Gallus Gate

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The Gallus Gate, built around 1185 on the north facade of the transept of the Basel Minster, is considered the oldest Romanesque figure portal in the German-speaking area. Behind the Gallus Gate are the Gallus Chapel and the Gallus Altar, from which the Gallus Gate got its name. The wheel of fortune window is located above the portal. The portal of the Gallus Gate is carved from red sandstone. The masonry itself, however, consists of Degerfeld sandstone.

Gallus Gate of the Basel Minster
Tympanum of the Gallus Gate of Basel Minster

History of the portal

The date of origin of the Gallus Gate could not be determined exactly by historians: In 1185 a fire took place in Basel Minster. Then the "late Romanesque new building" was built under the direction of Bishops Heinrich von Horburg and Lütold von Aarburg. The outer walls, the nave arcades, the width of the nave and the crypts were retained. Large tracery windows were erected in front of the west gallery, and private chapels were laid out on the aisles. The same stonemason marks are found on the Gallus Gate and the choir of the minster. This feature makes it clear that these components must have been built at the same time and thus the Gallus Gate was part of the late Romanesque new building. Based on these findings, the gate can be dated to 1185.

Restoration history

The Gallus Gate was restored in several phases: The red oil paints were renewed since 1597. The background and the border of the tympanum have been smoothed over. Some sculptures have also been restored, such as the lion of St. Mark, all faces on the four lowest mercy tables and the nimbs of John and the angel of trumpets. These interventions took place around 1880–1890. In the years 1880–1890, the masonry was also restored by covering it with new bricks. Interventions in the sculptures took place on the evangelist heads and the evangelist symbols. The figures were either preserved or copied and replaced. The Romanesque capital on the eastern column was replaced by a Gothic foliage capital made of calcarenite before 1356. In 1597 the cuboids in the base area were exchanged. In 1770 a baroque wooden door was installed in the portal. In 1882 this was removed and replaced by two neo-Romanesque bronze doors. The width of the door opening is 183 cm. The cornice above the gate was replaced by a neo-Romanesque chessboard frieze. In 1941 the portal was cleaned and from 1988 to 1989 the dirty surface was dry cleaned and coated with semi-oil. The stone surface is protected by the semi-oil. Finally, a narrow roof was built on the portal. Since the 18th century, as a result of the Reformation, the gate was used profane. In the course of celebrations, doctorates and university anniversaries, academic pageants took place through the gate. On certain religious holidays, such as Corpus Christi or Ascension Day, there is a procession through the gate. On Palm Sunday, the procession commemorates the entry of Christ into heavenly Jerusalem.

Description of the portal

Two niche pillars protrude from the door frame. The niche pillars are connected by a cornice. The cornice is decorated with a palmette frieze. A leaf capital and a cube capital can be seen on the pillars next to the door. Other capitals depict animal bodies such as dragons, eagles or lions. They have been assigned a symbolic role of guardian. The Gallus Gate has characteristic features for the Romanesque period. The Romanesque was in the period from 950 to 1250. Significant features of the Romanesque architecture are the round arches, reliefs and the folds of the sculptures. All of these features can be found in the Gallus Gate. The four evangelists are particularly noticeable due to the detailed drapery of the robes and their decorative borders. In the deeds of mercy, each individually depicted mercy is surrounded by an arch-like relief. The prophet figures are characterized by a certain hardness and accuracy and yet they are represented simply. The zones are structured regularly. A labeled ribbon and ancient dragon consoles run along the arch of the arched field. The decoration of the arch is supposed to remind of the Solomonic bride, paradise and temple symbolism. The gestures of Christ are very expressive through the protrusion of his eyes.

The four evangelists

There are four post statues to the left and right of the bronze door. Matthew and John are on the left, Mark and Luke on the right. They are arranged according to their rank: Matthew and John are the apostles, Mark and Luke are the apostles' disciples. Their symbols are above the evangelists. The symbols look very flexible. You can recognize Matthew here by his enthroned style of representation. He proclaims the word and stands for the incarnation. Johannes, recognizable by his attribute, the eagle, stands for the ascension. Luke can be recognized by the bull. It stands for sacrificial death. The evangelist Mark can be recognized by the symbol of the lion. It stands for the resurrection and is at the same time a symbol for the elements air and fire. The evangelist symbols were actually intended for other portals, but were ultimately combined into a new portal.

Acts of mercy

To the left and right of the evangelists are small sculptures in niches. In the niches there are six biblical scenes with mercy motifs. There are two figures standing together: a noble woman and Christ who represents the needy. They are arranged in biblical order. The first example (top left) is the thirsty man refreshing himself with the chalice. The second scene (center left) shows a freezing pilgrim looking for a shelter. He is evidently a stranger. The third example (bottom left) shows a pilgrim with a stick and a slung bag. He is shown naked. The fourth example (top right) shows a sick person. The woman bends over the sick person to bed him. The fifth example (center right) shows a prisoner. It's a giant with a mutilated head. The woman brings him a loaf of bread. The sixth example (bottom right) shows a hungry man walking with crutches.

The prophets

Niche pillars in which there are relief statues stand above the deeds of mercy. On the left is the prophet Johannes Baptista (John the Baptist) who illustrates the coming sacrificial death of Christ. He shows this with a lamb of God and a cross. You can recognize this prophet by the uncut hair, the bare feet and the fur coat. He is the last Old Testament prophet. On the right, the apostle John is shown, who can be recognized by his youthfulness and the church clothes.

The Trumpet Angels and the Resurrected

There are trumpet angels on the left and right under the cornice. Next to them are the risen ones. The angels are in a niche. The two angels hold a messenger staff and blow a horn. The messenger staff is crowned with flower patterns. These angels are supposed to remember the announcement of the birth of Christ. Next to the angels the dead rise from their coffins. They represent the announcement of the Last Judgment and represent the stages of the resurrection.

Arch field and lintel

Bow field

Christ is depicted in the center of the tympanum. He is sitting on a folding chair. In his right hand he holds a flag of the cross adorned with stones, in his left hand he is clutching the book of life. The folding chair has the shape of a dog's head. The shape of the dog stands for loyalty and resistance. The robe of Christ is adorned with pearl fringes. Christ is shown as a risen judge of the world, who also appears humane and majestic. A portal foundation is shown in the arched area: Peter is standing to the left of Christ. A man kneels behind Peter and presents a step portal to Jesus. Because of his headgear it becomes clear that he belongs to a count's rank.

Lintel

The lintel, which is located directly above the bronze doors, shows the five wise and the five foolish virgins at the gate of paradise. Next to the gate of paradise you can see Jesus, who is the gatekeeper of paradise. The virgin parable shows the preparation for the kingdom of God. The virgins should meet their bridegroom. Five of them took oil for the lamp to see, but the other five forgot the oil. The gate remained closed to them. The wise virgins came into paradise. Each of the virgins has a different gesture: the first virgin bows humbly, the second looks back and the third looks touched and shy.

Role models and comparisons

The Gallus Gate shows references to antiquity. In its architectural structure it has parallels to the “ Porte Noire ”, an imperial triumphal arch in Besançon . The Porte Noire could have served as a model for the Gallus Gate. Two successors can be found: The portals of the collegiate churches in Saint-Ursanne and Neuchâtel have adopted part of the Basel scheme: the portals also open on the long sides. The Gallus Gate also resembles the main portal of the former abbey church of Petershausen near Konstanz, which was built around 1173/1180. Reliefs of mercy can also be found there on the portal.

literature

  • Dorothea Schwinn Schürmann: The Basel Minster, ed. Society for Swiss Art History GSK, Bern 2000, p. 10, pp. 18-19.
  • François Maurer-Kuhn: Galluspforte - transept portal of the Basel Minster, ed. Gesellschaft für Schweizerische Kunstgeschichte, Bern 1990, p. 3, p. 6, p. 9–12, p. 14, p. 16–17, p. 19–20.
  • Hans Reinhardt: The Basel Minster: 121 illustrations with explanations. ed. vd Münsterbaukommission, Werner 1939, p. 85.
  • Threshold to Paradise: The Gallus Gate of Basel Minster: Eds. Hans-Rudolf Meier, Dorothea Schwinn Schürmann, Schwabe 2002, p. 7, p. 13–15, p. 21, p. 25–26, p. 29.
  • Hans-Rudolf Meier and Dorothea Schwinn Schürmann; Marco Bernasconi , Stefan Hess , Carola Jäggi , Anne Nagel and Ferdinand Pajor : The Basel Minster . (The art monuments of the canton of Basel-Stadt, Volume X). Society for Swiss Art History GSK, Bern 2019, ISBN 978-3-03797-573-2 .

Individual evidence

  1. ^ Dorothea Schwinn Schürmann: Das Basler Münster, ed. Society for Swiss Art History GSK, Bern 2000, p. 19.
  2. That. P. 18.
  3. Threshold to Paradise: The Gallus Gate of the Basel Minster: Ed. Hans-Rudolf Meier, Dorothea Schwinn Schürmann, Schwabe 2002, p. 7.
  4. Ders., P. 29
  5. ^ Dorothea Schwinn Schürmann: Das Basler Münster, ed. Society for Swiss Art History GSK, Bern 2000, p. 10.
  6. Threshold to Paradise: The Gallus Gate of Basler Minster: Ed. Hans-Rudolf Meier, Dorothea Schwinn Schürmann, Schwabe 2002, pp. 25-26.
  7. That. P. 6.
  8. ^ François Maurer-Kuhn: Galluspforte- transept portal of the Basler Minster, ed. Society for Swiss Art History, Bern 1990, p. 9.
  9. That. P. 3.
  10. ^ François Maurer-Kuhn: Galluspforte- transept portal of the Basler Minster, ed. Society for Swiss Art History, Bern 1990, pp. 10–11.
  11. That. P. 19.
  12. That. P. 20.
  13. Hans Reinhardt: Das Basler Münster: 121 illustrations with explanations. ed. vd Münsterbaukommission, Werner 1939, p. 85.
  14. ^ François Maurer-Kuhn: Galluspforte- transept portal of the Basler Minster, ed. Society for Swiss Art History, Bern 1990. p. 14.
  15. ^ François Maurer-Kuhn: Galluspforte - transept portal of the Basel Minster. Ed .: Society for Swiss Art History, Bern 1990, pp. 16–17.
  16. Ders., P. 13.
  17. Ders., P. 15.
  18. Ders., P. 14.