Halberstadt Cathedral
The St. Stephanus and St. Sixtus Cathedral in Halberstadt is one of the few large church buildings of the French cathedral scheme in Germany. It is located in the midst of an ensemble of Romanesque, Baroque, Neo-Gothic and modern buildings on the edge of the historical core of the city in the northern Harz foreland , which was heavily destroyed in the Second World War . The cathedral was also badly damaged. It is owned by the Saxony-Anhalt Cultural Foundation .
Building history
The Halberstadt diocese was established in the 9th century as a mission and administrative center in the newly conquered Saxon tribal area .
Small stone buildings served as the first bishopric churches, followed by a Carolingian new building consecrated in 859 in the form of a three-aisled cruciform basilica . This cathedral collapsed in 965, immediately afterwards the construction of the Ottonian cathedral began, which was consecrated in 992 and almost reached the dimensions of the later Gothic new building. In the 10th century, the nearby Magdeburg , which increasingly served as the center of Ottonian rule politics and in which Otto I installed an archbishopric in 968 at the expense of the local and Merseburg diocese , increasingly competed with Halberstadt. The (Ottonian) cathedral was badly damaged in the course of the destruction of the city in 1179 by Henry the Lion , but was quickly restored and re-vaulted; the consecration was in 1220.
In 1209, the competing Magdeburg Archbishopric began building a cathedral, which was heavily influenced by the architecture of French cathedral Gothic. The cathedral chapter of Halberstadt decided for its part to gradually build a “modern” Gothic cathedral, which, unusually, began with the west building. The chapter wanted to continue using the existing cathedral for as long as possible, since a lot of money had been invested in the vaulting shortly before.
The west building combines the local late Romanesque building tradition with the modern early Gothic influences, especially the architecture of the Cistercians . Most of the upper part of today's west facade can be assigned to the 19th century.
The construction of the high Gothic nave began around 1260, the dimensions of which - again to compete with Magdeburg - have been significantly increased compared to the original plan. The central nave reached the impressive height of 27.0 m for the time, the side aisles were 14.0 m high. However, in this second construction phase only the first three bays of the nave were built, the old cathedral had to be kept functional. In contrast to Magdeburg, these first yokes are much closer to the French models, especially the open strut system is fully developed here, but in a "German" reduction. The cathedral of Reims may have served as a model here . Because of the notoriously bad financial situation of the cathedral chapter, however, construction dragged on for about 50 years.
Since the financial situation of the diocese did not improve so quickly, it was decided to continue using the old cathedral for a while, and in the middle of the 14th century, at the opposite end, the construction of the Marienkapelle began. The demolition work for the choir began around 1350, which was based on the dimensions of the western nave bays. This construction phase lasted about 60 years until the consecration in 1401. Later some chapels were added.
The cathedral must have looked a bit strange now, because the Ottonian nave was located between the Gothic western and eastern parts. They did not want to accept this condition for long, the construction work for the missing gothic east yokes of the nave and the transept probably began shortly after the choir was consecrated. After another 90 years, in 1491, the entire cathedral could be consecrated.
As the last late Gothic addition, the new chapter house was completed in 1514 (vaults destroyed in 1945), and in 1516 the bronze chandelier in the central nave was added.
The Protestant doctrine was introduced at Halberstadt Cathedral in 1591 by the first Protestant Bishop of Halberstadt, Heinrich Julius . At first there was a mixed denominational cathedral chapter beyond the Thirty Years' War . Only after its abolition in 1810 is the cathedral a Protestant parish church.
The following centuries - up to the end of the Second World War - essentially retained the medieval appearance; The largest construction project here was the aforementioned rebuilding of the western towers.
April 8, 1945 finally brought the downfall of old Halberstadt with its over a thousand preserved half-timbered houses. The cathedral was also badly hit by twelve bombs. While the Old City after the war largely to the decline was abandoned, which undertook DDR - historic preservation comprehensive measures to back up and restore the great Gothic cathedral:
Among other things, very complex stabilization measures were carried out on the three buttresses on the north side, which were first erected between 1250 and 1276. At that time, due to a lack of experience in the dimensioning of buttressing, these were built very slim (the pillars of the cathedral that were built later are thicker). In the interior of the pillars, no stone was used at all, only limestone rubble, which was coated with mortar, was poured in. In addition, sulphate floating in the lime mortar reduced its load-bearing capacity. The pillars were criss-crossed with cracks, and due to their slimness and an uneven application of forces, there was a risk of lateral buckling and thus a partial collapse of the nave.
Cement injections were first introduced in the 1950s to stabilize the 700-year-old damaged grout. Because that was not enough, entire areas of the pillars were exchanged between the 1960s and 1980s. For this purpose, massive steel constructions, which temporarily supported the nave as a substitute for pillars, had to be erected and anchored.
The restoration continued after the fall of the Wall.
On September 15, 2010, a roof turret was again installed over the crossing.
description
The cathedral is an elongated, three-aisled, high to late Gothic basilica with a cross-shaped floor plan . To the south are the closed buildings with the four-winged cloister , the Remter and the Neuenstadt chapel . The impressive double tower front of the west building had to be partially removed and rebuilt towards the end of the 19th century. The lower part with the early Gothic main portal , which shows a depiction of the Last Judgment reduced to a few symbols, is still largely original.
The type of the classic French cathedral was only adopted so consistently in a few large buildings in Germany, as it is clear here. The open buttress in particular contributes to this overall impression, even if the individual shapes have been significantly reduced compared to the models. The buttress arches in Halberstadt were only made single, while French domes usually have double or even triple bracing systems. Due to this open buttress, the Halberstadt Cathedral looks more modern and magnificent than the Magdeburg Cathedral, which completely dispenses with this typical hallmark of a Gothic cathedral. In contrast to the French cathedrals, the wall elevation is also simplified without a triforium ; this is only indicated by the tracery under the clapboard windows .
The interior was largely spared from post-medieval changes. The sacred space, which is predominantly vaulted with simple cross ribs, only has richer (late Gothic) vault shapes in the side aisles and the transept. The choir and the community room are separated by a late Gothic rood screen. The transept is provided with a two-bay arched late Gothic gallery in the north and south, while in the south it is extended beyond the cloister. The parapets were not created until around 1470, as were the sculptures: naive depictions of Adam and Eve on the north gallery , above the column a depiction of the Paradise tree with the snake and a tabernacle depicting God the Father.
As with the French models, the aisles are led around the high choir as a walkway , but a chapel wreath was omitted - with the exception of the top chapel (Marienkapelle).
Enclosure and cloister
The cloister of the predecessor Ottonian dome was roughly at its current location. Two rooms from the first half of the 12th century have survived, including the two-aisled, groin-vaulted so-called old chapter room .
The four-wing, two-storey cloister dates from the 13th century and also has simple groin vaults throughout. The “early Gothic” arcade fillings are, however, an ingredient of the 19th century. Parts of the important cathedral treasure are housed on the upper floor .
The cross-vaulted Neuenstadt chapel (1503) is accessible from the western cloister wing and houses a beautiful late Gothic winged altar .
Above the north wing is the large "New Chapter House", whose magnificent loop rib vault had to be replaced by a flat concrete ceiling after it was destroyed in the war.
Furnishing
The Halberstadt Cathedral surprises with its medieval furnishings, which have been preserved in an unusually complete manner . Essentially only a few tombs and epitaphs , the baroque organ front and the Renaissance pulpit from 1592 date from the post-medieval period. The Romanesque baptismal font and the impressive triumphal cross group above the rood screen have been preserved from the old Ottonian cathedral . The monumental baptismal font is presumably of Lower Saxony origin and is recognized in the Dehio handbook as "excellently beautifully designed". It is carried by four lions, stands on a high, three-tiered substructure, presumably from the Gothic period, and was donated by Bishop Gardolf at the end of the 12th century.
Stained glass
In the Marienkapelle in particular, some important Gothic glass paintings have survived despite the war losses . There you can find the oldest and artistically most important panes from around 1340 in the axis window. The overall picture was restored with modern additions by Charles Crodel . The slices in the Chorobergaden also partly date from the early 15th century. The ambulatory still contains some partly medieval panes from around 1400–1440, which were added later. The two east windows next to the Lady Chapel are best preserved. The northeast window shows scenes from the life of Christ and was created soon after 1400, the southeast window shows the legend of the Evangelist Johannes from around 1420/30 and is related to the approximately simultaneous panes from the choir of the Stendal Cathedral . Carl Crodel also added the tracery of this window visible through the entire south aisle in the style of the existing building.
In 2012, the redesigned south transept window in the cathedral was put into service, mainly financed by donations. It was created as the result of a selection process based on a design by Wernigeröders Günter Grohs and was manufactured by the F. Schneemelcher glass workshop in Quedlinburg. The design of the opposite window in the north transept was also the subject of the competition. It is planned to run this window as well.
Building plastic
The wealth of three-dimensional Gothic sculptures in the cathedral is remarkable. In the Marienkapelle there is a large statue of Mary and Child from 1270/1280 with remains of the original version in the southern niche. The adoration of the Magi from around 1350/60 is inserted on consoles in the vaults of the polygon , a “very good work” of its time. In the northern niche of the Lady Chapel is an altar-like structure made of sandstone, the most Stipes the proclamation and a founder, the altarpiece in high relief the birth of Christ and in the sheet relief about a bas-relief of the procession of the Magi, the shepherds in the fields, the child murder and depicts the flight into Egypt. The "outstanding work" was created in 1517 with an inscription.
Three slightly smaller than life-sized stone sculptures in the northern ambulatory depict Mary, Mary Magdalene and an angel and are traced back in the Dehio manual to a “brilliant and independent master who probably knew the Holy Sepulcher in Freiburg ” . Century ".
The pillars of the choir are decorated with the twelve apostles and the two diocese patrons (around 1425 to around 1470). The transept and nave also have rich sculptural decorations . Of the numerous statues, St. Mary Magdalene and St. Lawrence from around 1510 on the eastern crossing pillars are particularly noteworthy, on the western crossing pillars St. Jerome, probably around 1480 by "an idiosyncratic important artist", on the same pillar is the saint Erasmus from 1509 in the manner of Tilman Riemenschneider , also the remarkable statue of Saint Sebastian from 1510 on the pillar opposite. St. George in armor from 1487 stands on this pillar.
Altars
The altars in the high choir and in the Marienkapelle date from the construction time, five medieval altars have also been preserved, which stood in the niches of the ambulatory. In the sacristy there is a sandstone retable with a relief of the crucifixion with accompanying figures, including Saint Lawrence, and dates from the mid-15th century. On the high altar is a painted reredos from around 1480. In the center is a crucifixion rich in figures, on the wings inside scenes from the life of Mary and the life of the two Johannes, outside the holy clan and Saint George, on the predella a third Anna and seven male saints. On the altar of the Marienkapelle there is a carved reredos with a radiant Madonna in the middle, flanked by four saints in two rows from the late 15th century. In the choir, the Gothic choir stalls (around 1400) and a late Gothic cabinet are noteworthy. Several reredos from side altars are now in the rooms of the cathedral treasury collection, including the well-known painted reredos of the Madonna with the coral necklace from around 1420.
Metal devices
An important bronze eagle lectern probably dates from the early 16th century, the foot and the shaft have been renewed. An approximately 3.5 m high three-armed bronze candlestick from the late Middle Ages stands in the crossing, a similar small candlestick from the early 16th century in the Marienkapelle. There are also two altar candlesticks made of bronze with an inscription dating to 1576. In the high choir hangs an iron chandelier made of four lattice-like openwork hoops, which become smaller towards the top, with turret-like candle holders and a tabernacle, which was probably made in the first quarter of the 15th century. In the nave there is a large, once gilded iron wheel chandelier with a richly decorated broad hoop with partially repeating figurative scenes in relief. The apostles are depicted in the small tabernacles above; the whole is apparently supposed to represent the Heavenly Jerusalem and was donated by Balthasar von Neuenstadt († 1516).
Tombs
Numerous tombs from the 10th to 16th centuries have been preserved. The oldest tomb is a monumental limestone sarcophagus with a cylindrical cover for Bishop Bernhard († 968) sunk in the choir . In the southern ambulatory is the cenotaph for the provost Johannes Teutonicus Zemeke (also: Semeca, † 1245) with a life-size reclining figure and a small incense angel; the four seated mourning figures in the keel-arched niches on the front are interpreted as representatives of the four faculties . The tumba , which was not originally intended for this position, was probably initiated by Archbishop Ernst von Magdeburg around 1492. One of the post- medieval tombs is the epitaph for Archbishop Friedrich IV of Magdeburg († 1552) on the southern barrier of the inner choir, which, according to an inscription from 1558, comes from Johannes Pincerna (also: Hans Schenck called Scheußlich). The large mannerist architectural structure made of yellow sandstone shows the deceased as a preacher in the center, above them the coats of arms and the monumental coat of arms of the deceased and God the Father above, surrounded by drastic allegorical depictions of the hope of redemption and the horror of death and hell, which “in the details of high quality ”. The grave slab in the choir floor with a life-size representation of the deceased was also made by Schenck. Numerous other epitaphs have also been preserved, including the epitaph for Friedrich von Britzke († 1576) made of alabaster on the northeastern crossing pillar, which shows a clear, figure-rich Renaissance structure with a well-designed crucifixion relief in the middle. On the southeastern crossing pillar, the epitaph for Caspar von Kannenberg († 1605) is also made of alabaster, which is based on the inscription by Sebastian Ertle from Überlingen, who also designed tombs in Magdeburg Cathedral , and is decorated with ingredients by Lulef Bartels. The epitaph is rich in plastic jewelry and shows the deceased kneeling in front of the crucifix. On the north gallery is the epitaph for Rhaben von Canstein († 1660) and his wife Lucia von Oppershusen, which is splendidly carved and decorated with a painted portrait of the couple and the resurrected.
The rood screen with the triumphal cross group
The interior of the Halberstadt Cathedral is steeply proportioned; This tendency towards height of the room is taken up in the rich late Gothic rood screen, which forms a boundary for the high choir behind the crossing. The virtuoso Hallenlettner in three yokes with keel arched gables, richly designed tracery and decorated pinnacles was completed in 1510. The upper part of the whole construction, however, forms a triumphal cross group, which is older than the entire church. It comes from the previous Ottonian building from around 1210/20. It was made of oak, linden and spruce wood and is 5.15 m high and 3.50 m wide. The individual figures have a height of approx. 2.40 m. The whole group was originally - as mostly in the Middle Ages - painted in color. It is one of the most important sculptural works of art on German soil from this period. The group of five figures stands on the so-called apostle beam, which shows the twelve apostles as bearers of the Christian faith and spans the entire nave with its 8.50 m length. The crucified Christ also stands symbolically on Adam's tomb. Christ is shown here in the type of the suffering Redeemer, next to the mourning Mary and John, and flanked on the outside by two cherubim on wheels of fire.
organ
Pictures from the cathedral
Westwork
Towers
Medieval baptismal font, cross-eyed 3D photo
Rood screen with triumphal cross group, cross view 3D photo
Figure opposite the rood screen, cross-eyed 3D photo
Organ prospectus with organ, cross-view 3D photo
Halberstadt Cathedral, aerial photo (2019)
Bells
The cathedral has 13 bells . The bell is one of the most valuable, with an eventful history and an extremely large number of old bells, cathedral bells ever.
The five largest bells form the main ringing with the domina / dunna as the foundation. The 1928 Dunna was lost in 1944 when it was confiscated for the armaments industry. During its sixth reconstruction, there were problems with the casting in front of 10,000 spectators on Domplatz. The bell dish was left a little too hot in the mold, causing too much tin to boil. Characterized fell percussive (the historical tone ges 0 + 1 / 16 was provided) is too high, which decay time is about 100 seconds with far below the standard for a bell of this size 200-250 seconds. The mold has been damaged by the overheated metal and is leaking. The bell food that had run out was then missing from the crown; it was poured incompletely. Due to the deadline pressure to ring the bell at the turn of the millennium, its hood was pierced twice in order to be able to hang the bell safely and in good time on the yoke with an additional built-in suspension, instead of welding the missing parts through a possible restoration or re-casting the bell. The Dunna is not considered a worthy successor to previous bells of the same name. Since autumn 2018, it is no longer allowed to ring due to a crack. A bell expert refuted suspicions that this was due to a concert at which the bells were struck with steel hammers in 2008, because it is located below the bell shoulder. Since repairs would be very expensive, the Dunna is to be re-cast in 2020 for 200,000 euros. The now unusable bell, instead of melting it down for the new casting, is to be placed in front of the cathedral as a permanent loan from the cultural foundation to the city due to its importance for the Halberstadt residents.
The Osanna , cast in a heavy rib by Johannes Floris in 1454, is an exceptionally beautiful bell with a characteristic partial tone structure. Equal to her is the bell Micha , which is also cast in a very heavy rib and can be counted among the best bells of the most recent bell casting achievements. It was also cast by the Lauchhammer bell and art foundry and serves both as a tonal bridge between Laurentius and Osanna ( tritone ) and to relieve the old stock.
Laurentius and Maria Magdalena are the two smallest bells of the main peal and come from the hand of Hinrik van Kampen .
The clock is struck on two cast steel bells from the Bochum Association , which are rigidly suspended in the south-west tower.
On the first Saturday of every month in summer time, the bell rings at 5:30 p.m. Micha rings the bell at noon and at 6 p.m. in the evening . Maria Magdalena , Laurentius and Micha call for the Sunday service .
Main chimes and clock bells in the west towers
|
No. |
Name (position) |
Casting year |
Caster |
Diameter (mm) |
Mass (kg) |
Percussive ( HT - 1 / 16 ) |
tower |
Predecessors |
| 1 | Domina / Dunna (defective since 2018) | 1999 | Art and bell foundry Lauchhammer | 2255 | 8320 | g 0 +6 | south | 1195, before 1454, 1457, 1860, 1876, 1928 |
| 2 | Osanna | 1454 | Johannes Floris | 1985 | 4820 | b 0 −1 | North | ? |
| 3 | Micha (prayer bell) | 1997 | Art and bell foundry Lauchhammer | 1523 | 2228 | d 1 −7 | 1365, 1454 (cf. eq. 2), [1576?] | |
| 4th | Laurentius | 1514 | Hinrik van Kampen | 1245 | 1080 | e 1 −4 | ? | |
| 5 | Mary Magdalene | 1070 | 790 | f sharp 1 −9 | ? | |||
| I. | Striking the hour bell | 1908 | Bochum Association | 1254 | 850 | g sharp 1 −7 | south | 1845 |
| II | Quarter-strike bell | 1015 | 460 | ais 1 −9 | 1845 |
Choir bells in the central building
Five smaller bells from the 13th century, so-called sugar loaf bells , which are hung in the central building , called for the daily hearing of the hours of worship . This originally included another bell called Stinkstank , but it has been lost. Your tone is between the bells of sauerkraut and Stimpimp have lain. The choir bells with the popular names are mostly used today in combination with the large bells.
The lamb was damaged at the concert in 2008, which was followed by public prosecution investigations, and repaired at the expense of the organizer. The long neck , which had fallen silent years earlier due to a crack, was also repaired on this occasion (the concert organizer also financed this repair).
|
Surname |
Casting time |
Diameter (mm) |
Mass (kg) |
Percussive (HT- 1 / 16 ) |
| bratwurst | 13th century | 737 | 199 | c 2 −2 |
| Pickled cabbage | 792 | 291 | des 2 −7½ | |
| Stimp | 696 | 229 | f sharp 2 −6 | |
| Long neck | around 1200 | 646 | 228 | f sharp 2 +7 |
| Lamb | 388 | 45 | d 3 |
Adämchen in the roof turret
With the restoration of the ridge turret , the Adämchen bell returned to its original location in 2010.
|
Surname |
Casting time |
Caster |
Diameter (mm) |
Mass (kg) |
Chime |
| Adamchen | around 1300 | unknown | 402 | 56 | ~ dis 3 |
Cathedral treasure
The Halberstadt cathedral treasure , going back to Bishop Konrad von Krosigk's booty from the Fourth Crusade , owes its extensive preservation mainly to the introduction of the Evangelical Confession ( Reformation ) in 1591. Due to the Protestant liturgy, many objects of the Catholic rite became superfluous and were used for worship Deprived of wear and tear. The cathedral chapter was - a curiosity in the history of the German diocese - denominationally mixed, so there were Protestant and Catholic canons. The extraordinary wealth of the cathedral treasure was attributed in the specialist literature to the difficulty of changing the complicated interdenominational ownership structure and selling valuables.
The formerly much richer inventory was nevertheless significantly reduced over the centuries, particularly Cardinal Albrecht von Brandenburg , who was also Bishop of Magdeburg and Halberstadt, “kidnapped” larger parts to Halle (Saale) and Mainz .
Despite all the losses, the cathedral treasure is still considered one of the most valuable and richest in Europe. From the abundance of what has been preserved, we would like to highlight some important pieces:
- The Byzantine Consular Diptych (Ravenna, 417)
- The late Romanesque Halberstadt closet
- The Romanesque Abraham-Angel Carpet
- The Romanesque Christ the Apostle Carpet
- The Byzantine Liturgical Discos
- The Venetian Crystal Cross (13th century)
- Several arm reliquaries and a reliquary tablet
- A small Gothic tabernacle of the Virgin Mary with figures made of ivory
Importance and appreciation
“Many churches may be more magnificent, stranger, more artistic than the Halberstadt Cathedral; this one seems to me to be the noblest of all "
"Probably the purest German example of a thoroughly understood Gothic"
"The cathedral is beautiful like forever."
The Halberstadt cathedral stood until 1945 amid one of the most historic town monuments in Germany. Due to the devastating destruction of the war and the subsequent neglect, only remnants of the unique cityscape of this total work of art, formerly known as the “North German Rothenburg”, have survived. Nevertheless, Halberstadt still has two outstanding monuments of medieval architecture with its cathedral and the four-tower Romanesque Church of Our Lady .
The cathedral has an unusually rich medieval interior. With over 600 preserved items, the cathedral treasure is one of the most important in Europe.
Dimensions
- Length of the main nave: 102 m
- Vault height of the main nave: approx. 27.0 m
- Height of aisles: 14.0 m
- Tower height: 91 m
Church music in the cathedral
In addition to the organ concerts, concerts with other instruments are also regularly held in the cathedral. The first organ, the Gothic cathedral organ , was built in Halberstadt between 1357 (?) - 1361 by Nicolaus Faber without a pedal. Today's organ is the work of Eule Orgelbau behind a baroque prospect.
Organ concerts, to which admission is free, take place every Saturday at 12 noon after the bell has rung.
See also
literature
- Johanna Flemming among other things: Cathedral and Cathedral Treasury in Halberstadt. Leipzig 1990, ISBN 3-7338-0058-3 .
- Peter Findeisen: Cathedral, Liebfrauenkirche and Cathedral Square. (= The Blue Books ). With a contribution by Adolf Siebrecht. Recordings v. Sigrid Schütze-Rodemann and Gert Schütze. 4th updated edition. Koenigstein i. Ts., Verlag Langewiesche 2009, ISBN 978-3-7845-4606-3 .
- Hermann Giesau: The cathedral in Halberstadt. (= German buildings. Volume 16). Castle near Magdeburg 1929.
- Paulus Hinz: Present past - cathedral and cathedral treasure in Halberstadt. 5th edition. Evangelical Publishing House Berlin 1971.
- Petra Janke, Horst H. Grimm: The cathedral treasure in Halberstadt (= Edition Logika. Volume 6). Munich 2003.
- Petra Janke: The Halberstadt Cathedral. (= DKV art guide. No. 405). Munich 2007, ISBN 978-3-422-02097-9 .
- Hans-Joachim Mrusek : Three German domes: Quedlinburg, Magdeburg, Halberstadt. revised Edition from 1963. Munich 1983, ISBN 3-7774-3510-4 - at the same time also reissued by the GDR publishing house in Dresden ( DNB 830849068 ).
- Claus Peter: The bells of the cathedral St. Stephanus and Sixtus zu Halberstadt. In: North Harz Yearbook. Volume 20/21, Halberstadt 1999, ISBN 3-934245-00-5 , pp. 121-181.
- Wolfgang Schenkluhn : Halberstadt: cathedral and cathedral treasure . (= Hallesche's contributions to art history. 4). Hall 2002.
- Eva Fitz: The medieval stained glass in Halberstadt Cathedral. (= Corpus Vitraearum Medii Aevi, Germany. Volume XVII). Akademie Verlag, Berlin 2002, ISBN 3-05-003438-6 .
- Hans Fuhrmann: The inscriptions of the cathedral to Halberstadt (= The German inscriptions . Volume 75, Leipzig series, 3rd volume) Dr. Ludwig Reichert Verlag, Wiesbaden 2009 ( inschriften.net ).
- Harald Meller, Ingo Mundt, Boje E. Schmuhl (eds.): The holy treasure in the cathedral in Halberstadt. Photos Juraj Lipták (Cologne). Schnell and Steiner, Regensburg 2008, ISBN 978-3-7954-2117-5 .
Web links
- Halberstadt Cathedral and Cathedral Treasure at the Saxony-Anhalt Cultural Foundation
- Homepage of the Evangelical Church Community Halberstadt
- Halberstadt Cathedral and Treasury
- Church music in Halberstadt
- Photos of St. Stephen's Cathedral and Sixtus
Individual evidence
- ↑ cf. the section Germany in the article Gothic .
- ↑ Tabernacle and buttress cathedral St. Stephanus and St. Sixtus zu Halberstadt - PDF Free Download. Accessed January 31, 2020 .
- ↑ a b c d e f g h i j k Georg Dehio : Handbook of German Art Monuments. Saxony Anhalt I. District of Magdeburg. Deutscher Kunstverlag, Munich / Berlin 2002, ISBN 3-422-03069-7 , pp. 314-325.
- ↑ Eva Fitz, The medieval glass paintings in Halberstädter Dom, Berlin 2003, figs. 79, 80 and 106.
- ↑ Halberstadt Cathedral Bells Plenum Westwerk (2010) on YouTube .
- ↑ a b Sabine Scholz: Does the domina have to be re-cast? In: Volksstimme. November 12, 2018; accessed June 28, 2019.
- ↑ Documentary about the bell casting (excerpt)
- ↑ Die Glocke Domina / Dunna Halberstadt solo (0:49) on YouTube .
- ↑ a b c Sabine Scholz, Volksstimme Magdeburg: Halberstadt Dom Dom bell Domina defective. Accessed February 1, 2020 .
- ↑ a b Christoph Schulz: The restoration of the bells of the Halberstadt cathedral St. Stephanus and Sixtus - a new domina for Halberstadt. In: Konrad Bund et al. (Hrsg.): Yearbook for bell customers . 2001/02, Vol. 13-14, MRV, Brühl 2002, pp. 548-561.
- ^ "Domina" defective: people from Halberstadt collect for a new cathedral bell. (mdr.de)
- ↑ Domina is on permanent loan. May 11, 2019. (volksstimme.de)
- ↑ Halberstadt Cathedral: Adämchen on the roof. In: Mitteldeutsche Zeitung . accessed on March 17, 2016.
- ↑ Johanna Fleming, Edgar Lehmann, Ernst Schubert: Cathedral and cathedral treasure in Halberstadt. 1st edition. Union Verlag. Berlin 1973.
Coordinates: 51 ° 53 '46.6 " N , 11 ° 2' 55.4" E