Bern Minster

Bern Minster
Basic data
Place:	Bern
Canton:	Bern
Country:	Switzerland
Altitude :	535  m
Coordinates: 46 ° 56 ′ 50 "  N , 7 ° 27 ′ 4"  E ; CH1903:  six hundred thousand nine hundred and fifty  /  199.57 thousand
Use:	church
Accessibility:	Observation tower open to the public
Tower data
Construction time :	1893
Building material :	Sandstone
Total height :	100.6  m
Viewing platforms:	64   m , 46 m
Position map
Bern Minster

The reformed Bern Minster was consecrated to St. Vincent of Saragossa in the late Middle Ages and is the largest and most important late medieval church in Switzerland. It was built in the Gothic style and is one of those Gothic churches that could only be completed in the 19th century after the rise of historicism . The choir of the cathedral contains a glass painting cycle from the 15th century , which, together with that of the former monastery church in Königsfelden, is considered to be the most important in Switzerland . To the south of the church, facing the Aare , is the park of the cathedral platform .

history

Building history

The Bern Minster around 1800

The foundation stone for the cathedral , which is under the patronage of Vincent of Saragossa , was laid in 1421. Before that, the Leutkirche had already stood there, a Romanesque chapel built around 1190 when the city of Zähringen was founded and rebuilt in 1276 . The minster was built clockwise around the old Leutkirche. Except for the upper part of the tower, the cathedral was built from Bernese sandstone .

The builders of the cathedral were the city ​​of Bern and the Teutonic Order . The chapels and the choir windows were financed by wealthy Bernese families, societies and brotherhoods.

The first foreman in the construction of the new minster was Matthäus Ensinger . According to southern German custom, it began only with a west tower the width of the entire ship. While his models ( Ulm Minster , Freiburg Minster and St. Nicholas Cathedral in Freiburg i.Üe. ) only emphasize the one central gate, Ensinger combined all three west portals into a three-part, richly decorated porch. Between 1460 and 1480, the stonemason Erhart Küng created the figures of the main vestibule and the world-famous cathedral portal. In 1517 the Gothic choir with the vault called the Heavenly Court was completed and in 1573 the net vault of the central nave could be drawn in as the last medieval building measure. In 1521 the tower was interrupted at the level of the lower octagon due to weak foundations. It was not until 1893 that the tower reached its full height of 100.6 meters.

In 1529, in the course of the Reformation, all altars, images of saints and ancillary buildings were removed, as was the grave of the boy Rudolf von Bern . He is said to have been the victim of a Jewish ritual murder on April 17, 1294 . His bones were transferred from the Leutkirche to the cross altar of the new minster, but removed again from the minster during the iconoclasm in 1529 and buried outside the church.

The institution

When Bern was founded around 1190, the church belonged to the parish of Köniz , a commander of the Teutonic Order . In 1276 Bern became a separate commander of the Teutonic Order. This elected the city pastor at the city church consecrated to St. Vincent and organized the service according to the religious liturgy. In the up-and-coming city-state of Bern in the 15th century, during the construction of the cathedral and after the victories over Burgundy, the council urged the replacement of the Teutonic Order and the establishment of a canon monastery at the cathedral, where it exercised its influence on the choice of canons, their services and the Administration could claim. The separation from the Teutonic Order succeeded in the winter of 1484/1485.

The Canons' Monastery of Bern Minster, 1485–1528

On March 4, 1485, Bern signed a treaty with the first canons. As Bern was to the left of the Aare on the territory of the former diocese of Lausanne (the right bank of the Aare belonged to the diocese of Constance at that time ), the liturgy of the diocese of Lausanne was introduced. The new canons had to commit themselves to the council to keep the liturgical prayers exactly and to procure the necessary liturgical books, the chalices, candlesticks and church vestments. In contrast, the council kept supervision of the ongoing construction of the cathedral in its own hands.

Initially, liturgical books on loan seem to have been used, even if printed liturgica were already for sale. A richly decorated antiphonary in six volumes was then ordered, which scribes and famous illuminators laid out as a parchment manuscript over the next few years (see section below, “The Antiphonaries of the Bern Minster”).

When Bern committed to the Reformation in 1528, the liturgical books were no longer needed. Four volumes of the Bern antiphonary were sold to the Saint-Laurent collegiate church in Estavayer-le-Lac , two volumes reached Vevey via previously unknown routes , where they were only discovered and identified in 1982/1989 by a manuscript specialist from the Freiburg University Library in Üechtland. The discoverer Joseph Leisibach calls them "the most representative evidence of book illumination of the late Middle Ages in Switzerland".

Well-known minster pastors

• 1546 to 1552: Jodocus Kilchmeyer , pastor and since 1547 dean
• 1548 to 1565: Johannes Wäber (since 1544 helper at the cathedral)
• 1647 to 1674: Johann Heinrich Hummel (since 1645 helper at the cathedral)
• 1691 to 1709: Samuel Bachmann (since 1672 helper at the cathedral)
• 1777 to 1803: Johann David Wyss
• 1818 to 1831: Rudolf Emanuel Stierlin
• 1831 to 1843: Karl Rikli (from 1830 as a helper and from 1831 as a deacon)
• 1860 to 1873: Carl Albrecht Reinhold Baggesen (since 1825 assistant pastor at the Münster)
• 1867 to 1897: Albrecht Rudolf Rüetschi
• 1903 to 1922: Wilhelm Hadorn
• 1911 to 1952: Albert Schädelin
• 1946 to 1968: Walter Lüthi

Well-known master builders

• Matthäus Ensinger (1390–1463), from 1420 first foreman at the minster
• Erhart Küng (1420–1507), worked as a stonemason from 1460, from 1483 foreman
• Peter Pfister (1505–1520), initially with Erhart Küng, builder of the choir vault (1515–1517)
• Abraham Dünz (1630–1688), from 1660 foreman at the construction works of the Bern Minster
• Samuel Jenner (1653–1720), from 1688 master craftsman
• Niklaus Schiltknecht (1687–1735), master craftsman from 1728
• Daniel Heintz I (1535–1596), from 1571 master craftsman
• Niklaus Sprüngli (1725–1802), master craftsman from 1796
• Karl Indermühle (1877–1933), from 1900 head of the Münsterbauhütte
• Peter Indermühle (1909–1986), 1933–1980 master builder of the cathedral and head of the cathedral construction works
• Tobias Indermühle (1941–2006), 1980–1998 master builder of the cathedral and head of the cathedral construction works

Description and architecture

The cathedral portal

Main portal

The 234 finely crafted sandstone figures on the cathedral portal represent the Last Judgment and are world famous. The figure of the Virgin Mary originally standing in the middle between the wise and the foolish virgins was replaced after the Reformation in 1575 by an allegorical representation of justice (Justitia) (work by Daniel Heintz ).

Due to air pollution in the 20th century, the 47 life-size figures had to be replaced with copies. The original figures are exhibited in the Bern Historical Museum . An angel, dressed as a deacon, leads the wise virgins, whose bridal splendor is reminiscent of Dutch art; his scroll contains the words:

Careful, chaste and know (wisely) how you have been, go there, sweet friends, to your broodmate, Mary's child.

On the right the foolish answer, wringing their hands, in strange costume:

Oh and woe, that we do not have Ochle (oil) hand, go to buy us, that we yawn in with you.

Interior

Ten Thousand Knights Window (not completely preserved).

Nave towards the choir

Vault

The choir vault was completed in 1517 under the direction of the foreman of the years 1505–1520, Peter Pfister . It has 86 figurative keystones, which are arranged according to a hierarchical program from the apex backwards to the choir arch. Starting with the Trinity , the Holy Spirit is depicted as a preciously decorated dove, God the Father and Son and flanked by Moses and Elias . This is followed by the ancestors of Jesus David , Mary and Joseph , then the twelve apostles and in their midst the city and church patrons Vincent and Achatius . The next row is formed by the four evangelists and continued by other ancestors of Jesus Joachim , Anna selbdritt and John the Baptist . The church fathers Augustine , Ambrosius , Pope Gregory and Hieronymus follow . After the snap ring, there are twelve martyrs and holy men, 15 martyrs, holy women and religious founders and other bishops, religious founders and abbots. In the last row in front of the choir arch, the builders have portrayed themselves as four saints, the legendary saints Semproniuanus, Nicostratus, Claudius and Kastorius . The color of the figures has never been changed since 1517, the only time it was dusted with a broom during the choir renovation around 1900. The extensive restoration in 2014–2018 showed that it was in an astonishingly good state of preservation. The glands between the cross ribs were verifiably painted by Niklaus Manuel and his workshop.

A new attempt to complete the minster after the construction freeze due to the Reformation allowed the foreman Daniel Heintz to build the net vault of the central nave. Before that, there had been an inadequate temporary roof over the finished side aisles and the side walls for a hundred years. The keystones are decorated with gender coats of arms less elaborately than the choir vault. On the lid of the snap ring in the middle of the ceiling is another Bernese coat of arms and above it in the attic is a running wheel with which loads used to be hoisted.

Choir window

The choir of the minster contains six large, four-lane, late Gothic tracery windows with glass paintings. The most important date from the middle of the 15th century and are foundations of the Bernese noble and notable families of the late Middle Ages . They were created between 1441 and 1451. Three windows, more precisely the wafer mill window, the Epiphany window and the Wurzel-Jesse window have been preserved almost in their original form. Two windows, the Passion and Ten Thousand Knights, lost more than half of their original panes. These preserved remains were later combined in the central window and supplemented by additional panes. Mainly responsible for this damage are two severe hailstorms that struck Bern at the beginning of the 16th century, with the panes on the south side being significantly more damaged than on the north side. Another window, a foundation of the von Scharnachtal family, was completely destroyed in the first severe hailstorm. In 1868 the ensemble was supplemented with two new windows on the south side. The panes of the 19th century imitate the composition of the older windows, but with their strong colors and the high realism of the figures shown, they clearly stand out from the medieval ones.

Choir stalls

The choir stalls were made between 1522 and 1525 by the master carpenter Jacob Ruess from Schaffhausen and his journeyman Heini Seewagen. Niklaus Manuel, who, like Ruess, got to know the Renaissance style while traveling in Italy, had drawn the templates . They used the round arch style and Renaissance ornamentation for the first time in the cathedral. The picture program shows half-length portrait of the apostles (north side) and the prophets (south side) on the back walls. Biblical scenes are depicted on the outer cheeks of the choir stalls, while the figures that adorn the seats depict people from everyday life.

Chapels

Until the Reformation, the privately or fraternally financed chapels were separated from the side aisles with barriers. The founding families , societies and brotherhoods held private masses and services in their chapels. The chapels were decorated with altars , coats of arms, stained glass and works of art.

The twelve chapels of the Bern Minster:

1. Gerwernkapelle (main entrance and information point since 1999)
2. Schopfer Chapel (also Michel Chapel )
3. Bulzinger Chapel (later Metzgern Chapel )
4. Krauchthal Chapel (later von Erlach Chapel)
5. Bubenberg Chapel (now also Steiger Chapel )
6. Matter Chapel (also from Roll Chapel)
7. Brüggler Chapel
8. Lombach chapel (portal hall before 1473, chapel of the Brotherhood of Our Women Conception until 1500)
9. Diesbach chapel
10. Ringoltingen Chapel (also Bonstetten Chapel)
11. Schütz Chapel (also Upper Church Door Chapel)
12. Erlach -Ligerz Chapel

The former All Souls' Altar

In 1505 the city ​​clerk Thuringia Fricker (approx. 1429 to 1519) donated an All Souls Altar for the poor souls of the city with a picture of a ghost mass , which is now in the Bern Art Museum .

The antiphonaries of the Bern Minster

Initial “V” (“Vincentem mundum adoremus…”) with a miniature of St. Vincent in a Gothic building with the Bernese coat of arms; Illumination by the Master of the Breviary of Jost von Silenen , in the Antiphonale winter part of the Bern Minster, Volume 1, p. 557, today in Estavayer-le-Lac, Parish Saint-Laurent.

During the time of the Canons' Monastery from 1484 to 1528, splendid, large-format choir books were produced according to the custom of the Lausanne Cathedral and used for the daily liturgy. Two scribes can be identified by name, Master Michel and Konrad Blochinger, as well as two nameless illuminators, one of whom is designated by the emergency name Master of the Breviary of Jost von Silenen . After the Reformation, these antiphonaries were brought to Estavayer (4 volumes) and Vevey (2 volumes) and are now kept there. The discovery of the two volumes in Vevey and the proof of their belonging to the volumes in Estavayer was not possible until 1989, as was the identification of the scribe and illuminator Konrad Blochinger.

Paraments

The medieval church furnishings also included textiles, especially priestly robes and altar cloths, which were necessary for the celebration of church services, but also large, interchangeable hangings that allowed the church to appear in new clothes over and over again during the church year ( paraments ). Made of flexible material, these textiles could easily be changed and stored in the sacristy. They made direct reference to the feasts of the church year, were recorded in inventories and came from pious foundations, but also from the spoils of wars. Flags as symbols of state power were consecrated before the start of a war; their conquest testified at the same time the defeat of the opponent and the triumph of the victor. The flags captured in the battles in Grandson and Murten were brought to the cathedral in Bern before they were then sent to Lucerne to be distributed among the estates involved. At that time, the Burgundian coat of arms carpets and the thousand-flower carpets also came to the Münster and were partly cut up, hung up and exhibited, and this until the Reformation. People were aware of the preciousness of these tapestries, and so the choir hangings with representations of the old faith, which were lost in the turmoil of the Reformation elsewhere, were able to outlast the times (today's location: Bernisches Historisches Museum ).

Organs

Large organ, Orgellettner

Up until the Reformation there were two large and three small organs in the Bern Minster . The two large organs were swallow's nest organs . They hung on the north wall of the nave and the choir. Their locations can still be guessed at from the bricked-up openings in the walls. In the course of the Reformation, the organs were removed from the minster. According to Zwingli's view, they had no place in the service: "The organ is the devil's bagpipes, with which he lulls the seriousness of the reflections into slumber".

Today there are four organs in the Bern Minster: the large Münster organ on the west gallery, the swallow's nest organ on the south wall of the choir, and two small research organs.

Cathedral organ

The large cathedral organ was built in 1729 by Gottlieb Leuw from Bremgarten . The instrument originally had 38 registers . In the course of time, the so-called large organ was rebuilt and expanded several times, for example in the years 1748 to 1752 by the organ builder Victor Ferdinand Bossart to 43 registers and in the years 1845 to 1849 by Friedrich Haas to 55 registers. The carved organ front is by Johann Jakob Langhans (organ front) and Michael Langhans (crowning around 1730) as well as by Johann August Nahl the Elder (ornamentation, around 1750).

Since the last renovation between 1998 and 2000 by Orgelbau Kuhn , the organ has 71 sounding registers (over 5,400 pipes) on four manual works and a pedal.

I breastwork C – a 3 1. Principal 8th' 2. Reed flute 8th' 3. Viola di gamba 8th' 4th Octave 4 ′ 5. Reed flute 4 ′ 6th Octave 2 ′ 7th Forest flute 2 ′ 8th. Larigot 1 1 ⁄ 3  ′ 9. Mixture IV 1 1 ⁄ 3  ′ 10. Sesquialtera II 2 2 ⁄ 3  ′ 11. Krummhorn 8th' Tremulant

II main work C – a 3 12. Principal 16 ′ 13. Bourdon 16 ′ 14th Octave 8th' 15th Coppel 8th' 16. Viol 8th' 17th Flute harmonique 8th' 18th Octave 4 ′ 19th Hollow flute 4 ′ 20th Dulciana 4 ′ 21st Fifth 2 2 ⁄ 3  ′ 22nd Super octave 2 ′ 23. Mixture VI 2 2 ⁄ 3  ′ 24. Cymbel IV 1' 25th Cornett V 8th' 26th Bombard 16 ′ 27. Trumpet 8th'

III Positive C – a 3 28. Principal 8th' 29 Coppel 8th' 30th Salicional 8th' 31. Octave 4 ′ 32. Flute 4 ′ 33. Nazard 2 2 ⁄ 3  ′ 34. Octave 2 ′ 35. flute 2 ′ 36. third 1 3 ⁄ 5  ′ 37. Mixture IV 1' 38. Trumpet 8th' Tremulant

IV Swell C – a 3 39. Bourdon 16 ′ 40. Principal 8th' 41. Bourdon 8th' 42. flute 8th' 43. Salicional 8th' 44. Voix celeste 8th' 45. Octave 4 ′ 46. Pointed flute 4 ′ 47. Night horn 4 ′ 48. Fifth 2 2 ⁄ 3  ′ 49. Octave 2 ′ 50. Flageolet 2 ′ 51. third 1 3 ⁄ 5  ′ 52. Fittings V. 2 ′ 53. Basson 16 ′ 54. Trumpet harm. 8th' 55. Basson-Hautbois 8th' 56. Voix humaine 8th' 57. Clairon 4 ′ Tremulant

Pedal C – g 1 58. Principal bass 32 ′ 59. Principal 16 ′ 60. Sub bass 16 ′ 61. Subtle bass 16 ′ 62. Octavbass 8th' 63. violoncello 8th' 64. Octave 4 ′ 65. Octave 2 ′ 66. Mixture V 4 ′ 67. Counter trumpet 32 ′ 68. trombone 16 ′ 69. bassoon 16 ′ 70. Trumpet 8th' 71. Clairon 4 ′

• Coupling : I / II, III / II, IV / II, (also as sub-octave coupling) IV / III, I / P, II / P, III / P, IV / P
• Playing aids : typesetting system with 4 × 256 combinations

Swallow's Nest Organ

In 1982 a new swallow's nest organ was installed on the south wall of the choir by Metzler Orgelbau . The first cathedral organ was located at this point around 1450; the entrance is still visible in the masonry. Today's swallow's nest organ is modeled on the first swallow's nest organ in terms of size, shape and numerous details. The instrument has 14 stops on two manual works and a pedal. The playing and stop actions are mechanical. The instrument is tuned to a modified mid-tone (pitch 440 Hz)

I main work CD – d 3 Praestant 8th' Hollow flute 8th' Octave 4 ′ Fifth 2 2 ⁄ 3  ' Super octave 2 ′ third 1 3 ⁄ 5  ' Mixture IV-VI 1 1 ⁄ 3  '

II Brustwerk CD – d 3 Dumped 8th' Reed flute 4 ′ Forest flute 2 ′ Fifth 1 1 ⁄ 3  ' shelf 8th'

Pedal CD – d 1 Sub bass 16 ′ Trumpet 8th'

• Pairing : I / P, II / P
• Playing aid: tremulant

tower

The tower was interrupted in 1521 at the height of the lower octagon (almost 61 meters) and was only completed between 1889 and 1893 to the final height of 100 meters, which makes it the highest church tower in Switzerland. It was not the Bern sandstone that was used, but the more weather-resistant Obernkirchen sandstone from Lower Saxony in Germany.

222 stone steps lead in a spiral to the first tower gallery at a height of 46 meters. Another 90 steps lead up to the second gallery at 64 meters, which is also accessible to the public.

At the lower octagon (octagon) of the first tower gallery are the sculptures of those people who brought the tower to completion:

• 

  Benedicht Wirz , head of construction works, stone sculptor,
  attribute: bricklayer's hammer, triangular triangle

• 

  Georg Salcher , bricklayer foreman
  Attribute: Knüpfel and chisel

• 

  August Albert Müller , Münster architect,
  attribute: ruler, compass, pencil

• 

  August Beyer , designer of the spire,
  attribute: drawing, sketch

• 

  Karl Howald , Münsterbaukassier,
  attribute: lettering «nid nahla»

• 

  Albert Zeerleder , President of the Münsterbauverein, Kirchmeier,
  attribute: lettering

• 

  Emil Probst , Building Director of the City of Bern,
  attribute: teaching (tool)

• 

  Friedrich Stramm , carpenter,
  attribute: carpenter's ax

The tower of the Bern Minster offers a magnificent view of the old town, the Aare loop, the Bernese Alps with the Eiger , Mönch and Jungfrau in the south-east and the Jura chains in the north-west.

• 

  Stairs

• 

  Upper viewing platform

and display information about the image

360 ° panorama from the Bern Minster

Until well into the 20th century, a tower guard had the task of reporting fires and " chutzenfeuer ", which was also used as an alarm signal until the 18th century . A tower warden or guard lived in the tower from 1798 to 2007; the apartment at 46 m height still exists today. Jimmy Flitz, a mouse popular with children, also lives here . The former apartment of the tower warden and the gallery room were renovated in 2016 and are rented for cultural events (as of 2017).

Bells

The Big Bell is the largest church bell in Switzerland.

The burger bell was already hanging in the previous building. As a soloist, it serves as a secular town and council bell.

The nine cathedral bells are distributed over two floors and represent the lowest pitched ringing in Switzerland, after that of the collegiate church of St. Gallen . The three little bell bells hang on both bell stalls, the two fire bells are temporarily stored in the basement. Bells 2, 3, 4 and 5 have new clappers.

The Big Bell, cast in bronze by Abraham Zender in Bern in 1611 , is the largest bell in Switzerland. With a weight of 9.9 tons it is also the heaviest bell in Switzerland and the heaviest historical bell of a Protestant church worldwide. It replaced two broken predecessors from 1506 and 1516. Its decoration shows motifs from the Renaissance - coats of arms, dancing bears and masks with tongues sticking out. The Latin inscription testifies to the conflicts of the Reformation in Switzerland and translates as follows:

«Once I served vain gods, as determined by blind superstition. But now true faith, piety and religion call me to serve Christ, your honor alone. "

No.	Surname	Casting year	Caster	Transit diameter (mm)	Mass (kg)	Percussive ( HT - 1 / 16 )	Bell stool
1	Big bell	1611	Abraham Zender & Peter Füssli	2470	9940	e 0 +3	below, middle
2	Midday bell	1583	Franz Sermund	2120	6395	g sharp 0 ± 0	top center
3	Sermon bell	1883	Gebr. Rüetschi	1682	3322	h 0 +0.5	up, north
4th	Poor sinners bell	1734	Samuel Steimer, Emanuel Zender & Johannes Rihs	1510	2300	c sharp 1 +4	below, south
5	Prayer bell	1883	Gebr. Rüetschi	1265	1428	e 1 +3	above, southwest
6th	Hugo or silver bell	14th century	unknown	1060	770	g sharp 1 −2	above, southeast
7th	Burger bell	1403	Nikolaus & Johannes Coppersmith	1725	3850	c sharp 1 +7	down, north
I	eastern fire bell	1503	(Hans Zender)	620	275	f sharp 2 −5	-
II	western fire bell	13th century	unknown	666	286	g 2 −10	-
III	1. Little bell	1821	Emanuel Meley	238	9	g sharp 3	down, north
IV	2. Little bell	unknown	unknown	192		at h 3	up, north
V	3. Little bell	1780	unknown	147		at dis 4	up, south

Main mass

• Total length: 86.72 m
• Overall width: 37.55 m
• Arch height: 20.70 m
• Tower height square: 46.00 m
• Total tower height: 100.60 m

Sponsorship

No building in the canton of Bern receives as much attention as the Bern Minster, built between 1421 and 1590. 16 specialists from the Münsterbauhütte alone are currently maintaining the sandstone facade. This does not include the roofs of the central and side aisles, glass panes, bells and other interior fittings. Since 1881, the work has been financially supported by the residents' community of Bern , the civic community of Bern and the Reformed overall church community of Bern , which came together to form the Münsterbauverein, now the Berner Münster Foundation. Even then, the responsibilities were precisely defined in the contract: while the Münster Foundation maintains the facade, the parish takes care of the repairs to the interior and the glass paintings. The city, for its part, is responsible for maintaining the roofs. The foundation receives an annual contribution from the lottery fund of the canton of Bern as well as federal grants .

gallery

• 

  Bern Minster as seen from the Kirchenfeld Bridge

• 

  Bern Minster in the evening light

• 

  Aerial view of the minster

• 

  The net vault of the nave

• 

  Reticulated vault of the choir

• 

  The choir stalls

• 

  Figures of the choir stalls

• 

  Inscription "machs na" (do it) on the second easternmost pillar on the north side

• 

  The wise virgins - sandstone figures at the main portal

• 

  The foolish virgins - sandstone figures at the main portal

• 

  View from the cathedral tower: Eiger, Mönch and Jungfrau

literature

• Bernhard Furrer , Brigitte Kurmann Schwarz, Christoph Schläppi, Luc Mojon: The cathedral of Berne. ( Swiss Art Guide , No. 538). Ed. Society for Swiss Art History GSK. Bern 1993, ISBN 978-3-85782-538-5 .
• Hans von Greyerz: Studies on the cultural history of the city of Bern at the end of the Middle Ages ; in: Archive of the Historical Association of the Canton of Bern , Volume 35 (Bern 1940), pp. 173–491, esp. Chapter 8: Das Sankt Vinzenz Canonherrenstift, pp. 365–430.
• Tedy Hubschmid (Ed.): The new organ in the Bern Minster. Münster community of Bern 1999.
• Manuel Kehrli: The Lord's Supper Tables in the Minster and in the French Church. In: Bern's mighty time. Rediscovered in the 16th and 17th centuries. Edited by André Holenstein et al., Bern 2006, p. 171.
• Brigitte Kurmann Schwarz: The glass paintings from the 15th to 18th centuries in the Bern Minster ; Benteli, Bern 1998; XII, 675 pp., Ill. ( Corpus vitrearum medii aevi, Switzerland , volume 4); ISBN 3-7165-1061-0 .
• Christoph Schläppi, Bernhard Furrer and others: The Bern Minster. ( Swiss Art Guide , Volume 538/539). Ed. Society for Swiss Art History GSK. Bern 1993, ISBN 3-85782-538-3 .
• Heinrich Türler : The altars and chapels of the minster in Bern before the Reformation. In: New Berner Taschenbuch on the year 1896. pp. 70–118. doi: 10.5169 / seals-126600
• Kathrin Utz Tremp : The collegiate monastery St. Vinzenz in Bern, from its foundation in 1484/85 to its abolition in 1528 ; Bern 1985 ( Archives of the Historical Association of the Canton of Bern ; 69); ISBN 3-85731-008-1 .
• Kathrin Utz Tremp, Fanny Abbott: Le chapitre de St-Vincent (1484–1528) et ses antiphonaires. In: The Bern Minster = La collégiale de Berne…; Art and Architecture in Switzerland , vol. 68 No. 2, 2017, pp. 46–54.
• Roland Zoss: Jimmy Flitz , the Swiss mouse . Riki-Verlag, Interlaken 2010, ISBN 978-3-907799-43-7 [children's book on the Münstermaus]; Jimmy Flitz 1–6 radio plays, SoundService Gümligen 2007–2015.
• Luc Mojon : The art monuments of the canton of Bern . The Bern Minster. Ed .: Society for Swiss Art History (=  Die Kunstdenkmäler der Schweiz . Volume 44 ). tape 4 . Birkhäuser Verlag , Basel 1960 (451 pp., Unibe.ch [PDF; 60.3 MB ; accessed on February 12, 2018] for free download).
• François de Capitani, Christoph Schläppi et al .: Machs na 1 + 2, A guide to the Bern Minster, Society for Swiss Art History, Stämpfli + Cie AG, Bern 1993, ISBN 3-7272-9660-7 .

See also

• List of cultural assets in Bern in District I, Inner City - Eastern Part

Web links

Commons : Berner Münster  - Collection of images, videos and audio files

• Homepage of the Bern Minster
• Volume on the Bern Minster in the series «Art Monuments of the Canton of Bern»
• Website of the Bern Minster Foundation
• Information, pictures, videos and 360 panoramas of the Bern Minster at www.bern.com
• Interactive 360 ​​° gigapixel panorama photo taken from the top of the Bern Minster

Remarks

1. ↑ Holy Saturday, Pentecost Saturday, Christmas Eve and New Year's Eve
2. ↑ ^{a b} 1st Advent, Christmas, New Years, Good Friday, Easter, Ascension Day, Pentecost and Prayer Day
3. ↑ Christmas, New Year, Good Friday, Easter, Ascension Day, Pentecost and Prayer Day

Individual evidence

1. ^ Building history of the cathedral in Volume IV of the series «Art Monuments of the Canton of Bern», p. 17 ff.
2. ^ Building history of the Bern Minster on bernermuenster.ch
3. ^ Hans von Greyerz: Studies on the cultural history of the city of Bern at the end of the Middle Ages ; in: Archive of the Historical Association of the Canton of Bern , Volume 35 (Bern 1940), pp. 173–491, esp. Chapter 8: Das Sankt Vinzenz Canonherrenstift, pp. 365–430.
4. ↑ Kathrin Utz Tremp : The collegiate monastery St. Vinzenz in Bern, from its foundation in 1484/85 to its abolition in 1528 ; Bern 1985 ( Archives of the Historical Association of the Canton of Bern  ; 69); ISBN 3-85731-008-1 .
5. ^ The Justitia from the Bern Minster. Miss-Jones.de, May 9, 2019. Accessed August 11, 2020.
6. ↑ interactive presentation of the choir vault on the website of the Berner-Münster-Stiftung , accessed on April 2, 2018.
7. ^ Hans Christoph von Tavel: Niklaus Manuel and the Bern Minster ; in: The Bern Minster = La collégiale de Berne…; Art and Architecture in Switzerland , vol. 68 No. 2, 2017, pp. 74–81.
8. ^ Stefan Gasser: The vault cap stones of the Bern Minster Choir; in: The Bern Minster = La collégiale de Berne…; Art and Architecture in Switzerland, vol. 68 No. 2, 2017, pp. 16–24.
9. ↑ The “Heavenly Court” on the Bernese choir vault of the Bern Minster with a map of the keystones on the choir vault. In: Blätter für Bernische Geschichte, Kunst und Altertumskunde , Vol. 16, Issue 2, 1920, pp. 269–283.
10. ^ François de Capitani, Christoph Schläppi et al .: Machs na 1, page 68
11. ↑ Poster for the chapels in Bern Minster (PDF file; 618 kB)
12. ^ Albert Jörger: The miniaturist of the breviary of Jost von Silenen: an anonymous illuminator around 1500 and his works in Freiburg, Bern, Sitten, Ivrea and Aosta ; ed. State Archives Wallis, Vallesia , Sitten 2001; 659 pp., Ill .; ISBN 2-940145-45-8
13. ↑ Kathrin Utz Tremp, Fanny Abbott: Le chapitre de St-Vincent (1484–1528) et ses antiphonaires, du Moyen âge à nos jours ...; in: Art and Architecture in Switzerland, vol. 68 No. 2, 2017, pp. 46–54.
14. ↑ Joseph Leisibach: The Antiphonare of the Bern Minster St. Vinzenz, an unexpected new discovery; in: Revue d'histoire ecclésiastique suisse, Vol. 83, 1989, pp. 177-204.
15. ^ Joseph Leisibach: Konrad Blochinger, a Valais calligrapher and illuminist at the turn of the Middle Ages; in: Vallesia Vol. 44, 1989, pp. 211-221.
16. ↑ Anna Rapp Buri, Monica Stucky-Schürer: Paraments from the Bern Minster Treasure , in: Bern's great time, the 15th century rediscovered , ed. by Ellen Beer u. a .; Berner Lehrmittel- und Medienverlag, Bern 1999, ISBN 3-906721-28-0 , 685 pages, ill., Esp. Pp. 465–474 and fig. 365–373.
17. ↑ See also the information on the website of the Bern Minster
18. ↑ Information on the research organs
19. ↑ Information on the organs of the Bern Minster
20. ↑ Urs Fischer, Monika Henking: The organ builder Friedrich Haas (1811–1886). Fotorotar, 2002, p. 49ff.
21. ↑ Exact description of the organ on the website of the organ building company Kuhn
22. ↑ Information on and disposition of the swallow's nest organ
23. ↑ Münsterfrau Bern (1967) - TV. Retrieved July 24, 2019 . 
24. ↑ Information on the Münsterturm , website of the Bernese Münsterkirchgemeinde. Retrieved August 11, 2014.
25. ↑ Walter Däpp: Birthday bell weighing tons , Der Bund . September 10, 2011. Retrieved September 11, 2011. 
26. ↑ Sunday ring in (video from January 2, 2010)