St. Paul's Cathedral (Münster)
The St. Paulus Dom is a Roman Catholic church in Münster under the patronage of the Apostle Paul . The cathedral of the diocese of Münster is one of the most important church buildings in Münster and, along with the historic town hall, is one of the city's landmarks. The cathedral is administered by the cathedral chapter of Münster .
The cathedral stands in the heart of the city on a small hill called Horsteberg, which is bordered in a semicircle by the streets of Spiekerhof, Roggenmarkt , Prinzipalmarkt and Rothenburg. This area, including the Domplatz and adjacent building areas, formed the old cathedral castle and cathedral immunity . Today the cathedral functions as a parish church for this district . To the west of the cathedral is the Kettelersche Doppelkuria : today's bishop 's palace and one of the former curia buildings with today's cathedral administration. In the place of the other curia buildings, which were formerly located around Domplatz, there are buildings of the University of Münster , the Münster district government and the LWL State Museum for Art and Cultural History .
The cathedral had two previous buildings: The first cathedral (so-called Ludgerus-Dom , 805–1377) stood north of today's cathedral; the second cathedral was built in the 10th or 11th century and demolished with the construction of the third, today's cathedral, in the years 1225–1264. The mighty westwork with its almost identical towers had already been added to the second cathedral around 1192 and was incorporated into the third cathedral. The St. Paulus Cathedral combines elements of the Romanesque style with the westwork, i.e. with the old choir and the west towers, and the Gothic in the adjacent basilica building, with the two transepts, the nave, the high choir and the chapel wreath.
In the cathedral is the grave of the former bishop of Münster, Clemens August Graf von Galen , who was promoted to cardinal shortly before his death in 1946 and was appointed by Pope Benedict XVI in 2005 . was beatified .
With the (respective) consecration, each cathedral building became a bishop's church of the Münster diocese . In addition, the individual cathedral buildings had, at least temporarily, additional functions.
The first Carolingian cathedral was also the collegiate church for the brothers of the monastery founded by Liudger , who lived according to the rule of St. Chrodegang .
Each cathedral building also had the function of a parish church . The parish originally included all of Münster. After further parishes had been founded in Münster, the parish of the cathedral was restricted to the old cathedral castle and cathedral immunity in 1090 .
In the first half of the 13th century, in which the third (today's) cathedral was built, the St. Jacobi Church was built on the cathedral square . With the completion of this church, the cathedral that was under construction completely lost its function as a parish church. Since the Jacobikirche was demolished in 1812, the cathedral has again been the parish church for the above-mentioned limited area.
Previous buildings (1st and 2nd cathedral)
Today's St. Paulus Cathedral is the third cathedral in the Münster diocese. It was built between 1225 and 1264. Previous buildings were a Carolingian cathedral (first cathedral building) and an Ottonian cathedral (second cathedral building)
Below is an overview of the three cathedral buildings:
century year buildings Architectural style Duration 9. 805 First Cathedral (Ludgerus Cathedral) Carolingian until 1377 10/11 not clear Second cathedral Ottonian until approx. 1225 12. 1192 Westwork (old choir, towers) Romanesque largely preserved 13. 1225-1264 Third Cathedral (Paulus Dom) Gothic
Carolingian Cathedral (805 to 1377)
The first cathedral was built after the appointment of St. Liudger as Bishop of Munster in 805. It is therefore referred to as St. Liudger's or Ludgerus Cathedral .
Presumed appearance
For a long time it was assumed that the first cathedral was a smaller church, especially after the founding history of Tibus. Only in 1904 did Savels suspect that the original cathedral was a three-aisled basilica . He calculated the width based on the northern alignment of the cathedral square and came to about 20 meters.
In 1936, excavations by Wieschebrink, the former director of the Episcopal Museum, yielded more reliable findings. They revealed that the cathedral of St. Liudger was largely on the site that is now occupied by the cloister and the canon cemetery. From the remains of the foundations it could be concluded that the north aisle including the outer wall with the foundations of the pillars was about 8.3 meters wide. With the premise that the main nave was twice as wide as a side aisle - as is common in early medieval churches - the first cathedral must have been a total of 27.6 meters wide. The length was determined based on the excavations at 31.2 meters.
In the northwest corner of the building, Wieschebrink found additional wall foundations arranged at right angles, two meters thicker than the remaining walls. From these remains, he determined a square tower with an edge length of about 8.3 meters.
Duration
The Ludgerus Cathedral stood north of today's cathedral, roughly where the cloister and canon cemetery, the Marienkapelle and the sacristy are today. It was only demolished in the 14th century, well after the construction of the third cathedral. It also outlived the second Ottonian cathedral from the 10th to 11th centuries.
The Ludgerus Cathedral remained largely untouched until its demolition. After the second cathedral was consecrated, it was initially not used for almost 100 years. During this time, at the instigation of Bishop Dodo , part of the southwest corner was cut off for the construction of a chapel. Only with the establishment of the age Collegiate Cathedral by Bishop Burchard of Ludgerus Cathedral was a function again: He was from the chapter as a choir used.
On August 18, 1377, Bishop Florence von Wevelinghoven confirmed that the two cathedral buildings (first and third cathedral) would take the light off each other and allowed the Ludgerus cathedral to be demolished. After its demolition, the so-called "Old Cathedral" was built northwest of the first cathedral. This replacement building served the chapter of Ludgerus Cathedral as a choir.
Ottonian Cathedral (10th / 11th century to 1225)
The second cathedral was built in the immediate vicinity south of the first cathedral. It was located on the site of today's (third) cathedral.
Construction time uncertain
There is no reliable information about its construction time.
The art historian Max Geisberg (1875–1943) assumed that the second cathedral was built between 967 and 993 during the tenure of Bishop Dodo . This assumption is supported by the fact that other important cathedral buildings had a west transept as early as the 10th and early 11th centuries. This transept was therefore reused in the construction of the third cathedral. In view of the presumed construction time in the era of the Ottonian rule , the second cathedral is called the Ottonian cathedral.
The diocese of Münster assumes that the second cathedral was built in the second half of the 11th century, presumably following a fire in the first cathedral in 1071. After that, the second cathedral was built in 1071 or 1090.
The information provided by the diocese does not necessarily contradict Geisberg's estimate. They are based on a documentary mention of the consecration of the second cathedral church in 1090, which may also have been after the reconstruction after a fire. For example, the Überwasserkirche burned down completely just a few hundred meters away in 1071.
Presumed appearance
Most of the Ottonian cathedral was demolished for the construction of the third cathedral; of the basilica itself, only fragments of the south wall of the aisle are preserved today.
The masonry of the western transept was then included in the new building. A large part of the west wall of the Ottonian transept (with the exception of the central part, where the old choir was added around 1190 ), parts of the south wall (which was included as the northern inner wall in the construction of the Paradise vestibule), and large parts of the north wall have been preserved to this day and parts of the walls of the upper floor on the east side.
There are no building plans or images that could be used to reconstruct the dimensions of the second cathedral building. Since today's “third” cathedral was placed in the place of the second cathedral, no excavations could be carried out in order to gain knowledge, in particular about its overall length. On the basis of the surviving wall remnants, only the dimensions of the western transept of the second Ottonian cathedral can be determined (about 36.6 m in north-south direction and 12.4 m in west-east direction), as well as statements about the inner width of the aisles (about 6 m) and the main nave (about 12 m), about the thickness of the outer walls of the aisles (about 1 m) and the thickness of the walls between the main and side aisles (about 1.5 m). Overall, the second cathedral must have been around 30 m wide.
Building history of today's cathedral (from 1192)
The numbers and letters in brackets for terms in the following section refer to the position in the floor plan on the right.
Romanesque west building (from 1192)
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As early as 1192, at the instigation of Bishop Hermann II von Katzenelnbogen and at his own expense, a new western building was built on the second (Ottonian) cathedral complex. This is the old choir (B), which replaced the previous western apse , flanked by the two towers (A and C) in the Romanesque style .
This western building was integrated into the construction of the third cathedral and its main features have been preserved to this day.
Gothic cathedral (1225–1264)
The foundation stone for the third, today's St. Paulus Cathedral was in 1225 by Bishop Dietrich III. laid by Isenberg . In contrast to the two previous buildings, the client was not the bishop, but the chapter of the New Cathedral , which had meanwhile gained significantly in influence over the bishop.
In 1264 the St. Paulus Cathedral was completed after almost 40 years of construction and consecrated on September 30, 1264 by Bishop Gerhard von der Mark .
A vaulted basilica with a double transept in the Gothic style was created . The cathedral is 108.95 meters long. The west transept is 52.85 meters wide, including the Paradise porch, 40.53 meters without it. The nave (G) between the two transepts has a width of 28.3 meters with the side aisles (H and I), the eastern transept is 43.3 meters. Large parts of its predecessor were removed for the construction, other parts were reused. This included the west building, parts of the western transept (D and E) and wall parts of the south aisle (I). This resulted in a mixture of style elements of the Romanesque , mainly with the two Romanesque towers of the west building, and the Gothic.
14th Century
In 1377 the first cathedral was demolished and the so-called Old Cathedral (e) was built north of it. It was a replacement for the chapter of the old (Ludgerus) cathedral, which had its choir there. Like today's (third) cathedral, the old cathedral was built in the Gothic style.
In 1390 the Marienkapelle (W), the Annenkapelle (Y) and the Elisabethkapelle (Z) were built, of which the last two chapels were incorporated into the new sacristy in 1885. The cloister (U) was built between 1390 and 1395 . Part of the recently built Old Cathedral had to be demolished and moved to the west. From then until it was demolished in 1875, the old cathedral was delimited by the axis of the west transept and the west arm of the cloister.
16./17. century
Between 1512 and 1515, under Bishop Erich von Sachsen-Lauenburg, the two southern transept facades and the western entrance side were redesigned. The south facade of the eastern transept, behind which the bishop's burial place was later located, was completely redesigned as a late-Gothic façade with eight-part tracery windows and side panels between richly detailed buttresses based on Dutch models. The west side, which was then used for the solemn entry (not reconstructed after being destroyed in the war), received a large niche portal and an eight-part tracery window above it, and above it in the gable field the group of statues of the entry into Jerusalem by Heinrich Brabender .
During the rule of the Anabaptists in Münster in 1534 and 1535, the cathedral was not spared from the devastation caused by the Anabaptists. During the iconoclasm in 1534, numerous pictures and figures such as those by Heinrich Brabender were destroyed, as was the first astronomical clock from 1408, as it was decorated with biblical images.
After the end of the Anabaptist rule, the interior of the cathedral and the chapter house (T) were redesigned. Heinrich Brabender's son Johann Brabender created new sculptures to replace the destroyed ones. Ludger and Hermann tom Ring , two important Westphalian painters, repainted the cathedral. In the years 1540 to 1542 the astronomical clock that was still preserved was installed. In the years 1542 to 1549 the second rood screen followed , which was demolished in 1870.
In the 16th century, the main entrance area of the cathedral, the so-called Paradise (F) and the southern front of the east transept (M) were redesigned, partially expanded and decorated with sculptures; Towards the end of the 16th century, an armarium was added to the ambulatory , today's Kreuzkapelle (R).
In 1663, Prince-Bishop Christoph Bernhard von Galen had three chapels built south of the armarium on the ambulatory (O – Q). The Von Galen chapels named after him are copies of the Armarium due to their shape. In 1697 the vicariate sacristy (J) was built in the angle between the northern part of the east transept (so-called Stephanuschor , K) and the northern aisle . After the construction of the sacristy (X) in 1885, the cathedral treasury was initially housed in the vicariate sacristy. Today the sacrament chapel is located there .
19th century
In 1885 a new sacristy (X, "Floor plan of the cathedral today") was built between the Marienkapelle (W) and the chapter room (T) . For this new building, the St. Anna Chapel (Y), also known as Margaret Chapel , adjoining the Marienkapelle to the south, the St. Elisabeth Chapel (Z) to the south and adjoining the chapter house to the west the connecting passage between the cloister and the east side of the cathedral give way.
20th century
During the Second World War , the cathedral was badly damaged by bombs . When the vaults and walls collapsed, the wall and ceiling paintings by Hermann tom Ring from the middle of the 16th century and the important west portal from the first half of the 16th century were particularly destroyed. The inventory had been removed in good time and was spared.
The cathedral was rebuilt between 1946 and 1956. With the exception of the paintings mentioned above and the west portal, the cathedral was largely reconstructed true to the original. So the altars and epitaphs are still in their original places.
In 1955/56 the high choir (N), the chancel (L) and the east transept were liturgically rearranged according to designs by Emil Steffann . The baroque high altar originally set up in the high choir was moved to the west wall of the old choir (west choir, B). In its place is the cathedra in the high choir . The main altar (people's altar) was placed free-standing and centrally in the crossing room (L), the pews are grouped around the altar on three sides.
In 1981 the new cathedral chamber was opened. It bordered the northern arm of the cloister and housed the cathedral treasure with art and cultural objects from more than 1200 years since the diocese was founded.
Between 1985 and 1990 the windows of the side walls of the ambulatory (S) and the adjoining chapel ring (O – R) were redesigned. It is a cycle of 17 glass windows designed by the glass artist Georg Meistermann . The compositions of the windows are determined by abstract-geometric color surfaces and symbolic-biblical motifs.
21st century
Renovation (2009-2013)
From 2009 to the beginning of 2013 the cathedral was extensively renovated, initially the facades of the west choir, the west towers and the Salvator gable as well as the roof structure. The approximately 5500 square meter roof area was newly covered with copper. The interior work followed from the end of 2011, the renewal of the heating and ventilation system as well as the electrics including lighting and loudspeaker system, fire protection precautions and the interior painting. 15 offices and 51 craft businesses with 350 employees were involved in the renovation phase from June 7, 2010 to February 15, 2013. During this time, 10,000 square meters of wall and vaulted areas were refreshed and 24 kilometers of cables were laid. A completely new 5,500 square meter copper roof was installed during the first renovation phase. Ceilings, walls and works of art in the cathedral were cleaned and given a new color. In the course of the modernization of the technology, an energy-saving geothermal heating system, modern LED lighting and a new microphone system were installed. The digital loudspeaker system has also been redesigned and brought up to date for the hearing impaired. At the portal to the astronomical clock, handicapped accessible access has been added. The belfry was rebuilt from oak. The lights, microphones and bells are controlled from a control center in the sacristy. One from "Lichtspiere" (these are "small brass arms protruding from the wall that look like gargoyles and throw their LED light down to the believers and upwards on the wall and ceiling, so that the cathedral with its vault also shines indirectly ”) and the lighting provided by a wreath of rays provides bright light. The total cost of all of these measures was around 14 million euros. During the renovation, the bishops' burial place under the west choir was made accessible; the entrance is in the southern tower chapel (C). The construction work gave the opportunity for archaeological investigations under the west choir and sacristy. The cathedral reopened on February 15, 2013.
Former west portal
The west wing had initially not have its own portal . The “old choir” could probably only be entered from inside the cathedral (from the west transept); the entrance was probably at the southern end of the east wall of the old choir.
High Gothic portal (around 1400)
Around the year 1400 a (first) portal in the high Gothic style was built into the west wall of the old choir , which roughly corresponded to the later portal in the late Gothic style (see below).
The niches of the door arch were decorated with figures. It can be assumed that a siren , a lamb and a lion were placed on the left , and a phoenix , a pelican and an eagle on the right . Additional decorations consisted of tracery eyelashes as well as consoles decorated with leaf decorations and crowned, long-haired women's heads . The latter, however, are said to have suffered greatly during the rule of the Anabaptists in Münster in 1534/35 after the Anabaptists sparked an iconoclasm and thus destroyed many sculptures and figures.
Late Gothic portal (around 1516)
Around 1516 the west portal of the cathedral was redesigned and extended in the late Gothic style. It lasted in this form for almost 450 years.
The gable triangle made of quarry stone was replaced by a triangle made of ashlar blocks and also richly decorated with pictures and sculptures. A tracery gallery with huge 9.62 meter high and 6.7 meter wide tracery windows was created above the portal . Figures of Paul and Peter were attached to the sides . Above the tracery gallery, three pointed arch niches showed life-size figures of Christ's entry into Jerusalem. The figure pictures were 2.4 × 2.3 meters in the middle niche, 1.98 × 1.54 meters in the left niche and 1.84 × 1.37 meters in the right. They were made by Heinrich Brabender and were the only figures in Münster to survive the destruction of the Anabaptists, probably because they were not easily accessible because of the high mounting. Two console stones by the sculptor Heinrich Brabender vom Westwerk, one of which probably shows Brabender's self-portrait, are in the LWL State Museum for Art and Cultural History .
In the course of a renovation of the west portal in 1850, the tracery galleries and pinnacles above the gable were renewed. In 1904 the slug- glass was replaced by a glass painting donated by Kaiser Wilhelm II and created by the artist Carl de Bouché . The window picture showed the meeting of Charlemagne , Pope Leo III. and Liudger in 799 in Paderborn .
Since the first half of the 18th century, the west portal was provided with a forecourt separated from the cathedral square by a stone balustrade and high iron bars. He was earlier than 1710, no later than 1748. The access adorned on one side of Johann Christoph Manskirch created, 1.66 meters high and 1.74 meters wide representation of religion in the form of an enthroned on clouds woman with cross and tablets of the law. While a little angel refers to the laws, a boy plunging into the depths is shown with a snake in his hand. The representation on the other side has not survived and cannot be clearly identified from old photos. Max Geisberg appreciates it as a representation of the Church, Guilleaume, however, as a representation of the Old and New Testament. The forecourt was removed again in 1873, and the iron bars are said to have been sold to the Counts of Landsberg.
After the Second World War
The portal was destroyed in a bomb hit in World War II and was not rebuilt after the war. The remains of the west portal were removed and replaced by a simple wall made of sandstone.
Before that, there had been heated discussions among monument preservers and also within the population of Münster about how the portal should ultimately be rebuilt. The plans of the then Bishop Michael Keller for the original Romanesque west portal led to a rush of protest letters to the Westfälische Nachrichten . But they did not change anything in the bishop's decision either.
According to a design by Fritz Thoma , twelve circular windows were built into the west wall, which enclose another four square windows. This design is based on the original Romanesque westwork with clear traces of the architecture of the 1950s. Mocking names for the 16 round windows circulate among the population. For example, there is talk of “ basement windows” (based on the then builder Bishop Keller ), “soul shower” or “God's dial”.
The former rood screen
By the year 1870 was Vierungschor from the nave by a large choir screen from Baumberger sandstone separated the two western pillars of the crossing linking (F). The rood screen was created between 1542 and 1549 by the brothers Franz and Johann Brabender as a replacement for the first (Gothic) rood screen from the 13th century, which was destroyed during the Anabaptist rule in Münster.
The rood screen from 1549 was a so-called arcade or hall rood screen, which stood free in the room as a hall. Apart from this rood screen, the four-way choir to the east transept, i.e. H. The Stephanus and Johanneschor were separated by a wall between the northern and southern crossing pillars, which was about as high as the rood screen.
The back wall of the rood screen (towards the high choir ) was solid and closed. In it were two gates through which the clergy could get from the high choir into the nave, for example to distribute communion. There was a stair tower on each of the two crossing piers. They served as a stairway to the rectangular stage on the rood screen system, which was largely used as a stage for musicians.
The front (towards the nave ) was visible as a hall system. In the middle was the cross altar, from which the masses for the people in the nave were read. In the parapet of the front there were niches in which there were representations of figures, etc. a. three-dimensional figures of the twelve apostles . Against this background, the rood screen is called the Apostle Walk.
In 1870 the rood screen was torn down. Remnants of the rood screen, including the figures, could be seen in the cathedral chamber.
architecture
During the construction of the St. Paulus Cathedral, large parts of the previous (Ottonian) cathedral were removed, of which mostly only wall fragments still exist (mainly in the west transept and in the south aisle). The westwork (the old choir and the two west towers) built around 1192 was included in the construction of St. Paulus Cathedral .
From the point of view of architectural history , today's cathedral consists of two parts: the Romanesque westwork and the Gothic "extension".
The letters in brackets for terms in the following section refer to the position in the floor plan on the right.
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Old choir
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The so-called old choir (B) measures 17.6 meters in north-south direction (inside: 12.1 meters) and in east-west direction 16.9 meters (inside: 13.55 meters). It was built as a separate extension on the west side of the Ottonian cathedral and was initially spatially separated from it by the western outer wall of the transept. This separation was abolished around 1250 when the third cathedral was being built.
Shortly after the end of the Anabaptist era in the 1530s, the old choir was again separated from the rest of the cathedral by individual walls and iron bars. This spatial separation existed at least until 1870. During this time, the Auxiliary Bishops used the old choir in the second quarter of the 17th century as a place where they both gave confirmation and carried out priestly ordinations .
In 1836 the old choir was redesigned and refurbished by the foundation of the Bursar von Landsberg. In this context, a large organ grandstand was built in the old choir and in front of the lower chapels in the two towers with the inscription “v. Landsperg ”, decorated with iron grids in italic letters. The old choir continued to exist as a closed room. Most of the landsberg furnishings in the choir were removed as early as 1856.
In the course of the reconstruction after the Second World War, the old choir was completely opened to the west transept. In addition to the font with the baptismal font, which was already there in the 18th century, the baroque high altar was placed in front of the newly designed, now closed west wall of the old choir, below the new round window rosette.
The burial place of the bishops is located under the old choir . Among others, the bishops Johannes Poggenburg , Michael Keller , Heinrich Tenhumberg and Reinhard Lettmann are buried there. Until now, the bishop's crypt could only be entered by opening the floor slabs in the old choir. In the course of the cathedral renovation in 2011/2012, the burial place was made accessible to visitors as a crypt .
Towers
The two Romanesque west towers appear almost identical at first glance. The roof structures of the spiers are pyramid-shaped and - since 1725 - clad with copper. Apparently, however, this shape is not the original. Before the time of the Anabaptists in 1534/35, the spiers, which were then covered with lead, are said to have been significantly higher and an ornament of the city. Similar to the tower of the Überwasserkirche , the Anabaptists are said to have toppled the spiers.
External differences
| North tower | South tower | |
| Latitude (north-south) | 12.05 m | 11.5 m |
| Depth (west-east) | 13.6 m | 12.95 m |
| height | 57.7 m | 55.5 m |
Despite the identical external design, they differ significantly in their dimensions. Compared to the north tower (A), the south tower (C) is slightly narrower and less high.
In contrast, the walls of the lower three floors of the north tower are narrower than those of the south tower. This becomes clear from the fact that the chapel on the ground floor of the south tower is significantly smaller than the chapel on the ground floor of the north tower. This large difference in the lower floors can be explained by the fact that the respective chapels on the ground floor should be in line with the side aisles of the cathedral. Since the foundations of these still come from the second Ottonian cathedral and were already different in width there, the towers had to be adapted accordingly. In order to compensate for this apparent asymmetry, they approximate upwards in dimensions.
Incidentally, the dimensions of the two towers approach each other. Until the partial collapse and the reconstruction of the north tower after the Second World War, the difference in the roof approach was only 25 centimeters.
Inner design
Inside the towers there are two chapels placed one above the other. The two previously mentioned chapels on the first floor of the towers, the Katharinenkapelle (south tower) and the Petruskapelle (north tower) are accessible from the west transept.
The chapels above were never equipped with altars. They can be reached via barrel-vaulted stone stairs that lead up from the western transept in a westerly direction and follow the angle when reaching the outer walls of the towers. Due to the strength of the wall of the north tower, the stairs run completely inside the wall. In the south tower it is visible as a slope. This type of stairway is an important, authoritative example for many Westphalian church buildings.
Doors lead from the upper chapels to the walkways behind the columned galleries of the old choir. The two towers are connected via these corridors. The stairs lead to rooms above the tower chapels. Narrow window slits that are 54 centimeters wide are let into the western outer walls. From this room wooden stairs and wooden ladders lead to the upper four floors of the two towers. They can be easily recognized from the outside through the windows in the spiers and the pointed arch niches below and are 18.37 meters above the base. The niches are created by pilaster strips made of stone. However, they are not identical on each tower side. To the west there are four pilaster strips above and five below. On the north tower to the north and on the south tower to the south, there are only four pilaster strips on both levels, which are aligned. On the top two floors, in the middle on the outer sides, there are two pointed arched windows and further pointed arch niches. In the north tower these niches are provided with three pointed arches, in the south tower only two.
North tower
The lower chapel of the north tower is dedicated to St. Peter and is 75 centimeters below the corridor of the west transept and the rest of the cathedral. It most likely also housed the treasury since the 14th century. The access from the west transept was closed off by a wall with two doors, the southern one leading through a narrow passage to the chapel itself and the northern one providing access to the treasury, which was presumably housed in the masonry.
From the 15th century, the north tower is also mentioned as an armarium, that is, as a repository of the holy scriptures. He probably retained this function until 1859, when the cathedral chapter ordered the removal of the partition between the transept and the chapel on March 1, 1859. During its time as a treasury, it not only housed the Münster cathedral treasure, but also the Cologne cathedral treasury from November 21, 1793 to March 27, 1794, which was brought to a safe place from the French in Münster.
After a resolution of December 21, 1870, the baptismal font was moved to the St. Peter's Chapel. For this purpose, it was also closed with the Landsberg iron bars, which previously closed the access to the old choir and the organ grandstand located therein.
A special feature of the tower is at the level of the upper chapel. In a small chamber a 0.8 meter high and 1.4 meter wide tombstone was walled in, which shows a woman praying. It was apparently made a few decades before the westwork was built around 1190, as there were no concerns about using the stone as a building material for the cathedral.
The north tower was badly damaged in World War II, with the upper two floors partially collapsing. During the reconstruction, the corresponding floors and the roof were restored. At the same time, the interior of the tower was renovated, with the Petrus Chapel being converted back into a treasury. After the completion of the new cathedral treasury north of the cloister in 1981, the cathedral treasure moved there.
The “upper” chapel now houses the auxiliary work of the main organ .
South tower
In the lower chapel of the south tower, the Katharinenkapelle, the "Holy Sepulcher" was probably located since the beginning of the 17th century. On January 31, 1685, it was decided to convert this into a permanent grave. To do this, it was necessary to remove the altar and move the service to the primary altar. After the death of the then dean Johann Rotger, who played a major role in the reconstruction of the chapel, his two tombstones were moved to the chapel.
From 1935 the room served as a memorial chapel for the “fallen soldiers of war and work” and was equipped with a new altar and a new altar cross. A converted wrought-iron hanger from the 17th century served as a dead light as well as a late Gothic pay table and two stone angels.
After the south tower was completely burned out in World War II, the damage to the outer walls was repaired and both chapels were repaired. After that, the Katharinenkapelle served as a baptistery for a long time, until on November 7, 2003 the altar with the triptych “Pietá and Resurrection” was given a new essay.
paradise
The paradise of the cathedral is a two-storey (originally three-storey) porch on the south side of the west transept. It measures 5.83 meters in north-south direction and 14.92 meters in east-west direction. Due to the remains of the wall in the transept, it is assumed that the Ottonian Cathedral already had a vestibule in the same place.
Paradise was open initially to the south, since it as a place to send, and Hofgerichte was used, which by the law of Munster Sachsenspiegel had to take place in the open. After court hearings with the extension of the town hall around 1395 took place there, the south wall should have been closed by this time at the latest.
Inside the paradise, a 69 centimeter high, beveled plinth adorns all four walls. Above, at a height of 2.04 meters, a 21 centimeter high frieze, decorated with tendrils as the main decoration, surrounds the room and serves as the basis for the figures attached above. In addition, human and animal figures decorate the frieze. The oldest of these are probably the entwined dragon figures at the northern end of the east wall. Three human figures can be seen on the eastern part of the north wall, while the corner pillar shows ten evenly distributed palmettes . Below the window in the east wall, indications of the work activities in the respective months adorn the frieze. On the western part of the north wall, King David is shown with his musicians; the pillar in the north-western corner shows depictions of a hare hunt and a grape harvest. Below the window on the west side, the frieze showed the attached figure of St. Mary Magdalene until the renovation of the cathedral in 1880 hexameters . However, they were replaced by small figures of builders and stone cutters. At this time it was not uncommon to carve out the decoration of a frieze over a long period of time from the initially inserted, unworked stone blocks. A relief from the 13th century depicts Mary with the baby Jesus, with the stylized figure of a Jew and a pagan being pressed to the ground by Mary's feet. The relief can be interpreted in such a way that it is permissible to disregard or suppress Judaism or any non-believer. That is why the Münster Cathedral Chapter distanced itself from this anti-Judaist representation in April 2018 .
The garb figures in paradise
The monumental row of figures on the sides of the portal and on the walls inside the Paradieshalle represent the most impressive and at the same time oldest cycle of Gothic garment figures in Westphalia. On the central pillar of the inner entrance, created by Johann Brabender in 1536, there is the Apostle Paulus , the cathedral patron. He probably replaces a late Romanesque figure who was similarly moved. The side panels were also recreated after the destruction by the Anabaptists . All other statues belong to the 13th century. Nine apostles are lined up to the side of the portal. A stylistically comparable figure of Johannes from Metelen was added to them in 1933 . In the apostles around 1230–1240, models of western French portals ( Reims ) "were implemented in the formal language of the still ornamentally moving line style of the Westphalian late Romanesque" (Dehio). Not much later, but developed more consistently on the basis of French style models, another four figures are set up on the side walls: The bishop on the east side represents Dietrich III. von Isenburg (1218–1226), as the initiator of the new cathedral construction, he holds a foundation stone in his hand. The St. Lawrence beside him, easily recognized by the martyrs attribute of the gridiron, applies with his emotional expression as the most important high Gothic sculpture of Westphalia. It must have been made by a sculptor who emerged from the workshop of the Strasbourg court pillar. Opposite, on the west wall, a distinguished knight with a sword cannot be clearly identified; the St. Theodore and Gottfried von Cappenberg were considered. In terms of style, the knight and bishop are derived from the sculpture on the Chartres transept portals, created around 1220 . The Magdalena St. Contrast, was created only after mid-century by a master who was influenced by sculptors at the West portal of the cathedral of Reims had worked. In the creation of the entire ensemble, between 1230 and 1260, very differently trained workers, both local and more familiar with French traditions, were involved. The arrangement of the ensemble, disturbed by plan changes, iconoclasms and arbitrary repositioning, is no longer original.
Inside of the paradise lobby with the north porch
West transept with the porch of paradise
Detail: figures in paradise
Detail: figures in paradise
Longhouse
The westwork with the old choir, the west transept and the towers are connected to the east by the nave, the east transept with the altar island under the crossing and the choir.
Sacrament chapel
From the north aisle there is access to the sacrament chapel with the remarkable bronze door from the end of the 17th century.
The sacrament chapel was built as an annex behind the Stephanschor at the end of the 17th and beginning of the 18th century. It initially served as a sacristy, from 1930 it housed the first cathedral treasury, and was only rededicated as a sacrament chapel in 1956.
Of the original (sacristy) furnishings, only the bronze door of the sacrament chapel is preserved. It is a cast door with the dimensions 2.10 m high and 1.12 m wide. It was created by Johann Mauritz Gröninger.
Christophorus statue
The monumental Christophorus statue (5th) is located on the pillar to the northern transition from the west transept to the nave of the nave . Statues of the saint had been placed in the entrance area since the Middle Ages: a quick look at the statue should save you from sudden death. The sculpture was created in 1627. It was created by Johann von Bocholt.
The sculpture was only slightly damaged in World War II. In the course of the restoration work, the original color of the statue was lost. In the left hand the statue carries a defoliated tree trunk with branches. On the right side the statue carries the smiling baby Jesus with his right hand raised in blessing. The inscription plaque on the base of the statue refers to Johann Heidenreich von Vörden zu Darfeld, who commissioned the statue as provost and canon.
St. Catherine
Opposite the pulpit is a figure of St. Catherine of Alexandria . She is considered the patroness of the preachers and is called when the tongue is inhibited.
Von-Velensches epitaph
In the south aisle is the epitaph of Domsenior Anton Heinrich Hermann von Velen, which he had commissioned from the wood sculptor Johann Heinrich König during his lifetime and which was installed in 1738.
Views
Pulpit and Laurentius Altar
Epitaph south aisle
Christophorus statue and Blasius altar
On the left the epitaph of Jodokus von Droste
Stained glass window in the north aisle, originally in the cloister of Marienfeld Monastery
Censer / Eternal Light (in front of the sacrament chapel)
East transept and high choir
The choir area was originally separated from the rest of the room by a rood screen and side choir screens, a small architecture within the cathedral.
This separation has been canceled today: under the crossing is the altar island, which protrudes a little to the west into the nave. It was (re) designed in 1956 by the artist Emil Stephan, together with the choir and the choir head, where the bishopric is located. The baroque high altar was removed from the choir head. Today's high altar is made of sandstone. It contains showcases in which 14th century apostles from the reliquary of the former baroque high altar are exhibited.
The entire island of the altar adjoining the choir is separated from the nave by a wooden choir screen and by the two arms of the northern transept.
View of the Stephanus choir (north arm of the east transept)
View of the northern ambulatory
Equipment of the altar and choir room
View into the choir room
View through the nave to the choir
View of the organ in the south east transept
Cloister, extensions and canons' cemetery
To the north of the cathedral is the cloister, which can be reached through the doors of the northern arms of the transept. The cloister was built in the years 1390–1395. From the cloister you can reach the sacristy, the Marienkapelle, the attached cathedral chamber and the garden hall.
Chapter House
The sacristy leads to the chapter house (facing the choir). The cathedral chapter meets in this hall when a new bishop is elected. In the chapter house there is a dark wooden table with twelve high-backed chairs for the members of the cathedral chapter. There is wooden paneling on the walls, similar to those in the Friedenssaal of the historic town hall. They show the coats of arms of former cathedral capitulars who came from the nobility until the beginning of the 19th century.
Episcopal garden hall
From the northern cloister you get to the (reconstructed) episcopal garden room, which is also known as the “tiled room” or “the blue room”.
The historic garden hall from around 1750 was a festive rococo room in the episcopal palace on Domplatz, which faced the garden. The garden hall was known for its white and blue painted majolica panels on the walls. In a bomb attack on October 10, 1943, the episcopal palace including the garden hall was largely destroyed. From the tiles there were 20 large boxes with approx. 4,000 pieces left. In the mid-1970s, partial restoration of the large tiles from the 16th century began, of which only about a third were preserved. The rescued shards were, as far as possible, put together to form a mosaic in the Providence Monastery in Handorf, restored in fine artistic work and supplemented where necessary. Descriptions and photographs of the historic garden hall, which Max Geisberg published in 1932 in a text and image work on the monuments and art monuments of Münster, were helpful. At the beginning of the 1980s, in the course of the new building, the official office and cathedral chamber decided to rebuild the former episcopal garden hall adjacent to the cloister of the cathedral. The room was inaugurated in 1984.
The tiles have a size of approx. 30 × 30 cm. They show the four seasons on the main wall and the four elements on the opposite side of the window. On the niche walls there are depictions of the sun and moon (day and night), the "ship church" as a scenic depiction of the "calming of the sea storm by Jesus" (Mt 8, 24-27) and the ancient messenger of the gods Hermes, who in the Acts of the Apostles is compared with the “apostle of the nations” Paul as the herald of the word. In the restored “tiled room” today a. Receptions and press conferences take place.
Canon cemetery
Inside the enclosed cloister is the canons' cemetery. The cemetery is still used for burials today. Most recently, Auxiliary Bishop Josef Voss was buried here in 2009, Auxiliary Bishop Alfons Demming in 2012 and Cathedral Vicar Hans Ossing in 2014.
Dimensions and numbers
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Furnishing
Despite the considerable destruction of the cathedral in the Second World War, there are still numerous side or side altars, epitaphs and statues of saints in the cathedral. Most of them come from the Gothic, Renaissance and Baroque periods. In and outside the cathedral there are also numerous items of furniture and works of art from the post-war period, especially from the 1990s.
The numbers in brackets on terms in the following part correspond to those in the following floor plan, which shows the respective location of the most important items of equipment.
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Westwork
Baroque high altar
On the west wall of the old choir is a baroque high altar shrine (1.), which was created by Adrian van den Boegart and Gerhard Gröninger . The high altar was commissioned by the cathedral chapter from Gröninger in 1619. The new high altar should be able to accommodate, store and display the entire reliquary treasure of the cathedral. Gröninger delivered several altar designs in which the middle altar structure (retable) was designed as a stone reliquary. As far as the design of the altar wings was concerned, Gröninger negotiated with the important painter Peter Paul Rubens in 1619 . The painter Adrian van Bogart from Amsterdam then received the commission for the six panel paintings for the altar wings.
The high altar with its painted and carved wings originally stood in the choir head (high choir) of the cathedral until the beginning of the 20th century and also permanently displayed the various relics. In the course of the redesign of the chancel and high choir after the Second World War, the high altar was moved into the westwork. The reliquaries, which were originally housed in the high altar, were exhibited in the cathedral chamber. The statues of the apostles from the 14th century, which were also exhibited in the baroque high altar, are now exhibited in the illuminated niches of the celebration altar in the center of the altar island. Only on special occasions, most recently on the occasion of the cathedral jubilee in 2014, is the central part equipped with the relics and cathedral treasures for which the altar was once created.
Double doors
The high altar shows central scenes and events from the life of Paul .
When closed (especially during Advent and Lent) the (backsides of) the two outer wings show various healings that were brought about by Paul. When open, the left outer wing shows the healing of the sick father of the landlord Publius by Paul in Malta; the right outer wing shows a scene in which the inhabitants of Lystra make offerings to the apostles Paul and Barnabas.
When the outer wings are open, another pair of wings becomes visible, which covers the central marble reliquary. The outsides were made by Gröninger himself and show two scenes in flat relief carving: on the one hand, the conversion of the persecutor of Christ Saul and, on the other hand, the beheading of the apostle. The insides of these two wings show the same scenes, but now as a painting.
Marble shrine
The actual marble shrine in the center of the high altar is intended to accommodate the more than 57 precious vessels, figures and containers of the relics and cathedral treasures from the Romanesque, Gothic and Baroque periods. The middle part was not made of sandstone, but of black and dark red marble, which makes the gold and silver reliquary vessels stand out. Gröninger laid out the shrine on four floors; each floor thematizes a certain “time” or phase of salvation history.
The top row of pedestals deals with the “time of prophecy”; on this level are the 14 busts of biblical and Jewish patriarchs, kings and prophets, which were created between 1380 and 1390. The two middle rows deal with the "abundance of times" and the "middle of time". On the one hand there is the place of the Gothic apostle figures from the 14th century, which have been exhibited since 1956 in the fronts of today's high altar in the crossing; There is also space for a figure of the Enthroned Mother of God from the 13th century and a reliquary cross from the beginning of the 12th century. The bottom row addresses the time of Christian life and witness. Here there is space for various reliquaries of numerous saints, u. a. of St. Paulus, as well as some saints from the history of the diocese of Münster.
Baptismal font
The baptismal font in the old choir dates from the early 14th century. It shows representations of the baptism of Jesus and the four evangelists.
Memorial plaque to Cardinal Höffner
A memorial plaque for the former Bishop of Münster (1962–1968), Cardinal Joseph Höffner, hangs on the northwestern crossing pillar of the westwork of the cathedral . It is a bronze relief (shoulder bust), which was created by the sculptor Karl Burgeff (Cologne) and was hung up in the course of the 1200th anniversary of the city of Münster in 1993. The relief is about 1.46 m high and 60 cm wide. It shows the cardinal in episcopal regalia, i. H. in a choir cloak and with a miter, but without a shepherd's staff. The narrow, ascetic face is striking; the stern eyes behind strong glasses look at the viewer.
The plaque calls out to memory of Joseph Cardinal Höffner 1906-1987 / Bishop of Münster 1962-1968 / Archbishop of Cologne 1969-1987 and bears a quote from the outgoing bishop: When you have done everything you were commanded to do, you should say: we are useless servants! We just did our duty. None of us will dare to say that we did everything. Therefore, I ask forgiveness for all that I have missed as a bishop. The relief also shows the cardinal's bronze coat of arms with his motto "Justitia et Caritas" (justice and love).
Triptych (south tower chapel)
In the chapel of the south tower there is a large-format triptych (4th) “Pietà and Resurrection”, which was created by the artist Thomas Lange . It shows Christ removed from the cross in the foreground and in the background the outlined figure of Mary, on whose lap the dead Christ rests. In the upper part the figure of God the Father is indicated. The triptych was donated by a private person.
Figure of St. Barbara
In the entrance area of the cathedral (south west transept) there is an inconspicuous figure of St. Barbara . The figure carries a round tower with three windows in its hands. Legend has it that the saint was locked in a tower by her father in order to prevent her from marrying and to withdraw from Christian influence. Given the narrowness of the tower, today she is the patroness of miners and the dying - the narrowness of the tower symbolizes the way through the narrow gate of death to eternal life.
Views
Epitaph Bernhard von Westerholt († 1609)
Epitaph Otto von Dorgelo (towards the transept)
Presentation: St. Mary
Figure at the entrance to paradise
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East transept
Van Bürenscher epitaph altar
In the south arm of the east transept there is a colored stone relief (6th) depicting the "Adoration of the Magi": In the center is the Mother of God, on her lap the newborn Christ Child who receives a gift from the kneeling King Melchior. On the side of Mary there is a kneeling depiction of the canon Melchior van Büren, who donated the work. King Caspar stands behind him, with a golden cup as a gift for the baby Jesus. King Balthazar is depicted as an African. He stands behind the kneeling King Melchior. Also integrated into the figure representation are Joseph and the Apostle Bartholomäus, as well as two putti with coats of arms. The monument was created before 1534.
Plettenberg's tomb
The grave monument (8th) for Prince-Bishop Friedrich Christian von Plettenberg is located in the north arm of the east transept (Stephanus Choir) . It was only built after his death on May 5, 1706 in the years 1707–1708 and designed by the sculptor Johann Mauritz Gröninger .
The grave monument consists of a rear portico architecture, flanked by figures of the namesake von Plettenbergs in episcopal regalia with miter and shepherd's staff. It is the episcopal figure of St. Friedrich on the left and the figure of Bishop Christian. In the center of the monument is a sarcophagus base on which the figure of the prince-bishop is located. The prince's coat of arms, accompanied by putti, is attached above the portico architecture. On the front of the sarcophagus and the back wall, the title and appreciation of Plettenberg are carved.
The prince-bishop on the sarcophagus is shown in a half-sitting, half-lying position, with his head slightly raised. An angel stands at his feet, holding an open book. Originally the words “Diligite iustitiam, qui iudicatis terram…” (“Love the righteousness that you judge on earth”, Wis 1, 1) were carved on the pages of the book. Behind the cardinal there is a second heavenly assistant who holds the Prince-Bishop's insignia.
There is a large clock in the upper area of the rear marble wall. It is framed by a banner with the words “Consilio et Constantia” and cloth draperies on the side. The clock itself was created by the clockmaker Joachim Münnig and painted by the painter Wolff Henrich Schmorck.
The monument is made of black and white marble. It was initially in the high choir, back to the astronomical clock, with whose clockwork the clock of the grave monument was to be connected. Today the monument is on the west wall of the north arm of the east transept.
Plague cross
On the east wall of the Stephanuschore (K) there is a lecture cross from the late 14th century. It is known as the "plague cross" because it is assumed that the plague needs of the time around 1350 are reflected in the depiction of the painful crucified.
The wooden cross and the sculptural body of the crucified were created to belong together. The face of the crucified is mournful and shows the traits of suffering. His half-open eyes are swollen, his cheeks sunken, his lips slightly parted. The emaciated body hangs upright on the cross.
There are two small cavities on the back of the crucified Christ - one between the shoulder blades, the larger one in the area of the pelvic bones. Today they are empty and probably served as “vessels” for relics.
St. Liborius
In the Johanneschor, opposite the astronomical clock, there is a life-size figure of St. Liborius . The saint is depicted in bishop's costume. In his left hand - as the patron saint of Stein-Leiden - he holds a book with three stones. In his right hand the saint holds a gilded wooden bishop's staff.
An old tradition is associated with the bishop's staff : when a diocesan bishop dies , the staff is placed in the coffin of the deceased bishop. His successor must be the figure of St. Hand over a new baton to Liborius. This tradition has its origins in the period of the Thirty Years War (1618–1648). At that time the Paderborn canons brought the relics of their bishop's patron to Münster to protect them from robbery and pillage. During their stay in Münster, the relics are said to have miraculously ensured that the city was largely spared from destruction. For this reason, the Munster canon Johann Wilhelm von Sintzig donated the statue of St. Liborius for the St. Paulus Cathedral. Since then, the staff of the Liborius figure has been placed in the grave of every deceased diocesan bishop. His successor has a new staff made. It is an exact replica based on the historical model, made of linden wood , on which several layers of chalk are applied and finally gold leaf and oil paint are applied.
High choir
Triumphal cross
The "Triumphal Cross" (10th) is a monumental wooden crucifix that hangs over the main altar in the high choir. It shows the crucified as the redeemer returning for judgment, dressed like the risen Christ in a long, belted tunic divided by parallel folds in the form of grooves . The figure of Christ is shown in hieratic symmetry. Head, torso, legs and feet are directed vertically, the arms spread out horizontally. The open palms are nailed to the cross. The feet stand on a suppedaneum and are not nailed down. The bearded head of the crucified one appears serious, the open eyes are directed straight ahead to the viewer. On the neck collar and on the chest of the high priest's robe there are carvings that imitate gemstones. This representation is based on the vision of the seer of Patmos in the "Secret Revelation" of John the Evangelist ( similem Filio hominis, vestitum podere, et precinctum ad mamillas zona aurea - who was similar to a son of man, clad in a poderes and girdled around his chest with a golden belt , Rev 1.13 EU ).
The crucified one, also known as " Volto Santo ", dates from the late 13th century. The cross and body are made of oak. The figure is approx. 2.22 m high, its arms have a wingspan of 1.98 cm. A crown that the figure must have originally worn has been lost. The cross itself is 3.55 m high, 2.62 m wide and about 3 cm thick.
The triumphal cross has only been hanging as an altar cross in the cathedral's high choir since 1973. It previously hung in the cloister and was in poor condition. Parts of the beams and the ends of the beams were lost, and the figure of Christ was damaged by cracking. In 1973 and 1974 the cross was restored and supplemented on the basis of photographs in Osnabrück . Only traces of the original painting are left today. In the course of the restoration, the lost beam ends of the cross were reconstructed. It is uncertain whether the eight-leaf rosette shape on the ends of the beams corresponds to the original condition. To hang the work, which was originally made as a wall cross, steel rods were attached to the unadorned rear of the cross.
Further equipment
- Under the crossing is today's high altar (10th). It is made of sandstone and is worked as a simple block. An illuminated display case is set into its front side, in which the historical figures of the apostles from the former Gothic high altar are shown.
- There is a filigree crafted Gothic front of the north-eastern crossing piers tabernacle (the tabernacle, 11).
- A large chandelier (13th) hangs in the middle of the high choir .
- Larger-than-life stone figures are located in the middle of the crossing pillars, facing the altar island. They represent the four evangelists who preach the good news in all directions.
- There are (further) figures of saints in the area of the high choir. They symbolize the presence of the saints at the Eucharist . Apart from the figures of Our Lady , St. Joseph and the church patron Paul with sword, there are stone figures of the twelve apostles in the window niches of the high choir, in front of the arcade . They carry candlesticks in their hands.
- The bishopric is designed as a kind of teaching chair (cathedra) . With this design, the seat should symbolize the teaching office of the bishop.
Ambulatory
Statue of St. Anthony
In the ambulatory of the cathedral there is a statue of Saint Anthony of Padua , dressed in the Franciscan monk's robe, who holds the Christ child on a cloth in his arms. The saint looks at the child with a smile as the child gropes for his face.
The sculpture was created by the court sculptor Johann Mauritz Gröninger (Münster). It was originally located in a monastery in Münster and only came into the possession of the cathedral through a (private) donation in 1907. The statue is dated to the year 1675.
Way of the Cross
In the niches of the walls of the choir screen in the ambulatory there are 15 stations of the cross (14th), which were created 1995–1996 by the artist Bert Gerresheim (Düsseldorf). These are fully plastic bronze groups. What is special is that people of our time and personalities from the history of the diocese were included and represented in the respective Stations of the Cross. a. Karl Leisner , Sister Maria Euthymia , Niels Stensen , Anna Katharina Emmerick , Clemens August Graf von Galen , Pope John Paul II and Mother Teresa .
Portrait head of Cardinal von Galen
On the back wall of the high choir is a column with a bronze head of Clemens August Cardinal von Galen (15th). It is a replica - the original was created in 1950 by the sculptor Edwin Scharff for the foyer of the diocese archives. The cardinal is shown with a miter, on the face of which there is a picture of the Good Shepherd . Aid for the portrait head was u. a. the cardinal's death mask .
The replica was made on the occasion of the 30th anniversary of the cardinal's death in 1976. At first he stood on a stone console in the burial chapel. On the occasion of the visit of Pope John Paul II in 1987, the burial chapel was redesigned and the portrait head was placed outside the chapel, with a view of the altar of the burial chapel. The head of the portrait and the grave are connected to one another by a bronze plate embedded in the floor.
Side chapels at the ambulatory
Four side chapels adjoin the ambulatory in a wreath.
Kreuzkapelle
- The Kreuzkapelle is located north of the main axis. In the center is a reredos by Johann Brabender with the depiction of the Adoration of the Three Kings . This work was in the parish church of the parish of St. John Baptist in Mesum from 1699 until the end of the 19th century .
Galensche side chapels
The three were built on behalf of Prince-Bishop Christoph Bernhard von Galen from 1663 and added to the existing Kreuzkapelle. The reason for the construction was a vow during the victory over the city of Munster in 1661. Today they are referred to as the Galen's side chapels. The chapels were largely furnished by the Prince's court sculptor, Johann Mauritz Gröninger
- The eastern side chapel (linear in the main axis) is the Josephs Chapel. In it is u. a. the grave of Prince-Bishop Christoph Bernhard von Galen .
- The side chapel to the south of the main axis is the Ludgerus Chapel. In it are u. a. the grave of Clemens August Graf von Galen and the reliquary statue of St. Liudger .
- The southernmost side chapel is the Maximus Chapel. There is a valuable ivory crucifix and the grave of Auxiliary Bishop Maximilian Gereon Graf von Galen .
View of the portal of the Joseph Chapel.
Left portal of the Ludgerus Chapel right. that of the Maximuskapelle.
Ivory crucifix
In the Maximus Chapel of the cathedral is a ivory - Crucifix (18) that the cathedral was over a long time as a permanent loan of a private lender available. In January 2016, this work of art became the property of the diocese of Münster. The sculpture is attributed to the Flemish artist François Duquesnoy (1597–1643).
Tomb of Christoph B. von Galen
The tomb of Prince-Bishop Christoph Bernhard von Galen (19th) is in the St. Joseph's Chapel, the easternmost of the Galen chapels by the ambulatory. The monument was created by the court sculptor Johann Mauritz Gröninger . Construction began during the Prince-Bishop's lifetime and was not completed until 1679, one year after his death. The tomb consists of a massive pedestal podium on which the marble figure of the Prince-Bishop kneels on a brocade cushion in adoration of a crucifix held up to him by an angel. The prince-bishop is shown wearing a choir shirt and a heavy choir cloak, the bishop's staff rests between his clasped hands, his miter stands in front of him.
Cardinal von Galen's grave
The grave of Clemens August Graf von Galen (20th) is in the south-eastern side chapel of Galens in the ambulatory, the Ludgerus chapel. It is a grave slab created by the South Tyrolean sculptor Siegfried Moroder . It bears the inscription “ Hic exspectat resurrectionem mortuorum Clemens Augustinus de Galen SRE presbyter cardinalis episcopus Monasteriensis ” (German: “Here awaits the resurrection of the dead Clemens August von Galen, the Holy Roman Church Cardinal Priest, Bishop of Munster”).
see more
Joseph Chapel: St. Joseph's statue, originally as a gable figure in the outbuilding of the Marienfeld Monastery
Maximuskapelle: ivory crucifix
Maximuskapelle: Sebastian Altar
Cloister
The beggar (cloister)
In the cloister of the cathedral there is a bronze sculpture "The Beggar" (23rd). The sculpture was designed in 1930 by the artist Ernst Barlach . It was created in connection with the planning of a cycle of figures for the facade of the Katharinenkirche in Lübeck , which was laid out under the motto " Community of Saints "; this should not be about traditional saints, but a representation of human characteristics.
The sculpture in the cathedral is one of a total of 8 replicas that were made around 1979/1980. The roughly 2.17 meter high figure was initially in the St. Laurentius Church in Herne and was donated to the cathedral.
Crucifixion group (at Horsteberg)
To the north of the cathedral, on the Horsteberg, on the rear wall of the cathedral chamber, there has been a new bronze crucifixion group (24th) created by the artist Bert Gerresheim (Düsseldorf) since 2004 . In the same place there has been a crucifixion group made of sandstone from the 1st half of the 18th century, which had been badly damaged by the weather and vandalism.
In contrast to the usual depictions of the Golgotha event, under the cross there are not depictions of Mary and John, the mother of God, but figures from older and more recent history. In particular, Blessed Anna Katharina Emmerick , Blessed Sister Maria Euthymia and, opposite them, Cardinal von Galen, who holds the sermon records "Wake up calls in a politically dangerous world" in his hands. At the foot of the cross there is a stone with the order seal of Carmel , as a reference to St. Edith Stein . In addition, you can see a seated figure representing the “King” of the Anabaptist Empire of Münster, Jan van Leiden , as well as numerous broken signs and emblems (including the swastika, the Jewish star, the hammer and sickle emblem of world communism) that point to dark To indicate times in human history.
Christ on the cross
Sister Maria Euthymia
Detail: in the hands of Cardinal von Galen: sermon records "Wake up calls in a politically dangerous world"
Detail: Order seal of Carmel, reference to St. Edith Stein
Detail: Broken Signs and Emblems
Depiction of Cardinal von Galen in the crucifixion group
Astronomical clock
In a yoke between the high choir and the (southern) ambulatory is an astronomical clock with a carillon .
The clock from the years 1540 to 1542 is one of the most important monumental clocks in German-speaking countries. It belongs to the so-called " family of Hanseatic clocks ", of which only the clocks in Danzig, Rostock, Stralsund and Stendal are relatively original (the clocks from Lübeck and Wismar were destroyed in 1942 and 1945 respectively). It shares a number of characteristics with the watches in this watch family.
The clock is also one of the few remaining counterclockwise public clocks that still exist .
The glockenspiel inside the clock (10 bells, range of 1 –f 2 ) can be operated from the cathedral organ.
history
| Height of the clock | 7.8 m |
| Width of the middle part | 4.1 m |
| Diameter of the dial | 3.0 m |
| Diameter of the calendar disc | 1.5 m |
| Height of the planet tables | 2.3 m |
| Weight of the retes | 110 kg |
| Bells of the carillon | 10 |
The first astronomical clock in the cathedral from 1408 was smashed in 1534 during the iconoclasm during the time of the Anabaptist rule. The second clock from 1540 to 1542, which has survived to this day, was built by the printer and mathematician Dietrich Tzwyvel. The rate of the clock was calculated by Tzwyvel and the Franciscan and cathedral preacher Johann von Aachen. The work was forged by locksmith Nikolaus Windemaker and painted by Ludger tom Ring d. Ä.
With the calendar reform of 1582, the calendar was "introduced" (October 4th was followed by October 15th) and a new regulation of leap years was introduced. The calculation of Easter dates and days of the week from the calendar has since become more difficult.
The world map was - mirror-inverted, as it was for astronomical purposes - painted on the background of the dial shortly after 1660 and the wooden rete (openwork bronze disc within the hour circle with 15 fixed stars) was replaced by a new one in baroque shapes. In 1696 the clockwork was renewed and a quarter-hour strike with the figures Chronos (god of time) and death was added.
In 1818, the installation of a scissor pin gear with a four meter long pendulum led to considerable noise pollution in the cathedral and throughout the 19th century to constant complaints about the poor condition of the clock.
The clock struck the last time in 1927 and should be removed; However, it was thoroughly renewed in 1929-1932 and received a new work. Ernst Schulz and Erich Hüttenhain from the astronomical seminar in Münster provided the calculations; the work was built by tower clock master Heinrich Eggeringhaus from the tower clock factory Korfhage in Buer .
During the Second World War , the work was outsourced, while the case remained in the cathedral, but was not damaged. On December 21, 1951, the astronomical clock was put back into operation after the war damage to the cathedral had been repaired.
Front side
As was not unusual in the Middle Ages, the face of the clock is divided into three. The tripartite division into the calendar part (below), astrolabe with further displays (middle) and a large display board with figures (above) symbolizes a view of the ideas of the universe. The two upper parts of the clock are integrated into an image concept that is aligned with the cardinal points at the location of the clock in the southern ambulatory.
upper part
In the upper part there is a painting in the Renaissance style.
- The middle area of the upper part is designed as a gable floor. In the middle it shows an architecture that refers to Jerusalem as the center of the earth. The gate is crowned by David with the sword and the severed head of Goliath. Underneath, a three-dimensional, figurative representation of the baby Jesus on the lap of the Mother of God Mary is integrated into the figure handling.
- On the right side of the picture (aligned to the east) men from the east are depicted in the form of astronomers and the three wise men. The left side (facing west) shows citizens of Münster in contemporary costume.
- Below the representation of David, the inscription "Ludgeri Ringii Mo (naster) iensis opus" refers to the creator Ludger tom Ring from Münster.
In front of the representation of Mary with the baby Jesus there is a figure handling. Once a day, at noon at noon, a puppet game is set in motion. It shows the adoration of the Magi.
- From behind the gable a golden star appears on a metal rod and moves up to the representation of the Madonna.
- Then the right door (east) opens, above which Venus is shown as the morning star in an antique medallion. The metal holy three kings leave their accommodation, parade around the figure of Jesus in Mary's lap, bow before her and move back to their accommodation through the left door (west), which is marked by Mars as the evening star. The kings are flanked by two wooden servants.
- While the figures are being handled, the carillon sounds from inside the clock with the melodies of the songs “In dulci jubilo” and “Praise the Lord”.
The upper area is flanked on the left and right by a three-dimensional group of two people.
- On the left (outside) there is a wooden tutu , next to it a woman. Every hour on the hour the Tutemann "trumpets" the respective hour into his horn; A wooden whistle sounds inside the clock. The woman at his side triggers a chime (the hour strikes).
- The group of people on the right was not added until 1696. It shows (on the inside) a representation of death and next to it (on the outside) the time god Chronos . Every quarter of an hour, death rings a bell, while Chronos, the god of time, turns an hourglass .
Astrolabe
In the middle of the clock there is an astrolabe with the "actual" clock that shows the moon phases and planetary positions .
- The Latin inscription above the clock disc ("In hoc horologio mobili poteris haec aliaque multa dignoscere: ...") indicates the most important functions of the clock. The translation is:
- This and many other things can be read on this moving clock: the time of the same and different hours; the mean gear of the planets; the ascending or descending signs of the zodiac, as well as the rising and setting of some fixed stars. Furthermore, on both sides of the work, the rule of the planets in the astronomical hours. Above the sacrificial passage of the three kings, below the calendar with the movable festivals.
- In the spandrels of the huge clock disc there are representations of the four evangelists - instead of the representations of the four "wise men" that are common in many other astronomical clocks.
- The clock disk is flanked on the left and right by two planet tables that show the temporal hours for the morning hours (on the right, in the east) and for the hours from mid-day to sunset (on the left, in the west).
Calendar
In the lower area there is a calendar that is protected by a late Gothic grille. It is a perpetual calendar that is set up for the years 1540 to 2071. This period represents a so-called Dionysian era spanning 532 years, after which all information about the 19-year lunar and 28-year solar cycle will arrive on the same day of the month and week as in the first year of the 532-year period ( 1540).
The calendar disc is again divided into three parts.
- In the inner circle (inner display zone) there are twelve Latin calendar verses with a corresponding month image.
- The information in the following ring (middle display zone) relates to the days of a year. The display zone is thus divided into 365 fields. At night the calendar disc rotates one day further and is stopped for one day in leap years. In this ring, the dates of the month and the letters of the day are named, as well as the days in the Roman style (Kalenden, Nonen, Iden), and the names of the months, the immovable festivals and the Easter letters are displayed.
- The outer ring (outer display zone) contains information on the so-called Dionysian era, which lasted 532 years . The respective year of the period from 1540 to 2071 is shown; There is also information on the respective Easter date, as well as further information (golden number, Sunday letters in two circles, the interval in two circles and the indications ).
Cathedral treasure
The cathedral treasure of St. Paulus Cathedral, which was kept between 1981 and 2017 in the cathedral chamber added to the north of the cloister, includes treasures of sacred art from the Carolingian era (around the year 800) to the 20th century, in particular goldsmithing and textiles from the Romanesque, Gothic and Baroque. Some of the liturgical objects are still in liturgical use. The cathedral chamber has been closed since July 2, 2017, so many exhibits have been lent to museums or stored.
More than 700 exhibits were on display in the cathedral chamber until it was closed. The exhibition extended over three levels.
At the lowest level, especially historical were vestments and liturgical items shown: Two chasubles (vestments) from the 14th century, vestments of the late Gothic Italian silk velvet and gold brocade and chasubles of gold brocade, by the Empress Maria Theresia donated ( her son Maximilian Franz of Austria was Prince-Bishop of Münster from 1784 to 1801 ).
The middle level contained the most important pieces of the cathedral treasure: Former elements of the cathedral, such as the so-called "speaking reliquaries", as well as a cycle of pictures by Hermann tom Rings , remains of the Brabender rood screen and a number of monumental reliefs by Gröninger .
The top level enabled a tour of the art historical epochs to be found at the cathedral using selected examples.
Talking reliquaries
On the middle level, in particular, speaking reliquaries were exhibited, the design expressing which relic they enclose.
- The Paulus head reliquary , which was created around the year 1040, is one of the oldest surviving portrait reliquaries and the earliest head reliquary in the entire West, made entirely of gold. It contains part of the skull of the apostle Paul of Tarsus .
- In addition, there is another head reliquary of St. Paul made of silver in the cathedral treasure . It was created in Münster around the year 1380. The face is made in the saint's head shape, which has been common since late antiquity, with a high, bald forehead, stringy hair and a two-part beard. In the base of the bust, which is decorated with precious stones, there is an agraffe with Christ's monogram.
- The arm reliquary of St. Felizitas dates from around 1260 and was created in Münster. It encloses a forearm bone of St. Felizitas. The silver arm is adorned with richly decorated hoops set with precious stones.
- The bust of the prophet Philo of Alexandria was created around 1390. It is one of the 14 important reliquary busts from the baroque high altar of the cathedral and is one of the greatest treasures in European collections. The face of the prophet is clearly formed. At chest level there is a large crystal disc, behind which there are relics of St. Walburgis and St. Vincenz. This can be seen on the strip of parchment that the prophet is holding in his hands.
Other items
Other noteworthy items of equipment are
- a gold reliquary cross (around 1090, Münster), an altar cross on an Iranian rock crystal base in the form of a chess piece; it is richly decorated as a gem cross with different colored stones;
- the coconut cup from around 1230.
- the canine aquamanile from the 13th century, a golden watering vessel in the shape of a dog that was used to wash the priest's hands in the liturgy; the dog, as a loyal companion of man, symbolizes the vigilance of faith;
- the so-called Weibermachtreliquiar made of ivory (Münster, around 1370/80), on which u. a. is shown how Phyllis, the lover of the young Alexander the Great, brings the philosopher Aristotle to serve her as a mount;
- a sculpture of the thorn-crowned and scourged Christ (so-called Misery Christ ) made of Baumberger sandstone, created around 1470/1480,
- a host monstrance from the 15th century,
- the essay of the former Johannes altar, created by Kilian Wegeworth (Münster, 1537); the altar shows Christ with the globe on a stage, flanked by John the Baptist and John the Evangelist.
- the so-called Horstmarer Pauluspokal , which was created in 1651 by the goldsmith Johan Meiners (Coesfeld); it is a large double cup, which is crowned by a figure of Paul (the diocese patron); A map is engraved on the side of the cup with all the locations of the former duchy of Münster. The cup can be opened in the middle and was probably used to wash hands and feet in the Easter liturgy.
Organs and cathedral music
The cathedral has three organs .
- The main organ is in the east transept (Johannischor) . Most of the pipework comes from the organ, which was built by Hans Klais in 1956 and placed in an organ niche above the chapter hall ( T ), to the side of the Stephanschore (north transept). In 1987 the instrument was dismantled and, with a slightly different disposition, set up in a new case in front of the south window of the east transept. The disposition was last changed slightly in 2002.
- In the upper chapel of the north tower is located since 2002 a tower factory . Since it was expanded in 2014, it now has 19 manual and pedal stops and is used to fill the rear area (westwork) of the cathedral. The tower has no play system, but is controlled from the console of the main organ. The work is arranged in a similar way to a main work and contains a high-pressure register "Tuba episcopalis" in 8 'position, with extensions (16' and 4 'position).
- In the west choir is the so-called rood screen positive . It is a small organ positive from the 17th century that originally stood on the rood screen. It was extensively restored and renewed in 2009. Today the instrument is used to accompany the sung Vespers .
Thomas Schmitz has been the cathedral organist since 2003 . His predecessors as cathedral organists include u. a. Ekkehard Stier (from 1997 to 2003), Cathedral Vicar Dr. Hans Ossing (from 1974 to 1997), who played a key role in the design of the cathedral organ completed in 1987, and Heinrich Stockhorst (from 1950 to 1973).
Several choirs are active at St. Paulus Cathedral: the St. Paulus Cathedral choir, the girls 'choir at Münster Cathedral and the Capella Ludgeriana , the boys' choir at Münster Cathedral. Parts of the choirs form the two Gregorianikscholen: the Hildegardisschola and the Schola Ludgeriana. The cathedral choir (adult choir), the Capella and the Schola Ludgeriana have been directed by Cathedral Kapellmeister Alexander Lauer since August 2015. Verena Schürmann has been the cathedral choirmaster at the cathedral in Münster since 2006.
Bells
At the beginning of the 20th century there was one of the most important bells in Westphalia in the south tower of the cathedral .
- The main ringing was made up of six (large) bells with the striking tones g 0 , a 0 , c 1 , d 1 , f 1 and g 1 . It was z. Some of the bells were very old and valuable: two sounding bodies came from the year the cathedral was consecrated (1264), the other bells from 1675, 1856, 1890 and 1911.
- Three small bells from 1538 and 1683 formed the sound crown. They had the impact sounds h 1 , d 2 and F # 2 called and were called "English" hunt because they "in rapid succession as a hunting tune gebeiert " were.
In 1917 the Marienglocke from 1890 (strike note d 1 ) was confiscated for war purposes. In March 1945, the tower burned out, destroying all (remaining) bells , including the two clock bells, one of which was from the 14th century.
Bells in the south tower
There are ten chime bells hanging in the south tower today . One of them, the Ludgerus bell, was cast in 1526 by Wolter Westerhues , a student of Gerhard van Wou . The bell originally hung in the parish church of St. Ludgerus zu Schermbeck and was sold to the cathedral in 1954. The other nine bells were cast in 1956 by the Feldmann & Marschel bell foundry in Münster as their largest bell.
When the nine new bells were cast in 1956, the original sound image was supposed to be restored and supplemented by a tenth sound body, the lowest in tone (strike tone f 0 ). However, six bells came out of tune. Despite this fact, the bells were consecrated and hung on September 29, 1956. It was not until 1979 that the affected bells were tuned lower after the bell expert in charge had advocated it. This tone correction was based on the three largest bells, which were the only ones that were harmonious. In this context, the State Monuments Office approved a further re-tuning of the historical Ludgerus bell ; it had already been corrected by Feldmann & Marschel in 1956.
Until 2011, the cathedral bells hung in a steel bell cage . In the course of the cathedral renovation in 2011/2012, this bell cage was replaced by a new bell cage made of oak, in particular to enable a softer sound development of the bells; the new belfry is made of 24 cubic meters of wood, its substructure for load distribution weighs six tons. In addition, the electrical installation was renewed and the chime motors replaced and each bell was equipped with an electronically controllable hammer.
The bells hang distributed over two levels of the bell cage, at 34 and 37 meters high: the three lowest bells hang on the lower level, above the remaining bells. The new bell cage offers - on the upper level, in the middle yoke - space for an extension of the bells, for example to include a bell with the strike tone dis 1 .
No. Surname Casting year Foundry, casting location Ø
(mm)Mass
(kg)Nominal ( HT - 1 / 16 )
[before tone correction]Chime
(solo)1 cardinal 1956 Feldmann & Marschel, Münster 2267 7604 f sharp 0 −7 Conversion (solemn 1st ordinance / primacy), death of Pope / Bishop 2 Bernardus 1983 4490 g sharp 0 −7 Conversion (high festivals 2nd ord.), Death auxiliary bishop 3 Paul 1675 2940 h 0 −6 Change (Sundays / other occasions), death of the cathedral chapter 4th Peter 1469 2036 c sharp 1 −7 [+2] Death of parishioners 5 Ludgerus 1526 Wolter Westerhues 1141 1000 e 1 −5 [+4] Weekday mass Advent / Lent, Lenten sermon 6th Andreas 1956 Feldmann & Marschel, Münster 1074 790 f sharp 1 −5 [+1] Angelus chimes at 7/12/18 p.m., Vespers Advent / Lent 7th Maria 959 535 g sharp 1 −4 [−1] Vespers of the Poor Clares Advent / Lent 8th Michael 835 363 h 1 −3 [± 0] Bells 8-10 together as an English hunt :
Blessing Eternal Prayer / Forty-Hour Prayer,
Sacramental Blessing9 Gabriel 712 213 cis 2 −3 [± 0] 10 Raphael 578 120 e 2 −2 [−1]
There is a differentiated ringing order for the bells of the cathedral , according to which a certain number of bells or melodies are rung on certain occasions (e.g. solemn festivals ) or services (e.g. pontifical offices). At every high mass there is a “pre-chiming” with at least two bells of the (partial) chime, which is provided for the respective occasion according to the chime order. In the times of penance ( Advent and Lent ) the bells are reduced and in the more festive times they are extended or deepened. With individual bells it is possible to make certain chime motifs sound; these include in particular the Westminster motif (high to low: h 0 , e 1 , f # 1 , gis 1 ) and the Salve Regina motif (in ascending order: e 1 , gis 1 , h 1 cis 2 ).
occasion number 1 2 3 4th 5 6th 7th 8th 9 10 sequence Pontifical offices on solemn festivals, 1st order Prelude 30 minutes before the start 5 f sharp 0 g sharp 0 h 0 cis 1 e 1 ascending Ring the bell 15 minutes before the start 10 f sharp 0 g sharp 0 h 0 cis 1 e 1 f sharp 1 g sharp 1 h 1 c sharp 2 e 2 descending Pontifical offices on solemn festivals, 2nd order Prelude 30 minutes before the start 5 g sharp 0 h 0 cis 1 e 1 f sharp 1 ascending Partial ring, 15 minutes before the start 8th g sharp 0 h 0 cis 1 e 1 f sharp 1 g sharp 1 h 1 c sharp 2 descending Ringing in Sundays and public holidays (eve)
Ringing motif : Salve Regina ( Praise to God No. 666.4)
Ringing motif Westminster chime (full hour):
Clock bells in the roof turret
In the roof turret on the crossing there are two bells from the Baroque period that were acquired after the war. They serve to strike the hour and quarter of an hour . The clockwork is controlled by the astronomical clock .
No. Surname Casting year Foundry, casting location Ø
(mm)Mass
(kg)Nominal
( HT - 1 / 16 )function I1766 Christian August Becker, Hildesheim 600 150 g 2 −1 Full hours II1772 unknown 470 60 a 2 ± 0 Quarter of an hour
See also
literature
- General
- Georg Dehio: Handbook of the German art monuments. Westphalia. Munich 1969, pp. 351-371.
- Cathedral chapter of the cathedral church in Münster: Experience the cathedral in Münster virtually. 1200 years of faith history in buildings, in art treasures, in church services. DVD with 8-page booklet. Dialogverlag, Münster 2005, ISBN 3-937961-07-0 .
- Hans J. Böker : The late Gothic facade of the cathedral in Münster. Wallraf-Richartz-Jahrbuch für Westdeutsche Kunstgeschichte, LIV (1993), pp. 31–75.
- Simone Epking, Christoph Hellbrügge u. a .: The cathedral at Münster 793–1945–1993. Equipment. (= Preservation of monuments and research in Westphalia. Volume 26, 2). Mainz 2004, ISBN 3-8053-3416-8 .
- Max Geisberg : The architectural and art monuments of Westphalia. Volume 41: The City of Münster. Part 5: The cathedral. Münster 1977, ISBN 3-402-05094-3 .
- Bernd Haunfelder , Edda Baußmann, Axel Schollmeier: “A wonderful work”. The celebrations for the reconstruction of the cathedral in Münster in 1956 . Aschendorff, Münster 2006, ISBN 3-402-00428-3 .
- Géza Jászai, Rudolf Wakonigg: The cathedral of Münster and its art treasures. Dialogverlag, Münster, ISBN 3-933144-28-0 .
- Géza Jászai: The Paulus Cathedral in Münster in old views. Aschendorff Verlag, Münster 2001, ISBN 3-402-05425-6 .
- Uwe Lobbedey: The Cathedral of Münster 793–1945–1993. The construction. (= Preservation of monuments and research in Westphalia. Volume 26, 1). Bonn 1993, ISBN 3-7749-2571-2 .
- Alexandra Pesch: The Cathedral of Münster. The cathedral monastery. Archeology and historical research on Liudger's honestum monasterium in pago Sudergoe. The 1936–1981 excavations on Horsteberg in Münster. (= Preservation of monuments and research in Westphalia. Volume 26, 4). Mainz 2005, ISBN 3-8053-3515-6 .
- Thomas Sternberg (Ed.): The Paulus Cathedral in Münster. 2nd Edition. Franz-Wärme-Haus, Münster 1990, ISBN 3-9802204-1-9 .
- Theodor Wieschebrink: The St. Paulus Cathedral in Münster (Westf.) . Cathedral Chapter (Ed.), Münster 1965.
- Markus Trautmann, Christiane Daldrup: Our St. Paul's Cathedral in Münster . Cathedral Chapter (Ed.). Michael Bönte (photos). Dialogverlag, Münster 2013.
- To the Gothic building sculpture
- Willibald Sauerländer : The art-historical position of the figure portals of the 13th century in Westphalia . In: Westfalen 49, 1971, pp. 1-76.
- To the astronomical clock
- Theodor Wieschebrink: The astronomical clock in the cathedral of Münster. edited by Erich Hüttenhain. 2nd Edition. Aschendorff, Münster 1998, ISBN 3-402-05980-0 .
- Trude Hüttenhain: The astronomical clock in Münster Cathedral. 5th edition. Aschendorff Verlag, Münster 2008, ISBN 978-3-402-05984-5 .
- To the Way of the Cross
- Cathedral chapter of the cathedral church in Münster: Way of Hope. Way of the Cross in the St. Paulus Cathedral Münster. Dialogverlag, Münster, ISBN 3-933144-05-1 .
- To the Meistermann windows
- Werner Thissen : Insights into the invisible. Georg Meistermann's windows in Münster Cathedral. 2nd Edition. Dialogverlag, Münster 1998, ISBN 3-933144-12-4 .
- Other topics
- Andreas Efing, Tobias Schrörs u. a .: DOMS Latin inscriptions in Münster Cathedral: translated - commented - interpreted. 1st edition. Dialogverlag Presse- und Medien Service, Münster 2009, ISBN 978-3-941462-00-7 .
- Martin Goebel: The bell of the cathedral in Münster in Westphalia. CD with booklet. 2nd Edition. Munster 2000.
- Tobias Schrörs: The rood screen in Münster Cathedral - history and liturgical function. 1st edition. Books on Demand, Norderstedt 2005, ISBN 3-8334-2658-6 .
Web links
- Internet presence of the St. Paulus Cathedral
- Cathedral music in St. Paulus Cathedral
- Astronomical clock in the Münster Wiki
- Astronomische Uhr / St.-Paulus-Dom Münster TV film by WDR in the series west.art Meisterwerke (first broadcast Tuesday, October 19, 2010, 23.10 - 11.15 p.m.)
- Images of the St. Paulus Cathedral (Münster) in the image archive of the LWL media center for Westphalia
- The broadcast with the mouse (Westdeutscher Rundfunk) on May 24, 2015: Prahlhans TV film by Armin Maiwald on the baroque high altar (first broadcast on Sunday, May 24, 2015, 9:30 a.m.)
Individual evidence
- ↑ Episcopal press office: Third cathedral at the same location: consecration on September 30, 1264. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Proof ??
- ↑ Timeline of building history. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ See the chronicles of the bishops.
- ↑ Hans J. Böker : The late Gothic facade of the cathedral in Münster . In: Wallraf-Richartz-Jahrbuch für Westdeutsche Kunstgeschichte 54, 1993, pp. 31–75.
- ^ Emil Steffann : Exterior view of the St. Paulus Cathedral after the destruction. Image file no. ikb16_129, © Institute for Church Construction and Church Art of the Present Marburg - Rights reserved. In: www.bildindex.de. German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on December 12, 2019 .
- ^ Ralf van Bühren : Art and Church in the 20th Century. The reception of the Second Vatican Council , Paderborn 2008, pp. 176, 208, 914 (Fig. 48).
- ↑ Werner Thissen: Insights into the invisible. Georg Meistermann's windows in Münster Cathedral. Herder, Freiburg im Breisgau 1992, ISBN 3-451-22613-8 . (2nd edition: Dialogverlag Münster 1998, ISBN 3-933144-12-4 )
- ↑ Three-year construction work will begin in June ( Memento from November 22, 2018 in the Internet Archive )
- ↑ Johannes Loy: Fresh color in every corner: Bishop's crypt in the cathedral accessible in future - surprises at the high altar. In: Westfälische Nachrichten. February 6, 2013, accessed February 19, 2013 .
- ↑ Johannes Loy: Paulus Cathedral in a new light: after 15 months of renovation, the Bishop's Church shines in bright colors. In: Westfälische Nachrichten. February 6, 2013, accessed February 19, 2013 .
- ↑ The St. Paulus Cathedral in Münster is reopened ( Memento from November 22, 2018 in the Internet Archive )
- ↑ Johannes Loy: “A wonderful spatial experience”: Thousands stream through the restored Paulus Cathedral on the opening day. In: Westfälische Nachrichten. February 15, 2013, accessed February 19, 2013 .
- ↑ a b c DOM VON MÜNSTER / ARCHITECTURE: The rotary dial . In: Der Spiegel . No. 51 , 1955, pp. 46-48 ( Online - Dec. 14, 1955 ).
- ↑ Tobias Schrörs: The rood screen in the cathedral in Münster - history and liturgical function. (PDF: 4.5 MB) Accessed August 2, 2019 .
- ↑ Johannes Loy: Lettmann buried in the cathedral. Several thousand believers attended the requiem and funeral. In: Westfälische Nachrichten. April 26, 2013, accessed August 2, 2019 .
- ↑ Ann-Christin Ladermann: “You can't just leave it there”. In: Diocese of Münster. April 5, 2018, accessed April 22, 2018 .
- ^ Anti-Jewish figure of Mary stirs emotions. In: Vatican Radio . April 6, 2018, accessed April 22, 2018 .
- ↑ Fundamental to the art history of the garment figures is: Willibald Sauerländer : The art-historical position of the figure portals of the 13th century in Westphalia . In: Westfalen 49, 1971, pp. 1-76.
- ↑ nave and choir room. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Géza Jászai: Bronze door of the sacrament chapel. In: paulusdom.de. February 17, 2005, accessed August 2, 2019 .
- ↑ Géza Jászai: The statue of St. Christopher. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ a b Almud Schricke: Apostles and Saints. In: paulusdom.de. August 14, 2007, accessed August 2, 2019 .
- ^ East transept, cloister, cemetery. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ a b Almud Schricke: Behind the scenes of the cathedral. In: paulusdom.de. August 14, 2007, accessed August 2, 2019 .
- ↑ Ludger Heuer: Cathedral anniversary: Former high altar will be presented at Mass 2014. In: bistum-muenster.de. August 8, 2014, accessed August 2, 2019 .
- ↑ Ludger Heuer: Former high altar of the Münster Cathedral again with reliquary. In: bistum-muenster.de. September 25, 2014, accessed August 2, 2019 .
- ^ Almud Schricke: Study of 1000 years of church history. August 7, 2007, accessed August 3, 2019 .
- ↑ a b Géza Jászai: The memorial plaque for Joseph Cardinal Höffner. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Udo Grote: The triptych in the southern tower chapel. In: paulusdom.de. Retrieved August 2, 2019 .
- ^ Almud Schricke: Places of personal prayer. August 14, 2007, accessed August 3, 2019 .
- ↑ Géza Jászai: The former Bürensche epitaph altar. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Udo Grote: The tomb of Prince-Bishop Friedrich Christian von Plettenberg. In: paulusdom.de. May 10, 2005, accessed August 2, 2019 .
- ↑ Géza Jászai: The plague cross. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Traditional handover ( memento from July 7, 2015 in the Internet Archive )
- ↑ Géza Jaszai: The Triumphal Cross. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Udo Grote: The statue of Saint Anthony of Padua. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ The 15 Stations of the Cross. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Géza Jászai: The bronze portrait head of Cardinal von Galen. In: paulusdom.de. May 6, 2004, accessed August 2, 2019 .
- ^ Rudolf Breuing, Karl-Ludwig Mengels (with the collaboration of Wolfgang Knitschky, Herbert Ebeling, Jürgen Gaffrey, Franz Greiwe, Karl Harenbrock, Gaby Hülsmann and Jörg Niemer): "The art and cultural monuments in Rheine". Part III / IV, IVD GmbH & Co.KG, 2011
- ^ Astronomical clock and Galen chapels. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Precious ivory crucifix now in the possession of the Münster diocese. In: derwesten.de. January 14, 216, accessed August 2, 2019 .
- ↑ Udo Grote: The ivory crucifix. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Udo Grote: The tomb of Prince-Bishop Christoph Bernhard von Galen. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Peter Löffler: Clemens August Cardinal von Galen - exhibition in the citizens' hall of the town hall in Münster, March 21, 1976 - April 19, 1976. Exhibition catalog, Münster 1976, p. 75.
- ↑ Almud Schricke: The bronze sculpture "The beggar". In: paulusdom.de. August 23, 2007, accessed August 2, 2019 .
- ↑ Norbert GÖCKENER: Crucifixion the cathedral. In: paulusdom.de. December 9, 2004, accessed August 2, 2019 .
- ↑ W.-M. Lippe: The history of calculators, with more information on the astronomical clock .
- ^ Astrolabe, clock and clockwise. February 8, 2008, accessed on August 2, 2019 : "Note 5"
- ↑ a b c d e f Otto-Ehrenfried Selle: The astronomical clock in the cathedral in Münster. Information sheet from the cathedral (2008).
- ↑ www.horo.ch ( Memento from September 24, 2015 in the Internet Archive ) - Astrolabe.
- ↑ More information about the astronomical clock ( Memento from July 13, 2007 in the Internet Archive )
- ↑ The works of art in the cathedral chamber. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Michael Bönte: What happens to the cathedral chamber in Münster, what happens to the cathedral treasure? In: Church + Life Network. May 23, 2017. Retrieved August 2, 2019 .
- ↑ Cathedral Chamber is closed! In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Cathedral Treasure ( Memento from April 25, 2010 in the Internet Archive )
- ^ Domvikar Hans Ossing has passed away ( Memento from March 4, 2016 in the Internet Archive )
- ↑ Änne Stockhorst turns 100. In: rp online. December 19, 2006, accessed August 2, 2019 .
- ↑ St. Paul's Cathedral / Cathedral Music / People. In: paulusdom.de. Retrieved August 9, 2018 .
- ↑ a b c d Martin Goebel: The bell of the cathedral in Münster in Westphalia - for the 40th birthday of the cathedral bells on September 21, 1996. CD with booklet, 2nd edition. 2000, pp. 1-4.
- ↑ Cathedral bells. In: paulusdom.de. Retrieved August 2, 2019 .
- ↑ Kurt Kramer: The bell and its peal. History, technology and sound from the Middle Ages to the present. 3. Edition. Deutscher Kunstverlag, Munich 1990, p. 51.
- ^ A b Claus Peter, Jan Hendrik Stens: The Münstersche cathedral bell in past and present. In: Yearbook for bell technology. Volume 9/10, MRV, Brühl 1998, pp. 62-63.
- ↑ Indoor photo May 31, 2014 on YouTube , May 31, 2015 ..
- ↑ The bells are silent. In: domradio.de. September 5, 2011, accessed August 2, 2019 .
- ↑ The bells of the cathedral are ringing again - initially as a rehearsal ( memento from January 1, 2016 in the Internet Archive )
- ↑ Partial bell h ° –e′ – fis′ – gis ′ (August 14, 2007, 5:00 p.m.) on YouTube , October 16, 2011.
- ↑ Vorläuten the Solemnity of Peter and Paul (June 29th 2009, 18:00) on YouTube , December 12 of 2010.
- ↑ Plenum for Solemnity Peter and Paul (June 29, 2009, 6:15 pm) on YouTube , December 12, 2010.
- ↑ Vorläuten to Immaculate Conception (December 8th 2009, 18:00) on YouTube December 8th of 2009.
- ^ Main bells for the Conception of Mary (December 8, 2009, 6:15 pm) on YouTube , May 12, 2011.
- ↑ Angelus (June 2, 2010, 6:00 p.m.) on YouTube , June 2, 2010.
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