The Augsburg Cathedral (also: High Cathedral of the Visitation of the Virgin Mary ) is the cathedral of the Diocese of Augsburg and the parish church of the cathedral parish of the Sacred Heart of Jesus . In addition to the St. Ulrich and Afra basilica , the Moritzkirche and the St. Anna church , the cathedral is the most important church building and one of the most visited sights in Augsburg . The origins of the cathedral are dated to the 8th century. The core of today's facility was built in 995.
The cathedral is located within the city walls of the former Roman provincial capital Augusta Vindelicum . Foundations from the 4th century could be excavated under the Romanesque-Gothic cathedral (1978/79), which may indicate an early Christian church and a bishopric. However, no evidence for this has yet been found in the sources. Only a funerary inscription, which was found in the area of the former St. John's Church next to the cathedral, indicates a Christian community from this period . More recent theses, on the other hand, assume a possible late antique episcopal church district in the area of today's St. Stephen's Abbey .
The first verifiable cathedral buildings were built under the bishops Wikterp († around 772) and Simpert , whose episcopal church was consecrated in 805. The first documentary mention of the Mariendome comes from 822. Bishop Ulrich had the damage caused by the Hungarian invasions removed from 923 onwards.
The west building collapsed in 994, immediately afterwards Bishop Liutold began with the support of Empress Adelheid - who is said to have foreseen the collapse in a vision - with a new construction of the cathedral. This began with the west choir and north transept and was probably completed with the central nave in 1006; it still forms the core of today's cathedral (west transept and central nave).
There were other major construction work under Bishop Heinrich II ; its exact extent is unclear, but it is certain that these were changes to a complete structure and not the completion of an interrupted structure. These modifications were completed under Heinrich's successor Embriko, who consecrated a main altar in the west choir in 1065. In a further construction project, the entire transverse and nave roof was replaced around 1178.
In 1331, the expansion of the Romanesque cathedral began with the construction of double aisles, as was also the case at the Cologne Cathedral at that time, and the vaulting of the central nave with ribbed vaults. Bishop Marquard I von Randeck laid the foundation stone for the mighty east choir in 1356, which was not completed until 1431. Research has repeatedly seen that the shape of the Augsburg Cathedral Choir is the result of a complex architectural history. More recent investigations have clarified the complicated planning and construction sequence: the surrounding walls of the chapel wreath were erected under Marquard von Randegg and Walter Hochschlitz in 1356–69, and the outer walls of the long choir followed in 1369–75 according to a simplified plan, possibly for a hall choir, in 1375 -96 under Burkhard von Ellerbach the shell with the Chorobergaden was completed, whose polygonal connection was pushed forward to the axis chapel, 1400-13 the choir was vaulted under Anselm von Nenningen and 1424-50 under Cardinal Peter von Schaumburg the interior was completed. As an initial plan, a sophisticated cathedral-Gothic ambulatory choir with open buttresses could be identified, which was then completed in a simplified form. His original concept was for a replica of the monumental Cologne cathedral choir . Its floor plan, based on regular triangulation, was used in Augsburg. As the master builder of the Augsburg east choir, the previous parlier at the Cologne cathedral building works Heinrich Parler the Elder could be named, who from 1351 also directed the choir building at the Heilig-Kreuz-Münster in Schwäbisch Gmünd . The original floor plan of the Augsburg Cathedral Choir has been preserved in a redraw from around 1500 and thus confirms the initial planning as a fully developed cathedral-Gothic ambulatory choir. The church towers barely towered over the new choir.
The heightening of the south tower in Romanesque style only took place in the late Gothic period, 1487, almost entirely in brick. The stone pillars of the triforias probably came from the floor below, the windows of which were bricked up to improve stability.
1537–1548 Protestant iconoclasts devastated the church. The destroyed furnishings were gradually replaced during the Counter Reformation . In 1565 the north tower was raised, also in Romanesque style. 1655–1658 the interior of the cathedral was redesigned and redesigned in baroque forms. Some chapels were added later. However, only the central building of the Marienkapelle at the cloister has survived.
In 1808/09, the development south of the cathedral was broken off and a parade and parade ground was created. From 1852 to 1863 the baroque furnishings were removed and the cathedral was dismantled in the neo-Gothic style . The historicizing equipment was supplemented by the purchase and implementation of important medieval paintings and sculptures. In 1934, the medieval interior design was reconstructed and the color scheme restored in order to reduce the neo-Gothic aspects of the cathedral. The cathedral was largely spared during the Second World War . The Lady Chapel was hit hardest, and the cloister was also damaged. The interior was extensively restored and refurbished in 1983/84. On the exterior, the sandstone components have been largely replaced in recent decades. The new bronze portal at the choir by the artist Max Faller was consecrated in 2001.
During his visit to Augsburg, Pope John Paul II celebrated Holy Mass on May 3, 1987 in Augsburg Cathedral. This should actually take place at the Augsburg sports facility south , but had to be relocated to the cathedral due to a storm.
In July 2013, a 26-year-old man damaged two late Gothic windows in Augsburg Cathedral by throwing stones. The windows of St. Ursula and Adoration of the Magi were affected .
On the occasion of repair work on the north tower tip in May 2018, the tower ball was removed from the top and opened. Documents from the years 1598, 1848 and 1952 came to light that had been left behind in the sphere during construction work in the respective years. Similar finds were made when the southern cathedral tower was opened in 1999; they date back to 1490 and have been exhibited in the St. Afra diocesan museum since it opened .
To commemorate the “Augsburg bombing night” from February 25th to 26th, 1944 , a memorial plaque was attached to the Konradsäule of the High Cathedral in early March 2019, 75 years after the events of that time. It is intended to commemorate the former cathedral chaplain Johann Aichele and young acolytes who, together with many others, saved the cathedral from destruction. They acted immediately on the night of the bombing and removed the incendiary bombs dropped by the aircraft from the roof structure. Numerous churches and buildings were destroyed or suffered severe damage in the air raid. The Konradsäule serves as a holy water font. It is crowned with the Augsburg stone pine nut. It comes from the sculptor Georg Chorherr and was erected after the war as a token of thanks for the sparing of the cathedral.
The two bell towers of the High Cathedral can be seen from large parts of downtown Augsburg. With a height of 62 meters, they are among the tallest buildings in the historic old town of Augsburg, along with the St. Ulrich and Afra basilica and the Perlach tower .
The cathedral is 113.25 m long and the nave is 38.70 m wide. The height of the central nave is 17.80 m and that of the presbytery of the east choir is 28 m.
The Augsburg Cathedral is an elongated, five-aisled basilica with an eastern ambulatory and a single-nave western choir. The West apse is preceded by a transept. The two Romanesque towers in front of the east choir are built from rubble stones and are structured by pilaster strips and arched friezes. The top is formed by tall pointed helmets with triangular gables.
The double aisles on the south side of the nave, made of exposed brickwork, are supported on the outside by simple buttresses . The transverse gable roofs over the vaults are hidden behind triangular pinnacle gables. The open strut system is hidden in the roof zone. The original window openings of the unadorned tall nave wall were bricked up.
The gothic east choir is plastered white, the rich architectural structure has been left as stone, but largely renewed. Due to some planning changes, the choir building gives an "unfinished" impression. The architecture follows the “French-cathedral” basic pattern. The basilical central area, on the other hand, looks clumsy and like an emergency solution. The roof areas over the chapels are drawn far upwards, closed buttress walls support the upper aisle instead of open buttress arches. This “clumsy” choir solution with its inorganic combination of contact and closing of the choir is particularly irritating because of the bare wall surfaces that are windowless or only exposed through small window openings. Originally, as the building history has shown, an open strut system was planned, so a "classic" cathedral choir of French schemes would have been created.
The splendid south portal (around 1356) on the east choir, which also bears the master's mark of Heinrich Parler, turns as a show facade towards the bourgeois imperial city . The vestibule lies between two buttresses and is structured by tracery panels and friezes. Most of the sculpture is weathered or renewed. In the walls of the portal there are apostles, on the central pillar the Mother of God. The three-part tympanum shows multi-figure scenes from the life of Mary. The south entrance is the most elaborate portal system of the 14th century in southern Germany. Parallels to the Heilig-Kreuz-Münster in Schwäbisch Gmünd can be seen in the conception and execution . The north portal is much simpler and almost completely renewed. The artistic rank of the original can therefore only be guessed at. The original tympanum was recovered on the back inside the cathedral. It shows the adoration of the kings, the proclamation and birth of Christ as well as the death and coronation of Mary. An inscription on the central pillar dates the portal to 1343. In the north, the cloister with the cloister is attached to the nave. The baroque Marienkapelle in the corner between the cloister and the church is accessible from the north aisle .
The south portal leads to the two-aisled choir hall. The chapels are on the right. Behind the stone choir barriers with their tracery parapets lies the - slightly raised - presbytery of the east choir. The ribbed vaults of the high choir rest on triple services or leaf consoles, the vaults of the gallery on simple services. In the north of the gallery, two chapels are bricked up halfway up and serve as a sacristy . The unusual conclusion of the high choir is formed by a large east window in the upper storey, the pictorial effect of which can perhaps be traced back to suggestions from contemporary Cistercian architecture.
The central nave of the nave goes back to the Ottonian cathedral from 995, on which the Gothic ribbed vault was added. The top of the vault lies below the former flat ceiling. The figural keystones show the prophets, a coat of arms, a one-legged merman and St. John. To the left and right are the hall rooms of the double aisles, whose vaults are supported by round pillars. The wall surfaces are structured by a painted red square.
The double crypt , which was reconstructed 1979–1981, is located under the west choir . It is consecrated in honor of the apostles Peter and Paul and contains fresco fragments from the 13th-16th centuries. Century. In the older western part, four columns support the ceiling. The groin vaults of the four-aisled east crypt (mid-12th century) are also supported by short columns.
The west choir above is raised a few steps compared to the nave. The ribbed vaults sit here on consoles with figurative representations, masks and foliage. Burkhard Engelberg created the side choir barriers in 1501. Glare fields with rich compositions of fish bubbles over pointed arcades lie under the tracery parapets. Keel arch portals allow access to the choir.
The medieval decor was greatly reduced by the iconoclasm of the Reformation period . In the course of the regotisation in the 19th century, the non-medieval pieces of furniture were largely removed and the inventory was supplemented by acquisitions from the art trade and relocations from other churches. In 1934 the neo-Gothic furnishings were radically purified. This "dehistoricization" continued into the 1970s, when the original canopies (around 1430) of the choir stalls were kept for neo-Gothic replicas and were dismantled (1970/71).
The five glass paintings on the south wall of the central nave are the remainder of a larger series, perhaps a series of twelve prophets and twelve apostles. The representations of the prophets Jonas, Daniel, Hosea, David and Moses are preserved. The dating of the fragment is controversial. Some art historians associate the pictures with the Hirsau book illumination of the early 12th century, others believe that they were created as early as the end of the 11th century. The cycle is considered to be the oldest example of its kind in Europe. Louis Grodecki (1910–1982), one of the most important connoisseurs of Romanesque glass painting, counted the standing figures among the most precious of the entire Middle Ages. The windows are about eight feet high. Three of the disks are almost original, and according to recent research, the figure of Moses is likely to be an extensive reproduction (around 1550). The disc with the representation of Jonas has also been partially supplemented.
The painted friezes over the aisle arcades were created in the middle of the 11th century and show meanders, half-length portraits of people in Roman clothing and birds with floral motifs.
The neo-Gothic altars contain some important medieval oil paintings and sculptures. A large Franconian cross (around 1510) can be seen on the cross altar, the relief of the predella with the Lamentation of Christ was made around 1520 in a Bavarian workshop. The panels on the altars of the four eastern pillars were painted by Hans Holbein the Elder in 1493. The panels were originally intended as the wings of an altar for Weingarten Monastery . It depicts the sacrifice of Joachim , the birth and the passage to the temple of Mary as well as the circumcision of Christ. However, the paintings had to be split to be used again.
The counterparts on the western side were created by Jörg Stocker from the Ulm School (attribution) around 1484 for the high altar of the parish church in Unterknöringen . Here you can see the birth of Christ, the adoration of the kings, the death of Mary and the coronation of Mary. Stocker used some engravings by the Colmar master Martin Schongauer as a template .
An important sculpture by Georg Petel came to the cathedral from the secularized Dominican Church of St. Magdalena . The life-size depiction of the suffering Christ with the crown of thorns (1630/31, Ecce homo ) is multicolored (painted) and shows the influence of the art of Peter Paul Rubens . It is located above the tabernacle of the sacramental altar redesigned by Wilhelm Huber in 2016 in the south aisle of the nave.
On the tower walls and the choir sacristy are 19 original figures from the middle of the 14th century, which formerly adorned the north portal.
The modern red marble pulpit was created in 1946 (Karl Killer).
Josef Henselmann created the high altar from bronze in 1962, the figures on the side were added in 1982. The simple stalls were created around 1430.
The chancel is separated from the walkway by stone choir screens. The Mount of Olives at the southern barrier shows clay figures by Veit Eschay (1591).
The seven courtyard chapels are closed off by wrought iron bars. The altars in their mostly neo-Gothic structures contain important older works of art. The panel in the altar of the Konrad Chapel ( Mariä Visitation , around 1461) comes from the “ Master of the Visitation of Freising ”, who has recently been identified with the archival documented master Sigmund Haring . Christoph Amberger was the creator of Our Lady Enthroned (1554) in the St. Wolfgang Chapel. Christoph Amberger's triptych was originally commissioned to replace Holbein's high altar, which was destroyed during the Reformation, the shape of which has only survived through the surviving draft in the Gdańsk City Museum . Amberger's altar shows the Madonna between Saints Ulrich and Afra (wings). The seven figures accompanying the Afra legend are shown below.
Episcopal tombs are placed on the walls. The ore grave of Wolfhard von Roths († 1302), who was buried in the choir, and Johann Eglof von Knöringens († 1575) can be found in the St. Konrad Chapel . The memorial stone of Cardinal Peter von Schaumberg († 1469) in the St. Augustine Chapel shows the deceased as a skeleton .
A glass window in the Gertrud Chapel is attributed to the “Master of the Munich Frauenkirche”. The discs show the passion of Christ in medallions, the resurrection in the tracery.
The eighth chapel is dedicated to St. St. Luke consecrated. The south portal opens behind the two-aisled relay hall. In the east there is a large red marble altar (1597) with a relief of the mercy seat based on a painting that is kept in the choir sacristy.
A large window by Josef Oberberger that was destroyed in the war was renewed by the artist in 1954. It depicts the Visitation of Mary in the Tree of Life. From 1962 to 1967 Oberberger made eight tall glass windows in the east choir and in the chapel wreath around the east choir. The glass cutting of all these windows was free, without templates. The glass paintings consist of colored rhombuses, squares and cross ornaments and show St. Augustine, St. Conradus and two commandment panels as motifs.
Transept and west choir
Eye-catchers in the south transept are the huge depiction of St. Christophorus on the west wall (1491) and the large glass window in the south (around 1330/40) with the depiction of Mary as "Throne Solomonis". In 2010 another three large colored glass windows designed by the artist Johannes Schreiter from Langen were installed by the company Derix-Glasstudios from Taunusstein-Wehen .
In the west there is access to the Andreas (crypt) chapel, a Gothic vaulted room that is used as a place of worship.
On the walls of the northern cross arm hangs a stately gallery of bishop portraits, which was started in 1488 and renewed in 1591 and is still being continued. In the middle of the room is the high grave for Konrad and Afra Hirn, which was formerly set up in the goldsmith's chapel of the Church of St. Anna . (Attribution to Master Ulrich, 1425). On the walls are the tombstones of the bishops Walter von Hochschlitz († 1369) and Friedrich Spät von Faimingen († 1331).
The raised west choir is separated from the transepts by the stone choir screens (1501). In it stands the stone bishop's throne from the 11th century. Two crouching lions carry the semicircular seat. The choir stalls with their significant carvings were made in 1495. The back row bears depictions of saints, while scenes from the Old Testament can be seen in the front. The bronze altarpiece (1447) is the former high altar of the east choir.
Romanesque bronze door
The famous Romanesque bronze door of the previous cathedral has been on display in the new Diocesan Museum since 2002 .
There are two large organs in the Augsburg Cathedral : the St. Mary's Organ and the Magnificat Organ.
The Marien organ was built in 1904 by the organ builder Franz Borgias Maerz . The cone store instrument has 36 stops on two manuals and a pedal . The actions are pneumatic. A restoration by Rudolf Kubak took place in 1986 and 2014.
- Normal coupling: II / I, I / P, II / P
- Super octave coupling: I / I, II / I, II / II
- Sub-octave coupling: II / I, II / II
- Playing aids : two free combinations, tutti, crescendo roller .
The Magnificat organ was built in 1988 by the organ builder Rudolf Kubak (Augsburg). The instrument has 42 registers on three manuals and a pedal. The playing and stop actions are mechanical.
- Coupling : I / II, III / II, I / P, II / P, III / P
The cathedral organists have been largely documented since the Augsburg Interim in 1548 . Quite a few holders of the office were well-known composers, interpreters and in one case also organ builders.
|Servatius Roriff||1561 to 1566||probably first Augsburg cathedral organist known by name|
|Jacobus de Kerle||1568 to 1575||Priest, composer|
|Christoph Klingenstein||1575 to 1581||Brother of the ecclesiastical cathedral music director Bernhard Klingenstein|
|Eusebius Amerbach||since 1581||Organ builder, also builder of the important rood screen organ in Augsburg Cathedral|
|Erasmus Mayr||since 1621 at the latest|
|Christian Erbach (the elder)||1625 to 1635||Composer, head of the town pipers|
|Christian Erbach (the younger)||1636 to 1645||composer|
|Johann Melchior Gletle||1651 to 1683||Organist and from 1654 also cathedral music director|
|Johann Speth||1692 to 1694||composer|
|Johann Xaver Nauß||1734 to 1764||composer|
|Johann Michael Demmler||1770 to 1779||later also instructor of the choirboys, composer and pianist / harpsichordist, friend of Mozart|
|Karl Kempter||1839 to 1865||Composer, later cathedral music director|
|Domvikar (first name?) Kriener||1865 to 1877|
|(First name? L.) Jehle||until 1919|
|Heinrich Wiedemann||1919 to 1922||later senior teacher for music at the grammar school near St. Stephan|
|Hans Knörlein||1922 to 1923|
|Karl Joseph Kraft||1923 to 1925 and after a 10-month break again until 1976||composer|
|Arthur Piechler||during Kraft's absence in 1925||Composer, later director of the Leopold Mozart Conservatory|
|Reinhard Kammler||1978 to 1995||Founder and director of the Augsburger Domsingknaben , from 1995 cathedral music director|
|Claudia Waßner||since 1996||first female cathedral organist, composer|
A six-part bell hangs in the south tower of the cathedral.
|No.||Surname||Casting year||Caster||Ø (mm)||Mass (approx. In kg)||Nominal|
|1||St. Mary||1652||Jean Gerard and
Tobi de la Paix de La Mothe
|1695||2850||h 0 - 6 ⁄ 16|
|2||Ortisei||1946||Wolfahrt foundry, Lauingen||1385||1594||d 1 −3|
|3||St. Petrus Canisius||1235||1151||e 1 +1|
|4th||St. Gualfardus||1096||846||f sharp 1 +2|
|5||Our Father Bell||925||494||a 1 +2|
|6th||Death bell||818||348||h 1 -3|
Two beehive bells (so-called Theophilus bells) hang in the north tower . They have four openings on their hood (so-called foramina, for generating ring-like background noises). It was cast between 1070 and 1075, the time when the cathedral towers were raised. Both bells only sound on special occasions and are rung by hand.
These two historical bells are also known as "silver bells" - in view of the fact that they were also rung to receive the canons' attendance fees.
|No.||Casting year||Caster||Ø (in mm)||Mass (approx. In kg)||Nominal|
|7th||around 1070||unknown||915||400||b 1 - 3 ⁄ 16|
|8th||around 1070||unknown||895||390||a 1 + 2 ⁄ 16|
The Marienkapelle was built in 1720/21 according to designs by the builder Gabriel de Gabrieli from Graubünden . The round central space is extended by short, niche-like cross arms and spanned by a lantern dome. The chapel was damaged by a bomb in 1944, but was reconstructed in 1987/88. That is why the dome frescoes are largely replicas. The originals came from Johann Georg Bergmüller, director of the Imperial City Art Academy. It depicts scenes from the life of the Virgin Mary, which can also be interpreted as allegories of the four seasons. The paintings are framed by fine bandwork. A series of copper engravings by Bergmüller served as a template for the restoration.
Gabrieli's design (1720) is reminiscent of the Bohemian-Silesian architectural tradition of curved floor plans and found its successor in the Schönborn Chapel of the Würzburg Cathedral , which Balthasar Neumann designed only a little later (1722/23).
The columnar altar comes from the construction time. The sculptural jewelry by Ehrgott Bernhard Bendl shows the relationship of Jesus, such as the hll. Josef, Joachim and Zacharias. The central niche contains a remarkable sandstone statue of Our Lady, an Augsburg work from around 1340. The large picture of the guardian angel on the west wall was painted by Johann Georg Bergmüller (referred to in 1714). It comes from the baroque Carmelite Church, which no longer exists, and was acquired from private ownership for the cathedral in 1987.
The reconstructed room, which originally served as a war memorial after the war's destruction, is in clear contrast to the medieval architecture and furnishings of the cathedral. In the city center of Augsburg, after the devastating devastation of the Second World War, there are only a few evidence of sacred Baroque decorative art.
The late Gothic cloister was built from 1470 onwards through a reconstruction of the older predecessor complex, the south wing of which was incorporated into the nave of the cathedral as the outer aisle in the 14th century. The executive foreman was Hans von Hildesheim. The construction work could not be completed until 1510 with the participation of Burkhard Engelberg.
The three wings have net and star vaults on pyramid or mask consoles (east wing). The southern yokes of the west wing are spanned by a pressed barrel vault, which goes back to the conversion to the vestibule of the Marienkapelle (around 1720).
The keystones usually show the coats of arms of the donors, one the relief of the Visitation, another the depiction of Our Lady with St. John. The window tracery are mostly renewed. The figurations show fish bubbles, segments of a circle and crossed bars.
The Augsburg cathedral cloister is particularly important because of the unusually large number of grave slabs and epitaphs. 401 monuments by some important masters of the Swabian late Gothic and Renaissance styles have been preserved, although the attributions are in some cases controversial. The stock is considered to be the richest in Germany, but many monuments have been damaged or ceded.
The Katharinenkapelle (1300) is accessible from the west wing. A three-sided closed choir with buttresses is attached to the square Kapellenjoch with its cross vault . Inside, five reliefs made of Solnhofen limestone are set into the east wall, illustrating scenes from the life of the Virgin.
In the ambulatory is one of the oldest nativity scenes in Germany. It was probably made around 1580 by the Augsburg sculptor Paulus Mair. In 2017, the figure ensemble was restored for the first time since 1949. On the background of the crib, under a layer of gray paint, a painting over 200 years old came to light that shows the stable of Bethlehem. A memorial plaque is attached to the left of the crib. It is reminiscent of the former Augsburg Cathedral Chapter Christoph von Schmid . Among other things, the Christmas carol “ You little children, come ” goes back to him .
A holy grave is erected in the Marienkapelle during Holy Week . It consists of a canopy made of red cloth, the expositorium for the monstrance and a wooden, painted grave cave with a fully plastic "Christ lying in the grave" figure. The Expositorium is a work by Augsburg gold and silversmiths from 1645 and, in addition to the actual suspension throne, also includes two adoring angels, two decorative vases and a cross with a depicted sheet depicting Jesus' Descent from the Cross. A mechanical device is used to suspend the monstrance, which places the monstrance in the elevated position provided for it. The burial niche shows accurately bricked stones in shades of gray; there are no other assistant figures such as guards or allegorical figures. At Easter, a figure of the risen Christ is placed in the niche for the monstrance and the grave Christ is covered with a white cloth.
Diocesan Museum of St. Afra
A diocesan museum was built by the diocese right next to the Augsburg cathedral to display the cathedral treasure and other ecclesiastical works of art. The museum was developed in a partly historical building stock and in a new building. Opened in 2000, for example, the original bronze door, the cathedral's oldest work of art, can be found there.
The square south of the cathedral was redesigned in 1985 on the occasion of Augsburg's 2000th anniversary.
Max Josef Metzger stele
In the forecourt of the cathedral there is a stele with a bust of Max Josef Metzger , who was executed as a pacifist by the National Socialists and was included in the German martyrology of the 20th century as a witness of faith . The memorial is the work of Hans Ladner and was unveiled in 1973. The stele bears the inscription "For the peace of the world and the unity of the church". A memorial service is held here every year on April 17th, the anniversary of Metzger's death.
The Roman wall is located on the west side of the cathedral forecourt . It consists of a brick wall built in 1954 with a slim steel roof. In front of the bricklayer and embedded in it are finds from the time of Roman Augsburg . For conservation reasons only replicas are shown there.
To the east of the cathedral forecourt is the cathedral fountain on a small step. The fountain basin is made of Flossenbürger granite and bears life-size bronze figures of the three diocesan patrons who are closely associated with Augsburg (Saint Bishop Ulrich , Saint Afra and Saint Bishop Simpert ). The fountain is the work of Josef Henselmann , who had previously created the bronze high altar of the east choir, and was erected in 1985 on the occasion of the redesign of the cathedral forecourt.
In the south of the cathedral forecourt, a large opening in the floor affords a view of the foundations of the former St. Johann church . A board explains the findings.
Stele with the bust of Max Josef Metzger
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- Cathedral parish Augsburg on bistum-augsburg.de .
- Domtour 360 °: Virtual tour of the cathedral at domtour.bistum-augsburg.de .
- Photos of the interior of the cathedral in the Warburg Institute Iconographic Database .
- ↑ Denis André Chevalley, Heide Werner-Clementschitsch, Martin Mannewitz: The Cathedral of Augsburg . Oldenbourg Verlag, 1995, ISBN 978-3-486-55960-6 .
- ↑ “According to this new dendrochronological determination of the scaffolding timber, the entire cathedral was built between 995 and around 1006. The oldest scaffolding wood with the felling date winter 999/1000 is installed in the gable wall of the western transept. The subsequent scaffolding (felled summer 1003) is located in the north wall of the nave. The third scaffolding wood (felled in winter 1003/04) lies in the masonry of the southern nave wall. With these data, the completion of the transept around the turn of the millennium is proven. Then the three-aisled nave was built. The burial of the three bishops Liutold († 996), Gebhard († 1000) and Sigfried († 1006) in a common grave, which has been handed down to us in 1006, corresponds to the dendrochronologically determined construction dates, so that the construction work was completed on Ottonian cathedral in the first decade of the 11th century can be considered secure. ”Sahler / Winkler 2011, p. 290f. See also in detail Aumüller, Exner et al. a. 2012
- ↑ See Angelika Porst and Reinhold Winkler (2011).
- ↑ Georg Himmel HEIFER : The east choir of the Augsburg Cathedral - A contribution to the history of construction (Treatises on the history of the city of Augsburg. 15). Augsburg 1963.
- ↑ Christian Kayser: Der Ostchor des Augsburger Domes In: Yearbook of Bavarian Monument Preservation 68/69, 2014/2015, pp. 21–78.
- ^ Reinhard Wortmann: A hypothetical cathedral choir plan of the Augsburg Cathedral Choir. In: Art history studies for Kurt Bauch on the 70th birthday of his students . Deutscher Kunstverlag, Munich 1967, pp. 43–50.
- ^ Johann Josef Böker : The Augsburger Dom-Ostchor: Reflections on its planning history in the 14th century , in: Journal of the Historisches Verein für Schwaben 77, 1983, pp. 90-102; Hubert Hufnagel: On the building history of the east choir of Augsburg Cathedral , in: Architectura, magazine for the history of architecture , year 1987, pp. 32–44.
- ↑ Georg Schelbert: The choir floor plans of the cathedrals of Cologne and Amiens . In: Kölner Domblatt , 62 (1997), pp. 85–110, here 107–108.
- ^ Marc Carel Schurr : The architecture of Peter Parler. The Prague St. Vitus Cathedral, the Holy Cross Minster in Schwäbisch Gmünd and the Bartholomäus Church in Kolin in the field of tension between art and history . Ostfildern 2003; P. 50f .; Marc Carel Schurr: From Master Gerhard to Heinrich Parler. Thoughts on the architectural history of the Cologne Cathedral Choir. In: Kölner Domblatt 68, 2003, pp. 107–148. Marc Carel Schurr: The renewal of the Augsburg Cathedral in the 14th century and the Parler . In: Martin Kaufhold (ed.): The Augsburg Cathedral in the Middle Ages , Augsburg 2006, pp. 49–59.
- ^ Johann Josef Böker u. a .: Gothic architecture: Ulm and the Danube region. An inventory catalog of medieval architectural drawings from Ulm, Swabia and the Danube region. Müry & Salzmann, Salzburg 2011, No. 72.
- ↑ Huge damage: Man throws in late Gothic windows at the cathedral ( memento from December 5, 2016 in the Internet Archive ), bo, Augsburger Allgemeine, July 31, 2013.
- ↑ Opening of the Domturmkugel: Findings from the years 1598, 1848 and 1952. Diocese of Augsburg, accessed on May 16, 2018 .
- ↑ Beate Bastian: Augsburger Bombennacht: Memorial plaque in the cathedral unveiled. In: br.de. Bayerischer Rundfunkt, March 2, 2019, accessed on March 5, 2019 .
- ^ Andreas Alt: Ban on extinguishing burning churches. In: Catholic Sunday newspaper. February 20, 2019, accessed March 5, 2019 .
- ↑ a b Ulrich Haaf: The Augsburg Cathedral . In: Schulreferat des Bischöflichen Ordinariats (Ed.): The diocese of St. Ulrich . Augsburg 1983, p. 22 .
- ↑ Hans Ramisch: Master Sigmund Haring, painter and citizen in Freising, proven 1451-1491. Archival news and works attested therein . In: Collector sheet of the historical association Freising . tape 42 , 2012, p. 61-92 .
- ↑ More information on the cathedral organs: The organs in the High Cathedral of Augsburg, Augsburg, ADV, 1990.
- ^ Denis André Chevalley: The cathedral at Augsburg. Series Die Kunstdenkmäler von Bayern. Oldenbourg, Munich 1995, ISBN 3-486-55960-5 , p. 268 f.
- ↑ Julian Müller-Henneberg: Karl Kraft - A monograph . Dissertation at the Philosophical-Historical Faculty of the Leopold-Franzens-University Innsbruck. Innsbruck 2015, p. 8 ff . ( Full text [PDF; 8.5 MB ; accessed on March 21, 2017]).
- ^ Augsburg, Hoher Dom: the historical bells. In: bistum-augsburg.de . Retrieved January 26, 2017.
- ↑ Press Office of the Diocese of Augsburg: More than just “Your little children come” - bestselling author and reform pedagogue Christoph von Schmid was born 250 years ago. In: bistum-augsburg.de. Diocese of Augsburg, July 27, 2018, accessed on August 16, 2018 .
- ↑ https://www.youtube.com/watch?v=OiF2YXXhQW0 from kathisch1tv
- ^ Postcard with a photograph of the Augsburg Holy Sepulcher from 2018; there officially distributed to visitors on the occasion of the installation
- ↑ Video from kathisch1tv  Min 3 sec 40
- ↑ Remembrance work in the Augsburg area. In: vvn-augsburg.de. www.vvn-augsburg.de, accessed on October 23, 2018 .
Coordinates: 48 ° 22 '22 " N , 10 ° 53' 48" E