Eichstätt Cathedral
The Eichstätt Cathedral ( St. Salvator , of Our Lady and St. Willibald is), the cathedral of the Catholic diocese of Eichstaett in Eichstatt , Bavaria . The three-aisled hall church is based on the founding building of St. Willibald , who is said to have built the first stone church here as early as the 8th century. Today's church was mainly built in high and late Gothic styles and was completed in 1718 with a baroque west facade. Together with the cloister and the two-aisled mortuary , the cathedral is one of the most important medieval architectural monuments in Bavaria.
history
Early middle ages
The founding building of St. Willibald in the 8th century was a 12 meter wide stone hall building to which a monastery was attached (excavations from 1970/72). The monastery was destroyed during the Hungarian invasions , but the church was preserved. Parts of this church have been preserved in the masonry of the east choir.
Bishop Reginold (966–991) had a round building with two flank towers and an outer crypt for the bones of the diocese's founder built over the ruins of the mission monastery.
Romanesque
This Carolingian-Ottonian architectural complex had to give way to the new building plans of Bishop Heribert (1022-1042). A new, large Romanesque cathedral church was built in Augsburg around 1000, and a new building was also built in Speyer at the same time . Bishop Gundekar II inaugurated a new nave and a choir in 1060 .
The Romanesque cathedral was excavated under the nave together with the previous buildings in 1972/75. The cruciform basilica had an apse in the east and west as well as a 16 m long east crypt. The excavations were backfilled for cost reasons. The two towers may not have been built until the 12th century and show northern Italian influences. One can assume that the construction of this cathedral was completed in the consecration of October 13, 1310.
Gothic
From 1256 the early Gothic west choir was built, in which the bones of St. Willibald were reburied. In 1269 the new building was completed.
Under the bishops Raban Truchseß von Wilburgstetten and Friedrich IV. Von Oettingen , the Salian church was gradually demolished and the preserved high Gothic hall was built. After 1350 the east choir was started, around 1400 the Willibaldschor (west choir) could be connected to the nave. The main portal in the north is marked 1396.
The late Gothic added the chapter sacristy with the Roritzer chapel (1463–1480). The subsequent cathedral cloister with the mortuary began in 1410 with the north wing and was completed in 1510 with the completion of the mortuary.
Baroque
The baroque west facade (1716–1718) Gabriel de Gabrielis is the first Eichstatt work by the master builder from Graubünden , who was to shape the image of the city to this day. Bishop Johann Anton I. Knebel von Katzenellenbogen commissioned the facade as thanks for sparing the city during the War of the Spanish Succession . In 1720 a baroque pulpit was built on the north side of the central nave arcades (donation of the canon Rudolph Theodorich von Freyberg ).
In 1745 the diocese celebrated its millennium. On this occasion, Bishop Johann Anton II donated the elegant rococo altar at the beginning of the Willibald choir, which includes parts of the Renaissance grave altar . In 1749, on the occasion of his 50th jubilee as a priest, the bishop commissioned an elaborate counterpart (high altar) in the east choir. Both altars were designed by Matthias Seybold, who was also responsible for planning two other altars. Around 1750 Johann Martin Baumeister built an organ around the central crossing pillar of the north gallery, which was revised and renewed in 1778 and 1780. The baroque organ front came from the local carpenters Willibald and Josef Hainle.
In the 18th century, the side chapels were closed off from the nave by rich, wrought iron bars. The cast iron choir screens were added in 1789. Today only a grating under the gallery of the Willibald choir is preserved.
The Gothic tracery of the windows had been partially replaced by simple tap wrenches, the Gothic glass paintings by blank glazing. The walls and vaults appeared a cool shade of gray. Numerous baroque furnishings , tombs and altars shaped the impression of the room. Some bishops chose the nave chapels as burial places and donated additional pieces of equipment for them.
19th century
In 1845 the eleven centenary of the diocese was to be celebrated “with decency and dignity ... also with brilliance”. Bishop Karl August von Reisach and the cathedral chapter therefore wanted to bring the cathedral back to its medieval appearance. The Gothic has been considered the Christian ideal style since the early 19th century. Due to a chronic lack of money, however, they initially limited themselves to repainting the interior and repainting the baroque furnishings. Some altars have even been removed, such as the two side altars in the west choir. From 1849–50, the renovation continued without major changes to the inventory. The mortuary was restored from 1866 to 1869.
Bishop Franz Leopold von Leonrod finally initiated the extensive renovation of the cathedral , which lasted from 1881 to 1904. The sacred space was dressed in a uniform “late Gothic” robe, neo-Gothic glass windows replaced the clear glazing of the high choir. A new high altar was also built into which, however, large parts of the original medieval altar were integrated. The previous baroque altar is now in Deggendorf . The colorful repainting of the room was entrusted to Fritz Geiges , who covered the vaulted areas with tendrils and created large-format wall paintings with the legends of the diocese saints. The windows of the nave were also given colorful glass windows and “Gothic” tracery.
The restoration cost a total of over 260,000 marks, which were raised through donations and the work of the cathedral building association. The neo-Gothic cathedral was completed in 1893, the renovation of the cloister dragged on until the 20th century. Until the renewed renovation and style adjustment in the years of the Second World War, the episcopal church remained essentially unchanged.
20th century
However, the first critics soon spoke up. Shortly after the turn of the century, the cathedral's artificial, academic spatial impression was perceived as too gloomy and cold. The neo-Gothic glass windows darkened the room, so that artificial light had to be used permanently. In 1916/17 attempts were therefore made to etch off the panes and thus bring more light into the interior. An even more radical approach was taken in 1936 when the upper thirds of the windows were replaced by blank antique glass panes.
The unsatisfactory condition of the cathedral finally led to the start of a thorough restoration in 1939 . In June the redesign of the room shell began by a Munich church painting company. From July the Dachau master glazier Syrius Eberle tried to achieve a better transition between the glass windows of the 19th century and the bare glass surfaces. Most of his designs were rejected by the preservation authorities. In 1945 the stained glass panes were simply darkened with watercolors.
In the course of this restoration, the altars were also reorganized. In 1942 a conglomerate of neo-Gothic altar furnishings and medieval originals was created. Due to the war, planned new acquisitions had to be largely avoided. Those responsible feared that the rich holdings of the diocesan museum would be confiscated by the Nazi rulers and are therefore largely replacing the sculptures of the 19th century with medieval originals. The museum itself was dissolved. In addition, the aim was to achieve an artistic upgrade of the furnishings that better corresponded to the important architecture of the cathedral.
From November 1941, the bells and bronze fittings in particular were threatened with confiscation. Some things could, however, be preserved by the monument preservation, which sometimes had to move outside the legality of the time, others could at least be documented comprehensively.
The measures of the war years shape the cathedral image to this day, and the renovation (Gottfried Böhm) from 1971 to 1976 was based on this condition. The most important intervention here was the removal of the choir screen, which was done at the request of Bishop Alois Brems. The violent objection of the monument preservation was unsuccessful. The baptistery and the war memorial chapel were also rededicated at that time, the cross altar with the altar cross designed by Loy Hering that now hangs in the adoration chapel disappeared as early as 1968. From 1968 to 1971 an interim solution was made with a provisional people's altar and modern choir stalls in used in a carpeted chancel.
The exterior was restored between 1958 and 1965. Further extensive restorations of the cathedral took place at the beginning of the 21st century. The west facade was renovated between 2014 and 2017. A complete renovation of the cathedral is to take place from 2019.
The builders and artists
The names of the craftsmen and artists involved in the construction only became tangible from the 15th century. In 1420 Frantz Peringer appears as "tummeister", in 1440 Master Conradt von Kamerberg held this office. A stonemason and stone sculptor Eckhart Gräczer appears in 1440/45.
Matthäus Roritzer probably created the chapter sacristy around 1470 with the chapel named after him (Chörlein). From 1475 to 1500, Hans Paur was a master builder for the cathedral. He is considered to be the creator of the mortuary and the architecture of the “Pappenheim Altarpiece”.
With Hans Alberthal , one of the first Graubünden masters came to the city in 1609. The gable of the transept can be assigned to him. His compatriot Gabriel die Gabrieli from Roveredo was to shape the face of the city like no other to this day. From 1714 he transformed the medieval Eichstätt into a modern baroque town of southern character. His remodeling of the cathedral took the medieval substance into account in a remarkable way; the outstanding architect was obviously very aware of the achievements of his medieval predecessors. Gabrieli created the west facade, the Willibald's sacristy and the Wunibald chapel.
From 1750 the northern Italian Maurizio Pedetti was court building director. For the cathedral he made the drafts of the Schönborn and Strasoldo monuments.
Gottfried Böhm and Nikolaus Rosiny were ultimately responsible for the large-scale renovation of the cathedral from 1972–1975.
Of the sculptors and painters, the Allgäu Loy Hering and the Augsburg Hans Holbein the Elder are particularly noteworthy. Hering created numerous epitaphs and stone crosses. Holbein's glass paintings (drafts) in the Mortuarium are not completely preserved. Veit Wirsperger († around 1530) is regarded as the creator of the multi-figure crucifixion of the “Pappenheim Altarpiece”. Hans Krumpper († 1634) from Weilheim provided the Gemmingen epitaph.
description
The Eichstätter Dom is a three-aisled, double-choir high-Gothic hall with a transept and accompanying rows of chapels. The two Romanesque bell towers flank the east choir. The nave appears very simple on the outside, the struts are partially drawn in on the inside. Slender tracery windows illuminate the interior, next to the main portal a stair tower enriches the view. The portal itself is protected by an open vestibule, the pointed arch of which is accompanied by covings. The portal has rich, painted sculptural decorations ( terracotta ) under canopies. In the tympanum one recognizes the death of the Virgin, above it the coronation of the Mother of God is depicted.
The early Gothic Willibald's choir presented to the west is completed by a fourth, late Gothic yoke, to which Gabrieli's baroque west facade is still presented. The portal lies between double pilasters, and ends with a curved balustrade with sculptural decorations.
The towers are structured by Romanesque round arches and friezes and crowned by pointed helmets over triangular gables.
The most richly decorated is the late Gothic chapter sacristy with its pinnacles and eyelashes and the lower Roritzer chapel at the end. The decoration of the buttresses of the east choir is more modest, between which there are tracery windows.
Since the side chapels were built up to the height of the vault, the interior, covered by cross vaults on round pillars, appears very spacious. The east choir is slightly lower than the nave, as a completely independent component, the early Gothic Willibald choir opens to the west with its massive vaults and the tomb of the saint.
The cathedral is 98 meters long and 38.5 meters wide in the transept. The main aisles are about 19.5 meters high.
In the southeast, the four-wing complex of the cloister with the mortuarium surrounds an inner courtyard, which has served as the burial place for the cathedral chapter since 1958 . The magnificent tracery forms were reconstructed from 1886 after the destruction of the secularization period . To the west is the quarter of the episcopal residence , which replaced the Willibaldsburg as the bishopric in the 18th century .
The two-aisled hall of the mortiarium (grave place) is one of the most beautiful late Gothic interiors in Germany. The vaults of the eight double bays are supported by central columns and spanned by net vaults.
Willibaldschor
The high medieval Willibald's chorus comprises three early Gothic and one late Gothic yokes. The three east bays span simple, bulging cross vaults without keystones on five-part bundled services.
The west yoke from 1471 is also cross-vaulted; instead of the Gothic ribs, motifs from the branches are used. It is separated from the east yokes by a round arch. The keystone bears the coats of arms of the diocese, the cathedral chapter and the bishop Wilhelm von Reichenau and is marked "1471".
What is particularly surprising about the sleek exterior is the lack of careful execution of the masonry on the north side. The arched, closed windows are between simple buttresses with monopitch roofs , the tops close with gable roofs .
Gabrieli's west facade is faded in. The coat of arms of Bishop Johann Anton Knebel von Katzenellenbogen sits above the portal and is accompanied by two putti .
The Willibald Choir was the church of the collegiate foundation St. Willibald . Until 1971 he still had his own sacristy, which today serves as an anteroom in the course of the redesign of the cathedral, on the one hand to allow access to the cathedral from the west and at the same time to spare the Willibald Choir from passing streams of visitors in order to maintain it as a place of prayer.
Towers
The two Romanesque choir side towers are of particular architectural interest because of their chapels on the first upper floors. In the north tower (height 52 meters) is the former Marienkapelle. The room is 9 meters high and is covered by a cross vault with rectangular ribs. Round arches open to the east choir of the cathedral and the transept. The apse on the east side was worked into the wall and also closes with a round arch. The chapel room was consecrated on July 10, 1072 by the Salzburg bishop Gebhardt . Access from the basement, which is also cross-vaulted, is made possible by a narrow stone staircase in the wall.
The tower has five storeys of different heights and a simple round arch structure. The gable and the pointed helmet come from the Gothic. The small oriel in the east, which can still be seen on a steel engraving from 1845, was removed when the roof was re-covered in 1859.
The layout of the south tower is essentially the same as that of the north tower, but with a total of 54 meters, the structure is about two meters higher. Here on the first floor is the former Michael's Chapel, which was inaugurated at the same time as the Lady Chapel by the Patriarch Sieghard von Aquileia . The tower is enclosed up to the third floor by the transept and the cloister building (mortuarium).
Both towers are made of narrow limestone quarries from local quarries, but have light-colored lime plasters. What is striking is the careful execution of the masonry, which is in clear contrast to the more fleeting execution of the Willibald choir.
Chapter sacristy and Roritzer chapel
The late Gothic chapter sacristy adjoins the north tower on the east side of the church. The four-bay star vault of the square main room rests on a round central column. The hanging keystone on the choir arch is an unusual motif. The lower choir is strongly drawn in, so narrower than the entire building and jumps out on five sides. The rib vault develops from a quatrefoil, the keystone shows the coat of arms of the diocese, the bishop Johann III. von Eych and the cathedral chapter.
The exterior structure is structured by the ornate buttresses with their glare fields, pinnacles and eyelashes. The stone roof of the Chörlein (Roritzer Chapel) is crowned by a finial .
The design of the entire complex is attributed to Matthäus Roritzer , who can be traced back to Eichstätt in 1469 and 1473. The participation of his father Konrad or Wolfgang Roritzer is also possible. The Eichstätter sources speak only of a "Master Mattheis" who was appointed to the Frauenkirche in Munich in 1473 .
The sacristy is not open to the public and has not been used as such by the parish and the chapter since the new common sacristy was built. Today it is used for the common choir prayer of the cathedral chapter.
Cloister and mortuary
Georg Dehio already described the cloister and the subsequent mortuary as a “brilliant achievement of the late Gothic”. The rich vault figures and architectural inventions also made the editors of the otherwise sober inventory volume from 1924 go into raptures. In particular, "the two-aisled hall of the mortuary has always aroused admiration". The inner courtyard can also be counted among the best achievements of the German late Gothic, the picturesque charm of the entire complex is considered by most authors to be unsurpassed.
The two-aisled complex is a typical feature of such semi-sacral Gothic rooms. The older mortuaries in Bamberg and Würzburg were the models for this burial place of the cathedral chapter . Two of the seven supporting pillars were designed particularly elaborately. In the north the "beautiful pillar" with its gnarled branches attracts attention, in the south the "winding pillar" (picture) winds up to the vault. Five of the 10 tracery windows have glass paintings (signed 1502) based on designs by Hans Holbein the Elder. Ä. The crucifixion and the Last Judgment were shown, among other things.
The two-storey cloister is supported by buttresses in which Romanesque columns from the 12th century were reused. Certainly these spoils still come from the high medieval predecessor complex.
The rich vault figures in the north wing are designed as jumping vaults, so the keystones are offset from one another. The other yokes show diamonds and stars, the keystones and consoles are richly sculptured.
Numerous grave slabs are embedded in the floors and wall surfaces, glass paintings bathe the scenery in mystical semi-darkness. Together with the high Gothic architecture of the cathedral, one of the most important ensembles of southern German Gothic has been created here, which is supplemented by the rich holdings of the attached diocesan museum.
The cloister
The north wing of the cloister
The east wing of the cloister
Cloister: Vaulted yoke northeast
Winding column in the mortuarium
Beautiful column in the Mortuarium, view before restoration (ca.1889)
Beautiful column in Mortuarium 2012
Furnishing
Altars
The most important altar in the cathedral is the magnificent Pappenheim Altar (around 1495) in the eastern transept, a foundation of Canon Kaspar Marschalk von Pappenheim . The altar structure consists entirely of local limestone (Oberer Schwammkalk) and is (without the cafeteria) 9.5 m high and over 2 m wide. The crucifixion is portrayed in the shrine. Numerous figures accompany the scene, in the background you can see a fantasy view of Jerusalem . The city is depicted after a woodcut by Breitenbach (1486) who used motifs (Doge's Palace) from Venice and Nuremberg and placed them next to depictions of the Dome of the Rock and the Church of the Holy Sepulcher. To top it off, five canopies rise up. The Pappenheim Altar looks a little out of the way today. Before the choir screens were removed, a separate chapel was created for the altar.
The neo-Gothic high altar (east choir) contains the wooden figures of the former late-Gothic winged altar. Five larger-than-life statues in the shrine, created around 1470 by the so-called master of the Eichstätter cathedral high altar, show the Madonna on the crescent moon and the patron saint of the diocese. The wings, also dating from the Middle Ages, have eight late Gothic Passion reliefs, and the trusses are also medieval.
Theo Heiermann and Elmar Hillebrand created the simple cross altar (people's altar) on the new altar island of the crossing in 1975. Before that, the so-called parish tariff was located here between the choir screens.
The twelve side altars of the cathedral were mostly created as private foundations for mass celebrations, for example to intercede for deceased relatives. The altar for cathedral provost Johannes von Wolfstein (died 1519) in the south aisle is one of the earliest Renaissance altars in Germany . The main relief with the Assumption of Mary into heaven was based on a woodcut by Albrecht Dürer (Loy Hering workshop, around 1519/20).
The Ölberg or Laurentius altar (north side) dates from the early baroque period, while the Magdalene altar in its chapel in the south aisle is in high baroque style. The chapel ( stucco decoration ) and the altar illustrate the important baroque furnishings of the cathedral, which otherwise fell victim to the regotisation in the 19th century.
There are still four side altars from this period, which were upgraded with Gothic and Baroque sculptures in the 20th century. The Marien Altar from 1879 (south aisle) also contains a late Gothic crescent moon Madonna from around 1500, which is popularly known as the “Baker's Madonna”. The wing reliefs were made around 1470 and show St. Barbara and Katharina. The other altars are the hll. Wunibald and Anna and consecrated to the Holy Trinity.
The neo-Gothic altar of the chapter sacristy with a relief of the Lamentation of Christ (around 1480) and other sculptures of various origins (not open to the public) was not built until 1912.
Another altar, which no longer exists today, was in the former sacristy of the Willibald chores. Today the entrance to the anteroom of the cathedral is from the west at this point.
Funerary monuments
The Renaissance tomb of the founder of the diocese, St. Willibald. Loy Hering probably created one of his major works under Bishop Gabriel von Eyb (completed in 1514). The entire complex was changed in the Rococo . The monumental main part with the life-size seated figure of the saint in a shell niche has been preserved, the high canopy is an 18th century addition, which Matthias Seybold created in 1745 based on the model of St. Peter's tomb (Bernini) in St. Peter's Basilica in Rome.
The older early Gothic tomb tumba now stands on the south side of the west choir. It is made in the form of a Gothic choir. The monopitch roofs of the buttresses carry large animal heads, above which a glare gallery runs around the roof surface.
Numerous tombs and epitaphs of the bishops and canons are on the pillars and wall surfaces. The oldest are the stones of the bishops Konrad II. Von Pfeffenhausen († 1305) and Johann II. Von Heideck († 1429) as well as the Tumba Gundekars († 1075) in his burial chapel.
The east choir houses the monument to Bishop Johann Konrad von Gemmingen (1595–1612), which is counted among the most important works of the Bavarian late Renaissance (attributed to Hans Krumpper ). The tombs of the bishops Marquard II (1637–1685), Johann Euchar (1695–1697) and Franz Ludwig (1725–1736), all of which belonged to the family of the von Castell taverns , were created according to de Gabrieli's designs .
In the north transept there are some stones for members of the family of Marshals von Pappenheim . Loy Hering created the triptych for Bishop Christoph Marschall von Pappenheim (1535–39) with the Lamentation of Christ in the middle. Next to it is the epitaph for four canons of the von Eyb family (around 1483). The colored version of the late Gothic memorial stone contrasts effectively with the monochrome of the nearby “Pappenheim Altarpiece”. The Mother of God stands under a keel arch with the child, on the sides you can see St. Barbara and Katharina.
In the 18th century, epitaphs for Provost Marquard Wilhelm von Schönborn († 1770) and Canon Philipp Karl von Oettingen-Baldern († 1787) were placed on the pair of pillars in front of the main portal .
For the second side chapel to the west of the portal, Loy Hering created one of the main works of Eichstätt tomb art of the Renaissance around 1514–1520. Bishop Gabriel von Eyb (1496–1535) had himself portrayed in a shell niche while he was still alive.
In 1989, the new burial place of the bishops was laid in the westernmost chapel. Fritz Koenig and Blasius Gerg designed the simple complex with the stone wall epitaph in 1989. So far, Cardinal Joseph Schröffer († 1983) and Alois Brems († 1987) have been buried here. Originally the chapel was the burial place for the canons and bishops from the house of the barons of Leonrod . The epitaphs for Canon Friedrich († 1539), Hofmeister Albrecht († 1543, Loy Hering workshop) and Bishop Franz Leopold von Leonrod (1867–1905) have been preserved.
The two cover plates of the former high graves of Bishops Konrad II von Pfeffenhausen (1297–1305) and Johann II von Heideck (1415–1429) are embedded above the west entrance . Both stones are colored and show the deceased in full figure.
In the Willibald Choir are the memorial stones for Bishop Eberhard II of Hirnheim (1552-1560), the canon Johannes von Stain († 1543, Loy Hering after Albrecht Dürer ), the community memorial of the Bishops Albrecht II of Hohenrechberg (1429-1445) and Moritz von Hutten (1539–1552) and the classical epitaph for Bishop Johann III. Baron von Zehmen ( Ignaz Alexander Breitenauer , 1790). Noteworthy is the German inscription, which indicates the progressive attitude of the popular cleric in the sense of the Enlightenment.
In front of the choir arch is the red marble stone of Bishop Wilhelm von Reichenau (1464–1496), which is considered one of the most important sculptures in the cathedral. The high relief of the crucifixion was created by Hans Peuerlin . At the feet of the Savior, the Bishop kneels with St. Mary Magdalene.
Two more classical bishop monuments can be seen on the long-headed pillars in front of the modern organ. The epitaph for Raymund Anton Graf von Strasoldo (1757–1781) is based on a design by Maurizio Pedetti . Josef Graf von Stubenberg (1790–1824) was the last prince-bishop of Eichstätt. The tomb was created in 1828 in the restrained forms of late classicism ( Peter Schöpf and Ferdinand Vellhorn).
The type of epitaph altar is represented by the memorials of the bishops Kaspar von Seckendorff (1590–1595) in his burial chapel in front of the southern transept and the large renaissance complex for Bishop Martin von Schaumberg (1560–1590) in the transept. Reliefs of the crucifixion, resurrection, ascension and second coming of Christ are incorporated into the three-storey structure. God the Father is enthroned in the gable triangle. The Mannerist work was created around 1570 (Philipp Sarder), that is, while the bishop was still alive.
The names of the buried refer to the location of the diocese on the border of the three Bavarian tribes. The dignitaries came from the Bavarian, Franconian and Swabian nobility of today's Bavarian national territory.
Stained glass window
The medieval inventory of stained glass in the cathedral can only be documented by archives. The preserved panes date from the 19th century, when the episcopal church was redesigned in the neo-Gothic style. Bernhard Mittermaier created the windows of the east choir in 1883 based on designs by Sebastian Mutzl . The transfiguration of Christ and the ascension of Mary are portrayed.
The ten-part cycle in the nave was reduced to the figurative parts in 1936. The representations refer to the invocations of the Lauretan litany and are reminiscent of the Marian patronage of the cathedral. The designs by Fritz Geiges (executed 1889–92) fit in well with the medieval church interior. The artist succeeded in combining high medieval style elements with cautiously used early Art Nouveau forms .
Geiges actually created the stained glass in the sacrament chapel in 1897/98 for the episcopal house chapel. After the restoration in 2001, the depictions of the Twelve Apostles were transferred to the cathedral.
Other sights
After the choir barriers in front of the east choir had been dismantled, the crossing piers had to be reinforced. The pillars had to be underpinned with high concrete plinths, which were covered in 1975 with decorative cast stone reliefs by Theo Heiermann (north pillar) and Elmar Hillebrand (south pillar). The north pillar illustrates twelve scenes from Old Testament salvation history, such as creation, the expulsion from paradise and the flood . On the south pillar, twelve additional episodes of the New Testament salvation history can be seen. In addition to the baptism of Jesus, u. a. to see the Sermon on the Mount and the return of the prodigal son.
The sacrament chapel houses another major work by Loy Herings. The crucifix was made around 1520 and shows Christ with his head held high at the start of a new life. The large stone cross has been hanging over the modern sacramental altar since 1975. Until 1968, this cross stood on the so-called parish tariff, in the place of which is today's popular altar. On the south wall there is a late Gothic protective mantle Madonna (around 1520/30), to whom a simultaneous figure of John the Baptist is placed on the north wall . The sacrament chapel was only set up in 1971, before this was the sacristy of the cathedral parish.
Of the individual sculptures are u. a. the Buchenhüller Madonna (around 1430) on the southern crossing pillar, the early Gothic Sibotomadonna (1296) in the Willibald's choir and the stone sculptures of the Adoration of the Magi around 1590 in the west porch.
Cathedral organ
Before the cathedral renovation in 1971, there were three organs in the cathedral by the Eichstätter organ builders Bittner . One instrument was above the west portal, one above the north portal and another on the right choir screen, where there was also a central console . Another organ on the left choir screen was planned but was not implemented. The arrangement of the organs was based on the Passau cathedral. Today's large cathedral organ was built in 1975 by the well-known organ building company Sandtner from Dillingen / Donau and has 68 stops on 4 manuals and pedal :
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Bells
The Eichstätter Dom has a collection of 18 bells and is one of the bells- richest churches in Germany. The bells - distributed on the north and south towers - are not rung together, but in four separate groups.
Main bell in the north tower
The women's bell (early 14th century) is the oldest bell in the north tower. She is rung for the angelus ; their inscription quotes from the Angel of the Lord . In 1540, the Nuremberg master Hans Glockengießer cast the Christ bell or Our Lord's bell, called "Hallerin". With its sonorous and powerful sound, it testifies to the high art of bell foundry at the once busy Nuremberg foundry school. Both bells were once part of the monastery peal.
In the course of the bell extensions in 1966, 1975 and 1976, in addition to several smaller ones, a new, over five-tonne large bell was purchased, which is similar in its sonority to the old "Hallerin". In 2002, the so-called "diocese bell" was replaced by the ave bell on the same pitch.
| No. | Name, dedication |
Strike tone (a ′ = 435 Hz) |
Mass (kg, approx.) |
Diameter (mm) |
Casting year | Caster |
|---|---|---|---|---|---|---|
| 1 | Trinity | a 0 + 1 / 16 | 5,300 | 1,930 | 1976 | Stumpf, bell foundry Heidelberg |
| 2 | Christ , called "Hallerin" | c 1 + 1 / 16 | 3,800 | 1,775 | 1540 | Hans Glockengießer (Nuremberg casting school) |
| 3 | John the Baptist | d 1 + 1 / 16 | 2,321 | 1,500 | 1975 | Stumpf, bell foundry Heidelberg |
| 4th | Women bell | e 1 + 6 / 16 | 1,750 | 1,370 | Beginning 14th century | Nuremberg casting school (possibly Hermann Kessler) |
| 5 | Joseph | g 1 + 1 / 16 | 947 | 1,100 | 1975 | Stumpf, bell foundry Heidelberg |
| 6th | Magnificat , called "diocese bell" | a 1 + 2 / 16 | 771 | 1.010 | 2002 | Bell foundry Rudolf Perner , Passau |
| 7th | Cecilia | h 1 + 1 / 16 | 692 | 963 | 1967 | Friedrich Wilhelm Schilling , Heidelberg |
| 8th | Boniface | c 2 + 1 / 16 | 554 | 910 | 1975 | Stumpf, bell foundry Heidelberg |
| 9 | Gundekar | d 2 + 1 / 16 | 385 | 800 | ||
| 10 | Franz Xaver | e 2 + 1 / 16 | 276 | 710 |
Bells in the north tower
The choir bell and the Marienglocke were supplemented in 2002 by the Aveglocke, instead of which the “diocese bell” was purchased, and in 2005 by the Benedicts bell and hung in a separate wooden bell chair. This four-way bell is rung only before baptism celebrations .
| Name, dedication | Strike tone (a ′ = 435 Hz) |
Mass (kg, approx.) |
Diameter (mm) |
Casting year | Caster |
|---|---|---|---|---|---|
| Avebell | a 1 + 3 / 16 | 750 | 1,030 | around 1500 | Nuremberg casting school (Fam.Bellgießer) |
| Choir bell | c 2 + 3 / 16 | 500 | 880 | Beginning 16th century | |
| Maria | d 2 ± 0 | 230 | 700 | 1671 | Caspar Haslauer, Ingolstadt |
| Benedict | f 2 + 9 / 16 | 105 | 560 | 2005 | Rudolf Perner, Passau |
Death bell in the north tower
The death bell, called "Klag", is rung only when a member of the cathedral parish has died. It was at the beginning of the 14th century probably by Hermann Kessler cast (a "+ 1 / 16 , 120 kg, 560 mm).
Parish bells in the south tower
The three bells in the south tower were specially designed for ringing at church services in the cathedral parish. The bell is known far beyond the borders of the diocese because of its beautiful sound; the two bells from 1256 have a very characteristic sound, which results from their special bell shape (so-called rib). The original use of the bells is still reflected in the ringing of the requiem by parishioners. Two bells are rung for weekday Vespers , one bell each for rosary devotions and every Friday at 11 a.m. for the passion of Christ .
| Name, dedication | Strike tone (a ′ = 435 Hz) |
Mass (kg, approx.) |
Diameter (mm) |
Casting year | Caster |
|---|---|---|---|---|---|
| Willibald | f 1 + 2 / 16 | 1,300 | 1,255 | 1256 | Magister Cunrad Citewar de Wircebu |
| Maria | g 1 + 8 / 16 | 900 | 1,120 | 1299 | Magister S (ifridus), Nuremberg |
| Maria | as 1 + 6 / 16 | 550 | 961 | 1256 | Magister Cunrad Citewar de Wircebu |
See also
literature
- Franz Xaver Herb, Felix Mader , Sebastian Mutzl , Joseph Schlecht , Franz Xaver Thurnhofer: Eichstätts Kunst. Munich 1901, pp. 29-58.
- Felix Mader (edit.): The art monuments of Bavaria, administrative region Middle Franconia, I. City of Eichstätt. Munich 1924 (Reprint Munich, Vienna 1981, ISBN 3-486-50504-1 ).
- Felix Mader: The cathedral at Eichstätt. Augsburg: Dr. Benno Filser Verlag 1929, 24 pages and 25 plates.
- Gerhard Hirschmann: Eichstätt. (Historical Atlas of Bavaria), Munich 1959.
- Erich Herzog and Theodor Neuhofer: Eichstätt Cathedral , Munich and Zurich: Schnell & Steiner, 4th edition 1965.
- Eichstätt cathedral renovation 1971–75. Ceremony for the reopening of the cathedral in Eichstätt in 1975.
- Walter Sage : The excavations in the cathedrals in Bamberg and Eichstätt 1969–1972 . Reprint from the annual report of the Bayerische Bodendenkmalpflege 17 / 18-1976 / 77 (1978).
- Andreas Bauch: The cathedral at Eichstätt. (Schnell & Steiner Art Guide, 527, 10th edition), Munich, Zurich 1983.
- Emanuel Braun: Eichstätt Dom and Domschatz , Königstein im Taunus 1986, ISBN 3-7845-4400-2 .
- Jürgen Fabian: The cathedral to Eichstätt (= manuscripts for art history in the Werner publishing company 19). Wernersche Verlagsgesellschaft, Worms 1989, ISBN 978-3-88462-918-5 .
- Alexander Rauch: City of Eichstätt. (Monument topography of the Federal Republic of Germany, Monuments in Bavaria, Volume I.9 / 1). Munich, Zurich 1989, ISBN 3-7954-1004-5 .
- Michael Schmidt: The mortuary at Eichstätter Dom. An architectural historical study , Eichstätt 1996, ISBN 3-9805508-0-X .
- Claudia Grund (arr.): The changing times of Eichstätt Cathedral 1745–1945. 200 years from the history of a cathedral. Catalog. (Writings from the Eichstätt University Library, Volume 42). St. Ottilien, 1999, ISBN 3-88096-987-6 .
- Claudia Grund: The cathedral at Eichstätt . Lindenberg: Kunstverlag Fink 2007, ISBN 978-3-89870-293-5 .
Furnishing
- Benno Baumbauer: On the Silver Madonna of Eichstätt Prince-Bishop Wilhelm von Reichenau (1464–1496) in the Kimbell Art Museum: Function and stylistic classification . In: Hans-Christoph Dittscheid, Doris Gerstel, Simone Hespers (eds.): Art contexts. Festschrift for Heidrun Stein-Kecks (= series of publications by the Erlangen Institute for Art History 3). Petersberg 2016, pp. 51–65.
- Benno Baumbauer: Veit Wirsberger's Pappenheim retable and its position in the Dutch-Upper Rhine court art of Emperor Friedrich III. In: Jiří Fajt, Markus Hörsch (ed.): Dutch art exports to North and East Central Europe from the 14th to the 16th century. Research on their beginnings, on the role of courtly clients, artists and their workshops (= Studia jagellonica lipsiensia 15). Ostfildern 2014, pp. 247–277.
Web links
- Representation of the cathedral on the website of the diocese of Eichstätt .
- Cathedral music in Eichstätt .
- Eichstätt Cathedral - single bells and full bells, recorded in the bell room .
- Eichstätt Cathedral - The historic bell of the south tower, recorded in the bell chamber .
- Eichstätt Cathedral - The ringing bell in the north tower, recorded in the bell room .
Individual evidence
- ↑ The founder of the diocese is back , Eichstätter Kurier from September 26, 2017; Accessed September 27, 2018
- ^ Complete renovation of Eichstätt Cathedral , Ingolstadt State Building Authority; Accessed September 27, 2018
- ↑ Doubts about Loy Hering's authorship of the Willibald figure. Donaukurier from November 2, 2012
- ^ "Probably" from Loy Hering homepage of the city of Eichstätt, accessed on February 6, 2018
- ↑ Even art historians of the church doubt Loy Hering as the creator of the Willibald figure video of the diocese of Eichstätt
- ↑ Martin Seidler: Cologne bells and peals , In: In: Förderverein Romanische Kirchen Köln eV (Hrsg.): Colonia Romanica . IV. Cologne 1989, p. 13.
Cathedrals : Aachen Cathedral | Augsburg Cathedral | Bamberg Cathedral | St. Hedwig's Cathedral Berlin | Catholic Court Church Dresden | Eichstätt Cathedral | Erfurt Cathedral | Essen Minster | Freiburg Cathedral | Fulda Cathedral | Cathedral of St. Jakobus Görlitz | St. Mary's Cathedral Hamburg | Hildesheim Cathedral | Cologne Cathedral | Limburg Cathedral | Cathedral St. Sebastian Magdeburg | Mainz Cathedral | Frauenkirche Munich | St. Paul Cathedral Münster | Cathedral St. Peter Osnabrück | Paderborn Cathedral | St. Stephan Cathedral Passau | Regensburg Cathedral | Cathedral of St. Martin Rottenburg | Speyer Cathedral | Trier Cathedral | Wurzburg Cathedral
Concathedrals : Dom St. Petri Bautzen ( Simultankirche ) | Basilica of St. Peter Dillingen | Freising Cathedral | St. Eberhard Cathedral in Stuttgart
Coordinates: 48 ° 53 '30.7 " N , 11 ° 11' 0.8" E