marienkirche according to written sources. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137. Aachen 2013, pp. 93–272, here p. 133 and p. 143.

↑ Sebastian Ristow: Archeology of the Aachen Cathedral between Late Antique and Ottonian times (400–1000) . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 72 f .

^ Heinrich Kelleter: Pre-Carolingian buildings in Aachen. In: Correspondence sheet of the West German magazine. 14 (1895), p. 7 ff.

↑ Bengt Thordemann: The Carolingian palace at Aachen. In: Acta Archaeologica. 35 (1964), p. 177.

^ Franz-Reiner Erkens : Aachen history between Carolingians and Staufers. In: Thomas R. Kraus (Ed.): Aachen - from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137. Aachen 2013, pp. 471–583, here p. 537.

^ Franz-Reiner Erkens: Aachen history between Carolingians and Staufers. In: Thomas R. Kraus (Ed.): Aachen - from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765-1137. Aachen 2013, pp. 471–583, here p. 540.

^ Karl Faymonville: The Minster of Aachen. The art monuments of the city of Aachen (= The art monuments of the Rhine Province . Volume 10, 1). Schwann, Düsseldorf 1916, p. 61.

↑ Georg Minkenberg: Aachen shines through what your hand can do in art. In: Pala d'Oro - Ottonian wall painting (= series of publications of the Karlsverein-Dombauverein. Volume 5). Thouet, Aachen 2002, pp. 41-48.

↑ Carl Rhoen: The former picturesque and plastic wall decoration in the Carolingian part of the Aachen Minster. In: From Aachen's prehistory. Volume 8, 1895, pp. 118-123.

↑ Helga Giersiepen: The inscriptions of the Aachen Cathedral (= The German inscriptions. Volume 31). Reichert, Wiesbaden 1992, ISBN 3-88226-511-6 , No. 14 (online) .

^ Karl Faymonville: The Minster of Aachen (= The Art Monuments of the Rhine Province. Volume 10, 1). Schwann, Düsseldorf 1916, pp. 159-161.

↑ Georg Minkenberg: Aachen shines through what your hand can do in art. In: Pala d'Oro - Ottonian wall painting (= series of publications of the Karlsverein-Dombauverein. Volume 5). Thouet, Aachen 2002, p. 42 f.

^ ^A ^b Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 62.

↑ Ulrike Heckner, Christoph Schaab: The drum heightening of the octagon (around 1170). In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - construction technology - restoration (= workbook of the Rhenish monument preservation 78). Worms 2012, pp. 152-153.

↑ Ulrike Heckner, Christoph Schaab: The Romanesque white version. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - construction technology - restoration (= workbook of the Rhenish monument preservation. Volume 78). Wernersche Verlagsgesellschaft, Worms 2012, pp. 155–156.

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . III: 100 years of monument preservation at Aachen Cathedral. Aachen 1955, p. 56 ff .

^ Karl Faymonville: The art monuments of the city of Aachen . In: The art monuments of the Rhine Province . tape 10 , I. The cathedral in Aachen. L. Schwann, Düsseldorf 1916, p. 88 .

^ Karl Faymonville: The art monuments of the city of Aachen . In: The art monuments of the Rhine Province . tape 10 , I. The cathedral in Aachen. L. Schwann, Düsseldorf 1916, p. 89 .

^ ^A ^b Karl Faymonville: The art monuments of the city of Aachen . In: The art monuments of the Rhine Province . tape 10 , I. The cathedral in Aachen. L. Schwann, Düsseldorf 1916, p. 90 .

↑ Gisbert Knopp , Ulrike Heckner (ed.): The Gothic choir hall of the Aachen Cathedral and its equipment. Building history, building research, renovation (= workbooks of the Rheinische Denkmalpflege. Volume 58) Michael Imhof Verlag , Petersberg 2002, ISBN 3-935590-38-5 .

↑ Hans-Karl Siebigs: The choir hall of the Aachen cathedral. Building history and renovation measures. Thouet, Aachen 1997, ISBN 3-930594-24-2 .

↑ Ulrike Heckner: The drafts of Magister Enghelbertus for the Gothic window tracery in the choir hall of the Aachen cathedral . In: INSITU. Zeitschrift für Architekturgeschichte 2 (2/2009), pp. 193-204.

^ ^A ^b Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 64.

↑ Episcopal General Vicariate Aachen (ed.): Handbook of the Diocese of Aachen . 3. Edition. Aachen 1994, ISBN 3-87448-172-7 , p. 50 .

^ Matthias Untermann : The choir hall of the Aachen cathedral. A “glass shrine” as a place of worshiping relics? In: Andreas Gormans, Alexander Markschies : Venite et videte. Art-historical dimensions of the Aachen sanctuary tour (= Aachen contributions to pastoral and educational issues. Volume 27). Contribution to a scientific conference of the Institute for Art History of the RWTH Aachen in cooperation with the Episcopal Academy of the Diocese of Aachen. Aachen 2012, pp. 123–159.

↑ Kathrin Steinhauer: "A Gothic Jewel" - The Sainte-Chapelle in Paris . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 16 : "It shone like a precious gemstone, like crystal clear jasper" - 600 years of Aachen choir hall . Thouet, Aachen 2014, p. 15-21 .

↑ Ulrike Heckner: Planning around 1400. The Gothic incised drawings in the Aachen Cathedral Choir . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 13 : Cathedral master builder conference in Aachen 2009 . Thouet, Aachen 2011, p. 65-71 .

^ Regina Urbanek, Vera Henkelmann: Salve Regina. To the Radiant Madonna of Jan van Steffeswert in the Aachen Cathedral. Aachen Cathedral Chapter, Aachen 1998.

^ Georg Minkenberg: The cathedral at Aachen . Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 34 .

↑ Sigrun Heinen, Vera Krüsel, Georg Maul, Uta Riecke, Susanne Salomon: The restoration of the wall paintings in the Aachen choir hall . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 232 .

↑ Vera Krüsel: The wall paintings around 1484 in the choir of the Aachen Cathedral . Düsseldorf 1990, p. 63 .

↑ Hans-Karl Siebigs: The Choir Hall between 1414 and 1815 . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 2 : The choir hall of Aachen Cathedral - building history and renovation measures . Thouet, Aachen 1997, p. 24 .

↑ Sigrun Heinen, Vera Krüsel, Georg Maul, Uta Riecke, Susanne Salomon: The restoration of the wall paintings in the Aachen choir hall . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 229-255 .

↑ Sigrun Heinen: The colored version of the apostles cycle, the keystones and vault ribs . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 273 f .

↑ Ulrike Heckner: The Gothic choir hall of the Aachen Cathedral: Results of the building research . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 151-154 .

↑ Ulrike Heckner: The Gothic choir hall of the Aachen Cathedral: Results of the building research . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 162-164 .

↑ Helmut Maintz: The renovation of the choir hall: Report of the cathedral master builder on the measures 1994-2000 . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 68-80 .

↑ Christoph Schaab: The work on the stone substance of the choir hall . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 199-204 .

↑ Petrus Rick, Bernhard Roth: The sundial at the Aachen cathedral . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 213-216 .

↑ Karl Franz Meyer: Aachensche stories. Aachen 1871, pp. 25-26.

↑ For the Hungary Chapel, see Hans-Karl Siebigs: The Hungarian Chapel at Aachen Cathedral. In: ders., Structural renovation work on the Hungarian Chapel of Aachen Cathedral in the years 1991–1994 (= series of publications by the Karlsverein-Dombauverein. Volume 3). Aachen 2000.

↑ For the Matthias Chapel, see Helmut Maintz: Sanierung Anna- und Matthias Chapel (= series of publications of the Karlsverein-Dombauverein. Volume 9). Aachen 2007.

^ Helmut Maintz: On the history of the construction and restoration of the Matthias Chapel . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein - Dombauvereins . tape 9 : Renovation of Anna and Matthias Chapel . Thouet, Aachen 2007, p. 8-12 .

^ Helmut Maintz: Renovation of the Anna and Matthias Chapel (= series of publications by the Karlsverein-Dombauverein. Volume 9). Aachen 2007, pp. 12-16.

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 134 .

^ Helmut Maintz: On the history of the construction and restoration of the Anna chapel . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 9 : Renovation of Anna and Matthias Chapel . Thouet, Aachen 2007, p. 12-16 .

↑ Helmut Maintz: Iron ring anchor Anna chapel . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein - Dombauvereins . tape 9 : Renovation of Anna and Matthias Chapel . Thouet, Aachen 2007, p. 85-90 .

^ Ernst Günther Grimme: The cathedral at Aachen. Einhard-Verlag, Aachen 2000, ISBN 3-930701-75-8 , p. 105 f.

^ Leo Hugot: The cathedral to Aachen. Einhard-Verlag, Aachen 1988, ISBN 3-920284-23-2 , p. 48.

↑ Helmut Maintz: The basic and external renovation 1986 to 2006 (= series of publications of the Karlsverein-Dombauverein. Volume 10). Aachen 2008, p. 14 ff.

↑ Start of cleaning at Aachen Cathedral. In: Unesco.de. May 2015, archived from the original on March 28, 2016 ; accessed on March 9, 2016 .

↑ Lydia Konnegen: Renovation of the Nikolauskapelle - roof structure and outer wall surfaces: A historical overview . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 17 . Thouet, Aachen 2015, p. 9 f .

^ Leo Hugot: The cathedral to Aachen. Aachen 1988, p. 48; Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 102 f.

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 102 f.

↑ Lydia Konnegen: Renovation of the Nikolauskapelle - roof structure and outer wall surfaces: A historical overview . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 17 . Thouet, Aachen 2015, p. 11 .

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . tape 3 : 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 39 .

^ Leo Hugot: The cathedral to Aachen. Aachen 1988, p. 48.

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 65.

↑ Lydia Konnegen: Renovation of the Nikolauskapelle - roof structure and outer wall surfaces: A historical overview . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 17 . Thouet, Aachen 2015, p. 12 .

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . tape 3 : 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 39 f .

↑ Lydia Konnegen: Renovation of the Nikolauskapelle - roof structure and outer wall surfaces: A historical overview . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 17 . Thouet, Aachen 2015, p. 16 .

↑ Helmut Maintz: The basic and external renovation 1986 to 2006 (= series of publications of the Karlsverein-Dombauverein. Volume 10). Aachen 2008, p. 24 f.

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 65.

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 156.

^ Rolf Küpper: Description of the architecture of the baptistery in Aachen Cathedral. In: Investigation of the baptistery in Aachen Cathedral. 1986 Description of the architecture of the baptistery in Aachen Cathedral ( memento from June 19, 2014 in the web archive archive.today )

↑ Helmut Maintz: The basic and external renovation 1986 to 2006 (= series of publications of the Karlsverein-Dombauverein. Volume 10). Aachen 2008, p. 11 f.

^ Josef Buchkremer: The Aachen Cathedral . In: Contributions to building history . III: 100 years of monument preservation at Aachen Cathedral. Aachen 1955, p. 58 .

^ Karl Faymonville: The art monuments of the city of Aachen . In: The art monuments of the Rhine Province . tape 10 , I. The cathedral in Aachen. L. Schwann, Düsseldorf 1916, p. 104 .

↑ Kunst-Glasmalerei Schneiders & Schmolz GmbH Koeln-Lindenthal: List of a number of already executed glass paintings along with some illustrations . Cologne 1902, p. 5 .

^ Josef Buchkremer: The Aachen Cathedral . In: Contributions to building history . III: 100 years of monument preservation at Aachen Cathedral. Aachen 1955, p. 57 f .

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 114.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 113 f.

↑ Elmar von Reth: Münsterkirche and cathedral to Aachen as a place of the liturgy . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings: building history - building research - renovation. Michael Imhof, Petersberg 2001, ISBN 3-935590-38-5 , p. 328 .

^ Paul Clemen: The art monuments of the city of Aachen - the minster . In: The art monuments of the Rhine Province . Volume 10, I.2 The Minster. Schwann, Düsseldorf 1916, p. 107 .

↑ Hans-Karl Siebigs: The Choir Hall between 1414 and 1815 . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 2 : The choir hall of Aachen Cathedral - building history and renovation measures . Thouet, Aachen 1997, p. 21 .

↑ Hans-Karl Siebigs: Structural renovation work on the Hungarian chapel of Aachen Cathedral in the years 1991–1994 (= series of publications by the Karlsverein-Dombauverein. Volume 3). Aachen 2000; Ulrike Heckner, Christoph Schaab: The gray baroque mortar. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - Structural Engineering - Restoration (= workbook of the Rhenish Monument Preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, pp. 157–158.

↑ Elmar von Reth: Münsterkirche and cathedral to Aachen as a place of the liturgy . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 328 .

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 34-47 .

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 67 f.

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 40 .

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 39 .

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 67 f.

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 38 .

^ ^A ^b Ernst Günther Grimme: The Aachen Cathedral. Aachen 2000, p. 115.

↑ Lydia Konnegen: Loss Stories - The Aachen Minster Treasure in the French Period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 100-109 .

^ Thomas R. Kraus: On the way to modernity - Aachen in the French time 1792/93, 1794-1814 . In: Herbert Lepper (Ed.): Supplements to the magazine of the Aachen History Association . tape 4 . Verlag des Aachener Geschichtsverein, Aachen 1994, ISBN 3-9802705-1-3 , p. 302 f .

^ Friedrich Lohmann: The solution to the question about the losses of the Aachen cathedral treasure in French times . In: Journal of the Aachen History Association . tape 46 . Aachen 1924, p. 287 .

↑ Lydia Konnegen: Loss Stories - The Aachen Minster Treasure in the French Period . In: Karlsverein-Dombauverein (ed.): The Aachen Cathedral in French times: 1794 to 1815 (= series of publications by the Karlsverein-Dombauverein . Volume 18 ). Thouet, Aachen 2016, DNB 1083037129 , p. 104-108 .

↑ Frank Pohle: "A deep hole dug to look for treasures" - excavations in Aachen Cathedral during the years of French rule . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794–1815. Thouet, Aachen 2016, p. 88-97 .

^ Thomas R. Kraus: On the way to modernity - Aachen in the French time 1792/93, 1794-1814 . In: Herbert Lepper (Ed.): Supplements to the magazine of the Aachen History Association . tape 4 . Verlag des Aachener Geschichtsverein, Aachen 1994, ISBN 3-9802705-1-3 , p. 303 .

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 40 f .

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 69.

^ Karl Faymonville: The art monuments of the city of Aachen. The Minster of Aachen (= The Art Monuments of the Rhine Province . Volume 10, Section 1). Schwann, Düsseldorf 1916, p. 69; Ernst Günther Grimme: The Aachen Cathedral. Aachen 2000, p. 116.

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 44 f .

↑ Hans-Karl Siebigs: The choir hall under the influence of the Prussian preservation of monuments between 1860 and 1944 . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 2 : The choir hall of Aachen Cathedral - building history and renovation measures . Thouet, Aachen 1997, p. 32 .

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 120.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 117.

^ History of Aachen in data . In: Bernhard Poll (Ed.): Publications of the City Archives Aachen . Reprint 2nd edition. tape 12 . Mayer, Aachen 2003, ISBN 3-87519-214-1 , p. 258 .

^ Walter Maas: The Aachen Cathedral . Greven Verlag Köln, Cologne 1984, ISBN 3-7743-0211-1 , p. 20.

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to building history . III: 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 110 .

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 72 ff.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 76 ff.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 124 ff .; Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 77.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 79.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 68.

^ Hans Hoffmann: Aachen in ruins. The old imperial city in the hail of bombs and afterwards . Droste, Düsseldorf 1984, ISBN 3-7700-0662-3 , p. 40 ff.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 28.

↑ ^a ^b ^c Karl Schein, Roland Wentzler: Hope and certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 80.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 28 f.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, p. 124; Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . Mönchengladbach 1999, p. 209.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 30 ff.

^ Ernst Günther Grimme: The cathedral at Aachen. Aachen 2000, pp. 124-134.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 38 f. And 80 ff.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 24 f.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 82.

↑ Ludwina Forst: Königs Weg - In the footsteps of the 1st Aachen city curator Hans Königs (1903–1988) . Thouet, Aachen 2008, ISBN 978-3-930594-33-7 , p. 115.

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to building history . III: 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 111 .

↑ Felix Kreusch: Reconstruction of the cathedral and historical finds. In: Rhenish Association for Monument Preservation and Heritage Protection: Aachen in 1951 . Düsseldorf 1951, pp. 106–115, here p. 106.

↑ Karl Schein, Roland Wentzler: Hope and Certainty. Aachen's cathedral and cathedral treasure in the war and post-war period. Documents and reports (= series of publications of the Karlsverein-Dombauverein. Volume 8). Aachen 2008, p. 38 f.

↑ Felix Kreusch: Reconstruction of the cathedral and historical finds. In: Rheinischer Verein für Denkmalpflege und Heimatschutz (Ed.): Aachen for the year 1951 . Düsseldorf 1951, p. 112.

↑ Gisbert Knopp: The Glass House of Aachen Coronation Site-Karlsmausoleum-Pilgrim Center. In: Gisbert Knopp, Ulrike Heckner: The Gothic choir hall of Aachen Cathedral. Building history - building research - renovation . Petersberg, 2002, ISBN 3-935590-38-5 , p. 30 f.

↑ Felix Kreusch: Reconstruction of the cathedral and historical finds. In: Rhenish Association for Monument Preservation and Heritage Protection: Aachen in 1951 . Düsseldorf 1951, p. 113.

↑ Felix Kreusch: Reconstruction of the cathedral and historical finds. In: Rhenish Association for Monument Preservation and Heritage Protection: Aachen in 1951 . Düsseldorf 1951, p. 114.

↑ Lydia Konnegen: From Restoration to Conservation - The Carolingian Church of St. Mary in the light of the preservation of monuments in the 19th and 20th centuries. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - Structural Engineering - Restoration (= workbooks of the Rhenish Monument Preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, ISBN 978-3-88462-325-1 , p. 71.

↑ Helmut Maintz: Renovation of Carolingian masonry - renovation of the tower cross and new slating of the tower helmet (= series of publications by the Karlsverein-Dombauverein. Volume 7). Aachen 2005, p. 97.

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 45 .

^ History of Aachen in data . In: Bernhard Poll (Ed.): Publications of the City Archives Aachen . Reprint 2nd edition. tape 12 . Mayer, Aachen 2003, ISBN 3-87519-214-1 , p. 381 .

↑ Felix Kreusch: The new bishop's crypt at Aachen Cathedral . In: Aachener Geschichtsverein (Hrsg.): Journal of the Aachener Geschichtsverein . tape 68 . Aachen 1956, p. 418 .

^ Foundation Research Center for Glass Painting of the 20th Century e. V .: Foundation Research Center for Glass Painting of the 20th Century V. In: www.glasmalerei-ev.de. Retrieved April 20, 2016 .

↑ Christoph Keller: Archaeological research in Aachen. Catalog of the sites in the city center and in Burtscheid . In: Harald Koschik (Ed.): Rhenish excavations . tape 55 . Philipp von Zabern, Mainz 2004, p. 113 ff .

↑ Kathrin Steinhauer: A new order is needed - the interior of the cathedral after the Second Vatican Council . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein Dombauverein . tape 16 : "It shone like a precious gemstone, like crystal clear jasper" - 600 years of Aachen choir hall . Thouet, Aachen 2014, p. 88-95 .

↑ Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 359 ff .

↑ Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 361 .

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 101 .

↑ Ulrike Heckner, Christoph Schaab: Building materials, construction technology and construction of the Aachen Palatine Chapel. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - Structural Engineering - Restoration (= workbook of the Rhenish Monument Preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, pp. 117–228.

^ Helmut Maintz: Restoration of Carolingian masonry . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 7 . Thouet, Aachen 2005, p. 8-79 .

^ Helmut Maintz: Renovation of the Carolingian building - defense against pigeons . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 7 . Thouet, Aachen 2005, p. 78 .

↑ Peregrine falcon at Aachen Cathedral. In: dombauhuette-aachen.de. Retrieved March 9, 2016 .

^ Smaller measures at Aachen Cathedral. Retrieved March 9, 2016 .

↑ Helmut Maintz: Renovation of mosaics, marble cladding and floors in the central building of Aachen Cathedral . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 14 . Thouet, Aachen 2012, p. 47 .

↑ Helmut Maintz: Renovation of mosaics, marble cladding and floors in the central building of Aachen Cathedral . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 14 . Thouet, Aachen 2012, p. 38 .

↑ Helmut Maintz: Renovation of mosaics, marble cladding and floors in the central building of Aachen Cathedral . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 14 . Thouet, Aachen 2012, p. 48-55 .

↑ DIN EN 1998-1 / NA: 2011-01: National annex - Nationally defined parameters - Eurocode 8: Design of structures against earthquakes - Part 1: Basics, earthquake effects and rules for building construction. Beuth, Berlin 2011.

↑ K. Reicherter, A. Schaub, TM Fernández-Steeger, T. Kohlberger-Schaub and C. Grützner: Historical earthquake damage in the Aachen Cathedral. Aqusgrani terrae motus factus est. In: Helmut Maintz: Dombaumeistertagung in Aachen 2009 - Lectures on Aachen Cathedral (= series of publications of the Karlsverein-Dombauverein. Volume 13). Aachen 2011, pp. 109–126, here p. 123.

↑ K. Reicherter, A. Schaub, TM Fernández-Steeger, T. Kohlberger-Schaub and C. Grützner: Historical earthquake damage in the Aachen Cathedral. Aqusgrani terrae motus factus est. In: Helmut Maintz: Dombaumeistertagung in Aachen 2009 - Lectures on Aachen Cathedral (= series of publications of the Karlsverein-Dombauverein. Volume 13). Aachen 2011, pp. 109–126, here p. 119 ff.

↑ K. Reicherter, A. Schaub, TM Fernández-Steeger, T. Kohlberger-Schaub and C. Grützner: Historical earthquake damage in the Aachen Cathedral. Aqusgrani terrae motus factus est. In: Helmut Maintz: Dombaumeistertagung in Aachen 2009 - Lectures on Aachen Cathedral (= series of publications of the Karlsverein-Dombauverein. Volume 13). Aachen 2011, pp. 109–126, here p. 124.

^ Bernhard Poll: History of Aachen in data (= publications of the city archive of Aachen. Volume 12). Aachen 2003, ISBN 3-87519-214-1 , p. 25.

↑ Wolfram Kuhlmann, Christoph Butenweg, Konstantin Meskouris, Thomas Kempen: Simulation of the load-bearing behavior of the Aachen Cathedral in the event of an earthquake. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - construction technology - restoration (= workbook of the Rhenish monument preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, pp. 237–247.

↑ New earthquake station in Aachen Cathedral . In: The world. online, accessed July 2, 2014; New measuring station under the Aachen Cathedral . In: Aachener Nachrichten. online, accessed November 15, 2012.

↑ Herta Lepie and Georg Minkenberg: The cathedral treasure of Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2015, ISBN 978-3-7954-2320-9 , p. 12 .

↑ Ernst Künzl : The ancient female bear in Aachen Cathedral. In: Yearbook of the Roman-Germanic Central Museum. 49, 2002, pp. 1–39 (also as special print Mainz 2003, ISBN 3-88467-083-2 ).

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 34-47 .

↑ Ferdinand Nolten: Archaeological description of the coronation and minster church in Aachen, together with an attempt on the location of the palace of Charlemagne itself . Beaufort, Aachen 1818, p. 4th f .

^ Johann Jacob Nöggerath: The ancient columns in the cathedral of Aachen . In: Laurenz Lersch (Ed.): Niederrheinisches Jahrbuch für Geschichte, Kunst und Poetry . Henry & Cohen, Bonn 1843, p. 193-208 .

↑ Barbara Zwenger & Wolfgang Zwenger: Geology and building history use of the Great Stone / Office Stone of Oderberg-Neuendorf in the Barnim district (Brandenburg). (PDF) In: Brandenburg Geoscientific Contributions, Issue 1/2. 2013, accessed February 25, 2016 .

^ The art monuments of the city of Aachen - the minster . In: Paul Clemen (Hrsg.): The art monuments of the Rhine province on behalf of the provincial association . tape 10 , no. I.1 . Schwann, Düsseldorf 1916, p. 77 f .

↑ Lydia Konnegen: The ancient columns of the Aachen cathedral and their fate in the French period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 : Aachen Cathedral in the French period 1794 to 1815. Thouet, Aachen 2016, p. 45 .

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 103-105 .

↑ Sebastian Ristow: Everything Karl? To the problem of the construction phase sequence of the Palatinate complex in Aachen . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 227 .

↑ Joseph Buchkremer: The wolf door of the Aachen cathedral church. Creutzer, Aachen 1924.

^ Joseph Buchkremer : The ambo of Heinrich II. In the cathedral of Aachen. : Notifications of the k (aiserly) k (royal) Central Commission for the research and preservation of architectural monuments / notifications of the k. k. Central Commission for Research and Conservation of Art and Historical Monuments / Communications from the k. k. Central Commission for Research and Conservation of Art and Historical Monuments / Notices from the Imperial and Royal Central Commission for Monument Preservation / Notices from the State Monuments Office / Notices from the Federal Monuments Office , year 1937, p. 110 (online at ANNO ).

↑ Quoted and translated from Dieter PJ Wynands: History of the pilgrimages in the Diocese of Aachen (= publications of the Episcopal Diocesan Archives Aachen. Volume 41). Einhard, Aachen 1986, ISBN 3-920284-21-6 , p. 49.

↑ Hans Jürgen Roth: An image of the sky. Aachen Cathedral - liturgy, bible, art. Thouet, Aachen 2011, p. 7.

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 104 .

↑ See Hans Jürgen Roth: An image of the sky. Aachen Cathedral - liturgy, bible, art. Thouet, Aachen 2011, p. 8.

^ Helmut Maintz: Renovation of the Anna and Matthias chapel . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 9 . Thouet, Aachen 2007, p. 12 .

^ Paul Clement: The art monuments of the city of Aachen - the minster . In: The art monuments of the Rhine Province . tape 10 . Schwann, Düsseldorf 1916, p. 130-133 .

^ Josef Buchkremer: The wolf door of the Aachen cathedral church . Creutzer, Aachen 1924, p. 12th f .

^ Josef Buchkremer: 100 Years of Monument Preservation at Aachen Cathedral . In: Aachen Cathedral. Contributions to the history of construction . tape 3 . Aachen 1955, p. 70 .

↑ ^a ^b Katharina Pawelec: Aachener Bronzegitter - studies of Carolingian ornamentation around 800 . In: Tillmann Buddensieg, Gunter Schweikhart (ed.): Bonn contributions to art history . tape 12 . Rheinland-Verlag, Cologne 1990, ISBN 3-7927-1158-3 , p. 15 .

↑ Catherine Pawelec: Aachen bronze gate - studies in Carolingian ornamentation around 800 . In: Tillmann Buddensieg, Gunter Schweikhart (ed.): Bonn contributions to art history . tape 12 . Rheinland-Verlag, Cologne 1990, ISBN 3-7927-1158-3 , p. 16-21 .

↑ Catherine Pawelec: Aachen bronze gate - studies in Carolingian ornamentation around 800 . In: Tillmann Buddensieg, Gunter Schweikhart (ed.): Bonn contributions to art history . tape 12 . Rheinland-Verlag, Cologne 1990, ISBN 3-7927-1158-3 , p. 174 f .

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 106 .

↑ Johannes Fried: Charlemagne. Violence and belief. 4th edition. CH Beck, Munich 2013, ISBN 978-3-406-65289-9 , p. 426 .

↑ Herta Lepie and Georg Minkenberg: The cathedral treasure of Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2015, ISBN 978-3-7954-2320-9 , p. 13 .

↑ Helga Giersiepen: The inscriptions of the Aachen Cathedral (= The German inscriptions. Volume 31). Reichert, Wiesbaden 1992, ISBN 3-88226-511-6 , No. 13 (full text)

↑ The Vatican Courts . Homepage of the State of the Vatican City, accessed on November 3, 2014.

↑ Theological interpretation by Hans Jürgen Roth: An image of heaven. Aachen Cathedral - liturgy, bible, art. Thouet, Aachen 2011, pp. 15, 17-18.

^ Helga Giersiepen: The inscriptions of the Aachen Cathedral (= The German inscriptions , Volume 31). Reichert, Wiesbaden 1992, ISBN 3-88226-511-6 , pp. 17-18 No. 19 (online).

↑ Elmar von Reth: Münsterkirche and cathedral to Aachen as a place of the liturgy . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings: building history - building research - renovation. Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 321 ff .

^ Walter Maas, Pit Siebigs: The Aachen Cathedral. Regensburg 2013, p. 52.

↑ Kathrin Steinhauer: Markus Antonius Berdolet - the first Aachen bishop . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 18 . Thouet, Aachen 2016, p. 66 .

^ Ernst Günther Grimme : The Aachen Cathedral Treasure. Schwann, Düsseldorf 1973, p. 10.

↑ ^a ^b Herta Lepie, Georg Minkenberg: The treasury of the Aachen cathedral. Brimberg, Aachen 1995, p. 37.

↑ Notes of the former city rentmaster De Bey, written as additions to Nopp's chronicle on the interleaves of a copy of this chronicle, which is interspersed with paper and which is in the city library . In: Hermann Ariovist von Fürst (Ed.): Contributions and material on the history of the Aachen patrician families . tape 3 . Cremer #sche Buchhandlung, Aachen 1890, p. 527 .

^ Re-erection of the Petrus Altar in the choir hall. In: heiligtumsfahrt2014.de. Retrieved March 14, 2016 .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 108 .

↑ Paul Clemen: The Künstdenkmäler of Aachen . In: The art monuments of the Rhine Province . Volume 10 I.2 The Minster. Schwann, Düsseldorf 1916, p. 124 .

↑ Hans-Karl Siebigs: Structural renovation work on the Hungarian chapel of Aachen Cathedral in the years 1991–1994 . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 3 . Thouet, Aachen 2000, p. 79-81 .

↑ Herta Lepie, Lothar Schmitt: The Barbarossa chandelier in the cathedral of Aachen . einhard, Aachen 1998, ISBN 3-930701-46-4 , p. 7-18 .

↑ Herta Lepie, Georg Minkenberg: The treasury of the Aachen cathedral. Brimberg, Aachen 1995, p. 12.

↑ Herta Lepie, Georg Minkenberg: The treasury of the Aachen cathedral. Brimberg, Aachen 1995, p. 90 f.

^ Georg Minkenberg: A Romanesque font in the Aachen Cathedral . In: Annals of the historical association for the Lower Rhine in particular the old Archdiocese of Cologne . tape 194 . Cologne 1991, p. 33-47 .

↑ Baptismal font. In: dombauhuette-aachen.de. Retrieved February 29, 2016 .

↑ Willy Christ, Georg Minkenberg: Enthroned Madonna . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 1 : Paintings and sculptures from Aachen Cathedral in the field of conservation and restoration . Thouet, Aachen 1995, p. 18-23 .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 108 .

^ Karl Faymonville: The art monuments of the city of Aachen - The cathedral of Aachen . In: Karl Faymonville, Joseph Laurent, Richard Pick, Max Schmid, Hermann Schweitzer (eds.): The art monuments of the Rhine province . tape 10 , no. 1.2 . Schwann, Düsseldorf 1916, p. 141 f .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd, expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 109 f .

↑ Kathrin Steinhauer: "[...] and she had the glory of God" - on the furnishing and liturgical use of the Gothic choir hall in the Middle Ages . In: Karlsverein-Dombauverein (Hrsg.): Series of publications by the Karlsverein-Dombauverein: "It shone like a precious gem, like a crystal-clear jasper" - 600 years of Aachen choir hall . tape 16 . Thouet, Aachen 2014, p. 56 .

^ Forge Aachen - The eagle desk of the Aachen Cathedral. In: www.schmiedeaachen.de. Retrieved February 29, 2016 .

^ Willy Christ, Georg Minkenberg: Restored works of art of the Aachen Cathedral . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 1 : Paintings and sculptures from Aachen Cathedral in the field of conservation and restoration . Thouet, Aachen 1995, p. 24-29 .

↑ Georg Minkenberg: To the foundations of Isabella Clara Eugenia for the cathedral church in Aachen . Ed .: Cathedral Chapter Aachen. Aachen 1987, p. 31 .

↑ Wibke Huebner, Monica Paredis-Vroon, Georg Minkenberg: The treasure of the miraculous image in the cathedral of Aachen . Ed .: Cathedral Chapter Aachen. Arend & Ortmann, Aachen 1996, p. 64 .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 133 f .

↑ Regina Urbanek: Investigation and restoration of the Radiant Madonna in Aachen Cathedral 1996–1998 . In: Gisbert Knopp, Ulrike Heckner (Hrsg.): Workbooks of the Rhenish preservation of monuments . tape 58 . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 299-320 .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 141 .

↑ Karl Schein, Roland Wentzler: Hope and Certainty - Aachen Cathedral and Cathedral Treasury in the war and post-war period . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 8 . Thouet, Aachen 2006, p. 24 f .

^ Thomas R. Kraus: On the way to modernity - Aachen in the French time 1792/93, 1794-1814 . In: Herbert Lepper (Ed.): Supplements to the magazine of the Aachen History Association . tape 4 . Verlag des Aachener Geschichtsverein, Aachen 1994, ISBN 3-9802705-1-3 , p. 304 .

↑ Willy Christ, Georg Minkenberg: Bischofsthron . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 1 . Thouet, Aachen 1995, p. 78 f .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 148 .

^ Ernst Günther Grimme: The Aachen Cathedral Treasure . In: Peter Ludwig (Ed.): Aachener Kunstblätter . 2nd expanded and revised edition. tape 42 . L. Schwann, Düsseldorf 1973, p. 112 f .

↑ Roland Wentzler: The windows of the octagon and sixteenth corner. In: Karl Schein, Roland Wentzler: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, pp. 87-91.

↑ Roland Wentzler: The windows of the octagon and sixteenth corner. In: Karl Schein, Roland Wentzler: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, p. 89 f.

↑ Helmut Maintz: The renovation of the Carolingian masonry - report of the cathedral master builder on the measures 2000-2004. In: Andrea Pufke (Ed.): The Carolingian Palatine Chapel in Aachen. Material - construction technology - restoration (= workbook of the Rhenish monument preservation 78). Wernersche Verlagsgesellschaft, Worms 2012, pp. 111–112.

↑ Roland Wentzler: The windows of the octagon and sixteenth corner. In: Karl Schein, Roland Wentzler: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, p. 91.

↑ ^a ^b ^c glasmalerei-ev.de Annette Jansen-Winkeln: Aachen, high cathedral church . Research Center for 20th Century Glass Painting Foundation V., Mönchengladbach.

↑ Karl Schein, Roland Wentzler: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications of the Karlsverein-Dombauverein. Volume 12). Aachen 2010, p. 101 ff.

↑ Ruth Schlotterhose: The choir window of the apse. In: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, pp. 13-14.

↑ Daniela Thiel: Be moderate in the light - the west window. In: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, p. 65.

↑ Daniela Thiel: Measure in light - the west window. In: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications by the Karlsverein-Dombauverein. Volume 12). Aachen 2010, p. 60.

↑ glasmalerei-ev.de Annette Jansen-Winkeln: Aachen, high cathedral church . Research Center for 20th Century Glass Painting Foundation V., Mönchengladbach; Karl Schein, Roland Wentzler: Heavenly light in walls made of glass - the windows of the Aachen Cathedral (= series of publications of the Karlsverein-Dombauverein. Volume 12). Aachen 2010.

↑ Maarten Albert Vente : The Brabant Organ. On the history of organ art in Belgium and Holland in the Gothic and Renaissance ages . HJ Paris, Amsterdam 1963, p. 93 .

↑ Joseph Buchkremer: The king chair of the Aachen Palatine Chapel and its surroundings . In: Journal of the Aachen History Association . tape 21 . Aachen 1899, p. 152-156 .

^ Josef Buchkremer: Aachen Cathedral . In: Contributions to building history . III: 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 22-24 .

^ The organs in Aachen Cathedral. In: www.orgel-information.de. Retrieved March 23, 2016 .

↑ ^a ^b Georg Minkenberg: The Aachen Cathedral . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 49 .

^ ^A ^b Norbert Jachtmann: Bells in the Aachen city region . ( Memento of January 10, 2016 in the Internet Archive ) (PDF; 741 kB).

^ Helmut Maintz: Renovation of the Anna and Matthias chapel . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 9 . Thouet, Aachen 2007, p. 11 .

^ Karlsverein (Ed.): Celebration of thanks and jubilation for 25 years of efforts to restore the Aachen Cathedral - organized by the Karlsverein there on October 20, 1872 . Albert Jacobi, Aachen 1872, p. 18 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 38 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 44 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 92 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 30 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 39 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 91 .

↑ Georg Dünnwald: Karlskapelle: Now Floribert and Lambertus are at the old place. In: Aachener Nachrichten. Retrieved April 24, 2016 .

↑ Oliver Czarnetta: Neo-Gothic in Aachen - the Götting workshop. Dissertation RWTH Aachen. Aachen 2003, p. 47 .

↑ Christoph Schaab: The work on the stone substance of the choir hall . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Peter Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 2007 .

↑ Gisbert Knopp: The Glass House of Aachen - Coronation Site - Charles Mausoleum - Pilgrim Center . In: Udo Mainzer (Ed.): Workbooks of the Rhenish Monument Preservation: The Gothic choir hall of the Aachen Cathedral . 1st edition. tape 58 . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 20th f .

↑ The Kaiser pulpit in the Aachen Minster . In: Echo of the Present . Volume 65, 169 (July 22, 1913, morning edition). Aachen 1913, p. 2 .

↑ Ernst Günther Grimme: The cathedral to Aachen - architecture and equipment . Einhard, Aachen 1994, ISBN 3-920284-87-9 , pp. 344 f .

↑ Cathedral Treasury: Church Treasury and World Heritage. Website of the Cathedral Treasury. Aachen Cathedral Chapter, accessed on October 16, 2020 .

↑ On the history and inventory of the cathedral treasury Ernst Günther Grimme: The Aachen Cathedral Treasure (= Aachener Kunstblätter 42). 2nd Edition. Schwann, Düsseldorf 1973; Herta Lepie, Georg Minkenberg: The cathedral treasure of Aachen. Schnell & Steiner, Regensburg 2010, ISBN 978-3-7954-2320-9 .

↑ Gerd Unverfetern: "I saw a lot of delicious things there". Albrecht Dürer's trip to the Netherlands. Vandenhoeck & Ruprecht, Göttingen 2007, ISBN 978-3-525-47010-7 , p. 104.

↑ The unsolved riddle - the grave of Charlemagne . In: Frank Pohle (Ed.): Charlemagne . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-112-0 , pp. 254 .

↑ Alexander Markschies: The Aachen Marienkirche and its equipment (795-814) . In: Frank Pohle (Ed.): Karl the Great . Karl's art. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-114-4 , pp. 107 .

↑ Elmar von Reth: Münsterkirche and cathedral to Aachen as a place of the liturgy . In: Udo Mainzer (Hrsg.): Workbooks of the Rhenish preservation of monuments . 1st edition. 58: The Gothic choir hall of Aachen Cathedral and its furnishings. Building history - building research - renovation . Michael Imhof, Petersberg 2002, ISBN 3-935590-38-5 , p. 323 .

↑ Andreas Gormans, Alexander Markschies (Ed.): Venite et videte. Art-historical dimensions of the Aachen sanctuary tour (= Aachen contributions to pastoral and educational issues . Volume 27). Einhard, Aachen 2012, ISBN 978-3-936342-99-4 .

↑ The 2014 Shrine Tour website , accessed on January 31, 2014.

↑ Aachen Cathedral Chapter (Ed.): Heiligtumsfahrt Aachen 2014 - Faith in Motion. Aachen 2014.

↑ Harald Müller: St. Marien as a parish church . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 193 .

^ Clemens MM Bayer: St. Marien as a collegiate church . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 200 f .

^ Clemens MM Bayer: St. Marien as a collegiate church . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 204 ff .

^ Philipp Boonen: Habitat diocese Aachen. Tradition - topicality - future. Einhard-Verlag, Aachen 1982, ISBN 3-920284-09-7 , pp. 21-25.

^ Church in the Diocese of Aachen: Helmut Diese , accessed on October 1, 2016.

↑ ^a ^b UNESCO: World Heritage List “Aachen cathedral” , accessed on May 30, 2014.

↑ German UNESCO Commission e. V .: Aachen Cathedral ( Memento from July 1, 2013 in the web archive archive.today ).

↑ Episcopal General Vicariate (ed.): Handbook of the Diocese of Aachen . 3. Edition. Aachen 1994, ISBN 3-87448-172-7 , p. 53 .

↑ ^a ^b Cathedral chapter on the Aachen Cathedral pages, accessed on October 16, 2020.

↑ Cathedral archive ( memento of October 8, 2014 in the Internet Archive ) on the Aachen Cathedral website .

^ Dombauhütte Aachen. The caring hand for Aachen Cathedral. Aachen Cathedral Chapter, accessed on March 9, 2016 .

↑ Cathedral Music Aachen. The experience of sound and space. Aachen Cathedral Chapter, accessed on March 13, 2016 .

↑ DOM in LIGHT celebrated its premiere at the Katschhof in Aachen. KS Production Shows GmbH, accessed on March 20, 2016 .

↑ Cathedral in the Light - Katschhof Aachen - October 30, 2015 - Full HD. In: Youtube channel Kelmis. November 1, 2015, accessed March 6, 2016 .

↑ DOM in LIGHT 2015 in Aachen. In: Flickr . Adrian Weiß, accessed March 20, 2016 .

↑ Rauke Xenia Bornefeld: "Cathedral in the Light": the crowd triggers an early end. In: Aachener Nachrichten . October 31, 2015, accessed March 20, 2016 .

↑ The Choirs of Cathedral Music. In: Cathedral Music Aachen. Aachen Cathedral Chapter, accessed on March 13, 2016 .

↑ Episcopal General Vicariate (ed.): Handbook of the Diocese of Aachen . 2nd Edition. Aachen 1994, ISBN 3-87448-172-7 , p. 54 f .

↑ ^a ^b Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . Mönchengladbach 1999, p. 50.

^ Hans Jürgen Roth: House of Two Worlds - 1200 years of Aachen Cathedral . Mönchengladbach 1999, p. 146.

↑ Lydia Konnegen: Committed to the Gothic style - the revitalization of the choir hall in the 19th century . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 16 : "It shone like a precious gemstone, like crystal clear jasper" - 600 years of Aachen choir hall . Thouet, Aachen 2014, p. 77 f .

↑ website of Karl Club Dombauverein , accessed on July 12, 2014.

↑ Lydia Konnegen: Committed to the Gothic style - the revitalization of the choir hall in the 19th century . In: Karlsverein-Dombauverein (Hrsg.): Series of publications of the Karlsverein-Dombauverein . tape 16 : "It shone like a precious gemstone, like crystal clear jasper" - 600 years of Aachen choir hall . Thouet, Aachen 2014, p. 82-83 .

↑ European Foundation ( Memento from July 12, 2014 in the web archive archive.today ) on the Aachen Cathedral website.

↑ Julius Mandier: Aachen coins . Berlin 1913, p. # 34 .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 27a # 59 .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 69 .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 73 .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 74c .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 75e # 76 # 77 .

^ Julius Menadier: The Aachen coins . Berlin 1913, p. # 78 .

↑ Münz10DMBek 1999-11-24 - Announcement on the issue of federal coins with a face value of 10 Deutsche Mark (commemorative coin "Emperor Karl the Great - Aachen Cathedral - 1200 Years"). Retrieved October 27, 2018 .

↑ Federal Law Gazette . (PDF) Retrieved October 27, 2018 .

^ Drafts for "UNESCO World Heritage - Aachen Cathedral". Retrieved October 27, 2018 .

↑ Michel: MICHEL - Germany 2017/2018 . 104th edition. Schwaneberger, 2017, ISBN 978-3-95402-200-7 , pp. # 450 # 446 .

^ Yvert & Tellier: Yvert & Tellier . Yvert & Tellier, 2017, ISBN 978-2-86814-270-2 , pp. # 1714 .

↑ Michel: MICHEL - Germany 2017/2018 . 104th edition. Schwaneberger, 2017, ISBN 978-3-95402-200-7 , pp. # 788 .

^ Arnold Keller: Deutsches Notgeld (reproduction of the 1958 edition) . In: The emergency money of the German inflation 1923 . tape 7 , Aachen-Lindenberg. Gietls, 2004, ISBN 978-3-924861-86-5 , pp. # 0001c .

50.774694444444 6.0838888888889Coordinates: 50 ° 46 ′ 28.9 ″ N , 6 ° 5 ′ 2 ″ E

[1] The function of the church as a palatine chapel is occasionally questioned, see Clemens MM Bayer: On the problem of the palatinate chapel. In: Series of publications by the Karlsverein-Dombauverein . Volume 13 (2011): Dombaumeistertagung in Aachen 2009 . P. 45: “Research has long assumed that the word“ chapel ”( capella ) in the period around 800 denoted the ruler's private oratorios. [...] In contrast, the Marienkirche in Aachen was not a palatine chapel. It is indeed called capella in the sources , but it means something completely different from what we understand by chapel today: With the word capella , these texts denote a non-episcopal church where pastoral care is exercised. In the sources of the 9th century, St. Mary's (like other churches) is assigned a whole series of different expressions: It is called church ( ecclesia ), basilica ( basilica ), temple ( templum ), house of prayer ( oratorium ), Münster ( monasterium ) or chapel ( capella ) - but never palatine chapel ( capella palatii ). ” Harald Müller summarizes in Harald Müller, Judith Ley, Frank Pohle and Andreas Schaub: Pfalz and vicus Aachen in Carolingian times - Chapter 7.7. Functions of the Marienkirche according to written sources. In: Thomas R. Kraus (Ed.): Aachen from the beginnings to the present. Volume 2: Karolinger - Ottonen - Salier. 765–1137 (= Publications of the Aachen City Archives . Volume 14) (= Supplement to the journal of the Aachener Geschichtsverein. Volume 8). Aachen 2013, ISBN 978-3-87519-252-0 , pp. 193–209 summarizes the functions of the Marienkirche in Carolingian times: “The disposition seems to be independent, probably also as a collegiate church founded by Karl. Its role as a parish church for the manor and the tax authorities of Aachen is also indisputable. [...] If one wants to assume a threefold function of the house of God - parish church, collegiate church, ruler's oratorio - then the last task is the least compelling and the least permanent. "

[2] Burghart Schmidt, Ulrike Heckner and others: The woods from the Carolingian octagon of the Aachen Palatine Chapel - possibilities of dendrochronological dating. In: Yearbook of the Rhenish Preservation of Monuments. 40/41 (2009), pp. 220-235; Ulrike Heckner: The construction time of the Aachen Palatine Chapel. In: The preservation of monuments. 67 (2009), pp. 195-196.

[3] Ulrike Heckner: The Temple of Solomon in Aachen - News on the building history of the Marienkirche . In: Frank Pohle (Ed.): Karl the Great . Places of power. Sandstein-Verlag, Dresden 2014, ISBN 978-3-95498-113-7 , pp. 356 .

[4] Georg Minkenberg: The cathedral at Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 4.6 .

[5] Georg Minkenberg: The cathedral at Aachen . 2nd Edition. Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 6.8 .

[:6-6] Georg Minkenberg: The cathedral at Aachen . In: Quick Art Guide . 2nd Edition. No. 2775 . Schnell & Steiner GmbH, Regensburg 2014, ISBN 978-3-7954-6891-0 , p. 18-24 .

[7] Josef Buchkremer: Aachen Cathedral . In: Contributions to the history of construction . tape 3 : 100 years of monument preservation at Aachen Cathedral. Wilhelm Metz, Aachen 1955, p. 22 .

[8] Ernst Günther Grimme : The cathedral at Aachen. Aachen 2000, p. 11.

[9] Andreas Schaub: The Roman settlement in the cathedral area before the construction of the thermal baths. In: Harald Müller, Clemens MM Bayer, Max Kerner (Eds.): The Aachener Marienkirche. Aspects of their archeology and early history . Regensburg 2014, p. 19 ff.

[10] Andreas Schaub: The Roman settlement in the cathedral area before the construction of the thermal baths . In: Harald Müller, Clemens MM Bayer, Max Kerner on behalf of the European Foundation Aachen Cathedral (ed.): The Aachen Cathedral in its history. Sources and Research . 1st edition. tape 1 : The Marienkirche in Aachen. Aspects of their archeology and early history . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2801-3 , pp. 26 f .

[11] Raban von Haehling , Andreas Schaub (ed.): Römisches Aachen - Archaeological-historical aspects of Aachen and the Euregio. Regensburg 2013, p. 165 ff.

[12] Tanja Kohlberger-Schaub: The "Münsterthermen". In: Harald Müller, Clemens MM Bayer, Max Kerner (eds.): The Aachener Marienkirche. Aspects of their archeology and early history . Regensburg 2014, p. 36 f.

[13] Joseph Klinkenberg : Early Christian from Aachen and the surrounding area. In: Journal of the Aachen History Association. Volume 37 (1915), pp. 337-350.

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