Freiberg Cathedral

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St. Marien Cathedral from Untermarkt
The south side of the cathedral
View from the west

The St. Mary's Cathedral is a Lutheran church on the Lower Market in Saxon Freiberg . Before the Reformation, the house of God was a collegiate church , it was never a cathedral (bishop's church). Regardless of this, the Freiberg Cathedral is one of the most richly furnished places of worship in Saxony and contains important works of art with the golden gate , the tulip pulpit , Gottfried Silbermann's organs and the choir, which has been transformed into the burial place of the Albertines .


History and architecture

Central nave and Silbermann organ

Around 1180, the Romanesque basilica of Our Lady was built in the still young town of Freiberg, which was developing rapidly thanks to silver finds . The parish church was the late Romanesque triumphal cross group , even crucifixion group called (around 1225), and the Golden Gate (1230) early on two very important, last surviving works of art . In 1480 Pope Sixtus IV raised the parish church to a collegiate monastery . However, after only 57 years, the collegiate foundation was dissolved in the course of the Reformation in Saxony.

The church was almost completely destroyed in a major city fire in 1484. The triumphal cross group, golden gate and parts of the choir have been preserved. At the same location, the St. Mary's Cathedral was rebuilt as a three-aisled, six-bay late Gothic hall church . In art historical research, Freiberg Cathedral is rated as one of the main works within a group of Upper Saxon hall churches . The nave is characterized by inwardly drawn buttresses, richly shaped reticulated vaults and fluted octagonal pillars. Halfway up, a late-Gothic gallery with tracery parapet extends around the building, which is led around the pillars with bay-like porches. The Freiberg Cathedral is characterized by a special emphasis on the vertical, which is created by the steeply rising vaults and is no longer pronounced in the later buildings. Due to the gallery, the high lancet windows decorated with cross-arch tracery are divided into two parts. Fish bubble tracery forms can also be found in the lower parts of the windows . In the center of the central nave vault is a highlighted sky hole .

While the interior of the nave of the cathedral is regular and symmetrical, the west building and the adjoining cloisters and chapels are designed asymmetrically, depending on the existing or resulting floor plans and needs. This results in interesting small rooms, some of which have become cabinet pieces of late Gothic interior design. Particularly noteworthy here is the vestibule, which, like the Anne Chapel, shows the ability of the late Gothic master builders to create almost any floor plan using imaginative vaults to create spatial works of art. The Anne Chapel, opposite the west building as the end point of the cloister, shows a vault of a winding row , which already leads to the characteristic vault forms of the Upper Saxon and Bohemian late Gothic, which culminates in the Vladislav Hall of Prague Castle .

The Freiberg Cathedral, with its two unequal towers and the huge roof, which is effective in terms of urban planning in the area of ​​the Lower Market, has an inconsistent appearance. This inconsistency led to the fact that at the beginning of the 20th century the construction of a scale-free west tower based on a design by Bruno Schmitz was propagated, which would have dominated the historical picture inappropriately. Strangely, these early efforts to preserve historical monuments with contemporary forms were even supported by Cornelius Gurlitt , whose work in the preservation of the cloisters, which were threatened several times by demolition, contributed to the preservation of their condition. The outbreak of the First World War resulted in the fact that the tower plans were abandoned, whereby the fragmentary, late Gothic character of the cathedral was largely preserved.

Golden gate

The Golden Gate in Freiberg Cathedral is a late Romanesque round arch , sandstone portal on the south side of the cathedral , created in 1225 . The material is Grillenburg sandstone from the Niederschöna strata from the Tharandt forest . Sculptures and ornate columns are alternately set on the walls. The portal presumably formed the west entrance of the Romanesque church, which was destroyed in the fire in 1484. In the new building that followed, the portal's architecture and sculptures were carefully dismantled and added to the new building in late Gothic forms as a new south entrance. Originally, the portal was richly colored.

To protect the portal from environmental influences, a porch was built in 1902/03 by the Dresden architects Schilling & Graebner , which combined the Gothic design language with the then modern Art Nouveau .

The Freiberg Goldene Pforte is the first complete German statue portal. The tympanum shows the enthroned Mother of God with the adoring Magi, an angel and Joseph; Statues of Old Testament forerunners stand on the cloak, in the archivolts there are figures in four zones to represent Redemption and Last Judgment.

The Golden Gate is one of the main works of German art in the 13th century. Copies of the Golden Gate exist in the Adolphus Busch Hall of Harvard University in Cambridge (Massachusetts, USA), in the Italian Courtyard of the Pushkin Museum in Moscow (Russia) and in the Szépművészeti Múzeum ( Museum of Fine Arts ) in Budapest (Hungary).


Miner's pulpit with tulip pulpit in the background
Tulip pulpit


Due to the use of the choir as a burial place, the altarpiece had to be small and transportable. The painting of the altar retable, donated in 1560, shows the institution of the Lord's Supper and in the foreground the distribution of the Lord's Supper in both forms at the Lutheran celebration of the Lord's Supper. The painting shows similarities with the pictures of Lucas Cranach the Younger , but probably not from his workshop. The carved black and gold frame with twisted columns and blown gable probably comes from the workshop of a Freiberg master. The silver altar crucifix is ​​the work of goldsmith David Winkler.

Pulpits of the cathedral

The presence of two adjacent pulpits in the central nave is remarkable : on the one hand, the free-standing tulip pulpit , dating from around 1505, by the master HW (an identification with Hans Witten , which was assumed for a long time, has recently been questioned again) and, on the other hand, the miner's pulpit by 1638.

Tulip pulpit

The tulip pulpit is one of the cathedral's most famous works of art. In literature it is called a “great, idiosyncratic creation of late Gothic art”. This high sermon chair is also known as the festival pulpit and has long been attributed to the sculptor Hans Witten of Cologne as the highlight of his work - although this identification has recently been questioned again. It was probably built between 1505 and 1510. The tulip pulpit is not supported by a wall or pillars and it seems as if this masterpiece made of Hilbersdorf porphyry tuff (a rhyolitic tuff ) grows out of the ground like a calyx with 4 stems. These stems are tied to the inner shaft twice with rope. Singing angel children play between the two ties. The four church fathers, Augustine, appear on the calyx as bishop, Gregory as pope, Ambrosius as archbishop and Hieronymus as cardinal. The dominant figures are an elegantly dressed man (it could be a representation of the founder of the pulpit), resting at the foot of the pulpit, surrounded by lions (it could be Daniel , the patron saint of miners) and a squire (this could be a self-portrait of the master HW), who carries the burden of the spiral staircase on his shoulders. The squire is sitting on a fork of a tree trunk below the staircase. A wooden sound cover floats above the pulpit, crowned by a Madonna playing with her child.

Miner's pulpit

The miner's pulpit made of sandstone is a foundation of Freiberg's mayor Jonas Schönlebe and his wife from 1638. It shows sculptural representations of the worshiping donors in front of an alabaster crucifix on the pulpit. The pulpit stairs are carried by a fully plastic figure of a miner in a working costume, while the pulpit basket is carried by the figure of a climber . Further relief depictions of the Passion of Christ can be found on the pulpit stairs and on the basket. The sound cover is crowned by a figure of the risen Christ with the victory flag. The pulpit door is crowned by the typologically corresponding Old Testament scene of Jonas , who is spat out by the whale, which at the same time alludes to the first name of the founder. The sculptural quality, however, does not reach the rank of the older sculptures by far.

Medieval sculptures

Romanesque crucifixion group
Vesper picture

The late Romanesque triumphal cross group in the triumphal arch of the choir was once part of the rood screen that separated the choir of the Romanesque church from the nave. It consists of the stately depicted crucified, Mary and John in mourning gestures and is dated to the year 1225. Mary stands on a snake, Johannes on a wolfhound-like monster that is gnawing at an apple. It can be assumed that this alludes to the fall of man , which was overcome by Jesus' death on the cross. Probably other, not preserved figures belonged to it originally. Some remains of the rood screen sculptures are also still preserved, but they do not allow a reliable reconstruction of the rood screen.

The impressive Vespers picture , which is dated to around 1430, also dates from the time before the fire in 1484 . It shows Mary sunk in pain with the corpse of Jesus on her lap in a late Gothic realism that is carried up to the use of natural hair for the hair of Jesus.

The more individual and realistic style of the Vesper picture can also be found in a late Gothic cycle of wood-carved and framed apostle figures that are placed on the pillars and pillars of the nave. The cycle of apostles was created in the workshop of the master of the Freiberg cathedral apostles , who may be identical to Philipp Koch and who created numerous sacred sculptures in the Freiberg area. The cycle of apostles was written in the first decades of the 16th century.

Another cycle of carved and painted figures shows Christ with the wise and foolish virgins , who, however, are not always as individual as the aforementioned sculptures. Other figures of St. Christopher and St. Wolfgang were also created by the master of the cycle of apostles for altars that have not been preserved.

A sandstone figure of the Madonna in the Chapel of St. Anne, the so-called Monhauptsche Madonna , which dates from 1513, can also be attributed to the late Gothic period . Its presumed creator, Franz Maidburg, must have known Tilman Riemenschneider's work , as it shows recognizable stylistic echoes of the master's double Madonna in Würzburg Cathedral , created around 1512 .

Choir and Princely Burial Chapel of the Albertines

Burial chapel of the Albertines
Nurses crypt

The choir functioned from 1541 to 1696 as the burial place for 38 members of the Saxon royal family, including eight electors, two dukes, ten women and eighteen children aged just a few weeks to eleven years. The burials in Freiberg Cathedral ended with the conversion of August the Strong to the Roman Catholic faith. His mother Anna Sophie of Denmark and her sister Wilhelmine Ernestine of Denmark are buried in the sisters' crypt, which is located in the south chapel (formerly All Saints Chapel). This tomb, created between 1703 and 1712 by the Dresden baroque sculptor Balthasar Permoser , originally stood in the Lichtenburg in Prettin, but was moved to Freiberg in 1811. Noteworthy is the mighty Moritz monument created by the Lübeck goldsmith Hans Wessel for 2,800 thaler, in honor of Moritz von Sachsen . Through his services for the emperor he achieved the electoral dignity for Saxony . Next to the Moritz monument, on a console on the side wall, there is the figurine of Elector Moritz with the armor he wore in the battle of Sievershausen . In the north chapel there are 11 tin coffins of electors and their wives. There are more tin coffins in a crypt under the south chapel. In addition, the Wettin coffins, which were originally buried in the crypt of the Dresden Sophienkirche, were also moved to the prince's crypt of the cathedral after the church was destroyed in 1950.

The elector August von Sachsen commissioned the Italian sculptor Giovanni Maria Nosseni , who was in charge of the planning and execution from 1589 to 1595, to transform the Gothic choir into a burial chapel . The floor of the choir form 29 artfully crafted brass - grave plates . The grave slab for Duchess Katharina comes from the Freiberg foundry of Wolfgang Hilliger , who, along with other members of this Freiberg foundry family , is believed to be responsible for the casting of the other brass plates. The wall is adorned with an abundance of epitaphs and sculptures from the Princely House. The ceiling design made of painting and plastic in the style of Italian mannerism is impressive .

The transition between the wall design and the ceiling is formed by 34 music-making angels on the topmost ledge of the epitaph architecture. Investigations in the course of renovations have shown that the "built-in" instruments in the hands of the angels are real instruments of the Renaissance or very good replicas. So far, no instruments have been preserved from this period. The "finds" were examined and recreated in the Museum for Musical Instruments at the University of Leipzig . The replicas were also able to serve as templates for replicas due to their level of detail. It is now possible again for the first time to experience a complete orchestra in a sound pattern typical of its time.

In the funeral chapel are buried (or reburied there):

  1. Heinrich, Duke of Saxony (1473–1541)
  2. Katharina von Mecklenburg (1487–1561), (wife of Duke Heinrich of Saxony )
  3. Sidonie von Sachsen (1518–1575), (daughter of Duke Heinrich of Saxony and wife of Duke Erich II of Braunschweig-Calenberg-Göttingen )
  4. Moritz, Elector of Saxony (1521–1553)
  5. Albrecht von Sachsen (1545–1546), (son of Elector Moritz von Sachsen )
  6. August, Elector of Saxony (1526–1586)
  7. Anna of Denmark and Norway (1532–1585), (wife of Elector August of Saxony )
  8. Eleonore von Sachsen (1551–1553), (daughter of the Elector August von Sachsen)
  9. Alexander von Sachsen, administrator of Naumburg and Merseburg (1554–1565), (son of Elector August von Sachsen)
  10. Magnus von Sachsen (1555–1558), (son of Elector August von Sachsen)
  11. Joachim von Sachsen (* / † 1557), (son of Elector August von Sachsen)
  12. Hector of Saxony (1558–1560), (son of Elector August of Saxony)
  13. Marie von Sachsen (1562–1566), (daughter of Elector August von Sachsen)
  14. Amalie von Sachsen (* / † 1565), (daughter of the Elector August von Sachsen)
  15. Anna von Sachsen (1567–1613), (daughter of the Elector August von Sachsen)
  16. August von Sachsen (1569–1570), (son of Elector August von Sachsen)
  17. Adolf von Sachsen (1571–1572), (son of Elector August von Sachsen)
  18. Friedrich von Sachsen (1575–1577), (son of Elector August von Sachsen)
  19. Christian I, Elector of Saxony (1560–1591)
  20. Sophie von Brandenburg (1568–1622), (wife of Elector Christian I of Saxony )
  21. Anna Sabina of Saxony (* / † 1586), (daughter of Elector Christian I of Saxony)
  22. Elisabeth of Saxony (1588–1589), (daughter of Elector Christian I of Saxony)
  23. August of Saxony, administrator of Naumburg (1589–1615), (son of Elector Christian I of Saxony)
  24. Dorothea von Sachsen, Abbess of Quedlinburg (1591–1617), (daughter of Elector Christian I of Saxony)
  25. Christian II, Elector of Saxony (1583–1611)
  26. Hedwig of Denmark (1581–1641), (wife of Elector Christian II of Saxony )
  27. Johann Georg I, Elector of Saxony (1585–1656)
  28. Sibylla Elisabeth von Württemberg (1584–1606), (wife of Elector Johann Georg I of Saxony )
  29. Magdalena Sibylle of Prussia (1586–1659), (wife of Elector Johann Georg I of Saxony)
  30. Christian Albrecht of Saxony (* / † 1612), (son of Elector Johann Georg I of Saxony)
  31. Heinrich von Sachsen (* / † 1622), (son of Elector Johann Georg I of Saxony)
  32. Johann Georg II, Elector of Saxony (1613–1680)
  33. Magdalena Sibylle von Brandenburg-Bayreuth (1612–1687), (wife of Elector Johann Georg II of Saxony )
  34. Sibylla Marie of Saxony (1642–1643), (daughter of Elector Johann Georg II. Of Saxony)
  35. Johann Georg III., Elector of Saxony (1647–1691)
  36. Anna Sophie of Denmark (1647–1717), (wife of Elector Johann Georg III. Of Saxony )
  37. Wilhelmine Ernestine of Denmark (1650–1706), (sister of Anna Sophie of Denmark and wife of Elector Charles II of the Palatinate )
  38. Johann Georg IV., Elector of Saxony (1668–1694)
  39. Eleonore von Sachsen-Eisenach (1662–1696), (daughter of Duke Johann Georg I of Sachsen-Eisenach and wife of Elector Johann Georg IV of Saxony )
  40. Sophie Hedwig of Schleswig-Holstein-Sonderburg-Glücksburg (1630–1652), (daughter of Duke Philip of Schleswig-Holstein-Sonderburg-Glücksburg and wife of Duke Moritz of Saxony-Zeitz )
  41. Johann Philipp von Sachsen-Zeitz (1651–1652), (son of Duke Moritz von Sachsen-Zeitz and Sophie Hedwig of Schleswig-Holstein-Sonderburg-Glücksburg )
  42. Moritz von Sachsen-Zeitz (1652–1653), (son of Duke Moritz von Sachsen-Zeitz and Sophie Hedwig of Schleswig-Holstein-Sonderburg-Glücksburg)
  43. Zofia Agnieszka Radziwiłł (born May 16, 1618/1619 (?) In Schmolsin; † 1637 in Dresden), (daughter of Prince Janusz VI. Radziwiłł , castellan of Vilnius and Starost of Baryssau, and Elisabeth Sophie of Brandenburg )

Grave monuments and other equipment

Epitaph W. Meurer († 1632)

Numerous grave monuments and epitaphs of different quality are mostly placed in the vestibule of the cathedral. Mention should be made of the epitaph of Johannes von Schönberg († 1569) created by Andreas Lorenz , which shows the transfiguration of Christ in the forms of the High Renaissance. The epitaph of Barbara Schönlebe with fittings from 1599 also shows the transfiguration of Christ and is obviously influenced by the works of Nosseni.

The wooden epitaph of the Holewein couple († 1607 and 1617), in which the baptism of Christ is depicted, shows an excessive wealth of mannerist ornamentation. The epitaph of Wolf Heinrich von Brand († 1619) is similarly richly decorated with a bust of the war captain. The epitaph W. Meurer († 1632) is closely related to the reredos of the cathedral and depicts Jacob's battle with the angel. The epitaph for Nikolaus and Sigmund Horn († 1615 and 1666) consists of bronze panels with an architectural frame and wooden figures and shows the decline of sculpture in Freiberg after the Thirty Years' War, although the two-story structure is not without a grave dignity.

The later epitaphs are mostly provided with paintings, such as the epitaph Gabriel Breiting († 1668), which shows the sacrifice of Isaac , and the epitaph Theodor Siegel († 1676) with the burial of Christ. The high baroque epitaph of the married couple Agnes († 1693) and Abraham († 1711) von Schönberg, made of alabaster and marble, with a drastic depiction of death and life symbols comes from the Schneeberg master Heinrich Böhme the Younger.

Of the numerous other grave monuments, the epitaph for Heinrich Schmidt († 1685) with an inscription and allegorical figures should be mentioned. In addition, the cathedral houses a collection of 17 pastor pictures, which clearly shows the high social rank of the Protestant clergy in the 17th and 18th centuries.

At the beginning of the 18th century, two princely boxes based on a design by Matthäus Daniel Pöppelmann were added on the north side under the gallery arches. Despite their baroque wealth, they are modestly subordinate to the Gothic room.


Main organ

Large Silbermann organ

Between 1710 and 1714 Gottfried Silbermann built an organ with 44 registers . It was his first large organ in Germany and remained the greatest work he created by hand. The cathedral organist Elias Lindner designed the prospectus with its Corinthian pilasters and rich acanthus ornamentation. The organ acceptance took place on 13./14. August 1714 by the Leipzig Thomaskantor Johann Kuhnau and the Altenburg court organist Gottfried Ernst Bestel, the inauguration on August 19, 1714. In 1738 the master made minor changes to the layout of the upper works. In 1933 the Qvintadehn 8 ′ was renewed. From 1981 to 1983 the organ building company Jehmlich restored the organ under the direction of the restorer Kristian Wegscheider . It has 44 registers (2674 pipes), which are distributed over three manual works and pedal. The tone and stop actions are mechanical. The voice pitch is a 1 = 476.3 Hz. At the pipework is a modified meantone than the original detectable in the direction of a since 1985 Wohltemperierung was attenuated. The instrument is one of the most famous baroque organs and one of the best preserved organs from Silbermann.

I breastwork CD – c 3
1. Dumped 8th'
2. Principal 4 ′
3. Pipe flute 4 ′
4th Nassat 3 ′
5. Octava 2 ′
6th Tertia 1 35
7th Qvinta 1 12
8th. Sufflöt 1'
9. Mixture III
II major work CD – c 3
10. Drone 16 ′
11. Principal 8th'
12. Viola di gamba 8th'
13. Pipe flute 8th'
14th Octava 4 ′
15th Qvinta 3 ′
16. Great Octava 2 ′
17th Tertia 1 35
18th Cornet V (from c 1 )
19th Mixture IV
20th Cymbals III
21st Trumpet 8th'
22nd Clarin 4 ′
III Oberwerk CD – c 3
23. Qvintadehn 16 ′
24. Principal 8th'
25th Dumped 8th'
26th Qvintadehn 8th'
27. Octava 4 ′
28. Pointed flute 4 ′
29 Great Octava 2 ′
30th Flute 1'
31. Echo V (from c 1 )
32. Mixture III
33. Cymbals II
34. Krumbhorn 8th'
35. Vox humana 8th'
Pedal CD – c 1
36. Subsection II 32 ′ + 16 ′
37. Principal bass 16 ′
38. Sub bass 16 ′
39. Octav bass 8th'
40. Octav bass 4 ′
41. Pedal Mixture VI
42. Trombone bass 16 ′
43. Trumpet bass 8th'
44. Clarin bass 4 ′

Choir organ

Choir organ in Freiberg Cathedral

Opposite it is a second, smaller organ by Gottfried Silbermann. The instrument was built for St. Johannis in 1718/1719 and, due to the dilapidation of the church, transferred to the cathedral in 1939 and set up as a choir organ. In 1996/1997 Jehmlich carried out a partial restoration of the largely preserved organ.

I main work C – c 3
1. Principal 8th'
2. Dumped 8th'
3. Octava 4 ′
4th Reed flute 4 ′
5. Nasat 3 ′
6th Octava 2 ′
7th Qvinta 1 13
8th. Sufflet 1'
9. Mixture III
10. Cimbel II
Pedal CD – c 1
11. Sub-bass 16 ′
12. Trombone bass 16 ′
13. Trumpet bass 8th'


The bell of the cathedral consists of six church bells , four of which come from Oswald Hilliger's foundry in Freiberg. The Great Susanne is one of the most important ensembles of this time in Germany. The second bell was originally a work of this foundry, but was cast by C. Albert Bierling (Dresden) in 1896 because of a crack . The smallest bell is the replacement for a previous bell from 1512 (Oswald Hilliger), which was delivered during the Second World War and never returned from the Hamburg bell cemetery . Today's chimes represent a unique ensemble in the Saxon bell landscape due to the combination of two basic and four cymbal bells.

Casting year
Foundry, casting location
( HT - 1 / 16 )
Ringing order
1 Great Susanne 1488 Oswald Hilliger , Freiberg 1902 4220 b 0 +7 High Holidays (Christmas, Easter, Pentecost)
2 Luther bell 1896 C. Albert Bierling , Dresden 1268 1170 it 1 +12 Sundays (outside of penance times), church concerts
3 Morning bell 1496 Oswald Hilliger, Freiberg 850 392 c 2 +4 Noon bells
4th Children's bell 1496 Oswald Hilliger, Freiberg 764 280 d 2 −1 Evening bells
5 Silver bell 1496 Oswald Hilliger, Freiberg 652 196 f 2 +2 Morning bells
6th Baptismal bell 1956 Franz Schilling, Apolda 557 120 g 2 ± 0

Baptismal font from the Hirschfeld Church

In the cloister there is an 800-year-old Romanesque stone baptismal font, which comes from the Hirschfeld Church about 15 km away and in which Katharina von Bora , the wife of Martin Luther , is said to have been baptized.

Church life

The cathedral is from the Ev.-Luth. Cathedral parish Freiberg used for church services. It can be viewed daily during regular opening hours. There is also an offer of guided tours for a fee. The cathedral parish of Freiberg has maintained partnership relationships with the cathedral parish in Verden / Aller since the 1960s .


  • Rainer Budde: German Romanesque sculpture 1050–1250. Munich 1979, fig. 292–303.
  • Ev.-Luth. Domgemeinde St. Marien, Freiberg (Ed.): The cathedral to Freiberg . PEDA art guide No. 359/2005, 2nd edition, Passau 2005.
  • Hermann Hennig: The cathedral to Freiberg. Festschrift for the consecration after the renovation has been completed. Publisher Max Löser. Freiberg 1894. ( digitized version )
  • Eduard Heuchler : The cathedral to Freiberg: in historical and art-historical relation. Freiberg 1862. ( digitized version )
  • Eduard Heuchler: The golden gate at Freiberg Cathedral. Gerlach, Freiberg 1862. ( digitized version )
  • M. Hübner (Ed.): Cathedral & Cathedral District Freiberg / Saxony. Hinstorff Verlag, 2005.
  • Christel Kandler: The Golden Gate at Freiberg Cathedral. St. Marien Cathedral, Ev.-Luth. Cathedral parish, Freiberg 2006.
  • Herbert Küas : The Golden Gate to Freiberg. Insel Verlag, Leipzig 1943 ( Insel-Bücherei 179/3).
  • Selmar Peine: The golden gate in Freiberg and especially the interpretation of its figures. 1896 ( digitized version )
  • Wilhelm Schlemmer: The Romanesque St. Mary's Church and the first cathedral in Freiberg. ( Great Architectural Monuments , Issue 409). 5th edition, Munich / Berlin 1994.
  • Otto Eduard Schmidt : The riddle of the tulip pulpit in Freiberg Cathedral and Ulrich Rülein von Calbe. In: Mitteilungen des Landesverein Sächsischer Heimatschutz , Volume XV, Issue 3–4 / 1926, Dresden 1926, pp. 131–144.
  • Rolf Toman (ed.): The art of the Romanesque. Architecture - sculpture - painting. Cologne 1996, p. 317.
  • Heinrich Magirius : The cathedral to Freiberg. Union Verlag, Berlin 1977.
  • Heinrich Magirius: The cathedral to Freiberg. Large art guide Verlag Josef Fink, 2013, ISBN 978-3-89870-823-4 .
  • Heinrich Magirius, Albrecht Koch: The cathedral to Freiberg. Small art and culture guide Verlag Josef Fink, 2015.

Web links

Commons : Freiberg Cathedral  - collection of images, videos and audio files

Individual evidence

  1. ^ Friedrich Möbius and Helga Möbius: Ecclesia ornata . 1st edition. Union Verlag, Berlin 1974.
  2. ^ Heinrich Magirius: History of the preservation of monuments. Saxony. 1st edition. Verlag für Bauwesen, Berlin 1989, ISBN 3-345-00292-2 , p. 129, 269 .
  3. Harvard: From the Harvard Art Museums' collections Replica of the Golden Portal (c. 1230), of Church of Our Lady, Freiberg, Germany. Retrieved January 19, 2020 .
  4. ^ Italian court. Retrieved January 19, 2020 .
  5. ^ The Golden Gate of Freiberg Cathedral. Retrieved January 19, 2020 (American English).
  6. ^ Claudia Kunde: The funeral chapel of the Albertine Wettins in Freiberg Cathedral . 2004 ( [PDF]).
  7. ^ The musical instruments from the funeral chapel of Freiberg Cathedral. On the website of the Museum for Musical Instruments at the University of Leipzig, accessed on March 12, 2013.
  8. Great Silbermann organ. In: Retrieved May 2, 2016 .
  9. Berit Drechsel: The Gottfried Silbermann organ of the Petrikirche in Freiberg. Origin - change - reconstruction . Sandstein, Dresden 2007, ISBN 978-3-940319-02-9 .
  10. Frank-Harald Greß, Michael Lange: The organs of Gottfried Silbermann . (= Publications of the Society of Organ Friends 177 ). 3. Edition. Sandstein, Dresden 2007, ISBN 978-3-930382-50-7 , p. 50.
  11. The bell of Freiberg Cathedral. In: Retrieved May 2, 2016 .
  12. Thomas Reibetanz, Christian Wobst: Significant works of art in Freiberg Cathedral ,
  13. ^ Church of Hirschfeld - history and building history of the church. Reinsberg, Siebenlehn-Obergruna and Hirschfeld parishes, accessed on July 23, 2019 .
  14. Thomas Reibetanz: Freiberg Cathedral: Old treasures come back into light. In: Freie Presse Freiberg , May 6, 2012.
  15. Cathedral tour. In: Retrieved January 2, 2016 .

Coordinates: 50 ° 55 ′ 13 ″  N , 13 ° 20 ′ 36 ″  E