Historic pageant from 1880

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Historical parade in front of Cologne Cathedral, on the right the tent of the imperial couple, postcard after Adolf Wallraf, 1880

The historical pageant of 1880 was a pageant to mark the completion of Cologne Cathedral . It took place on October 16, 1880, the second day of the Cathedral Building Festival , in honor and in the presence of Kaiser Wilhelm I and numerous other princes.

The Cologne Cathedral and its building history provided the thematic framework for the pageant, although the first construction phase was only briefly presented. The sequence of groups and floats led from the High Middle Ages with the laying of the foundation stone of the cathedral in 1248 through various stages in Cologne's city history to the completion of the cathedral and German unity. The pageant ended with a representation of Germania as a patriotic symbol and the march by military units of Prussia and other German states in their parade uniforms.

As in the celebration of the laying of the foundation stone for the further construction of Cologne Cathedral in 1842, the cathedral was seen less as a church building than as a monument to German unity. The Kulturkampf and the flight of the Archbishop of Cologne abroad meant that the Catholic Church was largely excluded from the celebrations for the completion of the cathedral. For the Cologne bourgeoisie, the pageant that he organized and financed offered the opportunity to impressively portray its significance in the past and present.

Historical parades in the 19th century

Vienna pageant from 1879, sheet of the lithograph series by Eduard Stadlin

From the early 19th century, a culture of historical pageants developed in Europe with the formation of European nation states. Their origins lie in the patriotic celebrations and parades of the French Revolution, in church processions , festive events in the courts, rifle parades and carnival parades . From the 1830s on, “historic” pageants took place in Switzerland and the Netherlands, which were intended to promote the pursuit of national unity and democratic constitutions. In Germany, historical pageants began to appear in the 1840s and 1850s, after the founding of the German Empire in 1871, more and more such pageants were held and between 1880 and 1890 the number and quality of the events reached a high point.

These events were often embedded in celebrations on the occasion of historical or political anniversaries and were in most cases organized by the bourgeoisie . The organizers saw this as an opportunity for representative self-portrayal and public identification with the nation-state, a portrayal that correctly reproduced historical facts was seldom realized. Significant historical pageants immediately before the Cologne pageant took place in Ulm in June 1877 on the 500th anniversary of the laying of the foundation stone of Ulm Minster and on April 24, 1879 in Vienna on the occasion of the 25th wedding anniversary of the imperial couple Franz Joseph I and Elisabeth . The Vienna pageant designed by Hans Makart was the largest and most important historical pageant of the 19th century with 29 floats.

Celebration for the completion of the cathedral

Cathedral building festival from 1842, based on a drawing by Georg Osterwald

Since September 4, 1842, the day the foundation stone was laid for the further construction of Cologne Cathedral, cathedral celebrations with parades had taken place at irregular intervals. With the completion of the interior in 1863, the celebrations took on the character of church festivals. The last cathedral festival for the time being took place in 1867. In 1880, the completion of the cathedral was to be celebrated with a two-day ceremony, to which the representatives of the city of Cologne and the Central Cathedral Association awaited the imperial couple and numerous other princes and other members of the nobility.

The date for the celebrations was August 15, 1880, the anniversary of the laying of the foundation stone in 1248. However, Kaiser Wilhelm I let this date pass and then set October 15 as the date for the completion of the cathedral. That was the birthday of his deceased brother, King Friedrich Wilhelm IV. , Whose enthusiasm for the completion of Cologne Cathedral made it possible to continue building. Church representatives were not involved in the context of the Kulturkampf ; the cathedral chapter was only asked to hold a Te Deum in the cathedral for the ceremony and to ring the cathedral bells. The official festive planning, which had to be approved by the Kaiser, provided for the program for October 15 to be left to the Kaiser and for events of the city of Cologne not specified in detail to be held until the following day.

preparation

Wilhelm Camphausen

As early as May 15, 1879, during a meeting of the Zentral-Dombau-Verein (Central Cathedral Building Association) , Eduard von Oppenheim had applied for preparatory steps to be taken at that time for the implementation of a historical pageant based on the models of Ulm and Vienna. On September 3, 1880, some Cologne citizens met in the Gürzenich's restaurant . The idea of ​​a historical pageant that arose at this meeting aroused enthusiasm, so that further meetings followed daily. On September 6, 1880, a pageant committee consisting of 24 citizens and six delegates each from the Cologne city council and the Zentral-Dombau-Verein was founded, which the next day was chaired by the lawyer and city councilor Johann Joseph Fischer, the director of the Colonia insurance company Jakob Gilbert appointed his deputy and the banker Albert Freiherr von Oppenheim as the cashier.

Since several experienced artists were required to take part due to the short time until the festival and there was no artist colony in Cologne as there was in Düsseldorf, the board of the festival committee went to the Düsseldorf Art Academy on September 8 and conferred with Professor Wilhelm Camphausen . Despite the short preparation time, Camphausen considered a pageant possible and it is very likely that he and other Düsseldorf artists were already informed by von Oppenheim's advance of the previous year and were able to carry out design work. On September 10th, Camphausen presented the pageant committee with a concept that contained draft drawings of the carriages and the groups of riders and a tripartite division according to the historical sections from the laying of the foundation stone in 1248 to the consecration of the choir in 1322, from 1322 to the start of further construction in 1842 and from 1842 to completion Provided in 1880. On the basis of these drafts, Camphausen was entrusted with the overall artistic management of the pageant.

From September 8th, lists for subscribing voluntary contributions circulated among the citizens of Cologne. On September 12th, the pageant committee published an appeal for donations that clearly referred to the cathedral building as a symbol of German unity: How could we better contribute to the celebration than with a brilliant representation of the three great periods of construction of the lofty house of God, this symbol of German unity and perseverance? A historical pageant should be the thanks that we owe our emperor and a tribute to all who carried the cathedral in their hearts and created a mark of German holiness from the sarcophagus of German honor (...). After a few days, on September 17th, the financing of the pageant was secured. The funds came predominantly from the Cologne bourgeoisie, consisting of merchants, civil servants, scholars and a few artists, the majority of whom adhered to a national liberal policy and who supported the state in their self-image as in the actual circumstances.

The preparation of the pageant was seriously disrupted by the rumor that the props for the procession were made exclusively in Düsseldorf. The old rivalry between Cologne and Düsseldorf and the concern about possible loss of income caused the Cologne craftsmen to cancel their participation as foot groups in the pageant. The pageant committee agreed that it would place all contracts to be awarded in Cologne. Nevertheless, the bakers, cooper , tailors and shoemakers did not declare their willingness to take part in the move until September 27, and the butchers, locksmiths and joiners later.

Hermann Otto Plum

The costume designs were created by the Düsseldorf artists Wilhelm Camphausen, Wilhelm Beckmann , Albert Baur, Ernst Roeber and Fritz Roeber . They were supported by the Cologne carnivalist and dialect poet Fritz Hönig , who provided designs for coats of arms, horse rugs and other elements. The Cologne architect Hermann Otto Pflaume , cathedral sculptor Christian Mohr and the diocesan master builder Heinrich Wiethase were also involved in the design of the floats . The artists did their work free of charge. Numerous designs for costumes and floats have been preserved in the Cologne City Museum.

The costume tailoring and wagon construction for the pageant were located on the company property at Klingelpütz 19a of the manufacturer Friedrich August Herbertz . For the costumes of the main characters, who were represented by members of the upper bourgeoisie, high-quality materials were used, fur, brocade and brass. Most of the costumes, however, were made of inexpensive fabrics, weapons and fittings were in most cases made of wood painted gold or silver. For some of the costumes that the well-to-do train participants had to pay for themselves, prices are given on the drafts. The costume of the spice dealer Gustav Rabich, who rode as the standard bearer of the old Cologne families at the beginning of the second section, cost 77 marks, plus 120 marks for equipping the horse. That corresponded to several average monthly incomes in the city of Cologne. The extras in the foot groups wore cheaper costumes, they cost around 25 marks and probably did not have to be paid for by the participants. Numerous costumes were not made especially for the Cologne pageant, but were bought in Belgium, where historical pageants were also popular. After the event in Cologne, costumes and staffages were again sold to the theater in Cologne and Belgium.

The Archbishop of Cologne, Heinrich II. Von Virneburg, on horseback in secular clothing, the bishop's staff and other insignia of the ecclesiastical office carry the mounted pages, Tony Avenarius 1880, panel XVII

From the outset, the pageant was planned as an event for the self-confident Cologne bourgeoisie for its emperor. Ecclesiastical elements were avoided and the importance of the Catholic Church for Cologne was denied. This went so far that church dignitaries such as the Archbishops of Cologne Konrad von Hochstaden and Heinrich II. Von Virneburg , who were of great importance in the history of the cathedral building, were depicted as imperial princes in secular clothing. In the particularly extensive middle part of the procession, the Cologne patriciate was depicted without distinguishing between traditional legends and historical facts. The performers of that period, which was seen as the most important time in Cologne's city history, came primarily from the upper middle class, such as the von Oppenheim banking family. In order to exaggerate the role of Prussia in Cologne's city history, the 16th and 17th centuries were referred to as the "Brandenburg period", and the Prussians had already played the role of the Duchy of Kleve and the County of Mark in the 17th century Attributed to " Wacht am Rhein ". The main characters of that era were predominantly newcomers and new rich industrialists.

Immediately before the festivities, a large tent was erected on the south side of the cathedral for the emperor and other dignitaries. Opposite the imperial tent, a larger than life gold-colored bust of King Friedrich Wilhelm IV was placed on the night before the pageant.

Outline of the train

First group of the pageant, mounted trumpet corps and Reichsbannerträger, Tony Avenarius 1880, panel I.
Shrine of the Three Kings , carried by members of the Cologne gymnastics club "Eintracht", costumed as goldsmiths, Tony Avenarius 1880, panel II

With 1,000 participants, 400 horses and eight large floats, the historical parade was one of the largest historical parades of its time, but lagged significantly behind the previous year's Viennese parade with its 29 floats. It was divided into three sections, each of which had an event from the history of cathedral construction as its main theme: the laying of the foundation stone on August 15, 1248, the completion and consecration of the cathedral choir in 1322, and the further construction from 1842 to 1880. With foot and rider groups in Periods of the history of the city of Cologne and the German Empire were depicted in historical costumes and with decorated floats, although occasionally no distinction was made between historical facts and traditional legends.

First section: Period of the laying of the foundation stone

The first section was divided into two groups, the first was arranged by the Düsseldorf painter Fritz Roeber , and the painter Ernst Roeber was responsible for the second group .

First group

The first group represented the 13th century, medieval Cologne and the old German Empire. A mounted trumpet corps passed by for the opening of the parade. This was followed, also on horseback, by the city herald with scepter (represented by Mr. Claisen), the Reichsbannerträger (Mr. Jacobs) and the city banner bearer (Leonard Rickel). On foot were brushwood in the colors of the city of Cologne (Louis Hellrath, F. Haumann, H. Thurmann, DA Engels, K. Streifler and W. Windhagen), two mayors ( Ernst Hardt and Theodor Henke) and numerous councilors (C. Jahn , Eduard Clement, Em. Pickert, Z. Steffens, Dürst I., Dürst II., Th. Viehmeyer, A. Kattwinkel, E. Oelbermann, E. Engels, W. Graeff and Schulte) on the way in this group. This was followed by a replica of the Epiphany shrine worn by members of the Cologne gymnastics club Eintracht as a symbol of Cologne Cathedral as the initiator of the pageant . The conclusion was formed by the Cologne patricians and other citizens with women and children (Carl Vorberg, R. Cahn, Titus Bredt, FB Heimann, G. Goebels, Arn. Steiger, Frln. Weishaupt, Kuhlmann, C. Seil, Lilly Adam, Heinecke, H Duden, Raaf, Schloemer, Oebecke, Koschel, Siré, Dietz and Hövel as well as the children Arthur, Ernst and Paul Hardt, Hans and Alb. Heimann, Sabine Plasmann, Therese and Frieda Hamspohn and Philipp Oster).

Second group

Head of the second group, with city count, city bailiff, standard bearers, King Wilhelm of Holland , Tony Avenarius 1880, plate III
Laying of the foundation stone in 1248, float with cathedral builder Gerhard von Rile , Tony Avenarius 1880, panel VI

The second group was led by a trumpeter corps on foot. He was followed on horseback by the city count (Otto Reusch), the city bailiff ( Johannes Fastenrath ), brushwood in the city colors (W. Asbach, W. Johnen, Ant. Leinen, H. Strässer), the imperial storm flag bearer (Eug. Clever), the royal Standard bearer ( Wilhelm Schmitz ), King Wilhelm of Holland (Josef Mayer) and his advisor Pietro Cardinal Capocci , who had presided over Wilhelm’s election for a king. The king was accompanied on foot by two pages (Arthur Gräff and Herr Hartmann). Other mounted participants followed, representing the Archbishop of Cologne Konrad von Hochstaden ( Fritz Hönig ), the Duke of Limburg (B. Guepratte) and the Duke of Brabant (JR Heidemann). Konrad's entourage was formed by the knights of the Alps with lady (Mr. Merkens and Mrs. Roesberg), von Odenkirchen (Mr. Gunst), von Rheineck (Mr. Steffens), von Drachenfels with lady (Mr. Braschoss and Mrs. Reusch), the Count of Geldern (Mr. Hinz ), the Count von Berg (Herr Dieckhoff), the Count of Hennegau with lady (Herr Lachnit and Catharina Breuer), the Knights of Neuenahr with lady (Ed. Dahmen and Miss Ulex), von Aarburg with lady ( Franz Clouth and his wife Josefine Clouth), from Jülstorf with lady (Mr. Hospelt and Miss. Feith), from Gerstorf with lady (Mr. Jung and Miss. Strömer), from Godesberg with lady (Ph. Heimann and Miss. Hartmann) and from Güsten (Mr. Offermann) . They were accompanied on foot by pages (Messrs. W. Müller, Hövel, Kaaf, Asthöwer, Rothschild, Oechelshäuser, Hagen, Mertens and Daniels).

The first parade float on the train was a float designed by Hermann Otto Pflaume in the second group, which marked the laying of the foundation stone for Cologne Cathedral in 1248. The first master builder Gerhard von Rile (Jean Rehe) spoke his blessing over the foundation stone, surrounded by foremen (Mr. Hartmann and Ossendorf), a stonemason (Mr. Rehe jr.) And masters and craftsmen of the cathedral building (Mr. Arntz, J. Pott, P . Pott, Huppertz, Schmidt and Brunthaler). On the front part of the car were the personifications Colonia (Miss M. Welter), Spes ( Jenny Hippenmeyer ) and Pietas (Miss Feldhaus). The float was surrounded by Cologne sticks in the colors of the city, which were provided by the Eintracht gymnastics club and the gymnastics association.

Second section: period of further construction up to the completion of the high choir

Representative of the Cologne patriciate , Tony Avenarius 1880, plate VIII
Battle of Worringen 1288, Tony Avenarius 1880, plate IX
Cologne patricians von der Aducht and Hirzelin, each with their wives, Tony Avenarius 1880, panel XI
Brothers von Ghyre with entourage and the fictional mayor Hermann Gryn , Tony Avenarius 1880, panel XIV

The second department was also divided into two groups. The arrangement of the first group was entrusted to the painter and professor of the Düsseldorf Art Academy, Albert Baur , the second group was arranged by the Düsseldorf painter Wilhelm Beckmann .

First group

A group of crossbowmen followed by a mounted music corps, provided by the Cologne Rifle Society. They were followed on horseback by the Cologne Herald (Fritz Schieffer) with his two standard-bearers (Gustav Rabich and J. Cramer-Nicolai). The mounted representatives of the Cologne patrician families were each accompanied by two pages, beginning with four fatalities in the battle of the Ulrepforte : Mathias Overstolz (Ludwig Peters, with Messrs. Jahn and Viehmeyer), Peter Jude (Julius Heckler, with Messrs. Schramm and Haumann), Heinmann von dem Ahren (Franz Hagen, with Messrs. Pickert and Caesar) and Johann von Brechen (Otto Engels, with A. Schnabel and L. Boisserée). Other riders were Gerhard Overstolz , killed in the Battle of Worringen in 1288 (Mr. Schmitz-Pfeiffer, with Messrs. Dubelmann and Pfeiffer), as well as Rütger Overstolz (Balduin Lensing, with Messrs. Caesar and Schneider) who was killed in the storming of the Bayenturm .

The second float, designed by the Cologne cathedral sculptor Christian Mohr , was a reconstruction of one of the chariots used, according to legend, in the Battle of Worringen and armed with catapults and archers. On it were the Cologne farmer (FJ Meyer) and two officers of the archers (Messrs. De Jonge and J. Renner). Then another band of music came on foot and some pioneers before the heads of the Cologne patrician families passed by on horseback:

  • Overstolzen with lady ( Hermann Otto Pflaume with wife) and standard bearer (Mr. Heyden);
  • Scherfgin with lady (Louis Herbertz with Mrs. M. Meyer) and standard bearer (Florian vom Count);
  • von der Aducht with lady ( Max Freiherr von Oppenheim with Mimi Freifäulein von Oppenheim), standard bearer (Simon Freiherr von Oppenheim) and a page (Robert Heuser);
  • Shepherdzelin with lady (C. Montag with Miss Monday), standard bearer (Mr Pfeiffer), three pages (Mr Plasman, Schmitz, Vogel) and four Junkers (Mr R. Grüneberg, J. Montag, J. Krüger and Ms. Bleißem) ;
  • Cleyngedank with lady (Th. Roß with Miss. Hel. Landmann), cavalier (Mr. Bornheim), 2 Junkers (Mr. F. Becker and Wattler) and two pages (Mr. Schmitz and Kempgen);
  • Overstolz von Efferen with lady (Paul Freiherr von Oppenheim with Ada Freifräulein von Oppenheim), standard bearer (Mr. J. Hild), Mohr (Mr. John) and two noblemen (Mr. Hillebrand and Rheinbrohl);
  • Birkelyn with lady (Jos. Baum with Miss Laura Salm), two pages (Messrs. Kneller and Kracht), three Junkers (Messrs. Ric. Baum, Ad. Baum and Kellner) and four mounted pages (Messrs. Hofmann, Wülfing, Horn and Hellbach );
  • Lyskirchen with lady (Walther Roß with wife von Leipziger) and their falconers (Messrs A. Ahn, F. Diel, F. Esser, Max Esser, E. Fischer, G. Fischer, J. Holthausen, Hermann Nourney, A. Raps, G. Raps and G. Rauch).

The conclusion of the first group was formed by the von Ghyre brothers (L. Levy and J. Friedrich) with four pages (Messrs Pallenberg, Günther, Fuchs and Feinhals), Bannerträger, Mohr and Reitern, as well as the mayor Hermann Gryn (J. Gilbert) Junkern (Messrs. C. Gilbert, L. Daeves, Bel, Häuser, Welker, Müller and Beuth).

Second group

Hansekogge , Tony Avenarius 1880, panel XV
Hanseatic Freight Car, Tony Avenarius 1880, Plate XVI
Herzoge von Jülich, Cleve and Berg, Tony Avenarius 1880, plate XVIII
Completed cathedral choir, with cathedral builder Meister Johannes , Tony Avenarius 1880, panel XXI

The second group was led by a float that replicated a Hanse cog and was designed by the Düsseldorf painter Vincent Stoltenberg Lerche . With this representation, Cologne's role as an important member of the Hanseatic League was to be recognized. Allegorical representations of Hansa (the wife of Julius Michels, Miss G. Guilleaume and Miss Th. Tillmann), patricians ( Otto Deichmann , Sulpiz Boisserée jr. And Dr. Reincke), the captain (Mr. Nierstras) drove on the cog . , Marines (J. Weiler and F. Vorster), sailors (J. Michels and Julius Altpeter) and captured pirates (Miss Reuss, Mr. R. Breithaupt and PG Wahlen) with. The ship was followed by a group of riders of the Hanseatic League with spears ( Johann Maria Friedrich Heimann , van Gülpen and Schmelzer) and, representing the Hanseatic land traffic, a carriage loaded with goods and a coachman ( Wilhelm Deichmann ). Other horsemen armed with spears (C. Senff, A. Lindgens, Robert vom Rath and H. Rommel) as well as a number of armed sticks (A. Gerber, Wilhelm Beckmann , V. Lotz, P. Wahlen, E. Jonghaus, E. Laux, F. Steegmann, F. Drisch, C. Engels, A. Berghausen, G. Berghausen, Jean Haack, F. Golle, FW Becker and H. Schmitt).

With the following scenes the reference to the cathedral building was taken up again. A group of singing choir students (provided by the cathedral boys' school) was followed on horseback by the secularly dressed Archbishop of Cologne, Heinrich II of Virneburg (Robert Peill), during whose tenure the cathedral choir was consecrated in 1322. He was accompanied by two pages ( Hans Wilhelm Zanders and Richard Zanders ) who carried the attributes of his spiritual dignity with them. In his wake were noble and bourgeois donors and supporters of the cathedral building:

  • Duke of Jülich with his wife (Josef Compes and Miss Fanny Raschdorff) and a page (Hans Nourney);
  • Duke of Cleve with his wife ( Friedrich August Herbertz with his wife Therese Herbertz) and a page (Robert Weiler);
  • Duke von Berg with his wife (Julius Marcus and M. Nourney) and a page (Fritz Nourney);
  • Count of Holland with his wife ( Walther vom Rath and Miss Walter) and a page (Victor Schnitzler);
  • Count von Mörs with his wife ( Paul Andreae and the wife of Ernst Engels) and a page ( Johann Gottlieb von Langen );
  • Hardefuyst with lady ( Richard von Schnitzler and Miss Clara vom Rath) and a page (Eduard Schnitzler);
  • Cleyngedank with lady (Max Charlier and Miss R. Compes) and a page (H. Vorster);
  • von der Salzgassen with a lady (O. Weiler and Miss Julia Lürig) and a page (JB Felmer);
  • von Schoenrode with lady (Richard Traine and Miss Ida Traine) and a page (A. Fremery);
  • von Bottelnberg with lady (Alf. Roß and Miss. Emmy Fremery) and a page (Gust. Bunge);
  • von Tongeren with lady ( Eugen Pfeifer and Miss Johanne Langen) and a page (Carl Langen);

The fourth float, designed jointly by August Carl Lange , Carl Rüdell and Heinrich Wiethase , showed the choir of the cathedral when it was completed in 1322. In front of the choir sat Master Johannes (Gust. Boisserée), the cathedral builder at the time, in the midst of his foremen (E . Bogen, H. Müller and E. von der Straeten jr.). At the end of the second section, the composite letter of 1396 was carried forward to the delegations of the guilds: butchers, shoemakers, bakers, fishermen, goldsmiths, carpenters, brewers and tailors, accompanied by city servants and servants. The delegations of the guilds were represented by members of the corresponding guilds.

Third department: period of continuation to completion

Landsknechte and mounted trumpet corps, Tony Avenarius 1880, plate XXV
Domkran , Tony Avenarius 1880, panel XXVII
Germania , Tony Avenarius 1880, plate XXVIII
The watch on the Rhine with soldiers of various branches of service in parade uniforms, Tony Avenarius 1880, plate XXIX

The third section was arranged by Wilhelm Camphausen , professor at the Düsseldorf Art Academy and overall artistic director of the pageant. It represented the centuries of standstill and the decades of further construction until the completion of the Cologne Cathedral.

A group of Landsknechts was followed by a mounted trumpeter corps and the Herold (the pewter manufacturer Engelbert Kayser) on horseback, with banner bearers and accompanied by a group of riders (Hugo Traine, Aug. Erlenwein, J. Ferrenholz, Hermann Hofmann, the brewer Peter Balchem, Ferdinand Müll and F. Scharnberger) as a guard of honor. The fifth float was designed by the Cologne builder Deutz. He showed a replica of the wooden cathedral crane that had been on the top of the south tower since the 14th century and had become both a symbol of the city of Cologne and a symbol of standstill until it was dismantled in March 1868. A red and white flag with the inscription Protector , in honor of the Prussian King Friedrich Wilhelm IV , waved from the boom tip of the cathedral crane . The allegorical representations of the arts drove on the cart: architecture (Miss Claasen), painting (Miss Feist), Sculpture (Miss Müller II.), Poetry (Johanna Reincke-Weyden) and music (Miss Müller I.). The float was accompanied by the craftsmen of the Cologne cathedral building , who carried the flag of the Zentral-Dombau-Verein .

The sixth and last float, based on the design by Christian Mohr , showed a model of the completed Cologne Cathedral , surmounted by a representation of Germania , who held her hand over it protectively. At her feet sat allegorical representations of some of the Rhine states : Borussia (Miss Fanny Meuser), Bavaria (Miss Lina Weithoff), Badenia (Miss Frieda Buddecke) and Hansa (Miss Helene Mohr). A page with the coat of arms of the cathedral chapter (Egm. Thewalt) sat in front of the west portal of the cathedral. The float was accompanied by pages with the coats of arms and flags of the German Reichslande , which were provided by the Cologne gymnastics club. With the last participants of the pageant following on the wagons of Germania, the present was reached, the watch on the Rhine was not formed by costumed participants, but by soldiers from various military units from the whole of the German Reich in their parade uniforms.

execution

For the procession of the Way of the since 1823 held annually in Cologne was Cologne's Rose Monday procession selected. On October 16, 1880, at 8 a.m., the installation on Neumarkt began , at the same time a large crowd gathered on the Zugweg in the area of ​​the cathedral and in front of the emperor's tent. The Kaiser and the Empress arrived at the Kaiserpavillon around 11 a.m. Only a little later the pageant reached the cathedral and passed the emperor. With the exception of a break of about a quarter of an hour, when the first float got stuck in front of the imperial tent and had to be cleared by helpers, the parade went without any disturbances. The artistic director of the parade, Wilhelm Camphausen , was with the imperial couple and gave explanations about the wagons and foot groups of the train. At the end, when the military units marched past , the imperial bell of Cologne Cathedral rang, which was cast from captured French gun barrels from the Franco-Prussian War of 1870 to 1871.

This first round was followed by a ceremony with which the late King Friedrich Wilhelm IV was honored as a patron of the cathedral's completion. Young men in historical costumes and flag throwers dressed in white gathered around the monumental bust of the king opposite the imperial pavilion and laid wreaths. In addition, a boys' choir sang hymns in homage to the king while the guests, including the emperor, rose.

After the ceremony, the mayor of Cologne, Hermann Heinrich Becker , asked the emperor if he would like to see the parade a second time. The Kaiser affirmed this and the train, which had been set up again as a precautionary measure, passed the Kaiserpavillon again. This time the imperial couple rose and walked to the Zugweg, followed by the other ruling German princes, the Prussian officer corps and the foreign diplomats. Lord Mayor Becker gave the imperial couple explanations on the motifs of the pageant and the history of the town on their second pass.

documentation

Tribute to King Friedrich Wilhelm IV. , Lithograph from Adolf Wallraf's portfolio, 1880

Even before the festivities, the pageant committee published a leporello album with 16 pages drawn by Fritz Roeber and Wilhelm Beckmann, which should serve as an explanation for the elements of the procession and as a souvenir.

Lithographs

Since the middle of the 19th century, important pageants have been documented with partly very extensive series by lithographers. In 1880, the lithographer Adolf Wallraf self-published a portfolio with 21 lithographs for the Cologne pageant, the sheets of which showed a vivid depiction of what was happening, but were not very detailed and uncleanly printed in relation to individual persons.

The Cologne graphic artist Tony Avenarius had designed a portfolio with 29 large-format color lithographs depicting the pageant, which was also published in 1880. Avenarius' model was a folder with 46 chromolithographs by Eduard Stadlin , which was published in 1879 to document the Vienna pageant. Avenarius had souvenir photos of numerous train participants available for his work, whose poses and facial features were copied in detail. Avenarius' lithographic depictions, however, met with numerous errors such as incorrect heraldic colors and figures or completely incorrect coats of arms, which was primarily directed against the unchanged original designs. The series by Avenarius is considered to be artistically more successful and is characterized by the fact that it has a high recognition value, especially for the prominent train participants.

Photographs

Max von Oppenheim as von der Aducht , photographer Carl Westendorp, 1880

Photographs of the actual pageant are not known, but there are photos of the imperial tent in the cathedral courtyard. Johann Joseph Fischer requested souvenir photos in costume from the train participants via an appeal in the Kölnische Zeitung. Therefore there are a number of partly hand-colored photographs of costumed participants of the pageant, which Cologne photographers had made in their studios. One of the photographers was Carl Westendorp with his studio at Komödienstraße 7, in the immediate vicinity of the cathedral. Westendorp had procured a horse especially for taking pictures of mounted train participants, with which the twenty-year-old Max von Oppenheim was photographed. Further photos were taken by Nicola Tonger , who had his studio at Hohe Straße 45 and solved the horse problem with photo montages, and by Fritz Eilender with a studio at Breite Straße 86. In 1905, 34 photographs were handed over from the town hall to the Cologne City Museum . In the course of the decades further finds were made.

Wall painting in Cologne's Gürzenich

Large ballroom of Gürzenich , mural on the right, around 1900

At the end of 1881, the city council decided to document the historical pageant as a mural in the large ballroom of Cologne's Gürzenich for posterity. The painters Wilhelm Beckmann , Fritz Roeber , Ernst Roeber , Albert Baur , Wilhelm Camphausen and Adolf Schmitz created the designs based on their original designs that were already used for the pageant. In contrast to the work performed free of charge for the pageant, the artists should now be paid a "worthy fee", which amounted to a total of 75,000 marks.

Even more than the train itself, the wall paintings in the festival hall of the Cologne bourgeoisie should be a memorial for the individual participants in the train and for the Cologne bourgeoisie as a whole. The authentic representation of individual train participants and the possibility of identifying them on the paintings was therefore an important concern of the client and the artist. It was achieved not through the use of existing photographs, but through portrait sessions with the train participants in their costumes.

The ten wall paintings with a total length of 53 meters were painted on the long side of the ballroom opposite the window front. They were each about three meters high, with wood paneling about 2.50 meters high below them and an ornamental wall decoration about one meter high above them. The left-hand paintings of the five couples had an arched recess for the semicircular windows above the entrance doors of the ballroom. The pairs of paintings were each painted by an artist:

  1. City Herald, Kölner Reisige, Mayor, Aldermen and the Shrine of the Three Kings (Fritz Roeber)
  2. Ritter, King Wilhelm of Holland and Cardinal Capocci with retinue (Ernst Roeber, dated August 1884)
  3. Heroes of Cologne's city history, archers, chariots from the Battle of Worringen (Albert Baur)
  4. Carriage with the Hanseatic cog, Archbishop Heinrich von Virneburg, duke and patrician of Cologne, carriage with the completed cathedral choir (Wilhelm Beckmann)
  5. "Brandenburger Zeit", float with cathedral crane and Germania (Wilhelm Camphausen)

The renovation of the medieval Gürzenich, carried out since 1854, was completed in 1885. The wall paintings should have been completed by this time. They were destroyed by bombs during the Second World War along with the Gürzenich. Although a complete photographic inventory does not exist, the appearance of all murals has been reconstructed using preserved draft drawings, paintings, lithographs and photos. Most of the surviving image material is in the holdings of the Cologne Cathedral Building Archives and the Cologne City Museum , and a small part is also privately owned.

reception

The historical pageant before the march from Neumarkt, illustration after Ernst Roeber , 1880. In the background the parade float with the Germania.

The predominantly national liberal German press reported enthusiastically about the pageant, often with large-format illustrations. Richly illustrated reports appeared in the Illustrirten Zeitung , and a drawing by Ernst Roeber served as a template for an illustration in the weekly newspaper Über Land und Meer . Extensive reports on the event also appeared abroad, for example in the British illustrated weekly magazine The Graphic with a full-page woodcut in the September 23, 1880 edition.

In the reporting of Protestant newspapers it was mentioned only marginally that the Catholic clergy had stayed away from the celebrations. They described the pageant as the culmination of a patriotic celebration and lifted the Protestant character of Dombaufestes, the participation of the Protestant Cologne cathedral architect Ernst Friedrich Zwirner and Richard Voigtel and the promotion by the Protestants Frederick William IV. , And Kaiser Wilhelm I produce.

Criticism was expressed from various quarters. This primarily included the Catholic Church and the press closely related to it. The Cologne newspaper already pointed out before the pageant that first time Cathedral construction ceremony without the archbishop of Cologne takes place. The Catholic newspaper delivered on the front page of its edition of 16 October 1880 Critical description of the historical pageant to Domvollendung from a Catholic perspective . It criticized the fact that the archbishops Konrad von Hochstaden and Heinrich von Virneburg were dressed as secular sovereigns, and that Albertus Magnus , who at the time was still assigned the design of the cathedral, was not even mentioned in passing. The Kölnische Volkszeitung, as a newspaper of the German Center Party , also expressed disdain about the pageant and the recognizable effort to present the cathedral building without any reference to the Catholic Church. The Germania , the party organ of the Center Party, placed an initially unaccepted and later rejected petition from the Rhenish Catholics to the emperor in the foreground, which was supposed to enable the Archbishop of Cologne, Paulus Melchers, to return from exile and participate in the cathedral building festival. August Reichensperger , a leading member of the Zentral-Dombau-Verein and long-standing sponsor of the cathedral's completion, was one of those Cologne Catholics who wanted to show a worthy restraint in view of the circumstances of the celebrations .

There were occasional anti-Semitic failures. The Mayener Volkszeitung , the organ of the Catholic Center Party for the Mayen district , criticized on its front page of October 5, 1880 “that three-quarters of Semites were represented in a parade to celebrate the cathedral in Catholic Cologne [...] at the cathedral celebration, Jews played the first role play and act as the representatives of the Cologne bourgeoisie. The main characters are Jews! Of the 42 women of the so-called haute volée, or rather the money aristocracy, […] more than half are Jewish. The knights [...] are almost exclusively Jews - and now imagine these 'heroes' in helmets and armor as the representatives of the old German knights and warriors! "

The Social Democrats denounced the self-portrayal of the bourgeoisie at the expense of the general public in 1882 in connection with the mural painting in Gürzenich, which was subsidized by the city budget.

In January and February 1881 the Kölnische Zeitung published a serial novel by Ernst Pasqué under the title Das Dombaufest zu Köln. A story from the October days of 1880 . The pageant forms the framework for the action. The historical pageant is the subject of chapters 9 and 10 in the novel Alaaf Kölle. En Schelderei us great Zick by Wilhelm Schneider-Clauss , a classic of Cologne dialect literature.

financing

Just a few days after the pageant committee was constituted and its public appeal for donations on September 12, 1880, the pageant's financing was secured. The costs amounted to 140,000 marks, with an annual per capita income in Prussia of only 360 marks. In 1873 a total of 650,000 marks were spent on building the cathedral. The costumes bought in Belgium alone cost 20,000 francs, but this was offset by income from costume sales to Belgium and to the theater in Cologne of 15,000 marks. The final accounts of the pageant committee showed after a comparison of all expenses and income a surplus of 50,000 marks. This amount was made available by the pageant committee for the production of the murals in Gürzenich. In February 1882 the city council approved a grant of 25,000 marks for this purpose.

literature

  • Tony Avenarius: Historical pageant organized to celebrate the completion of Cologne Cathedral on October 16, 1880 based on the original watercolors by Tony Avenarius . Cologne, Hamburg undated [1880] (29 lithographs, folio). Reduced reprint: Druckhaus Rudolf Müller, Cologne 1980, ISBN 3-481-29999-0 .
  • Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion . Volume 1: Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne. October 16, 1880 to January 11, 1981. Cologne 1980.
  • Committee for the historical pageant: Cathedral building festival. Historical pageant, Cologne October 16. 1880 . Drawn by Fritz Roeber and Wilh. Beckmann. 16 sheets in fanfold, illustrations only. Heimann & Zimmermann, Cologne 1880.
  • Klaus Hardering: From magnificent lançades, a feast for Empress Augusta and a chair made from the wood of the old cathedral crane . In: Kölner Domblatt 2010, 75th episode, pp. 86-103, ISSN  0450-6413 .
  • Wolfgang Hartmann: The historical pageant for the inauguration of Cologne Cathedral . In: Hugo Borger (Hrsg.): The Cologne Cathedral in the century of its completion , Volume 2. Exhibition catalog, Cologne 1980, pp. 140–149.
  • Wolfgang Hartmann: Historical Truth - Artistic Consecration. The historical pageant for the inauguration of Cologne Cathedral in 1880 and the murals in Gürzenich . In: Wallraf-Richartz-Jahrbuch 1980, Volume 41, pp. 223-243.
  • Program and commemorative publication of the historic procession organized to celebrate the completion of Cologne Cathedral on October 16, 1880. Published by the Comité. DuMont Schauberg, Cologne 1880. Digitized at Cologne University and City Library.
  • Rita Wagner: Heroes in tights and women in corsets. Photographs and drawings for the cathedral parade of 1880 in the Cologne City Museum . In: Kölner Domblatt 2016, 81st episode, pp. 156–177, ISSN  0450-6413 .
  • Adolf Wallraf: Historical pageant organized to celebrate the completion of Cologne Cathedral on October 16, 1880 . Self-published, Cologne 1880 (21 lithographs, text booklet).

Web links

Commons : Historical pageant 1880  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Wolfgang Hartmann: The historical pageant for the inauguration of Cologne Cathedral , p. 142.
  2. ^ A b Wolfgang Hartmann: Historical Truth - Artistic Consecration , pp. 224–225.
  3. ^ A b c d e f g h Arnold Wolff: Historical pageant from 1880. Foreword by Arnold Wolff . In: Tony Avenarius: Historical pageant organized to celebrate the completion of Cologne Cathedral on October 16, 1880 based on the original watercolors by Tony Avenarius . Reduced reprint. Druckhaus Rudolf Müller, Cologne 1980, ISBN 3-481-29999-0 .
  4. ↑ a b Wolfgang Hartmann: The historical pageant for the inauguration of Cologne Cathedral , pp. 141–142.
  5. ↑ Klaus Hardering: From splendid Lançaden , p. 98.
  6. ↑ a b Klaus Hardering: From splendid Lançaden , pp. 93–94.
  7. ↑ a b c Klaus Hardering: From splendid Lançaden , p. 97.
  8. ↑ a b Rita Wagner: Heroes in tights and ladies in corsets , pp. 159–160.
  9. ^ A b c Rita Wagner: Heroes in tights and women in corsets , pp. 163–169.
  10. ^ A b Wolfgang Hartmann: Historical Truth - Artistic Consecration , pp. 225–226.
  11. ^ Rita Wagner: Heroes in tights and women in corsets , p. 157.
  12. ↑ a b Cuno Stammel: The Cologne Cathedral Festival . In: Die Gartenlaube 1880, Issue 44, pp. 727–728.
  13. ^ Wolfgang Hartmann: Historical Truth - Artistic Consecration , p. 223.
  14. ↑ Tony Avenarius: Historical pageant , explanations on panels I and II.
  15. ^ A b Rita Wagner: Heroes in tights and women in corsets , pp. 162–163.
  16. ↑ a b Tony Avenarius: Historical pageant , explanations on panels III to VI.
  17. ↑ a b c d Tony Avenarius: Historical pageant , explanations on panels VII to XIV.
  18. ↑ Klaus Hardering: From splendid Lançaden , p. 96.
  19. ↑ a b c Tony Avenarius: Historical pageant , explanations on panels XV to XXIV.
  20. ↑ a b c Tony Avenarius: Historical pageant , explanations on panels XXV to XXIX.
  21. ^ A b Rita Wagner: Heroes in tights and women in corsets , p. 158.
  22. ↑ Wolfgang Hartmann: Historical Truth - Artistic Consecration , p. 242.
  23. ↑ a b c d e f Wolfgang Hartmann: The historical pageant for the dedication of Cologne Cathedral , p. 147.
  24. ^ A b c Wolfgang Hartmann: Historical Truth - Artistic Consecration , pp. 226-227.
  25. ↑ a b Rita Wagner: Heroes in tights and women in corsets , pp. 170–171.
  26. ^ Ernst von Oidtman: Literary. Historical pageant organized at the celebration of the completion of Cologne Cathedral on October 16, 1880 based on the original watercolors by Tony Avenarius (review) . In: Annalen des Historisches Verein für den Niederrhein 1882, Volume 38, pp. 120–124, doi : 10.7788 / annalen-1882-jg10 .
  27. ↑ Klaus Hardering: From splendid Lançaden , p. 95.
  28. ↑ a b Rita Wagner: Heroes in tights and women in corsets , pp. 160–161.
  29. ^ A b Wolfgang Hartmann: Historical Truth - Artistic Consecration , pp. 230–231.
  30. ^ A b Wolfgang Hartmann: Historical Truth - Artistic Consecration , p. 232.
  31. ↑ a b c Wolfgang Hartmann: Historical Truth - Artistic Consecration , pp. 238–239.
  32. ↑ Thomas Parent: The cathedral building in the field of tension of German conflicts . In: Hugo Borger (Hrsg.): The Cologne Cathedral in the century of its completion , Volume 1, pp. 149–171.
  33. ^ Wolfgang Hartmann: The historical pageant for the inauguration of Cologne Cathedral , pp. 144–146.
  34. ^ Wilhelm Schneider-Clauss: Alaaf Kölle. A mess us big zig . Hoursch & Bechstedt, Cologne 1908.