Cologne cathedral
| Cologne cathedral | |
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UNESCO world heritage 
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| Contracting State (s): |
 Germany
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| Type: | Culture |
| Criteria : | (i) (ii) (iv) |
| Reference No .: | 292 |
| UNESCO region : | Europe and North America |
| History of enrollment | |
| Enrollment: | 1996 (session 20) |
| Extension: | 2008 |
| Red list : | 2004-2006 |
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The Cologne Cathedral (officially: Hohe Domkirche Sankt Petrus ) is a Roman Catholic church in Cologne under the patronage of the Apostle Peter. It is the cathedral of the Archdiocese of Cologne and Metropolitan Church of the Church Province of Cologne .
The Cologne Cathedral is one of the largest cathedrals in the Gothic style . Its construction began in 1248 and was not completed until 1880. Some art historians have called the cathedral the "perfect cathedral" because of its uniform and balanced design.
Originally planned as a representative cathedral of the Archbishops of Cologne and a monumental reliquary for the remains of the Three Kings , the cathedral was considered a national symbol for Germany when it was completed in the 19th century . After the end of the Second World War, the apparently intact cathedral in the middle of the bombed-out city was understood as a “miracle” and an emotional symbol of the will to live.
Today the cathedral is one of the most visited sights in Germany and has been a UNESCO World Heritage Site since 1996 .
Previous buildings
Ancient and early medieval architecture
Remains of Roman houses from the 1st to 4th centuries have been excavated under the cathedral . In the late 4th or 5th century was created under the choir of the present cathedral, a 30 to 40 m long apses construction, which perhaps was the first church. The apsidal building was replaced by a similarly large building in the 5th or early 6th century. In the 530s, rich Franconian princely graves were placed in this building , which indicates that it was used by the church. A new church was built above it in the second half of the 6th century, which is archaeologically recognizable by its keyhole-shaped pulpit ( ambo ). This church probably existed until around 800 and grew towards the west to about the size of the subsequent Old Cathedral.
In addition, to the east of today's cathedral choir are the remains of a 6th century baptistery (a baptistery separated from a church). It still has an eight-sided baptismal font (Taufpiscina). The baptistery itself was first rectangular, then expanded in a cross shape, and was finally rectangular again. It was connected to the church via two side corridors. The baptistery was probably torn down during the construction of the old cathedral in the 9th century and replaced by a font placed in the old cathedral.
Old cathedral
The old cathedral or Hildebold cathedral immediately preceded today's cathedral. It was consecrated on September 27, 870. Archbishop Hildebold was long dead by this time . He may have acted as the builder and benefactor for parts of the previous Merovingian cathedral in its last phase of renovation, especially for its western part with the St. Gallen ring atrium. But perhaps he also founded the Old Cathedral himself, which, according to archaeological sources, could have been built around 800.
The old cathedral had a nave that was bordered at both ends by transepts. It was a model for many European churches of its time and already housed the Gero Cross , the second oldest surviving monumental crucifix in Europe.
The Archbishop of Cologne and Imperial Arch Chancellor Rainald von Dassel brought bones from Milan to Cologne on July 23, 1164 , which have been regarded and venerated as relics of the Three Kings at the latest since their transfer to Cologne . It was given to him by Emperor Friedrich I from his spoils of war. Whether they were already considered worthy of venerable in Milan is disputed in the research due to the fact that the Milanese complained about the lack of relics only after the establishment of the Cologne Three Kings Pilgrimage. For the relics, the three kings shrine was made in Cologne between 1190 and 1225 , which is considered to be one of the most demanding goldsmith work of the Middle Ages. The old cathedral thus became one of the most important pilgrimage sites in Europe.
With the construction of the Gothic Cathedral in 1248, the old cathedral was to be demolished step by step. Careless demolition work with fire destroyed not only the east choir, but almost the entire cathedral; the three kings shrine could be saved from the fire. The western parts of Hildebold Cathedral were provisionally restored and only put down after 1322, when the Gothic choir was completed and the construction of the Gothic nave began.
Building history of the Gothic cathedral
See also the chronology of the Cologne cathedral building
Construction of the chapel wreath (1248–1277)
In the first half of the 13th century, Cologne decided to replace the Carolingian cathedral with a new building. As a stone reliquary for the bones of the Three Wise Men, this should act like a royal cathedral and thus underpin the claim of the Cologne archbishops to carry out the royal coronation. From the point of view of the power-conscious Archbishop Konrad von Hochstaden , a king's elevation was only valid if it took place with the consent and coronation of a Cologne archbishop. In addition, the cathedral, which the Shrine of the Three Kings made one of the central pilgrimage sites of the Middle Ages, should clearly tower above all of Cologne's Romanesque churches . The cathedral chapter decided to have the cathedral built in the high Gothic style of the French cathedrals and was probably also inspired by the appearance of the Parisian palace chapel Sainte-Chapelle , which was consecrated in 1248.
Archbishop Konrad von Hochstaden laid the foundation stone of the new cathedral on August 15, 1248 . The construction work for the choir was carried out by the cathedral builder Gerhard , whose planning follows the long tradition of French cathedral construction. Gerhard was probably personally familiar with the building of the choir in Amiens Cathedral . As in Amiens, he designed a choir for Cologne with a chapel wreath of seven chapels, whose shape he was able to derive for the first time from a regular dodecagon. Trachyte from the Drachenfels from the Siebengebirge was mainly used as building material .
The construction work progressed quickly and in 1265 the chapel wreath was completed up to the vault; it was separated from the unfinished high choir with a wall and immediately used as a burial place. Konrad von Hochstaden , who died in 1261, was buried in a prominent place in the Axial Chapel; the bronze reclining figure of his tumba is the oldest preserved Gothic sculpture in the cathedral. At this point in time, the chapel had already received its colored glass window , the older Bible window , which is still designed in the late Romanesque spike style. The bones of the archbishops Gero , Reinald von Dassel , Philipp von Heinsberg , Engelbert I and those of the popular saint Irmgardis , who were buried in the old Hildebold Cathedral , were transferred to the choir chapels. In 1277 Albertus Magnus consecrated the altar of the completed chapter room , which today serves as the sacrament chapel. At this point in time, cathedral builder Gerhard, who had fallen from scaffolding under mysterious circumstances, had been dead for several years.
Completion of the high choir (1265–1322)
Since 1271, the completion of the high choir has been in the hands of the cathedral builder Arnold , who may also be the progenitor of the later famous builder family, the Parler . On the upper floor of the choir, he built the high windows ( upper storeys ) and the triforium as a uniform tracery panel that seemed to be stretched between the pillars like a membrane, and thus gave the choir a uniform, rising form that had never been achieved before. In doing so, he was probably following the planning of his predecessor. On the exterior of the high choir, the forms of tracery , Wimperg decorations and décor were enriched in a clearly High Gothic style, without, however, changing the uniform overall impression. Around 1304 the choir, which was completed in the masonry, was closed to the west with a partition wall; it should not be possible to demolish this until 1863, when the nave was completed.
The entire design and equipment of the high choir followed a complex symbolism that combined theological, mystical and artistic-architectural perspectives. Following the vision of a “ Heavenly Jerusalem ”, the total work of art of the high choir was to “anticipate the kingdom of God and thus the promising homeland at the end of the day.” It was the responsibility to realize this rich image program as a total work of art with the highest possible standards of a royal cathedral of the cathedral architect Johannes von Köln , who followed his father in office in 1308 and held it until 1331.
Between 1304 and 1311 the 17.15 meter high windows of the upper choir were inserted; the high Gothic stained glass of 48 kings give the cathedral a delicate, light shade of color with a rich, but generally pastel-like color spectrum that was never shown in this consistency in other churches in Germany. They have largely been preserved to this day and are considered to be one of the largest preserved stained glass cycles of the Middle Ages . After the windows, the choir stalls carved from oak and - presumably at the same time - the monumental painting of the choir screen that towers behind the stalls were created. With 104 seats, this is the largest in Germany and reserved one seat for the emperor and one for the pope. The high Gothic mural is the starting point for the Cologne School of Painting, which was famous in the Middle Ages . By the time the choir was consecrated in 1322, the high altar was also made of black marble, with figures made of white Carrara marble in front of it in an attractive contrast. It is considered to be one of the largest and most beautiful altars of the Gothic Middle Ages. The 14 colored figures on the pillars of the choir, designed by the Dombauhütte - depicting Jesus, Mary and the 12 apostles - were probably not completed until the 1330s. Stylistically, however, with their slim figure, their rich folds, their “show effect of the silk fabrics” and their curved, interrelated posture, they sound out what the Mannerist-High Gothic sculpture was able to achieve. Overall, art historians have recognized that to this day "their outstanding quality surrounds the furnishings in the Cologne Cathedral Choir with an aura of unapproachability". In 1333 Francesco Petrarca visited the cathedral choir and praised its beauty.
Pilgrimage route in the ambulatory (around 1320–1360)
With the completion of the choir, the Shrine of the Three Kings could also be transferred from the Old Cathedral to the new Gothic building. This was also necessary because the western part of the Old Cathedral, which had been in use until then, had to be completely abandoned for the next phase of the Gothic building. The plan was to set up the shrine in the crossing, where it could be easily reached by the pilgrims. Since the crossing was still under construction, the shrine was first transferred to the axis chapel on the occasion of the choir consecration in September 1322; the tumba of Konrad von Hochstaden was moved to the Johanneskapelle for this purpose. At the same time, the ambulatory was designed as a pilgrimage route, which led the pilgrims past the healings - the Milanese Madonna , the shrine and the Gero cross - as well as the historically significant tombs of the venerated archbishops . In order to convey the meaning of the saints to the pilgrims in representational images, the choir chapels were converted into stations on a pilgrimage route and, from the 1330s, were equipped with wall paintings and jewel-like shining glass windows. Master Bartholomäus von Hamm was responsible for building the cathedral until 1353 . Archbishop Walram von Jülich supported this redesign as a donor and thus secured the grave site in the last free choir chapel, which was set up around 1360.
South aisles as "hall church" (1322-1388)
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After the consecration of the choir, work began on the transept, of which only approaches to the portals could be built. The construction site was run from 1308 by Johannes (until 1331) and Rutger (until 1333), the two sons of the highly respected cathedral builder Arnold . They concentrated on building the south aisles of the nave in such a way that they could be used as a two-aisled hall temporarily as a parish church. It was probably only at this time that the decision was made to build the nave of the cathedral with five naves (and not with three naves, as is the case with the Amiens cathedral, for example ). The work was continued by master builder Bartholomäus von Hamm until around 1353 . The six-bay church interior was raised to a height of around 13.50 meters by the end of the 14th century and covered with a temporary roof that stretched from the south tower to the east wall of the transept. The space between the pillars of the not yet existing central nave was closed with a wall, for which the Archbishops Friedrich von Saar Werden and Dietrich von Moers donated five colored glass windows, which have been lost. By 1388 at the latest, this building must have been so usable that it could be used for a mass celebration on the occasion of the founding of Cologne University .
Southwest tower as part of the west facade (1360–1449)
In the middle of the 14th century, Archbishop Wilhelm von Gennep took a new initiative to create a west facade for the cathedral. The foundation for the south-west tower was laid around 1360 and an initial plan was available for the facade, which was probably drawn by Peter Parler . Because of the archbishop's death, the construction work was then delayed and was only taken up with renewed vigor after 1370, when Friedrich III. von Saarwill want to see the construction work designed as an expression of his archbishop's influence. For this he was planning a new, architecturally conservative, but especially impressive western facade, on the famous facade crack F is displayed. The cathedral builder Michael von Savoyen , who can be traced back to Cologne from 1353 to 1390, was in charge of the planning and the work .
The first floor of the south tower was completed together with the Peter portal by the end of the 14th century. The figural decoration of the St. Peter's Portal was created around 1375, which shows in its archivolt figures the influences of the sculptor family of the Parler , to whom Michael of Savoy was related. Archbishop Friedrich was able to emphasize the function of the cathedral as a coronation cathedral in 1401, in which he crowned Ruprecht of the Palatinate as German king, who could solemnly move into the building through the south nave.
From 1395 Andreas von Everdingen was master builder of the cathedral († before 1412). In 1410 the south tower reached the second floor; soon afterwards the first church bell was hung in a wooden belfry on the neighboring high court (the three kings or blood bell from 1418). Nikolaus van Bueren (1380–1445) followed as master builder, and in 1437 the bells could be hung in the south tower (tower height 59 meters). In 1448/49 the large bells Pretiosa (11,500 kg) and Speciosa (5,200 kg) were cast and hung in the south tower at a height of 57 meters. Work on the south tower was then largely stopped.
Base area of the nave (around 1450–1528)
In the second half of the 15th century, construction work concentrated on making the entire area of the cathedral usable. The construction work was led by the cathedral builders Nikolaus van Bueren (1425–1445) and Konrad Kuene van der Hallen (1445–1469). When building the north aisles of the nave, they faithfully repeated the architectural forms from the south aisles. At the turn of the century, all aisles of the nave and transept were provided with temporary roofs so that the entire area of the cathedral could be used. In the years 1507 to 1509 the glass paintings were installed in the north wall of the nave. The foundation stone for the north tower was laid around 1500 , which is probably the responsibility of the last known cathedral master builder, Johann Kuene van Franckenberg (1469 to after 1491). In the years 1512 and 1513, too, the sources report regular construction operations; after 1525, however, the income fell sharply.
On January 5, 1531, Ferdinand I was crowned German king in the completed choir . More recent research suggests that construction was largely halted at this time, even if money was still flowing for equipment and repairs. The Cologne city archivist Leonard Ennen found out that the last time funds were made available for the construction activity in 1559. This came to a complete standstill in 1560 after the cathedral chapter officially ended the financing of further work on the cathedral.
The Gothic architectural style no longer corresponded to the spirit of the Renaissance era . Following completely different, new standards for church architecture, construction began on St. Peter's Basilica in Rome in 1515 , and a lively indulgence trade was operated to finance this . This in turn was, among other things, the impetus for the Reformation by Martin Luther , as a result of which the flow of pilgrims and thus also the flow of money for the further construction of Cologne Cathedral decreased significantly.
Construction interruption (1528–1823)
Construction of Cologne Cathedral was inactive for almost 300 years. The completed choir still dominated the city skyline. The cathedral crane on the stump of the south tower, however, a more than 25 meter high wooden rotating construction from the 14th century, became a symbol of a backward city. In the interior, the torso could not be experienced as a whole, but rather split up into individual rooms of different characters. The choir and ambulatory were completed and could be used by the cathedral chapter and celebrated by pilgrims and for processions. The choir was separated from the nave by a wall. This, hardly erected halfway up and closed with an emergency roof, did not reveal itself with a uniform spatial impression: the south aisle showed itself as a two-aisled hall; the north aisle was partially vaulted and looked more like a chapel; the central nave showed itself to be an area with little spatial structure. Such a situation was not atypical for large church projects in the late Middle Ages; in Cologne it gave rise to popular wisdom: "When the cathedral is finished, the world will end."
In the 17th century the baroque redesign of the interior began, which meant heavy losses for the medieval furnishings. The cathedral chapter planned a design of the inner choir and the ambulatory, which should be characterized by furnishings in colored marble with matching large sculptures. For this purpose, the altar in the Marienkapelle (1662–63) and in the Nikolauskapelle (around 1660) were redesigned in baroque style, the high altar was rebuilt and provided with a high altarpiece (1665), a grave monument for St. Engelbert was made (1665), the Shrine of the Three Kings placed in a baroque mausoleum (1668–1683) and new altars placed in the choir wreaths. Essential work was transferred to the local Cologne workshop by Heribert Neuss, which was strongly based on Italian and Flemish models, but showed a "block-like rigidity" in the artistic implementation and lagged far behind the models.
The tapestries based on designs by Peter Paul Rubens came to the cathedral around 1688 as a donation from Wilhelm Egon von Fürstenberg-Heiligenberg , who wanted to support his election as archbishop - albeit in vain. The so-called Rubens carpets were hung in the choir in front of the choir screen paintings, whose high Gothic depiction was no longer considered to be contemporary in the 17th century. From 1744 to 1770 Archbishop Clemens August had the interior again comprehensively modernized according to late baroque taste. Around 1753, the Gothic window panes of the chapel wreath were removed and replaced with greenish-white glasses in order to allow more light into the church, following the baroque ideal. All stone work and numerous wall paintings were whitewashed. The Liège architect Etienne Fayn developed plans for the baroque redesign of the choir around 1770. As a result, the tracery barriers in the choir were replaced by iron bars, the late Gothic tabernacle by Franz Maidburg was smashed and the high altar was supplemented by two side altars, but stripped of its high Gothic marble arcades on three sides. The nave and transept were given a wooden false vault.
After the French revolutionary troops marched into Cologne in October 1794, the cathedral was badly damaged. In November 1796, the occupiers ordered the church services to be suspended, and the French military temporarily used the building as a horse stable and warehouse. On January 4th, 1804, the Shrine of the Three Kings returned to the choir, which the cathedral chapter had brought to a safe place in Westphalia in 1794 . Years later, on October 19, 1820, valuable parts of the shrine were broken out and stolen during a break-in.
Building history in the 19th century
Perfection as a national task
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In 1770, Johann Wolfgang von Goethe was enthusiastic about the gothic Strasbourg cathedral and thus triggered a romantic rediscovery of the gothic architectural style. Later, publicists - such as the naturalist and travel writer Georg Forster (1790) or the cultural philosopher Friedrich von Schlegel (1804) - celebrated Cologne Cathedral as a work of art that was still waiting to be completed. The Catholic journalist Joseph Görres finally postponed the argument when he praised the cathedral as a national sanctuary in 1814, making it a symbol of the desired German nation-state.
Sulpiz Boisserée , an art dealer based in Cologne, was at the center of the persistent campaign for the completion of the cathedral . As early as 1808 he began to sketch the building stock of the cathedral and in 1811 asked Napoleon for support in vain. His efforts were boosted when he and Georg Moller were able to locate the façade crack from 1370 in 1814 and 1816 on which the west façade of the cathedral is based.
Between 1821 and 1831 Boisserée published a series of engravings showing the completed cathedral. This work significantly promoted enthusiasm for cathedral construction throughout Germany. The romantic transfiguration of the Gothic, which at that time was understood as a genuinely German architectural style, and the stylization of the cathedral to a German national monument finally also won over the Prussian Crown Prince Friedrich Wilhelm for the cathedral project. This made the idea of completing the cathedral originally pursued in Cologne a Prussian and even national-German affair and, for the first time, a realistic option.
The neo-Gothic cathedral (1842–1880)
In 1823 Friedrich Adolf Ahlert refurbished the cathedral building and began the first restoration work on the choir. After his death in 1833, Ernst Friedrich Zwirner was appointed master builder for the cathedral . He had to master the delicate task of developing building plans for the completion of the cathedral, which both the romanticizing Prussian King Friedrich Wilhelm IV. , As well as the cost-conscious Prussian building director Karl Friedrich Schinkel , and finally the Central Cathedral Building Association , supported by the Cologne bourgeoisie, liked. Eventually the romantic traditionalists prevailed and the cathedral was built "according to the original plan", i. H. including the buttress and completed with architecturally designed transept facades. Zwirner isolated their shape from the medieval elevation of the west facade, with both the king and Sulpiz Boisserée participating in the planning. Today the more elaborate south transept facade is considered a major work of the neo-Gothic.
On September 4, 1842, King Friedrich Wilhelm IV of Prussia and the coadjutor and later Archbishop Johannes von Geissel laid the foundation stone for the construction of the cathedral. The stone was pulled up onto the still unfinished south tower and walled in there. The construction of the cathedral progressed rapidly. In 1855 the south facade and eight years later the nave were completed, so that the partition wall to the choir could be dismantled after 560 years. Neither King Friedrich Wilhelm IV nor cathedral master builder Zwirner, who both died in 1861, experienced the inauguration ceremony with a decidedly ecclesiastical character.
The construction, which was based on the Gothic ideal, did not prevent the builders from using the most modern building materials of the time. The iron roof structure was erected, making it the largest iron steel structure in the world until the Eiffel Tower was built.
Torso 1820
Construction site 1855
Tower construction 1880
Completed in 1900
The construction of the west facade with the characteristic double tower was in the hands of cathedral builder Richard Voigtel . It followed the shape of the facade plan by Master Michael from 1370. With the generous financial strength of the Central Cathedral Building Association, which was strengthened by the Cathedral Lottery, the Dombauhütte could employ 500 stonemasons. With the additional use of modern technical construction methods - such as a steam engine to convey the stone - the towers were able to reach their record height of 157 meters by 1880 and be completed with the finial . The construction work, however, continued for around 20 years. The elaborate floor mosaic in the choir could not be completed until 1899.
The official completion of the cathedral building was celebrated on October 15, 1880. It took place at the time of the so-called Kulturkampf , in which the Prussian state and the Catholic Church in the Rhineland fought for influence. Kaiser Wilhelm I used the event for his representative presentations to demonstrate the unity and size of the newly founded empire . Many Catholics, whose church dignitaries were kept away from the celebration, boycotted the celebration "with dignified restraint."
Financing the completion of the cathedral
Between 1823 and 1880, a total of 6.6 million thalers were used to complete the cathedral; According to today's money, that corresponds to around one billion euros (2019). Originally, cathedral builder Zwirner had estimated 1.2 million talers for the completion of the main nave and the same amount again for the buttress. On this basis, the annual construction costs were calculated at 100,000 thalers, of which the Prussian king wanted to take over half through a building fund. In addition, he approved a one-time grant for the construction of the north tower in the amount of 100,000 thalers. In order to raise the remaining construction costs, the Zentral-Dombau-Verein zu Cologne was founded, which was initially financed from contributions. The king also made an annual contribution of 10,000 thalers.
From 1845, however, the association was only able to partially raise its share of the financing, so that from 1848 after the 600th anniversary of the laying of the foundation stone, construction had to be slowed down significantly. When the interior was completed in 1863, projections showed that if the flow of funds remained the same, completion would take another 50 years. So the association decided in 1864 to set up a cathedral lottery to finance this, which turned out to be a rich source of money. With the new funds, the cathedral master builder was able to employ 500 stonemasons in the cathedral hut and finish building the towers by 1880. By the end of the construction period, the association contributed a total of 59.4% to the construction costs of around 6.6 million thalers. The state paid 32.4%, 6.8% was financed by a cathedral tax and collections.
The cathedral since its completion
Damage from World War II
At the end of the Second World War , the cathedral loomed seemingly unscathed from an almost completely destroyed city center. This was perceived as a “miracle” and the cathedral became a symbol of the city's will to live for the rubble generation. "At no time the identification of the population with the cathedral has been greater than in these years."
In fact, the cathedral was badly damaged by around 70 bomb hits, including 14 heavy aerial bombs. Of the 22 vaults in the nave and transept, nine were destroyed and six heavily damaged. The gable of the north transept fell down; all window tracery were damaged and the large west window destroyed. In November 1943 an explosive bomb tore a 10 meter high hole in the corner pillar in the north tower, which was of major structural significance. The hole was therefore walled up with a brick filling during the war, which remained visible as the so-called Cologne Domplombe until 2005. According to experts, there were several reasons why the cathedral did not collapse: Fires triggered by incendiary bombs were immediately put out by men from the cathedral construction hut and volunteers posted in and on the cathedral. The roof remained in place thanks to the stability of the iron roof structure. The air pressure caused by the explosion of air mines was able to escape through the large windows. Some of the tremors could be absorbed by the extremely deep foundation.
Until 1948, on the 700th anniversary of the laying of the foundation stone, only the choir could be made usable again. The restoration of the nave and transept lasted until 1956. The last visible war damage was repaired by 2005. Minor damage will continue to be repaired in the course of the ongoing restoration.
To investigate whether the bombings had damaged the foundations of the cathedral, archaeological excavations began under the cathedral in 1946. The scientific work led by Otto Doppelfeld became one of the most important church excavations and could only be completed in 1997. Through this new details about the previous buildings of the cathedral became known.
Creative preservation of monuments
In order to repair the damage caused to Cologne Cathedral by the Second World War , master builder Willy Weyres (1944–1972) followed the principles of creative monument preservation in a milder form. This concept was coined as early as 1929. The monument should not only be preserved, but also made understandable as a whole - and even changed for the better. Weyres restored the architecture in its historical form, but deliberately added a modern style to the furnishings. Convincing and "embarrassing" works are achieved.
As early as 1947, Weyres made the decision to replace the neo-Gothic doors in the south transept facade with modern ones and commissioned Ewald Mataré to design them . His work is still considered to be of benefit to the cathedral today. Weyres had the statues in the north portal of the west facade destroyed during the war supplemented by expressionic figures by modern artists who not only created entire figures from scratch, but also placed modern heads on neo-Gothic corpora, which was sometimes judged to be unsuitable. In general, Weyres gave the stonemasons a great deal of freedom to create original sculptures within the original outlines based on their own designs. The cathedral owes a large number of imaginative figures to this , which were carved into the building ornamentation: angels making music instead of leaf friezes, billy goats as gargoyles and figures from contemporary history in capitals and on pinnacles.
E. Mataré - Doors 1948
E. Bell, G. Stoll - Laubfries 1954
E. Baumeister-Bühler - Statues 1958–1960
E. Hoppe - Engel 1959-1962
In the interior, Weyres placed an organ gallery next to the high choir, which is supported by two concrete mushrooms. These are still controversial in terms of their size, as they interrupt the rhythm of the room and disrupt the line of sight from the nave to the choir. The painting of the concrete gallery, created by the Rhenish expressionist Peter Hecker , was also rated as an unconvincing work of the age and was so little appreciated, for example, by master builder Arnold Wolff that he deliberately avoided lighting the painting.
Weyres did not want to restore the crossing tower , which was built in the 19th century by master builder Ernst Friedrich Zwirner and only its decorations were damaged during the World War . He developed a modern style cladding inspired by Art Deco . Erlefried Hoppe created eight modern angel figures that enclose the crossing tower. The ensemble, completed in 1973, has been criticized for not fitting the cathedral's Gothic style, and has recently been denigrated as a “wart”.
The cathedral builder made an even more fundamental intervention in the effect of the cathedral by completely changing the color of the glass windows in the nave. Weyres approached the windows of the 19th century with great reluctance. He largely left the disks that had been removed during the World War in the boxes and refrained from restoring them wherever possible. He criticized the Bavarian windows “both in terms of their scale and in terms of their brutal colourfulness.” They were “real foreign bodies in the cathedral” and it was “unimaginable” that they would return completely to the south aisle. Instead, Weyres tried to create a modern, lighter color impression. The windows in the upper aisle, which he kept in shades of blue, gray and green, create a dull bluish light in the nave.
The limits of the creative preservation of monuments became clear when the west window was restored. Weyres no longer had the tracery that was shot to pieces in the World War restored in two shells, but only in one shell, trying to come close to a fictional medieval idea that is not even evident in the south tower built in the 14th century. In addition, Vincenz Pieper created a modern glass window in 1963, the large-scale patterns of which, in hard blue-yellow contrasts, caused a shock.
The ongoing renovation
The cathedral is a medieval building that was built to be very solid from a static point of view. At the same time, however, stone construction requires continuous maintenance and renovation. The cathedral builder Barbara Schock-Werner put it: “The Cologne Cathedral without scaffolding is not a dream, but a horror. It would mean that we could no longer afford the cathedral. "
In fact, the completed cathedral could only be seen for a few years without scaffolding. After the cathedral was officially completed in 1880, around 20 years of rework were carried out. Shortly before his death in 1902, master builder Richard Voigtel publicly stated that the construction of the cathedral had finally been completed. But after the wings of an angel figure fell from the facade in 1906, the cathedral master builders resumed renovation work.
The cathedral is built from different rocks, which due to their properties weather to different degrees. The filigree buttresses and buttresses are exposed to the weather from all sides and are attacked by water and the sulfur content of the air as well as by bird excrement. From the 1960s onwards in particular, the acid rain hit the stones hard and turned them increasingly black. It was not until the 1990s that pollution from air pollution control measures decreased.
The greatest weathering is shown by the Schlaitdorf sandstone , which was used from 1842 for the transept facades and the upper parts of the nave and transept. It is therefore continuously renewed and up until the 1980s it was preferred to replace it with Londorfer basalt lava , which is considered to be very weatherproof, but is not colored sand beige, but gray. In contrast, the cathedral builders have been trying since the 1990s to carry out the restoration with stones that come as close as possible to the original sandstone. The Dombauhütte has already tested numerous means of preserving the stones. A convincing method has not yet been found. In addition, the iron anchors and dowels that hold the many parts of the architectural jewelry also begin to rust. They threaten to blow up the stones and have to be exchanged for steel parts. "So it can be foreseen that none of those living today will ever see the cathedral without scaffolding."
Celebrations and events
Since its completion, Cologne Cathedral has repeatedly been used as a backdrop for political symbolic acts. Emperor Wilhelm I used the completion of the cathedral in 1880 for an opening ceremony , which appeared “as a pompous self-expression of the Protestant Hohenzollern House”. Another political signal was the festival given in front of the cathedral in January 1926, with which the end of the occupation of the Rhineland was celebrated. The cathedral was again instrumentalized here as a “national thought in stone”.
In 1948, three years after the end of the war, the 700th anniversary of the laying of the foundation stone was celebrated in the midst of the ruins of the city with all possible effort at the time, to which numerous church dignitaries from abroad came to the choir, which was only just usable again. The festival did not yet mean Germany's return to the community of states, but it was still an important signal for the continuing Catholic character of the city and the Rhineland.
In the course of the Franco-German reconciliation , the French President Charles de Gaulle came to Cologne in 1962 to pray in the cathedral. It was the return visit after the “Reconciliation Mass” that had taken place with the German Chancellor Konrad Adenauer a few months earlier in Reims Cathedral . When Adenauer died, Archbishop Joseph Cardinal Frings celebrated the pontifical mass in the cathedral on April 25, 1967 with a requiem . The staging of the state funeral, which took the coffin from the cathedral and by ship across the Rhine to Bad Honnef / Rhöndorf, was described as a “burial like a king”.
The visual power of the cathedral has recently become clear again when the riots on New Year's Eve 2015 were documented. As a call for peace, 100 years after the end of the First World War , the cathedral became a projection surface for the light installation “dona nobis pacem.” Presented in September 2018.
World Heritage
Cologne Cathedral was classified by UNESCO as one of the European masterpieces of Gothic architecture in 1996 and declared a World Heritage Site. On July 5, 2004, the UNESCO World Heritage Committee put it on the UNESCO World Heritage Committee's Red List of World Heritage in Danger because of the “endangerment of the visual integrity of the cathedral and the unique skyline of Cologne due to the high-rise planning on the opposite side of the Rhine” . In July 2006 the World Heritage Committee decided at its 30th meeting in Vilnius , Lithuania , to remove Cologne Cathedral from the Red List of World Heritage in Danger. This took into account the changed construction plans for the right bank of the Rhine; Apart from the already completed Kölntriangle , no further high-rise buildings are to be built there.
Popes at the cathedral
In the cathedral references are made to popes in several places. In the Lady Chapel, the Pius Pope window shows Popes Pius IX. , Pius X. , Pius XI. and Pius XII. The window created by Wilhelm Geyer was used on the occasion of the Catholic Day in 1956. On the so-called Papal Terrace on the south side of the cathedral, two plaques commemorate three Popes: Pope John XXIII. , whose real name is Angelo Roncalli, bequeathed a valuable ring to the cathedral chapter in his will. Following on from this, the square on the south side of the cathedral was called Roncalli Square . A second bronze commemorative plaque commemorates the World Youth Day, which took place in Cologne in 2005. The relief by Bert Gerresheim shows how Pope John Paul II presented the World Youth Day logo to Pope Benedict XVI. hands over.
In 1980, John Paul II was the first Pope to visit the cathedral. To document this event, a memorial plaque designed by Elmar Hillebrand was attached to a nave pillar. The cathedral has had a blood relic of Pope John Paul II since December 9, 2013. The relic is a cloth with a drop of blood from the Pope. The silver reliquary by the Düsseldorf artist Bert Gerresheim , exhibited on the wall of the north transept , depicts the Pope leaning on his ferula in front of a portal of the cathedral. The relic was stolen in June 2016 and was replaced a year later.
To the visit of Pope Benedict XVI. For World Youth Day 2005 , a bronze plaque designed by the Cologne sculptor Heribert Calleen commemorates the central nave . The facial features of Pope Francis are immortalized on a small stone figure that sits on a canopy in the main portal.
Pius IX., X., XI., XII.
John XXIII
John Paul II
John Paul II and Benedict XVI.
Francis
The Gothic building system
Choice of Gothic form
Cologne Cathedral is a Gothic building . The choice of the Gothic architectural style in 1248 was a radical break with the late Romanesque building tradition that had been common in the Rhineland until then . It was also unprecedented that the planners in Cologne oriented themselves both in the building system and in individual forms to a specific building - namely the Cathedral of Amiens . Finally, the Gothic cathedral also radically departed from the liturgical orientation of the old cathedral . This was built with two choirs and had the high altar with the Petrus patronium in the west choir and a liturgically subordinate Marian altar in the east choir. The Gothic new building, on the other hand, is in the tradition of the form common in France with only one choir in the east, in which the new main altar with Marian patronage has now been built in Cologne, which in 1322 also received functions that were previously reserved for the Petrus altar. The Shrine of the Three Kings was to be set up in the crossing so that the cathedral chapter could sit in the inner choir between the shrine and Mary's altar. With this concept, the canons could symbolically become part of the epiphanic event between the Three Wise Men who were present as relics and the Mother of God represented in the high altar.
The new design was probably also chosen because the Gothic architecture allowed a leap in scale that raised the cathedral significantly above all existing Romanesque churches in Cologne . The crossing tower of Groß St. Martin dominated the cityscape at the end of the “great century of Cologne church architecture” together with other Romanesque churches and was also a symbol of the patrician self-government of the trading city. In contrast, the height development of the Gothic architecture enabled a new urban dominance of the cathedral, whereby both the cathedral chapter and above all the power-conscious Archbishop Konrad von Hochstaden wanted to underpin their primacy. Due to its size and shape, the cathedral found itself in a position that degraded all other saints and institutes in the city.
Building trade and planning
In terms of construction, the choir building in Cologne differs significantly from the French cathedrals. Their construction huts tried to assemble the rising walls and pillars from the largest possible blocks and to chisel the shapes into the block. They did that even when horizontal profiles met vertical profiles. In France they were made from one stone. It was customary there to work the slender services together with the pillar behind them from a stone. The Cologne Bauhütte, on the other hand, continued its late Romanesque building practice. For walls and pillars, wall shells were made of stone, which were filled with fragments. Profiles were manufactured individually so that they abut with a narrow joint. The lean services were chiseled in Cologne as individual workpieces and placed in front of the pillar. From this it was deduced that the Cologne cathedral builder Gerhard had visited the cathedrals in France, but never worked in a French construction works himself, or even entered them. It is possible that Gerhard belonged to a new generation of builders who worked purely intellectually and only drew plans.
Cathedral plans of the Middle Ages
The Cologne Cathedral shows a very high degree of uniformity in the architectural style of all components. In this it differs very clearly from almost all other major projects in medieval church building. For a long time it was deduced from this fact that the cathedral builder Gerhard must have presented a binding overall plan for the cathedral that had been followed for generations. This “Gothic master plan” contained both the five-nave nave and the two large towers on the west facade. This view has been rejected in recent research as hypothetical and on the whole unlikely.
All large churches in the Middle Ages were planned and built in individual construction phases. When construction began in the east, only the choir was planned and completed; New series of plans were then created for the nave and west facades. The first Cologne plan therefore probably only included the choir, which was built until 1322. Presumably, the first further planning ideas only provided for a three-aisled nave with comparatively slender towers over the aisle yokes, like those in French cathedrals. The five-aisled nave was probably planned around 1320 by the brothers Johannes and Rutger . This new spatial concept was then taken up by more recent church buildings (such as the Antwerp Cathedral, which was redesigned in 1352 ). The first plans for the west facade (with five portals) under cathedral builder Bartholomäus von Hamm matured around 1350 when the foundations of the south tower were laid. 1370 Drew Michael of Savoy , the west facade, as it stands today, the traditional facade crack F . Because of this extensive facade construction, the already completed foundations had to be padded again in order to establish the new dimension of the buttresses. The facade plan itself is considered today to be "undisputedly the largest, most beautiful and most important architectural drawing of the Middle Ages."
The perfect cathedral
The architecture of Cologne Cathedral follows the tradition of the Gothic cathedrals of France, which leads from Chartres via Reims and Amiens to Beauvais and Cologne. However, the Cologne Cathedral Choir shows an “unmistakable, almost classical purity” that clearly sets it apart from the models. The builder achieved this impression by consistently striving for a uniform formal order, which was based on a detailed, obviously geometrically and mathematically calculated planning.
As in Amiens, the builder from Cologne decided on a construction plan with seven wreath chapels . In France, however, the floor plan is designed in seven segments of an approximate 13-corner. In Cologne, on the other hand, the master builder used a regular 12-sided plan as a basis. To do this, he created two triangular grids that are rotated 30 degrees against each other. With such a grid, all harmoniously related lines in the choir can be defined. The chapels are also created from a uniform system based on equilateral triangles. As a result, the builder succeeded in creating a visually harmonious design of all other components, pillars and arches. Nevertheless, he did not act dogmatically: for example, he indented the polygon pillars and also gave them an egg-shaped instead of a round profile in order to achieve a uniform impression for the viewer.
In Cologne, the master builder succeeded for the first time in using only one type of pillar for the entire church. The pillars in the central nave, the pillars between the aisles and the wall pillars are all designed as round pillars with services in front of them ( cantonal pillars ). The bundle pillars of the crossing hardly differ from the normal pillars. The services should optically guide the lines of force from the ribbed vaults down to the floor. In Cologne, it was possible for the first time, uniformly for the central nave and the side aisles, to plan suitable services for all girders and ribs, which stand around the pillars of eight or twelve (and in the crossing of 16). The services in the central nave are led more than 40 meters to the base plate without any visual interruption. The capitals have a uniform height on all pillars. This created a uniform spatial impression striving upwards in Cologne. "In none of the other great cathedrals had this succeeded and it remained unmatched in later buildings."
Ideal floor plan
Uniform bundle pillars
Soft end of the choir
Tight wall membrane
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In Cologne, a wall and glass surface spans between the pillars, the uniform design of which also emphasizes the vertical. All Gothic cathedrals divide the side surface into two levels: the lower, the so-called triforium , is a walkway that is separated from the church interior by tracery . Above are the high windows of the upper storey . The Cologne builder found a uniform structure for both elements in four strips, in which the four windows in the upper aisle stand vertically above the four tracery windows of the triforium and thus visually become a single, rising surface. The window bars are elegantly guided over both elements, so that they emphasize the full height of the triforium and upper aisle. The middle rods run continuously from the upper aisle to the base of the triforium. The two sides seem to disappear into the windowsill of the upper aisle and reappear below in the triforium. In addition, the reliefs of the tracery are kept particularly flat. Overall, this creates the impression “that the window and triforium are stretched tightly like a membrane” between the pillars. Due to the height of the windows, Cologne also has the largest window area in relation to the length of the church compared to all the large Gothic cathedrals.
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All Gothic builders strove to create a choir closure that was as gentle as possible. The transition from the long choir to the round choir should not disturb the uniform room structure. However, this meant a major challenge because the vault sections ( yokes ) in the long choir are almost twice as long as those in the rounded choir. The Cologne builder found a design for this, the floor plan of which apparently takes the form of a parabola. The first yoke of the round choir tilts only a little. The upper facade windows and the tracery of the triforium are so cleverly designed that the boundaries between the parts of the room are obscured and one can no longer optically decide where the long choir ends and where the round choir begins.
Cathedral builder Arnold Wolff judged that the medieval builders tried to achieve a perfect ideal when building Cologne Cathedral. Therefore, the cathedral is the absolute highlight of the cathedral construction and at the same time its end point, because the cathedral has no longer found an adequate successor. "An attempt to increase what had been achieved in Cologne was never dared again."
The buttress
Today the cathedral is considered to be a statically solid building. When the high choir was being built, the builders had to fully trust their experience, because there were no static calculations. The basic concept of the Cologne High Choir with largely dissolved wall surfaces and a windowed triforium largely followed the static conception of the Amiens Cathedral . The diameter of the chapel wreath, the proportion of the nave cross-section, the yoke widths and the proportion of the arcade openings are almost the same. However, the changes in detail show Cologne's claim to surpass the French model. The central nave in Cologne is around one meter higher. More important, however, are the changes in the wall design, which increase the size of the upper arcade in relation to the triforium. The builders in Cologne halved the wall strip between the triforium and the upper thread window to 120 centimeters. The ratio of the window areas to the length of the church is 43.8 in Cologne and only 39.0 in the Amiens choir. At the same time, the pillars in Cologne are becoming leaner.
The high-striving Cologne glass house receives stability from the buttress , which, following the Gothic building practice, is supposed to absorb the thrust of the vault from the outside. The architecture "only appears as a filigree stone framework."
For the Bauhütte , which was based on empirical experience, it was a bad omen when the vaults of Beauvais Cathedral collapsed on November 28, 1284 . The construction work on the two cathedrals in Cologne and Beauvais took place at about the same time - with significantly greater static ambition in northern France. The French builders had not only planned a higher central nave (48.50 compared to 43.35 meters), but also a significantly larger yoke width. After November 28, 1284, cathedral master builder Arnold had to answer the question of whether - based on his experience - he had built solid enough to prevent a similar catastrophe for Cologne. It was a particular challenge to absorb the considerable wind pressure to which the tall structures were exposed; of the accident in Beauvais it was reported that the stormy winds contributed to the collapse on the evening of the disaster. The buttress in Cologne is particularly large and the analysis of the construction progress shows that it was reinforced again in the course of the construction work - apparently in response to the news from northern France.
The Cologne buttress consists of double buttresses and two buttresses . The outer buttress rises between the radial chapels, the inner one is built with a cross-shaped plan between the two aisles. The upper of the two elegant buttress arches supports the upper aisle just below the top of the windows, the lower one at the height of the warriors . Overall, the construction is particularly massive. Cologne did not follow Bourges , Reims or Paris , where the construction works had tried to slim down and thin out the buttresses, but rather acted cautiously in view of the significant increase in height. Master Arnold made an effort to loosen up the volume of the building by making extensive use of masonry . For the sake of stability, however, the outer pillars are constructed as longitudinally rectangular wall sections, which are also weighted by loads , which are designed as massive pinnacles . The static significance of this load is now being called into question. The close succession of buttresses, buttresses and pinnacles, however, was undoubtedly an effective wind brake and contributed to significantly reducing the wind pressure on the upper cladding .
The construction effort for the buttress was considerable. In the 19th century it was calculated that the construction of the buttress was about as expensive as that of the nave itself. The aesthetics of the closely spaced buttresses clad with tracery were assessed very differently. Critics complained that the actual nave disappears behind the massive buttress series “as an indefinite something”. On the other hand, poetically influenced observers praised the buttress as "a sacred forest in whose shade the house of God rests".
The post-classical high Gothic west facade
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Around 1350, the cathedral master builders began planning the west facade, which Michael of Savoy finally gave in 1370 the monumental shape we know today. To do this, they had to find a new layout. Because in the 14th century there was no suitable model for the facade design of a five-aisled high Gothic cathedral with two towers. The cathedrals in northern France - such as the one in Reims - had a double tower facade with ideally Gothic proportions, but had three aisles. The five-aisled cathedral of Bourges (1209-1324), on the other hand, had a jagged facade, because its towers only rose above the outer aisles. When planning the cathedral, the master builders decided to follow the concept of the five-aisled Notre-Dame de Paris cathedral (facade 1220–1250). They planned to erect the towers above both side aisles and four vaulted squares each, while also aiming for the typically Gothic, towering silhouette of the northern French cathedral. Therefore, the Cologne towers were not only about twice as wide as those in Reims, but also had to be about twice as high. In Cologne, however, this required eight times the building mass. "The funds that would have been enough for a whole cathedral of French proportions were devoured by the south tower alone, without anyone really being aware of it."
The medieval part of the south tower was also used as a torso to become one of the largest Gothic buildings. Its enclosed space was around 40,000 cubic meters. That is roughly the size of the entire Altenberg Cathedral or the Church of Our Lady in Trier . Because of the massive columns and thick walls, a lot more rock was built into the Cologne Cathedral. The façade, which is deeply staggered with tracery, was also significantly larger on the torso of the south tower than the entire façade of Notre-Dame or Amiens and even the tall façade of Strasbourg . This construction effort, which was necessary for the torso alone, which makes up only a fifth of the entire west facade, "is the real reason why Cologne Cathedral was not completed."
Despite the draft planning in 1370, Michael von Savoyen chose high Gothic architectural forms that were common at least 100 years earlier in the late 13th century. In the middle of the 14th century, Peter Parler had already developed the late Gothic system of forms for St. Vitus Cathedral in Prague . With his conscious recourse to a formal language that was already classical at the time, the cathedral builder tried to give the cathedral a special historicity and thus seriousness. In doing so, he probably reacted less to the architectural practice that had prevailed in Cologne up to that point than to the highly topical architectural development during his lifetime, which followed a pronounced Gothic historicism after 1350. At the same time, his client, Archbishop Friedrich von Saar Werden , maintained a decidedly conservative conception of art and preferred - also when designing his grave monument - the then already historical formal language of classical high Gothic.
Nevertheless, the cathedral master builder succeeded in making the west facade appear as a late Gothic building. So he did not create flat structures, as they were common in the High Gothic, but gave the facade a pronounced physicality by shaping the main pillars into its own massifs, creating the impression of extraordinary massiveness through the fial towers , and for the deep window niches by doubling them Tracery designed a fissured facade. The towers develop - flanked by mighty pinnacles - from a stable building mass, so that the octagonal spiers only slowly emerge from a stable structure. After all, the master builder gave the tracery helmets a plasticity through the dominant supports that the Freiburg model does not show. Michael von Savoyen perfectly merged the canon of forms of the high Gothic with the corporeal, sculptural construction of the early late Gothic and thus created a west facade for the Cologne Cathedral that fits in consistently with the high Gothic form of the choir. In this way, Master Michael also guaranteed that the overall structure of the cathedral still looks completely uniform today.
Neo-Gothic perfection
When the plan to complete the cathedral matured in the 1830s, there were different ideas about the structural shape. On one side there were considerations to complete the cathedral with little effort and also to use the structural possibilities of the 19th century for reasons of cost. On the other hand, there was a deep romantic conviction, "to make the ideal plan a reality, to complete a climax of the Middle Ages."
The first designs by master builder Ernst Friedrich Zwirner , developed together with Karl Friedrich Schinkel , provided for the construction of the central aisles without a cliff . A second draft from 1838 planned with the full vault height of 43.35 meters, but wanted to do without the buttress and use the tie rods that were common at the time to absorb the shear forces. According to Zwirner's cost estimates, the buttress should be about as expensive as the completion of the nave. The transverse arms should be closed with simple facades.
In contrast, the Central Cathedral Building Association , which had meanwhile been founded, had anchored in its statutes that the cathedral should be completed “according to the original plan”. Since the Prussian King Friedrich Wilhelm IV had approved the statute, it became law. In this way, the association - intensively supported by Zwirner - was finally able to enforce the completion of the cathedral in the elaborate medieval form against the Prussian government.
Zwirner succeeded in completing the medieval planning by going back directly to the facade plan F from 1370 and isolating his designs for the transept facades - for which no medieval planning has survived - without significant modifications. He also designed the buttresses based on models from the Gothic era. Its neo-Gothic completion was achieved because the builders of the late Middle Ages used a uniform, high-Gothic architectural language which - although it did not follow a general Gothic plan - seemed to be committed to a homogeneous idea of the ideal cathedral. "If the cathedral had been built somehow around 1500 deviating from the plan, there would never have been any real completion."
description
Choir
The high choir was consecrated in 1322; it is the only part of the cathedral that could be fully completed in the Middle Ages. Today it is considered to be “the architecturally most glamorous part of the interior.” The choir consists of the inner choir, the ambulatory with the seven choir chapels, the choir aisles and the sacrament chapel . All components show a perfection of the architectural form, which cathedral builder Arnold Wolff described as the “perfect cathedral”.
In contrast to the French models, the Cologne builder succeeded in building a smooth transition between the long choir and the round choir. Both components merge so smoothly that the flowing spatial impression is not impaired. The first vault section ( yoke ) of the round choir appears like a shortened yoke of the long choir and is slightly turned inwards. However, the tracery of the triforium is already designed here as in the round choir. The windows in the upper storey are still four-lane, but already seem to take on the width of the narrower windows in the round choir. Because of this unclear transition, the viewer is unable to judge where the long choir ends and where the round choir begins.
The high choir, which was kept uniformly in a light ocher color, is clearly structured by vertical, rising architectural elements. However, the builders had provided distinctly brightly colored figurative ribbons on three horizontal levels: the intensely colored pillar figures formed the lower horizontal level, which in the upper storey corresponded to the pastel row of kings from the windows . The angels in the choir arcades were about halfway between these two person galleries.
The ambulatory and the seven choir chapels are the oldest part of Cologne Cathedral. This part of the building was started in 1248 and taken into use in 1265. The architecture and overall impression have been preserved. The seven chapels have a uniform floor plan; they form seven parts of a regular dodecagon. The Engelbertus chapel in the north and the Stephanus chapel in the south adjoin the long choir. These two are strictly opposite each other and are no longer twisted - as in the French cathedrals. The Dreikönigskapelle is located in the central axis of the Cologne chapel wreath. It is the same size as all the other six chapels. In this respect, the Cologne floor plan resembles that of the Cathedral of Beauvais and not the otherwise exemplary design of the Cathedral of Amiens , which has an enlarged axial chapel. The Dreikönigskapelle in Cologne was the only one with a colored window picture when it was built. The older Bible window dates from around 1260 and is stylistically attributed to the late Romanesque zigzag style . The oldest Gothic- style window is in the St. Stephen's Chapel. This so-called Younger Bible Window was donated to the Dominican Church around 1280 and has been in the cathedral choir since 1892. The windows in the chapel wreath were completely decorated with colored glass paintings for the first time around 1340 in order to impress the passing pilgrims with "jewel-like color chords". Although the Gothic tone of color has largely been preserved to this day, the original, typically highly Gothic pathos of the three-part composition is only recognizable in the Johanneskapelle and the Michaelskapelle.
The side aisles of the choir in the south are called the Lady Chapel . There you will find the altar of Stefan Lochner's patron saint , one of the most important works of art in the cathedral, and the Milanese Madonna , which was the center of the Marienkapelle in the Middle Ages. The side aisles of the choir in the north are called the Chapel of the Holy Cross , because the cross altar and the Gero cross (around 970) are located here. This is considered to be one of the most important sculptures from the Ottonian period .
The sacrament chapel was added to the choir as a chapter house in 1277 and consecrated by Albertus Magnus in the same year . The square room has a vault with four pointed arches , which are supported on only one pear stick pillar in the middle of the room. The chapel is one of the highest quality works of high Gothic interior design.
Main nave
The main nave of Cologne Cathedral, around 120 meters long, was built in five building periods over the course of seven centuries. Nevertheless, it has a strictly uniform, highly Gothic form, the original plan of which apparently appeared so perfect that all subsequent builders were willing to adhere to it. All of the central aisles of Cologne Cathedral in the nave, transept and choir have practically the same dimensions and an identical structure. The height measures 43.35 meters and the width is 12.50 meters. There is a pillar every 7.50 meters ( yoke width ); they are all of identical shape, designed as round bundle pillars, which are surrounded by 12 services. The pillars converge in pointed arches that form the arcades . The triforium begins above this at a height of 19.75 meters . This mezzanine floor is about one meter wide and 5.80 meters high, which is glazed on the outside and has an open tracery to the interior . The upper storey rises above the triforium with windows 17.80 meters high, between which relatively narrow wall pillars strive to the vault. Because the upper storey and triforium are uniformly designed and vertically structured, they appear as one unit, which makes the room look even higher.
The narrow pillars, however, alone cannot support the thrust of the vault. They are therefore supported from the outside by a system of buttresses and arches. Although it is richly decorated, it is primarily intended to serve as a structural framework that "helps the interior to achieve its unearthly weightlessness." The crossing is the place where the Shrine of the Three Kings should be erected according to the original plan . However, this part of the building could not be completed in the Middle Ages. The east pillars were built in the 13th century, the lower part of the west pillars were built in the 14th and 15th centuries; the upper one could only be built in the 19th century; the vault was withdrawn in 1863.
window
The entire architecture of Cologne Cathedral is designed to accommodate the largest possible windows. It has therefore been described as an “extremely harmonious glass house”. The windows cover an area of around 10,000 m², which roughly corresponds to the floor area of the building. Of all the large cathedrals, Cologne has the largest window area in relation to the length of the church. Around 1,500 m² of the window area have been preserved from the Middle Ages.
The windows come from different epochs and shape the overall impression of the cathedral. They clearly reflect the respective contemporary demands on the design and function of the windows. The windows of the chapel wreath, which was initially to be reserved exclusively for clergy, were glazed purely ornamentally around the year 1260, with the exception of the central axial chapel window, and were not equipped with a figurative program for the pilgrims traveling through until 1330/1340. The window in the central Epiphany Chapel from 1260 is the oldest surviving cathedral window.
Older Bible window, 1250/60
Younger Bible Window, 1280
Epiphany window, 1330/40
Obergade window, 13th / 14th century
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Between 1304 and 1311 the 17.15 meter high windows of the upper choir were inserted; they show 48 kings alternating with and without a beard. The bearded ones are probably the 24 elders of the Apocalypse , the bearded ones the kings of Judah, the Old Testament forerunners of Christ. The kings are approximately 2.25 meters high. The axis window shows the Three Wise Men paying homage to Mary with the child. The total area of the choir windows is 1350 m². It is one of the largest preserved glass painting cycles of the Middle Ages. In the meantime, many details have been lost, but the original color tone has been preserved.
Typological Epiphany window, 1508
Adoration Window, 1846
Large west window, 1865–70
Richter Window , 2007
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The late medieval windows in the north aisle reflect the end of the first construction period of the cathedral. Typical windows from the second building period in the 19th century can be found in the south aisle, such as the Bavaria window . Losses from the Second World War are still evident today, but gradually, provisionally repaired or replaced windows are being restored or replaced by modern windows. The latest in the south facade is the large Richter window from 2007.
West facade
The west facade of the cathedral is the largest church facade ever built. It has an area of nearly 7000 square meters and was completed only in the 19th century, but follows in detail the cathedral builders of Michael of Savoy developed medieval planning, in 1370 the so-called facade crack F was recorded. For a time, the authorship of the plan was attributed to master builder Arnold († 1308) and his son and successor Johannes († 1331). Recently, however , Johann Josef Böker identified the crack as the work of the cathedral builder Michael von Savoyen, who was appointed by Archbishop Friedrich III , who came into office in 1370 . Saar has asked for a representative draft.
The St. Peter's portal is located in the south tower . It dates from 1370/80 and is the only original medieval portal of Cologne Cathedral. However, not all figures are medieval, only the first three on the door on the left and the first two on the right of the vestments. The other sculptures are from the 19th century. The figures differ significantly in color and processing quality. The five medieval figures are clearly influenced by the Parler family , to which the Cologne-based builder Michael was related.
The central portal (main portal) is 9.30 meters wide and over 28 meters high. Most of the figures were created by Peter Fuchs in the 19th century and supplemented by Erlefried Hoppe in 1955. The north portal is the three-king portal . It comes from Peter Fuchs and was created between 1872 and 1880.
South facade
The south facade was designed by master builder Ernst Friedrich Zwirner , who coordinated his plans with Karl Friedrich Schinkel , Sulpiz Boisserée and King Friedrich Wilhelm IV . It was built between 1842 and 1855 and is today considered one of the most important and artistically perfect works of the neo-Gothic . In the facade there is the Ursulaportal on the left, the Passion Portal in the middle and the Gereonsportal on the right.
The portal sculptures were designed by Ludwig Schwanthaler in 1847 and carved in stone by Christian Mohr from 1851 to 1869. The sculptures represent a high point of romantic- Nazarene sculpture with religious content in Germany. The portal doors were renewed in 1948 by Ewald Mataré . His student at the time, Joseph Beuys, helped him with this . Mataré had intended a major redesign and simplification of the south facade with the elimination of the rich ornamental forms, which was not carried out.
North facade
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The construction of the north facade had already begun in the 14th century. Cathedral builder Ernst Friedrich Zwirner tried to complete this in neo-Gothic forms, which therefore show simplifications compared to the south facade. On the left is the Boniface portal, in the middle the Michael portal, on the right the Maternus portal.
The sculptural decoration of the north transept facade was created by the sculptor Peter Fuchs between 1878 and 1881. The overall program is thematically concerned with the founding history of Christianity . It begins with the handing over of the pastoral office to Peter. The Maternus portal specifically shows the development of the Cologne church province. Maternus is considered to be the first pupil of Peter and was the first bishop of Cologne. He transferred the "apostolic teaching office to the Cologne chair". The saints grouped around it act as witnesses to this event.
Spire helmets
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Characteristic of the silhouette of the Cologne Cathedral is the twin-towered facade with the two pointed towering spiers . They were built when the cathedral was completed until 1880 and are therefore a work from the neo-Gothic period. However, the realization followed the medieval planning down to the last detail, which is shown in the facade plan F developed by Michael von Savoyen around 1370 . Master Michael had designed an octagonal, completely openwork spire made of tracery , which is crowned by a multi-tiered finial . Obviously he was familiar with the tower of the Freiburg Minster planned by Erwin von Steinbach and its tracery helmet, but developed a more massive shape for Cologne, in which the octagon only seems to evolve gradually from the square of the tower. The towers made of tracery were obviously inspired by goldsmithing, which had found comparable shapes for reliquaries or cibories . According to objective functionalist criteria, openwork tower helmets were not useful because they did not offer any protection from precipitation and the tracery originally could not take on any static tasks. Nevertheless, with these solutions, which explored the limits of what is technically possible, the architects wanted to underline that the building wants to be a “monumental reliquary” that houses the three wise men inside.
It is assumed that the planning carried out around 1370, which was very complex for the time and carried out with great precision, was not developed by the cathedral master builder alone, but with the participation of several masters. Because numerous motifs and design elements of this planning were implemented on other buildings of this time, although this part of Cologne Cathedral could not be completed in the Middle Ages. The tracery helmet in the Freiburg Minster remained the only larger tracery helmet that was erected in the 14th century. Other important tracery helmets were created by trained builders in Cologne in the 15th century on the Strasbourg Cathedral and on the Cathedral of Burgos . The other well-known spiers - as in Ulm or Regensburg - are works of neo-Gothic.
Roof and crossing tower
Roof and truss
The roof area of Cologne Cathedral takes up over 12,000 m². They are covered with large-format 3 mm thick lead plates that together weigh around 600 tons. The roof structure is not composed of wooden beams, but of iron girders.
Crossing tower
Even the unfinished medieval cathedral had a roof turret on the choir, which was replaced by a baroque one in 1744. The baroque was canceled in 1812 because it was dilapidated. A new iron tower was built over the crossing from 1860 to 1861 in the style of historicism . It was covered with zinc and was decorated in a neo-Gothic style with eyelashes , fial turrets and gargoyles . The decoration was badly damaged in World War II . The exterior of the tower was redesigned from 1965 to 1971 based on an Art Deco design by master builder Willy Weyres : the eyelashes were replaced by eight angels designed by the cathedral sculptor Erlefried Hoppe . The angels were made of larch wood by Hubert Bruhs and clad with lead. They weigh 2.25 tons each and are 4.10 meters high. In contrast to many churches, there is no cross on the crossing tower, but a star as a reference to the Christmas legend about the three wise men .
Sculptures and sculptures on the exterior
Of the numerous sculptures on the exterior, only the figures on St. Peter's Portal were created in the Middle Ages. All others were only created when the building was continued in the 19th century. They followed the figure program that Sulpiz Boisserée had designed. The over 1000 individual works are considered the largest ensemble and the most extensive cycle created in the 19th century. The most important artists involved were Ludwig Schwanthaler , Christian Mohr and Peter Fuchs. Individual statues - especially on the north portal of the west facade - were added in a modern style in the 1950s.
Sculptures of the Parler (1370-1380)
Classicism at the south portal (1847/48)
Neo-Gothic at the north transept (1878–81)
Modernism at the Three Kings Portal (1958/60)
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St Peter's portal sculptures
The only portal completed in the Middle Ages is the Peter portal in the south tower, which was built until 1380. It was equipped with sculptures as early as the 14th century, probably by three sculptors. At least two of them belonged to the leading master builder family of the time, which provided both the cathedral master builder in Cologne, Michael von Savoyen , and the master builder of St. Vitus Cathedral , Peter Parler . Of the larger-than-life figures, a total of five sculptures come from the Middle Ages: Petrus, Andreas and Jakobus the Elder. on the north side and Paul and John on the south side of the portal. They are characterized by a swinging posture and a finely crafted design of the robes, in which sharp hem edges are combined with softer folds. The saints and angels enthroned above the figures and in the archivolts also impress with their lively depiction. With their representation, the sculptors wanted to ensure that the program of figures is perceived not as a flat display wall, but as a three-dimensional space when the visitor walks through. Saint Catherine can be attributed to a nephew of Peter Parler's named Heinrich, who married a daughter of the Cologne cathedral builder Michaels in 1381. His son, also baptized Michael, can be considered the master of the prophets, who cut the seated figures of prophets in stone, and who was guided by the comparatively rustic style of his father-in-law Peter Parler. “Sculpture at its finest, the most haunted and beautiful stone sculptures from that time” shows the angel waving bells. This figure, created by a third master, combines the Prague style with the more elegant formal language of the Rhineland. For reasons of conservation, the medieval figures have been shown in the cathedral treasury since the 1970s; there are copies on the portal itself.
Special stone carvings
Over the years, the various Cologne cathedral masons have left their mark. In many capitals and on the two towers they created a veritable hodgepodge of German and, above all, Cologne originals. They immortalized the following people on the facade of the cathedral: Paul von Hindenburg , John F. Kennedy , Nikita Khrushchev , Charles de Gaulle , Harold Macmillan , cathedral builder Arnold Wolff as well as numerous other well-known people from sports, politics and Cologne.
Furnishing
The Cologne Cathedral is the central church of the Archdiocese of Cologne and therefore has an extremely rich artistic interior. The most important piece of equipment has always been the Epiphany shrine that is to contain the bones of the kings of the Three. The construction of the Gothic cathedral can even be understood as a stone reliquary that was planned around these relics. In the Middle Ages, the Gero cross from Ottonian times and the so-called Milanese Madonna (around 1290) were also considered special objects of worship. Today will be counted in addition to the important works of the Domausstattung of Stefan Lochner created altar of the city patrons (after 1426) and the plain altar (around 1350), both of which have come in 1810 in the cathedral.
Epiphany shrine
The Shrine of the Three Kings is placed in the center of the choir room and thus dominates it. It dates from the 13th century and is the largest medieval goldsmith's work in Europe .
The shrine is 220 cm long, 110 cm wide, 153 cm high and designed in the style of a basilica. It is adorned by 74 embossed figures made of gold-plated silver. The precious shrine is structured and enclosed by cast metal combs on the gable panels on the front and back, colored ribbons of enamel strips, lines of blue and gold inscriptions and filigree panels set with precious stones. Over 1000 gemstones and pearls increase its shine. Numerous antique gems and cameos with 300 cut stones alone represent the world's largest collection of ancient picture stones from the Middle Ages. The shrine houses the relics venerated as the remains of the three wise men and is the destination of the carolers pilgrimage on January 6th every year .
Gero cross
The requirement set in Kreuzkapelle Gero cross dates from the period around 970. It is considered one of the oldest monumental representations of the Crucified and the oldest post-classical sculpture of the West. It shows Christ as dead with bowed head. The face with broken eyes and a slightly open mouth is considered very expressive. This makes the sculpture an outstanding example of the form that was new at the time, which no longer shows Christ as a victor, but as suffering and human. The cross is named after Archbishop Gero , as he is said to have donated it for the cross altar in the Old Cathedral . There the cross was placed very prominently in the central nave. It found a less dominant place in the Gothic cathedral, but continued to enjoy great veneration as a miraculous image. Today the Gero cross is considered the most important work of sculpture from the Ottonian period .
Milan Madonna
In the Middle Ages, the so-called Milan Madonna was the third object of worship in the cathedral after the Epiphany Shrine and Gero Cross . Today the high Gothic wooden statue from 1290 is placed on the south wall of the southern choir aisle in the Marienkapelle. The colored wooden figure is the oldest image of the Virgin Mary in the Gothic cathedral. It got its name because it was probably intended to replace a statue with the bones of the Three Kings from Milan that Rainald von Dassel had brought with him and which was destroyed in the fire of the Old Cathedral . The gothic statue is closely related to the choir pillars in terms of posture and the design of the garments, and its style has been described as "super-French". It is considered a high point of high Gothic Mannerist sculpture. The colored version as well as the scepter and the crowns were created during a restoration around 1900.
Equipment of the choir
In order to turn Cologne Cathedral into a royal cathedral, the medieval artists also strived for the highest possible artistic expression in the furnishings. "Their outstanding quality surrounds the furnishings of the Cologne Cathedral Choir, including the choir pillars, the choir stalls and choir screen paintings, with an aura of unapproachability."
The image program of the choir is formulated in horizontal levels, which penetrates from the near-ground world of humans with increasing height into heavenly areas and finally becomes completely spiritual in the vault. The choir stalls showing with his carvings, which many grotesque depict mythical creatures, the earthly human existence. The apostles are to be regarded as a choir pillars figures simultaneously as the spiritual pillars of the Church. Above that, the angels provide heavenly music and the angel images in the arcade spandrels lead over to the heavenly levels. The figures in the cantilever windows may be understood as a royal court who has gathered around the throne of God. Finally, the color tone from the tracery windows is supposed to symbolize the metaphysical presence of God.
Choir stalls
The late medieval choir stalls are the largest in Germany with 104 seats and, as a special feature, reserve one place each for the Pope and the Emperor . It was made entirely from oak between 1308 and 1311. The stalls are extensively carved on both the cheeks and especially on the support boards ( misericordia ). The artists created images with people, animals and mythical creatures, some of which were inspired by scenes from the Old Testament, but also from antiquity and popular belief. As usual with misericordies, the carvers showed an unbridled imagination to create attractive and rough motifs with dancing, fighting, begging, mocking and loving people.
Choir screen painting
Behind the choir stalls are the brick choir screens , which are decorated with a large-format cycle of pictures over 30 meters wide. “The choir screen paintings are the most important work in terms of development history and also the artistically highest work of German monumental painting from the first half of the 14th century.” There are three wall paintings on the north and three on the south side of the choir. The paintings form the back wall of the choir stalls; A painted Gothic frame system, which is inspired by tracery forms, creates picture fields that are almost 60 centimeters wide, each as wide as a seat of the chairs.
All images are divided into three horizontal zones. The base zone shows a number of figures of emperors and bishops. In the main zone, the stories of saints are presented in seven arcades per barrier. A canopy zone with alternating architectural depictions forms the upper end of the painting. In the base zone on the south side, all Roman and German emperors can be seen starting with Cäser above the emperor's seat . On the north side, Cologne bishops and archbishops are depicted, starting with Maternus above the Pope's seat . The pictures on the south side show scenes from the life of Mary , the story of the Three Kings and the transfer of their bones to Cologne, as well as the martyrdoms of Saints Felix , Nabor and Gregory of Spoleto . The pictures on the north side show scenes from the legend of Peter and Paul , the New Year's Eve legend and scenes from the life of Constantine with the Constantinian donation .
The artists used a tempera and carried the tempera paint on a ground chalk ground and directly on the stone walls of Drachenfels on. They transferred the painting technique of panel painting to the mural. All in all, the artists were able to use a larger color palette as well as depict details that are hardly inferior to book illumination .
The motifs and method of representation show that the artist knew the painting of his time from Flanders, Italy and England, but was above all inspired by the art movements in Paris. He combined all of the impulses into an independent style that made choir screen painting the oldest example of the Cologne school of painting that would later become known .
The choir stalls and the choir screen painting designed as a back wall (dorsal) are closely linked in the overall concept, through the motifs used, but also in stylistic details. It is therefore likely that both furnishings were planned together under the supervision of cathedral builder Johannes von Köln and that the choir screen paintings were also created up to the consecration of the choir in 1322.
Pillar sculptures in the choir area
On the pillars of the high choir there are 14 sculptures depicting Mary, Christ and the twelve apostles together with twelve angels making music. These figures were created between 1320 and 1340 in the Cologne cathedral builder under the supervision of the cathedral master builder Johannes von Köln and are today counted among the main works of European sculpture in the early 14th century. Planning a cycle of apostles for a choir building in the middle of the 13th century was a rarity. The Middle Ages developed the idea of comparing the apostles as spiritual pillars of the church with the pillars of a vault. Realizing this symbolism in church construction was accomplished for the first time in 1248 by the Sainte-Chapelle in Paris , which was taken up by Master Gerhard in Cologne . With its extraordinarily rich colors, the Sainte-Chapelle seems to have given important impulses for the setting of the choir pillars. The angels were added to the ensemble around 1300; they were understood as musicians who make unearthly music.
The 14 figures are the epitome of high Gothic sculpture, which most purely meet the requirements of the ideal Gothic cathedral. The artistic style of the figures has to be assessed in connection with the architecture of the cathedral, because the statues are works of the Cologne Dombauhütte and were designed as an integral part of the choir building. The size of the cathedral also corresponds to the monumental dimensions of the figures, each around 2.15 meters high and 5.25 meters high in the ensemble with console, canopy and crowning angel.
The figures stand on a sheet console . A canopy rises above the apostles, each bearing an angel with a musical instrument. The artist made the figures from tufa , which was painted in bright colors. The current painting, applied in 1841/42, can be considered a true copy of the medieval models. The 39 different fabric samples shown can all be traced back to the Middle Ages.
The slender figures in magnificent robes can be placed in their style in the tradition of both Parisian and Reims sculpture. It was appreciated that they seem to communicate with one another in heavenly remoteness and lively gestures. In some cases, however, it was noted that habitus and gestures clearly tend to over-refine.
Each of the twelve apostles is assigned an angel making music, who crowns the canopy of the ensemble of figures. The angels were not originally intended; however, they were planned for the time the choir was being built. The angels seem simpler in execution and less artificial in posture than the apostles. The robes of the angels are also much simpler and only show a simple undergarment and a cloak placed over the shoulder. The facial expression of the angels, all of whom are curly blond, has been described as a blissful smile, which shows how they transfigured listened to the heavenly music. Each angel plays a different musical instrument. Shown are u. a. the psaltery , the portative , the citole , the fiddle , the bagpipe , the bell, the bell drum , the harp , the quintern and the shawm .
Choir arcade painting
On the arcade spandrels of the high choir, a cycle of angel figures is depicted on a gold-colored background. The painter Edward von Steinle created this cycle as a fresco in the 19th century . The medieval painting from the 14th century showed angels with musical instruments and censer, but was whitewashed in the 18th century and was considered ruined when it was discovered in 1841. The new design shows in the 15 arcade fields the nine choirs of angels in their different hierarchies, as formulated by Pseudo-Dionysius Areopagita in the 6th century. According to this, angels, guardian angels and archangels form the first hierarchy of angels. They can be found in the spandrels of the two northern arcades. They are followed by the angel choirs (Virtutes, Dominationes, Potestates), who watch over the order of the universe in the central arcades. In the five arcades of the choir head the seraphim and cherubim are depicted, which in the Middle Ages were imagined as spirit beings made of love and fire, who are free from earthiness. Edward von Steinle was an artist who is attributed to the late Nazarene . He created his pictorial program from 1843 to 1845. The angel figures seem to float over a golden ornamental background that forms the compositional unit of the cycle. The ornament pattern, which varied in all arcades, was pressed into the plaster and covered with gold leaf.
Floor mosaic in the choir
The floor mosaic of the choir is about 1300 m². It was designed by August Essenwein from 1885 to 1892 and relocated by the Villeroy & Boch company in Mettlach.
The floor mosaic in the choir shows in an extensive theological-metaphorical picture program the entire spiritual and secular life in the manner of the medieval worldview. This includes the emperor and the pope. Starting from the Pope, the four rivers of Paradise run through the choir. The emperor is surrounded by the seven liberal arts and the main churches of the Christian nations. In the west, the age of the person and his activities are shown. In the ambulatory, the history of the church in Cologne is depicted using a catalog of the bishops and archbishops. The crossing shows the times of day, the four winds and the four elements. There the mosaic is hidden by the altar pedestal. The mosaic in the axis chapel was destroyed during excavations in 1947 and is only present in fragments. It was replaced by a floor covering made from Mettlach clay tiles.
Equipment of the chapels
The seven choir chapels have been in use together with the ambulatory since around 1265; the chapels were evidently intended as burial places from the start . Before the completion of the high choir, the graves of five aristocratic archbishops and Irmgardis, venerated as a saint, were reburied from Hildebold Cathedral in the chapels. The tumba of Konrad von Hochstaden , who laid the foundation stone for the cathedral, was placed in the place of honor in the Axis Chapel .
The prominent importance of the Dreikönigenkapelle in the axis of the cathedral was already emphasized during the construction period by the fact that it was the only one to receive a colored glass painting . This older Bible window is the oldest surviving window in the cathedral. In 1322 the Shrine of the Three Kings was set up in the Axial Chapel and Konrad's grave was moved to the neighboring Johanneskapelle. The shrine was given a specially made lattice chapel, which was replaced by a baroque mausoleum in 1660 . The chapel got its current appearance at the end of the 19th century when the neo- Gothic wanted to transform it into a total work of art of the idealized Gothic. The baroque mausoleum was dismantled in 1889; Friedrich Stummel renewed and added to the high Gothic wall painting in 1892 and was inspired by the Sainte-Chapelle in Paris. Friedrich Wilhelm Mengelberg created the neo-Gothic altar in 1908 and used four Cologne reliquary busts for it. In a tabernacle he found space for the Füssenich Madonna from the 13th century.
In the other choir chapels, the medieval high graves are still the most important pieces of art in terms of art history: The simple stone sarcophagus (around 1260) of Archbishop Gero (969–976) is in the Stephanus chapel. In the Chapel of Agnes, St. Irmgardis von Süchteln (died 1085) found her final resting place in a trachyte sarcophagus (around 1280), which was created by the Cologne cathedral builder . Philip I von Heinsberg (1167–1191) received a tumba (around 1320) in the form of a walled city in the Maternus chapel. In the Johanneskapelle rests on the high grave for Konrad von Hochstaden (1238–1261) the young reclining figure of the Archbishop as the most important bronze work of the 13th century in Germany. The last free place in the choir chapels was occupied by Walram von Jülich (1332–1349) in the Michael’s Chapel, where a reclining figure made of Carrara marble adorns his tumba. From this it was concluded that the redesign of the ambulatory as a pilgrimage route and the complete equipment of the chapels with didactically effective, figurative and colorful glass windows came about in his time and was even inspired by him.
In the vicinity of the entrance to the Sacrament Chapel, a document carved in stone from 1266 can be seen today, the Cologne Jewish privilege through which Archbishop Engelbert II. Von Falkenburg granted certain rights to the Jewish population of the Archdiocese of Cologne. The cemetery and funeral law, customs regulations and the money-lending monopoly were regulated.
Altars
High altar
In contrast to the usual altar of the Middle Ages, the high altar in Cologne Cathedral does not have an altar structure ( reredos ). Because the Archbishop of Cologne had the right to stand behind the altar and celebrate Mass with a view of the Canons. Presumably for this reason the altar table ( cafeteria ) was built particularly large and with exceptionally rich figurative decorations. In his standard work on the Christian altar, Joseph Braun rated it as "undoubtedly the most splendid and magnificent altar that the Middle Ages created not just in Germany, but in general."
The high altar was made around 1310 and consecrated on September 27, 1322. Its 25 cm thick altar plate was carved from a piece of black marble. It measures 452 cm × 212 cm with a total area of 9.58 m², making it the largest stone in the cathedral and the largest known altar stone from the Middle Ages. All around the altar is decorated with Gothic arcades, in which there are small statuettes depicting apostles, prophets and saints as well as scenes from the life of Mary. The figure decorations are carved from white Carrara marble, which contrasts very effectively with the black marble stone of the altar body. The individual figures are shown in clear movement with a rotated corpus, which is hidden in a rich, folded garment. Stylistically, they are related to the choir pillars, even if they show a somewhat squat physicality.
The front of the altar is still original and shows the Coronation of Mary in the center with six apostles on each side in the arcades. The decorative figures on the side walls were removed in the course of the Baroque era. Alexander Iven made copies of the originals in the Museum Schnütgen around 1900 , when the altar was restored to its high-Gothic form in the course of the cathedral's completion.
Clear altar
The plain altar (alternate spelling: Clare altar) was built around the 1350th It is considered to be one of the most important winged altars of the 14th century in Germany, the winged doors of which are among the oldest Gothic canvas paintings. Originally it was donated for the St. Clara St. Clara Church in Cologne . After St. Clara's demolition in 1804, it ended up in the cathedral. There it is placed today on the north side in front of the beginning transept.
The clear altar, which with its double doors enables three different views - the working day side, the festival side and the high festival side - shows a complex image structure that is supposed to depict the heavenly Jerusalem . The basic dimension of his cycle of images is the number twelve: the altar shows twelve saints, twelve scenes from the childhood of Jesus and twelve others from the Passion, twelve apostles and twelve relics. The cycle of images is structured by a tabernacle built into the center of the altar, the door of which is painted with the seldom depicted St. Martin's Mass. Cathedral builder Barbara Schock-Werner has described the retable as an "altar of superlatives".
Stylistically, the clear altar is considered to be one of the key works of the early Cologne School of Painting , with the masters being clearly influenced by the painting of the choir screen and the cathedral pillars. The narrative painting, some of which was probably painted by the master of St. Veronica , is "among the best that German art of that time has to offer." In 1905, the painting of the Most Holy Trinity by Friedrich Wilhelm Mengelberg was added to the back of the altar is the youngest neo-Gothic work of art in the cathedral.
Altar of the city patron
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The altar of the city patron is considered to be the most important work by Stefan Lochner and a highlight of medieval painting in Cologne. It is a three-winged retable that has been in the cathedral since 1809. The altar was commissioned by the city council after 1426 to be placed in the council chapel . In the middle picture, Mary, the Mother of God, is enthroned with the baby Jesus and accepts the adoration of the Magi. The brooch on her coat shows a unicorn. The city saints are depicted on the side panels. On the left is St. Ursula with Aetherius and a large number of virgin companions. On the right outer wing, St. Gereon is depicted with members of the Thebaic Legion . When the altar is closed, the Annunciation can be seen. With the depiction, the city of Cologne wanted to illustrate its claim to ownership of the relics of the Three Kings. In his altarpiece, Lochner merged Italian colourfulness and Flemish realism in a masterly manner with his own idyllic serenity, and with the Three Kings Altar he created a reference work for the so-called Cologne School of Painting .
Agilolphus Altar and Agilolphus Shrine
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The Agilolphus altar is named after the Cologne bishop Agilolf from the 8th century. It was created around 1520 and is an Antwerp reredos . It is one of the largest and most important Antwerp carved altars with scenes from the life and passion of Christ (approx. 5.5 m high and almost seven meters wide). It was once the main altar in the Gothic east choir of the collegiate church of St. Maria ad gradus near the cathedral . After it was demolished in 1817, it probably ended up in Cologne Cathedral. It was extensively restored and inaugurated in July 2012 with a festive church service in the southern transept of the cathedral.
Altar of the ornamented Madonna
The altar of the ornamented Madonna in the north aisle is one of the few baroque pieces of furniture that have been preserved in the cathedral . The altar wall made of black marble and white alabaster was originally created by Cologne artist Heribert Neuss between 1668 and 1683 as a front for the mausoleum in which the Shrine of the Three Kings was set up. After the mausoleum was demolished in 1889, the front was rebuilt as an altar in the side aisle in 1920; Until 1939, the three kings shrine, which was set up in the treasury behind it, could be seen through the lattice. Since 1963 the so-called ornamented Madonna, a miraculous image from the 18th century, richly hung with jewelry, has been venerated in the altar. Above the main floor of the altar with four columns, an alabaster relief shows the Adoration of the Magi. The side-standing marble statues of Saints Felix and Nabor were added by Michel van der Voort in 1699.
Equipment of the crossing
Originally the Shrine of the Three Kings was supposed to be erected in the crossing. However, since it was not completed in the Middle Ages, it was abandoned. The crossing was converted into the new liturgical center of the cathedral in the early 1960s.
The crossing altar was also added to the cathedral during the renovation. It was designed by Elmar Hillebrand in 1960 . Its sides consist of four bronze plates, which are decorated with stylized grapes and ears, as well as with balls made of Cipollino . His cafeteria (altar plate) is also made from Cipollino . Its graceful size (1 meter high, 1.80 meters wide and 1.18 meters deep) still allows a clear view of the choir head from the nave.
In front of the northeastern crossing pillar is the Archbishop's cathedra , which was made of polished cherry wood and designed by Willy Weyres . Two reliefs show the handing over of the keys by Christ to Peter and the handing over of the keys by Peter to Maternus , the first bishop of Cologne, who, according to a legend, was a pupil of Peter. The coat of arms of the incumbent archbishop hangs above the cathedra.
Opposite the cathedra is the oak pulpit , which is dated to 1544 and thus comes from the Renaissance . It is decorated with reliefs of Peter and Paul .
The crossing also has an ambo and a lectern, which are located at the western end of the altar island, which in its current form dates from 1990.
In the crossing originally stood the sacrament house , which was created in 1964 by Elmar Hillebrand. It is made of Savonnier limestone and was later moved to the choir, in place of the Gothic tabernacle from 1508, which was removed during the Baroque era.
Statue of Christophorus
The statue of St. Christopher in Cologne Cathedral is a monumental sculpture made of tuff stone . It was created around 1470 and is attributed to the workshop of the master Tilman . It is set up on a column at the transition from the southern transept to the ambulatory of the chapel wreath.
Pillar sculptures in the nave
The pillar figures in the nave represent saints of the Franconian Empire. In the tower halls, figures from the old covenant are depicted. Most of the total of 46 figures are by Peter Fuchs , the six of the north transept by Anton Werres , the consoles and canopies were built in the 14th and 15th centuries. Century created.
Rubens carpets
Eight large tapestries made to designs by Peter Paul Rubens will be hung in the nave during Easter . Four of the Ruben carpets show scenes from the Old Testament that are interpreted in relation to the Eucharist , four other carpets show allegorical representations of the triumph of the Eucharist. The knitted paintings are in formats of around four meters high and three to more than seven meters wide. In 1627 the Spanish Infanta Isabella commissioned twenty tapestries from Rubens for a monastery in Madrid. The Brussels carpet manufacturer Frans van den Hecke produced individual carpets and smaller cycles over decades based on Rubens' slightly modified designs; the Rubens carpets delivered in 1687 are the largest surviving of these cycles. Wilhelm Egon von Fürstenberg , Prince-Bishop of Strasbourg , had given the tapestries to the Cologne Cathedral Chapter, presumably in order to achieve his intended election as Archbishop of Cologne . The baroque carpets were originally attached to the choir screen, but then fell into oblivion and can only be seen in the cathedral again since their restoration from 1974 to 1986.
Organs
The Cologne Cathedral has two main organs, which were built by the organ manufacturer Klais from Bonn: The transept organ was completed in 1948 on a gallery in the northern crossing , the nave organ was hung in 1998 as a swallow's nest organ in the nave. Both organs can be played from a common console, as can a high-pressure unit that was installed in the west of the cathedral in 2006.
The transept organ was built in the northeast corner of the crossing after the Second World War, when the cathedral had not yet been restored, but the nave was still separated from the transept and the chancel by a shield wall. The transept organ was inaugurated in 1948 on the occasion of the 700th anniversary of the cathedral. It was expanded in 1956 and 2002 and today has 88 stops on four manuals and pedal. The nave organ was built in 1998 as a swallow's nest organ with 53 stops. It remedied the unsatisfactory sound situation of the post-war period, particularly of the liturgical organ playing . It is acoustically well positioned in the Gothic church interior, but it interrupts the spatial continuum of nave, crossing and high choir desired by the neo-Gothic of the 19th century. In 2006, the organ ensemble in the cathedral was finally expanded to include a high pressure plant (Bombardewerk) with two high pressure registers .
Winfried Bönig has been the cathedral organist since 2002 , who succeeded Clemens Ganz . Ulrich Brüggemann has been the second organist since 1994 .
In addition, the cathedral has two small organs that are set up in the Marienkapelle and in the sacrament chapel.
Bells
The Cologne Cathedral has eleven bells. Eight hang in the south tower and form the main bell. Among them is the Petersglocke since 1924 , which the people of Cologne affectionately refer to as D'r decke Pitter or simply decker Pitter (i.e. thick Peter). It is one of the largest swinging church bells and weighs around 24 tons. It was cast by master bell founder Heinrich Ulrich in Apolda in 1923 . It replaced the approx. 26 tonne Imperial Bell (Gloriosa) from 1875, which was melted down in 1918 for armament purposes. Two large late medieval bells also hang in the south tower: The Pretiosa from 1448 and the Speciosa from 1449. In 1911, Karl (I) Otto from the Otto bell foundry in Hemelingen / Bremen cast the new chapter bell and the Aveglocke .
Three more bells hang in the ridge above the crossing: the small Mett bell from 1719 and the two oldest bells in the cathedral: the angelus bell and the transformation bell , both from the 14th century.
Cathedral clock
As early as the 14th century, Cologne Cathedral had a large astronomical art clock, which at lunchtime showed the figures of the Three Kings who paid homage to the Christ Child. Around 1750 this clock was broken off and, according to legend, sunk in the Rhine. The Cologne clockmaker Siegmund Bertel made a wrought-iron clock in 1787, which remained in the company until 1877. A large, polychrome painted wooden dial with hour hand and baroque border has been preserved. Due to construction-related inaccuracies and constant repairs, it was decided in 1878 to have a completely new clockwork made by Johann Mannhardt at the Royal Bavarian Court = Thurmuhrenfabrik . The large oak watch case in neo-Gothic design was designed by the sculptor Richard Moest .
The clock system, which extends over a total of almost 60 meters, was put into operation on April 9, 1880. After a few teething problems, which led to the builder being denied a desired certificate of successful work on the watch, the watch runs perfectly. The movement is one of the last Mannhardt movements in operation and has been preserved in its original condition. It has a so-called free-swinging pendulum, which has an extremely high, almost weather-independent rate accuracy. It was presented by Johann Mannhardt in 1862. Due to the lack of lubricants such as oil and grease on this pendulum device, the movement hardly reacts to weather influences. Johann Mannhardt also supplied tower clocks for the Frauenkirche in Munich, the Red City Hall in Berlin, and the Vatican in Rome. The original invention of the free-swinging pendulum goes back to the clergyman Josef Feller (1823-1893).
The dial is attached to the tracery inside the cathedral, together with the bell bells, which separates the outer south aisle from the tower hall. This is why the clock is also called the nave clock. The dial system was damaged in World War II. The clockwork was retained and was initially used without a dial as an hour strike until, in January 1989, the company Royal Eijsbouts in Asten (Netherlands) cleaned the clockwork and made a new openwork dial based on the historical plans that still existed. In contrast to the original, however, this was only reconstructed on one side.
The quarter and hour strike occurs in the cathedral interior on two historic clock chimes that come from one of the previous clocks. The bell in the bell cage of the south tower hits the ave or chapter bell (Otto company, Bremen-Hemelingen, 1911). The three heavy weights are lifted daily by hand using a crank. The cathedral clock is still convincing today with its great accuracy, without the aid of additional electrical equipment. Another restoration, in which the gilding of the movement that had been lost in the past was restored, was carried out in spring 2018 by the master watchmaker and restorer Christian Schnurbus, Düsseldorf.
lighting
The interior of the cathedral, which is otherwise very gloomy, especially in the evening hours, has been illuminated by more than 1000 lights under computer control since October 2008. So that “there is not always an atmosphere like All Souls' Day,” as Cardinal Meisner once commented on the lighting conditions in the cathedral. The new lighting has 80 programmable settings that enable different lighting effects. It was supported by the Zentral-Dombau-Verein with around 1,200,000 euros.
Thanks to the Leuchtendes Rheinpanorama association, the cathedral is the only public building in Cologne to be illuminated all night long.
Burial place and crypt
The archbishops of Cologne found their final resting place in the cathedral . 33 archbishops, a Polish queen, two secular princes and a folk saint are buried in and below the cathedral.
Burial place
The high grave of Archbishop Konrad von Hochstaden in the Johanneskapelle shows the archbishop as a youthful bronze figure. In the Maternus Chapel, the high grave of Archbishop Philip I von Heinsberg is depicted in the middle of a city wall, which is interpreted as a subsequent approval of the construction of the Cologne city wall. Archbishop Friedrich von Saar Werden's high grave can be found in the Marienkapelle. The large bronze reclining figure of the unusually high tumba shows facial features that are considered a portrait of the archbishop who commissioned the west facade in 1370. The gothic high grave Rainald von Dassels made of sandstone is on the outer wall of the Marienkapelle. In 1905, Alexander Iven created the limestone reclining figure instead of the medieval bronze figure that was destroyed at the end of the 18th century.
Philipp von Heinsberg, 1130–1191
Konrad von Hochstaden, 1205–1261
Friedrich von Saar Werden, 1348–1414
Rainald von Dassel, 1114–1167
crypt
A modern three-nave crypt was built in 1960 in part of the excavation area under the high choir. The crypt was designed by master builder Willy Weyres and designed with a stucco ceiling in the slightly raised central nave by Erlefried Hoppe .
To the east, behind a wrought-iron grating by Paul Nagel, is the archbishop's crypt . It was created between 1958 and 1969 on the initiative of Cardinal Joseph Frings and contains the burial chambers of several archbishops since the 19th century.
Buried people
The following people are buried in the cathedral:
- Gero
- Rainald von Dassel
- Philip I of Heinsberg
- Engelbert von Berg
- Konrad von Hochstaden
- Irmgard von Süchteln
- Walram from Jülich
- Wilhelm of Gennep
- Engelbert III. from the mark
- Friedrich III. from Saar Werden
- Dietrich II of Moers
- Hermann IV of Hesse
- Philip II of Daun
- Adolf III. from Schaumburg
- Anton von Schaumburg
- Ernst of Bavaria
- Ferdinand of Bavaria
- Maximilian Heinrich of Bavaria
- Joseph Clemens of Bavaria
- Clemens August of Bavaria
- Maximilian Friedrich von Königsegg-Rothenfels
- Ferdinand August von Spiegel
- Johannes Cardinal von Geissel
- Paul Cardinal Melchers
- Philipp Cardinal Krementz
- Hubert Theophil Simar
- Antonius Cardinal Fischer
- Felix Cardinal von Hartmann
- Karl Joseph Cardinal Schulte
- Josef Cardinal Frings
- Joseph Cardinal Höffner
- Joachim Cardinal Meisner
The only secular princes buried in the cathedral are
- Richeza, Queen of Poland (995-1063)
- Gottfried IV. (1318–1368), last Count of Arnsberg , who had sold his county to the archbishopric without heirs. (see tomb of Count Gottfried IV. von Arnsberg )
- Count Emundus von Friesheim (around 829), who bequeathed his Gau to Cologne Cathedral.
Extensions
Entrance structure (tower tour)
The south tower is visited by around 500,000 tourists every year. Since the ascent began in the interior of the cathedral for a long time, this often disrupted the services. For this reason, a separate entrance was opened in 2009 through a building erected next to the tower, with which the Cologne architect Kaspar Kraemer created a path through the medieval foundations of the tower to a 120 m² room. Here you will find the access to the ascent and to the extensive excavations under the floor of the cathedral as well as a kiosk. The cathedral car park and a toilet are also accessible.
The south tower can be climbed during opening hours. A narrow spiral staircase leads through the tower, on which two people are just passing each other. After 291 steps, the bell cage is reached at a height of around 53 meters, where the cathedral bells can be viewed. After another 95 steps, the spiral staircase ends at a height of around 70 meters. From here a metal staircase leads to the platform of the south tower at a height of around 97 meters, from where there is a view of the surroundings.
Cathedral treasury
The new cathedral treasury has six rooms on three floors with around 500 square meters of exhibition space. Exquisite reliquaries , liturgical implements and vestments as well as insignia of the archbishops and cathedral clergy from the 4th to the 20th century, medieval sculptures and Franconian grave finds are on display. The cathedral treasury was refurbished in the historic cellar vaults that had been expanded from the 13th century and opened on October 21, 2000. It is located on the north side of the cathedral. Your entrance area is a controversial cube encased in dark bronze panels.
The old cathedral treasury was in the north transept. It was broken into on the night of November 2, 1975, although it was considered optimally secured at the time. Three burglars entered through a ventilation shaft with rope ladders and mountaineering equipment. They stole valuable monstrances and crosses and could be caught with the help of the Cologne underworld and sentenced to long imprisonment. However, they had already melted down some of their booty, like the golden monstrance from 1657.
Administration of the cathedral
The cathedral building belongs to a legal entity under public law , which is officially called the High Cathedral of Cologne . Since this does not have its own representative body, it makes use of the Cologne Cathedral Chapter , which is itself a separate corporation under public law . The cathedral chapter represents the high cathedral in legal traffic and exercises the domiciliary rights. It consists of 16 canons (twelve resident and four non-resident canons). At its head are a provost and a cathedral dean . As cathedral provost, Msgr. Guido Assmann was introduced to the office on September 20, 2020 by Domdechant Robert Kleine.
For order and security in the cathedral ensure Domschweizer , since the spring of 2019 also Domschweizerinnen , supported by a private security service.
Maintaining Cologne Cathedral costs around twelve million euros a year. Around 60% of this is necessary for restoration work, 40% for personnel and ancillary costs (excluding priestly salaries).
The cathedral chapter has to raise around 5 million euros (around 43%) of this expenditure. To do this, it uses the entrance fees for climbing the tower, for the treasury and for the cathedral tours, the money from the candle offerings and from collections. About a quarter of the sum can be covered by investment income. In order to be able to raise the required sum in full, the Cologne Cathedral Cultural Foundation was founded in 2011 , which raises further donations. The foundation's assets amounted to 1.55 million euros at the end of 2017.
The cathedral receives around 2 million euros from the church tax revenue of the archdiocese . The Zentral-Dombau-Verein zu Köln ( Central Cathedral Building Association) finances around 3.7 million euros , which receives part of this from state lottery income, and the state of North Rhine-Westphalia and the city of Cologne take on just under 1.1 million euros . The association's funds and public funds are used exclusively for construction work. The Cologne Cathedral Administration is responsible for all work on the cathedral ; they are carried out by the Dombauhütte .
In the balance sheet of the Archdiocese of Cologne, the cathedral building is only listed with a symbolic euro because the cathedral has no market value. If the cathedral had to be rebuilt again, it would cost around 10 billion euros.
Ecology of the cathedral
According to the biologist Iris Günthner, Cologne Cathedral is "a 157 meter high rock on which dozens of animal and plant species live". She researched the flora and fauna around the cathedral for 14 years . The cathedral is populated by all kinds of creatures: from various types of insects to mice , gulls , kestrels , wood pigeons , black redstart , pipitic bats and crows . The remains of a barn owl have also been found. In addition, bacteria, lichens and mosses all the way to flowering plants such as lilacs, shrubs and small trees live there. The cathedral has an estimated 1,000 tons of biomass and gets its "colorful patina" from plants containing chlorophyll .
The fact that lichen is growing again on the cathedral shows former cathedral builder Barbara Schock-Werner that the acid rain has subsided. Cyanobacteria also grow on the cathedral stones , which turn dark due to solar radiation and carry out photosynthesis : "The cathedral thus produces oxygen and contributes to improving the air quality in Cologne city center", comparable to the oxygen production of a wood, according to Günthner's colleague Bruno P. Kremer .
A colony of bees was settled above a workshop in the cathedral building in the summer of 2014 , and two more the following year, so that in 2015 around 120,000 " cathedral bees " produced 50 kilograms of honey, which, however, is not freely sold.
Cathedral area
In the Middle Ages, the cathedral's torso was tightly enclosed. Only the facades of the cathedral were exposed. The portal in the west could be entered at ground level; There were a few steps to the south portal. Only in the north did a greater difference in height have to be overcome with a staircase of 28 steps to get to the cathedral portal. In the 19th century the cathedral was declared a national monument. Axial spaces were cleared around the cathedral and designed as green spaces. At the same time, the height relief was changed and the cathedral was placed on a hill, so that the impression of a monument was created that rises freely above the city. This followed historicism's understanding of monumental architecture. With increasing city traffic, however, the cathedral became an encircled traffic island.
After the World War, the architect Rudolf Schwarz , commissioned with the reconstruction, tried to free the cathedral from its spatial isolation. However, it was only with the Domplatte, which Fritz Schaller realized until 1970, that “the cathedral environment could be completely reinvented” by raising the city to the height of the cathedral. The plateau designed with granite slabs for pedestrians connected the cathedral to the pedestrian zone, but created very unsatisfactory urban spaces at its edges with tunnels, passages and dark corners, which were increasingly criticized. It was only through a comprehensive urban repair , which began in 2006 with the construction of a large staircase to the station forecourt and is still ongoing, that the image of the cathedral hill could be regained in a modern, contemporary contour.
Literary processing
Domsage
In the Middle Ages, several legends arose about the cathedral construction, which in an imaginative way linked the daring of the building project, the accidental death of the first Cologne cathedral builder Gerhard and the long construction period with the non-completion of the cathedral. In Ludwig Bechstein's version , the builder let the devil persuade him to bet that he could build a water pipe from Trier to Cologne before the cathedral was finished. When Gerhard discovered that he had lost the bet, he threw himself off the scaffolding; the blueprints were burned. Another legend reports that the builder was able to save himself from the devil's bet through a clever trick of his wife. After that, however, the building remained a torso. Stonemasons have designed a gargoyle on one of the pillars of the choir, which is interpreted as a representation of the legend.
Johann Wolfgang von Goethe
Johann Wolfgang von Goethe was infected by the enthusiasm of his friend Sulpiz Boisserée and supported his efforts to complete the cathedral. In his art-theoretical treatise Von Deutscher Baukunst, Goethe noted in 1823:
“I do not want to deny that the sight of Cologne Cathedral from the outside aroused a certain apprehension in me, which I could not give a name. If a significant ruin has something venerable, suspect, if we see in it the conflict of a worthy human work with the quiet, powerful but also disregarding time, we encounter something incomplete, monstrous, where precisely this incomplete reminds us of the inadequacy of human beings as soon as he tries to achieve something oversized. Even the cathedral inside makes us, if we want to be sincere, a significant but inharmonious effect; only when we join the choir, where the perfection speaks to us with surprising harmony, we are astonished happily, we are frightened joyfully and feel our longing more than fulfilled. "
Heinrich Heine
Heinrich Heine criticized the project to complete the cathedral in 1844 as ahistorical. In Chapter IV of his verse epic Germany. He wrote a winter fairy tale :
|
But see! there in the moonlight |
Then Luther came, and he |
Heinrich Boell
In the 20th century, the Cologne Nobel Prize for Literature, Heinrich Böll, was critical of the completion of the cathedral. In an essay from 1966, he called the cathedral's towers a "historical error" and wrote about the building itself
“... without the towers it would be much more beautiful; such a structure is not built completely. The romantic dream of a united nation and the watch on the Rhine not only had to plan this embarrassing Perfect Gothic, but also to accomplish it; tidy, ready to go, where the Rhine is the river of romanticism and Cologne is a city of Romanesque churches. "
particularities
- Today the cathedral is no longer a parish church of the cathedral community. Since 2010 he has been exempt from pastoral care .
- Within the Catholic Church, the office of cathedral preacher is only occupied at Cologne Cathedral. He has the task of the Holy Mass to on Sundays and holidays at 12 am celebrating .
- For the Bundestag in Bonn, the Federal Chancellor Konrad Adenauer had scheduled a service every Thursday at 8:40 a.m. at which the bells of Cologne Cathedral were rung. The German Bundestag kept playing this bells after moving to Berlin.
- During the feast of the 600th anniversary of the laying of the foundation stone, which was celebrated from August 14 to 16, 1848, a woman had an accident on August 15, as the Düsseldorfer Zeitung reported two days later: “A stone that had fallen from the tower of the cathedral hit under the A crowd of spectators at the tower standing upside down, so that the woman fell dead to earth without giving any sign of life. "
- In the mid-1960s, Cologne Cathedral also made its two north aisles available to Islamic services for Turkish migrant workers. For example, at the end of Ramadan in 1965, around 400 Muslims spread their prayer rugs in Cologne Cathedral to celebrate the end of the month of fasting with prayers and religious chants. The then Dompropstei emphasized to journalists that the provision of opportunities for religious services for people of different faiths in Cologne churches was "by no means unusual".
- From 1794 to 1811 the cathedral was numbered 2583½. The addition "½" was used for public buildings that were not subject to tax. The taxable sexton's apartment in the north tower was number 2583.
facts and figures
| construction time | 632 years (1248-1880) | With a construction interruption of around 300 years (1528 - 1823), probably the longest construction period of a building after the construction of the Great Wall of China |
| External dimensions | 144.58 m total length 86.25 m total width |
1125 pinnacles over 3 meters high |
| West facade | 61.54 m wide, almost 7000 m² area |
The west facade of Cologne is the largest church facade in the world. |
| height | North tower 157.18 m South tower 157.22 m Roof turret 109.00 m |
Until the Washington Monument was built (1884), the cathedral was the tallest building in the world: 533 steps to the top of the tower (97.25 m = 152.5 m above sea level) Width of the finial on the top of the tower 4.60 m |
| Transept facades | Height 69.95 m, width 39.95 m |
|
| Interior dimensions | 43.35 m high central aisles 19.80 m high side aisles 45.19 m wide nave |
Reverberation time 13 seconds |
| surface | 7914 m² covered area 6166 m² internal usable area |
|
| Construction volume | approx. 407,000 m³ enclosed space (without buttress) approx. 300,000 t weight including foundation |
120,000 t weight of the rising masonry, at least as much again for the foundation |
| window | approx. 10,000 m² window area | Glass surface corresponds to that of a 30-storey high-rise building Oldest window from 1260 (Bible window) Youngest window from 2007 ( Richter window ) |
| top, roof | Roof ridge at a height of 61.10 m approx. 12,000 m² roof area approx. 600 t weight of the lead covering |
The steel roof structure was the largest steel structure in the world until the Eiffel Tower (1889). 108 gargoyles to divert the precipitation |
| Bells | 11 ringable bells Largest bell Ø 3.22 m, 24,000 kg |
Until 2018, the " ceiling pitter " ("Dicker Peter") was the largest free-swinging bell in the world. |
| Places | approx. 800 seats in the pews approx . 1500 seats with extra seating approx. 2800 standing room |
104 seats in the largest choir stalls in Germany |
| Visitors | 6 million annually 20,000 to 30,000 daily |
|
| costs | Maintenance approx. € 12 million per year, restoration approx. € 10 billion |
|
| Mailing address | Domkloster 4, 50667 Cologne |
See also
Literature / media
→ Main page: Bibliography on Cologne Cathedral (in the portal: Cologne Cathedral )
- Klaus Gereon Beuckers : The Cologne Cathedral . Scientific Book Society, Darmstadt 2004, ISBN 3-534-15737-0 .
- Paul Clemen (Ed.): The Cologne Cathedral . (Reprint of the 2nd, increased edition). Schwann , Düsseldorf 1980, ISBN 3-590-32101-6 (first edition: 1937, Die Kunstdenkmäler der Rheinprovinz. Volume 6, Part III).
- Max Hasak : The cathedral of St. Peter in Cologne on the Rhine . Hermann Walther publishing house, Berlin 1911 ( Commons ).
- Wolf Schneider: Cologne Cathedral - How the Germans came to their world wonder. Gruner and Jahr, Hamburg 1991, ISBN 3-570-09259-3 .
- Marc Steinmann: Audioguide - Cologne Cathedral . Verlag Kunst + Reise, Cologne 2009 (app for iPhone and iPad).
- Arnold Wolff : The Cologne Cathedral . (edited and supplemented by Barbara Schock-Werner ). Greven, Cologne 2015, ISBN 978-3-7743-0658-5 .
- Arnold Wolff , Toni Diederich (ed.): The Cologne Cathedral Reading and Picture Book , Cologne Cathedral Publishing House, Cologne 1990, ISBN 3-922442-11-0 .
- The Cologne Cathedral. Masterful building. (Alternative title: Superbauten: Der Kölner Dom. ) Documentation and docu-drama , Germany, 2010, 43:22 min., Book: Judith Voelker, Christian Twente, directors: Mira Thiel, Judith Voelker, moderation: Sebastian Koch , production: ZDF , Series: Superbauten , first broadcast: March 14, 2010 on ZDF, Dossier , available until March 14, 2020.
Web links
- koelner-dom.de - Portal of the Metropolitan Chapter at the High Cathedral in Cologne
- Digitized archive holdings for the cathedral monastery in Cologne's digital historical archive
- Dombauhütte Cologne
- domkirche.de - Portal for the 750th anniversary of Cologne Cathedral in 1998
- Cologne Cathedral on the UNESCO World Heritage Center website ( English and French ).
- UNESCO World Heritage Cologne Cathedral - German UNESCO Commission
- Cathedral for children ( Memento from April 7, 2019 in the Internet Archive )
Publications
- Publications of the Diocesan Library Cologne
- Article about Cologne Cathedral. In: koeln-magazin.info
Audios, videos, photos
- The construction phases of Cologne Cathedral and its predecessor buildings ( YouTube video, 9:59 min.)
- Documentation on the cathedral (YouTube video, 43:45 min.)
- The bell of the cathedral. In: WDR , Glockenpforte
- Photo: Cathedral facade in the early 1950s In:
- WDR 3 (West German Broadcasting) mosaic. Conversation on Saturday December 1, 2018
Individual evidence
- ^ Klaus Hardering: Kölner Domblatt . Yearbook of the Central Cathedral Building Association. tape 75 . Verlag Kölner Dom, Cologne 2010, ISBN 978-3-922442-69-1 , notes on the patronage of Cologne Cathedral, p. 260-272 . : "Various documents can also be found for a Marian patronage, but these only refer to a corresponding altar or to an eastern choir of the old cathedral, but not to the cathedral patronium in general."
- ↑ Arnold Wolff : The perfect cathedral, The Cologne Cathedral and the cathedrals of the Ile-de-France, in: Dombau und Theologie im Medieval Cologne, Festschrift for the 750th anniversary of the laying of the foundation stone of Cologne Cathedral and for the 65th birthday of Joachim Cardinal Meisner ( Studies on Cologne Cathedral Volume 6), Cologne 1998, pp. 15–47.
- ↑ Thomas Becker: The Cologne Cathedral. Impressions of cultural history, lecture as part of the "DomStadt" event of the Thomas More Academy Bensberg in Cologne Cathedral on October 29, 2001
- ↑ a b The British art protection officer Michael Ross noted: "A miracle that it was still standing, the only church - in the whole city almost the only important building that was not a complete ruin." based on Niklas Möring: Cologne Cathedral during World War II, Cologne 2011, p. 94.
- ^ Andreas Rossmann: Die Wucht am Rhein, in: Frankfurter Allgemeine Zeitung of September 8, 2017; FAZ [1]
- ^ Matthias Untermann: On the consecration of the Cologne Cathedral from 870. Retrieved on May 13, 2020 .
- ↑ New publication: "The Shrine of the Magi". In: dombau-koeln.de , October 18, 2006, accessed on January 29, 2017.
- ↑ Andreas Fasel: Cologne Cathedral: The riddle about the stolen three kings . July 13, 2014 ( welt.de [accessed November 30, 2019]).
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 5
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 7
- ↑ Rolf Lauer: The Shrine of the Three Kings. Cologne 2006, ISBN 978-3-922442-53-0 , p. 92
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 5
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 63 ff
- ↑ Georg Schelbert, The Choir plans of the cathedrals of Cologne and Amiens, in: Cologne Domblatt 62 (1997), pp 89-106.
- ↑ Arnold Wolff : Trachyte from the Drachenfels. In: koelner-dom.de , accessed on January 29, 2017.
- ↑ Reiner Dieckhoff: The medieval furnishings of the Cologne Cathedral, in: Arnold Wolff (ed.): The Gothic Cathedral in Cologne; Vista Point Verlag, Cologne 2008, p. 51
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 26
- ↑ Andreas Huppertz: The Art Family of the Parler and the Cologne Cathedral, in: Hans Vogts (ed.): The Cologne Cathedral, Festschrift for the Seven Centenary 1248–1948, Cologne 1948, p. 142
- ↑ Peter Kurmann: Perfection and Preciousness, the Choir Pillar Figures in the Architectural Context of the Cologne Cathedral, in: Klaus Hardering (ed.): The Choir Pillar Figures of the Cologne Cathedral, Festschrift Barbara Schock-Werner (Kölner Domblatt 2012, Yearbook of the Central Cathedral Building Association, 77th episode ), Cologne 2012, p. 295f
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 27
- ↑ Reiner Dieckhoff, p. 35
- ^ Herbert Rode: Johannes. In: New German Biography (NDB). Volume 10, Duncker & Humblot, Berlin 1974, ISBN 3-428-00191-5 , pp. 557 f. ( Digitized version ).
- ^ Herbert Rode: The Cologne Cathedral, stained glass in Germany's largest cathedral, Augsburg 1968, p. 56
- ^ Paul Clemen , Heinrich Neu , Fritz Witte : The Cologne Cathedral. 1937, 2nd increased edition 1938, Die Kunstdenkmäler der Rheinprovinz , Sixth Volume, III. Department, ISBN 3-590-32101-6 , ( Internet archive )
- ↑ Joseph Braun: The Christian altar in its historical development. Munich 1924
- ^ Robert Suckale: Dating questions are questions of understanding, on the classification of the Cologne cathedral choir statues, in: Klaus Hardering (ed.): Die Chorpfeilerfiguren des Kölner Domes, Kölner Domblatt 2012, p. 281ff
- ↑ Dethard von Winterfeld , in: Katharina Bornkessel: Die Drolerien of the choir screen paintings of the Cologne Cathedral, Cologne 2019, p. 8
- ↑ Rolf Lauer: Image programs of the Cologne Cathedral Choir from the 13th to the 15th century, in: Dombau und Theologie im Medieval Cologne, Festschrift for the 750th anniversary of the laying of the foundation stone of Cologne Cathedral and for the 65th birthday of Joachim Cardinal Meisner (Studies on Cologne Cathedral Volume 6), Cologne 1998, p. 228f
- ^ Johann Josef Böker: Michael von Savoyen and the crack of the facade of the Cologne Cathedral, Cologne 2018, p. 96
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the chapel chapels of Cologne Cathedral under Archbishop Walram von Jülich (1332–1349). In: Kölner Domblatt, yearbook of the Zentral-Dombauverein. Vol. 67, Verlag Kölner Dom, Cologne 2002, ISBN 3-922442-48-X , p. 184. (Corpus Vitrearum CVMA Freiburg)
- ^ Johann Josef Böker: Michael von Savoyen and the facade crack of the Cologne Cathedral, Cologne 2018, p. 38ff
- ^ Johann Josef Böker: Michael von Savoyen and the crack of the facade of the Cologne Cathedral, Cologne 2018, p. 96
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 8
- ^ Johann Josef Böker: Michael von Savoyen and the crack of the facade of the Cologne Cathedral, Cologne 2018, p. 112f
- ↑ Coin find from April 14, 1994 four meters below the south tower
- ↑ Floor plan of the south tower, today in Vienna. See Johann Josef Böker , Michael von Savoyen and the crack of the facade of the Cologne Cathedral, Cologne 2018, p. 100f
- ^ Johann Josef Böker , Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, pp. 141ff.
- ↑ M. Steinmann's suggestion that the façade plan F should be created around 1280 has since been refuted in detail by JJ Böker. Marc Steinmann: The west facade of Cologne Cathedral. The medieval facade plan F , Cologne 2003, p. 253. Against: Johann Josef Böker , Michael von Savoyen and the facade plan of the Cologne Cathedral, Cologne 2018.
- ^ Arnold Wolff, Cologne Cathedral, Cologne 2015, p. 7f
- ^ Johann Josef Böker , Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 141
- ↑ Koelhoff's Chronicle : Chron. D. German cities XIII, p. 176
- ^ Paul Clemen : The Cologne Cathedral. In: Art Monuments of the Rhine Province. 6 III, pp. 62-63.
- ^ Arnold Wolff: The Cologne Cathedral, p. 8f
- ^ Arnold Wolff: The Cologne Cathedral, p. 9
- ↑ Leonard Ennen, The Cathedral in Cologne from its beginning to its completion: Festschrift dedicated to friends and patrons on the occasion of the completion of the understanding of the Central Dombauverein , 1880, p. 79
- ^ Carola Maria Werhahn, The Foundation of Victor von Carben (1423–1515) in Cologne Cathedral , 2010, p. 141
- ↑ Harald Friese: The Cologne Cathedral. 2003, ISBN 3-89836-268-X , p. 29.
- ^ Arnold Wolff : Cathedral crane. In: koelner-dom.de , accessed on January 29, 2017.
- ↑ Gerhard Curdes, Markus Ulrich: The development of the Cologne urban space, the influence of models and innovations on the shape of the city. Dortmund 1997, p. 83.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 101
- ^ Folio NZZ: When the cathedral is finished, the world will end
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 9
- ↑ Silke Eberhardt: Sacred large-scale sculpture in Cologne (1600-1730), The history of their creation and their stylistic development , Diss. Cologne 2005, p. 125
- ↑ Silke Eberhardt: Sacral Large Sculpture in Cologne (1600-1730), The history of their creation and their stylistic development , Diss. Cologne 2005, p. 211f
- ↑ Walter Schulten: Triumph of the Eucharist. Tapestries based on designs by PP Rubens (masterpieces from Cologne Cathedral 2). Cologne Cathedral Publishing House, Cologne 1986, p. 4f
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 40ff
- ↑ koelner-dom.de: Baroque furnishings
- ^ By Gottfried Jungbluth 1769, cf. Arnold Wolff: Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 28
- ↑ One of which was consecrated to Anthony Hermit and was rebuilt from individual parts in the sacrament chapel in 1961. Cf. Koelner-dom.de: Baroque altar 1767-70
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 9
- ^ Harald Keller: Goethe's hymn to the Strasbourg cathedral and the revival of the Gothic in the 18th century, Munich 1974, p. 81
- ↑ Views of the Lower Rhine, Brabant, Flanders, Holland, England and France, in April, May and Junius 1790, 3 vol. Berlin 1791–1794 printed in Werke, Frankfurt / M. 1969, II, p. 464.
- ^ Arnold Wolff: The Cologne Cathedral. (edited and supplemented by Barbara Schock-Werner), Cologne 2015, p. 9
- ^ Klaus Gereon Beuckers: Der Kölner Dom, Darmstadt: Wissenschaftliche Buchgesellschaft, 2004, p. 103
- ↑ Arnold Wolff: Views, cracks and individual parts of the cathedral of Cologne: the cathedral work of Sulpiz Boisserée . In: Annemarie Gethmann-Siefert (Hrsg.): Art as a cultural asset. The Boisserée brothers' picture collection, a step in the founding of the museum . Bouvier, Bonn 1995, ISBN 3-416-02323-4 , pp. 185-196.
- ^ Klaus Gereon Beuckers: Der Kölner Dom, Darmstadt: Wissenschaftliche Buchgesellschaft, 2004, p. 103
- ^ Statutes of the Central Cathedral Building Association approved by the Prussian King
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 45f
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 48
- ↑ Planet-Wissen.de: Superlatives of Cologne Cathedral
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 50f
- ↑ Angela-Maria Corsten: Das Dombaufest von 1880, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral Reading and Picture Book, Cologne 1990, p. 53ff
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 46
- ↑ Planet Knowledge: Cologne Cathedral
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 44f
- ↑ Planet Knowledge: Cologne Cathedral
- ↑ Heaven and Earth online: Cologne Cathedral - eternal construction site
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 48ff
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 46
- ↑ Jörn Funke: Cologne Cathedral in World War II: Why the bombs did not destroy it. In: Westfälischer Anzeiger , August 10, 2011. Accessed February 24, 2020.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 112
- ↑ Katholisch.de: Between rubble
- ↑ Niklas Möring: The Cologne Cathedral in World War II, Cologne 2011, p. 94f
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 10
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 113
- ↑ Siegrid Brandt: Creative preservation of monuments? Notes on a swear word. In: Kunsttexte.de 1/2003 (edoc.hu-berlin.de)
- ↑ Barbara Schock-Werner on the statue “Queen of Sheba” in the north portal of the west facade, which was created by Elisabeth Baumeister-Bühler in 1958. Cf. Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through Cologne Cathedral. Cologne 2020, p. 28
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through Cologne Cathedral. Cologne 2020, p. 36
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through Cologne Cathedral. , Cologne 2020, p. 28
- ↑ Moritz Küpper: Permanent construction site Cologne Cathedral - not a day free of scaffolding for over 100 years. On: deutschlandfunkkultur.de
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through Cologne Cathedral. Cologne 2020, p. 99
- ↑ Barbara Schock-Werner: My unloved favorite place - How the wart on Cologne Cathedral came about. In: Kölner Stadtanzeiger from April 29, 2020.
- ^ Willy Weyres: Restoration work on Cologne Cathedral. In: Yearbook of the Rheinische Denkmalpflege , vol. XXI (1957), p. 143ff
- ↑ Barbara Schock-Werner: The new window as part of the historic cathedral glazing. In: Gerhard Richter - Chance, the Cologne Cathedral Window and 4900 Colors. Cologne 2007, p. 23f.
- ^ Hans-Georg Lippert: Historicism and cultural criticism, The Cologne Cathedral 1920-1960. Cologne 2001, p. 386.
- ↑ Arnold Wolff: The endangerment of the cathedral and the work of the Dombauhütte; in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 73
- ↑ Koelnreporter.de: Landmarks: Cologne Cathedral and Dombauhütte
- ↑ Koelnreporter.de: Landmarks: Cologne Cathedral and Dombauhütte
- ^ Arnold Wolff: The completion of the cathedral in the 19th century; in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 52
- ↑ The following were used: Trachyte and latite from Drachenfels , from Stenzelberg , Wolkenburg and Berkum ; Sandstone from Schlaitdorf , Obernkirchen and Kelheim , limestone from Krensheim and Savonnières and basalt lava from Mayen , Niedermendig and Londorf . Arnold Wolff: Stones of Cologne Cathedral -… ( Memento from March 14, 2012 in the Internet Archive ), series of articles in the Kölner Domblatt , 1972
- ↑ Deutschlandfunk Kultur.de: Permanent construction site Cologne Cathedral
- ↑ Arnold Wolff: The endangerment of the cathedral and the work of the Dombauhütte; in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 82
- ↑ dpa : Why the Cologne Cathedral has to stay black. In: DerWesten , March 9, 2015.
- ↑ Arnold Wolff: The endangerment of the cathedral and the work of the Dombauhütte; in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 80
- ↑ Koelner Dom.de: History of Cologne cathedral workshop
- ↑ Fraunhofer IRB : Laboratory tests on the effect of stone protection and preservation agents on the natural stones at Cologne Cathedral. ( Memento from July 19, 2012 in the web archive archive.today ).
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 10
- ↑ Christoph Driessen: How did Cologne Cathedral come about? In: G history
- ^ Andreas Rossmann in FAZ.net: The force on the Rhine
- ^ Spiegel.de: Church - A wonderful spectacle
- ^ Andreas Rossmann in FAZ.net: The force on the Rhine
- ^ Andreas Rossmann in FAZ.net: The force on the Rhine
- ^ Spiegel.de: Konrad Adenauer's state funeral
- ^ Andreas Rossmann in FAZ.net: The force on the Rhine
- ↑ Dreikoenige-koeln.de: Illumination for the cathedral pilgrimage
- ↑ UNESCO: Cologne Cathedral removed from the Red List , press release of the German UNESCO Commission of July 11, 2006.
- ↑ koelner-dom.de: Pius Päpstefenster
- ↑ Kölner Stadtanzeiger: Memorial plaque commemorates Johannes XXIII.
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 52
- ↑ https://www.koelner-dom.de/rundgang/lösungen/elmar-hillebrand-papstgedenkafel-1985/info/
- ↑ Papal relic comes to the cathedral. In: koelner-dom.de , November 27, 2013.
- ↑ Hannah Radke: Loss for those who pray. In: Domradio from June 6, 2016.
- ↑ Cologne Cathedral has a new papal relic
- ↑ 50th Cathedral Report - From October 2008 to September 2009, by Barbara Schock-Werner, p. 42f.
- ↑ zeit.de: Pope Francis looks down from Cologne Cathedral
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 59f
- ^ Werner Meyer-Barkhausen: The great century of Cologne church architecture 1150 to 1250, Cologne 1952
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 63 ff
- ^ Arnold Wolff: The perfect cathedral, p. 43f
- ^ Arnold Wolff: The perfect cathedral, p. 45
- ↑ e.g. Marc Steinmann: Considerations on the Gothic transept of Cologne Cathedral. In: Kölner Domblatt 72, 2007, pp. 145f
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 37ff
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, pp. 37, 41
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 37ff
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 96f
- ^ Arnold Wolff: How to build a cathedral, in: Arnold Wolff et. al. (Ed.): The Gothic Cathedral in Cologne, Cologne 1986, p. 16
- ^ Arnold Wolff: The perfect cathedral, p. 17
- ↑ Georg Schelbert: The choir floor plans of the cathedrals of Cologne and Amiens, in: Kölner Domblatt 62 (1997), p. 85ff. Arnold Wolff: A new plan of the cathedral, in: Kölner Domblatt 53 (1988), p. 57
- ↑ Georg Schelbert: The choir floor plans of the cathedrals of Cologne and Amiens, in: Cologne Domblatt 62 (1997), S. 110th
- ↑ Arnold Wolff: The perfect cathedral, The Cologne Cathedral and the cathedrals of the Ile-de-France , in: Dombau und Theologie im Medieval Cologne, Festschrift for the 750th anniversary of the laying of the foundation stone of Cologne Cathedral and for the 65th birthday of Joachim Cardinal Meisner ( Studies on Cologne Cathedral, Volume 6), Cologne 1998, p. 36
- ↑ Arnold Wolff, The Perfect Cathedral, p. 33ff
- ↑ Measurements: Cologne 43.86; Amiens 39.02 (choir) and 32.90 (nave); Reims 24.06; Chartres 16.42. Cf. Arnold Wolff, The Perfect Cathedral, p. 35
- ^ Arnold Wolff: The perfect cathedral, p. 37f
- ^ Arnold Wolff: The perfect cathedral, p. 47
- ↑ Arnold Wolff: The endangerment of the cathedral and the work of the Dombauhütte; in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 73
- ↑ G. Dehio, G. von Bezold: The church architecture of the west, historically and systematically presented, Stuttgart 1901, p. 276f
- ↑ In Amiens: 240 cm
- ↑ Cross-section of the crossing piers: Cologne - 3.52 sqm / Amiens 4.52 sqm. Diameter of the central nave piers: Cologne 1.92 and 2.13 m / Amiens 2.20 m. Compare Arnold Wolff: The perfect cathedral p. 35
- ↑ Hiltrud Kier: Cologne, City Guide Architecture and Art, Stuttgart 2008, p. 45
- ^ Rolf Lauer: Die Glasmalereien, in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 89
- ↑ Joachim Scheer: Failure of buildings, causes, lessons: Volume 2: Hochbauten und Sonderkonstruktionen, Berlin 2001, p. 21ff
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 54
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 52ff
- ^ Extrapolation by master builder Zwirner on the occasion of the planning for the nave. Cf. Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral Reading and Picture Book, Cologne 1990, p. 44f
- ^ G. Dehio, G. von Bezold: The church architecture of the west, historically and systematically presented, Stuttgart 1901, p. 291
- ^ Arnold Wolff: How do you build a cathedral ?, in: Arnold Wolff et al. (Ed.): The Gothic Cathedral in Cologne, Cologne 1986, p. 16
- ↑ Altenberger Dom 39,900 m3, Liebfrauenkirche Trier 38,100 m3. Cf. Arnold Wolff: How do you build a cathedral ?, in: Arnold Wolff et al. (Ed.): The Gothic Cathedral in Cologne, Cologne 1986, p. 20
- ↑ Torso of the south tower (west and south side) 4700 square meters, Notre-Dame Paris 2490 square meters, Amiens 2240 square meters, Strasbourg 3940 square meters without high tower. Cf. Arnold Wolff: How do you build a cathedral ?, in: Arnold Wolff et al. (Ed.): The Gothic Cathedral in Cologne, Cologne 1986, p. 20
- ^ Arnold Wolff: How do you build a cathedral ?, in: Arnold Wolff et al. (Ed.): The Gothic Cathedral in Cologne, Cologne 1986, p. 16
- ↑ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 60
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 62
- ↑ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 50
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 156ff
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, p. 63ff
- ^ Johann Josef Böker, Michael von Savoyen and the facade of the Cologne Cathedral, Cologne 2018, pp. 63, 71f
- ↑ Werner Schäfke: Gotische Kathedralen, in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 30.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 103f. Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 43f
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 44f
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 103f
- ^ Arnold Wolff: The completion of the cathedral in the 19th century, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, p. 45f
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 104.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 110.
- ^ Arnold Wolff: The construction of the Gothic Cologne Cathedral in the Middle Ages, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral Reading and Picture Book, Cologne 1990, p. 39.
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 27.
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 27.
- ^ Arnold Wolff: The perfect cathedral, p. 37f
- ↑ Peter Kurmann: Perfection and Preciousness, The Choir Pillar Figures in the Architectural Context of the Cologne Cathedral, in: Klaus Hardering (ed.): The Choir Pillar Figures of the Cologne Cathedral, Kölner Domblatt 2012, p. 304f
- ↑ Georg Schelbert: The choir floor plans of the cathedrals of Cologne and Amiens, in: Kölner Domblatt 62 (1997), p. 89ff.
- ↑ Sabine Koch: The Zackenstil in Monumental Painting on the Lower Rhine between 1200 and 1300 (Diss.), Wiesbaden 2013, p. 83ff, Archive Uni Heidelberg.de: Volltext
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 34ff
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the chapel chapels of Cologne Cathedral under Archbishop Walram von Jülich (1332–1349). In: Kölner Domblatt , yearbook of the Zentral-Dombauverein. Vol. 67, Verlag Kölner Dom, Cologne 2002, ISBN 3-922442-48-X , pp. 137–194. ( Corpus Vitrearum CVMA Freiburg ), p. 184ff
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 62.
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 61f
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the chapel chapels of Cologne Cathedral under Archbishop Walram von Jülich (1332–1349). In: Kölner Domblatt , yearbook of the Zentral-Dombauverein. Vol. 67, Verlag Kölner Dom, Cologne 2002, ISBN 3-922442-48-X , pp. 137–194. ( Corpus Vitrearum CVMA Freiburg ), p. 154f
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, pp. 23f, 43f
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 26.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 83
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 14ff.
- ↑ Hiltrud Kier: Cologne, City Guide Architecture and Art, Stuttgart 2008, p. 45
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 23.
- ↑ Hiltrud Kier: Cologne, Reclams City Guide Architecture and Art, Stuttgart 2008, p. 45.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 56.
- ^ Rüdiger Becksmann : Picture window for pilgrims. For the reconstruction of the second glazing of the chapel chapels of Cologne Cathedral under Archbishop Walram von Jülich (1332–1349). In: Kölner Domblatt, yearbook of the Zentral-Dombauverein. Volume 67, Verlag Kölner Dom, Cologne 2002, ISBN 3-922442-48-X , p. 142.
- ↑ Ulrike Brinkmann: Older Bible Window, around 1260. In: koelner-dom.de , accessed on January 29, 2017.
- ↑ Frederike Buhse: Cologne Cathedral: The giant in numbers | Quarks. March 11, 2019, accessed May 5, 2019 .
- ^ Johann Josef Böker: Michael von Savoyen and the crack of the facade of the Cologne Cathedral, Cologne 2018
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, pp. 57–58.
- ↑ Hans-Georg Lippert: Historicism and cultural criticism: The Cologne Cathedral 1920–1960. (Studies on Cologne Cathedral, Vol. 7), Verlag Kölner Dom, Cologne 2001, ISBN 3-922442-33-1 , pp. 374–375.
- ↑ dombau-koeln.de: The Michaelsportal
- ↑ Johann Josef Böker: Michael von Savoyen and the facade crack of the Cologne Cathedral, Cologne 2018, p. 158
- ^ Klaus Gereon Beuckers: The Cologne Cathedral . Scientific Book Society, Darmstadt 2004, ISBN 3-534-15737-0 , pp. 95 f .
- ^ Johann Josef Böker: Michael von Savoyen and the facade crack of the Cologne Cathedral, Cologne 2018, p. 65f
- ↑ Udo Mainzer: Small Illustrated Architectural History of the City of Cologne, Cologne 2017, p. 58f
- ↑ Christian Freilang: Cologne and Prague, The Prager St. Vitus Cathedral as a successor to the Cologne Cathedral, in: Dombau und Theologie im Medieval Cologne (Studies on the Cologne Cathedral, Volume 6), p. 60.
- ^ Klaus Gereon Beuckers: The Cologne Cathedral . Scientific Book Society, Darmstadt 2004, ISBN 3-534-15737-0 , pp. 95 f .
- ↑ John Hültz in Strasbourg and John of Cologne and Burgos
- ↑ Dombau koeln.de
- ^ Kai Pfundt: Cologne Cathedral: A Masterpiece of Medieval Architecture . In: General-Anzeiger . Bonner newspaper printer and publishing house H. Neusser GmbH, Bonn August 4, 2014 ( general-anzeiger-bonn.de [accessed April 6, 2018]).
- ↑ Rundschau online: the roofer from Cologne Cathedral
- ^ Arnold Wolff , Barbara Schock-Werner : The Cologne Cathedral . Greven Verlag Cologne, Cologne 2015, ISBN 978-3-7743-0658-5 , pp. 55 .
- ↑ Willy Weyres: The restoration work on the cathedral in the years 1967–1969 (autumn) . In: Kölner Domblatt 1969, 30th episode, pp. 113–120, here p. 118, ISSN 0450-6413 .
- ^ Willy Weyres: The restoration work on the cathedral in the years 1969 (autumn) to 1971 (autumn) . In: Kölner Domblatt 1971, 33./34. Episode, pp. 175-182, here p. 179, ISSN 0450-6413 .
- ^ Hiltrud Kier: Reclams City Guide, Architecture and Art Cologne, Stuttgart 2008, p. 51.
- ↑ Udo Mainzer: Small Illustrated Architectural History of the City of Cologne, Cologne 2017, p. 60
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through the Cologne Cathedral, Cologne 2020, p. 184
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through the Cologne Cathedral, Cologne 2020, p. 183f
- ↑ Ute Kaltwasser: Cologne Cathedral as nobody knows it. DuMont Buchverlag, Cologne 2002.
- ↑ https://www.koelner-dom.de/bedeutendewerke/dreikoenigenschrein-vorderseite-um-1200-1
- ↑ https://www.baukunst-nrw.de/objekte/Koelner-Dom--180.htm
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, p. 33.
- ^ Udo Mainzer: Small illustrated art history of the city of Cologne, Cologne 2015, p. 39
- ↑ Madonna of Milan. Retrieved December 4, 2019 .
- ↑ Georg Dehio: History of German Art, Vol. 2, The late Middle Ages from Rudolf von Habsburg to Maximilian I, Die Kunst der Gotik, Berlin, Leipzig 1930, pp. 95f
- ↑ Robert Suckale: Dating questions are questions of understanding, on the classification of the Cologne cathedral choir statues, in: Klaus Hardering (ed.): The choir pillars of the Cologne Cathedral, Festschrift Barbara Schock-Werner, Kölner Domblatt 2012, Cologne 2012, p. 284
- ↑ Madonna of Milan. Retrieved December 4, 2019 .
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 28
- ↑ Dethard von Winterfeld , in: Katharina Bornkessel: Die Drolerien of the choir screen paintings of the Cologne Cathedral, Cologne 2019, p. 8
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 27
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, p. 33.
- ^ Paul Clemen , Heinrich Neu , Fritz Witte : The Cologne Cathedral. 1937, 2nd increased edition 1938, Die Kunstdenkmäler der Rheinprovinz , Sixth Volume, III. Department, ISBN 3-590-32101-6 , ( Internet archive )
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 31
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, p. 35.
- ^ Katharina Bornkessel: The drolleries of the choir screen paintings of the Cologne Cathedral, Cologne 2019, p. 26ff
- ↑ Katharina Bornkessel: The drolleries of the choir screen paintings of the Cologne Cathedral, Cologne 2019, p. 179.
- ↑ Koelner-dom.de: Choir screen painting
- ↑ Katharina Bornkessel: The drolleries of the choir screen paintings of the Cologne Cathedral, Cologne 2019, p. 167
- ↑ Robert Suckale: Dating questions are questions of understanding, on the classification of the Cologne Cathedral Choir Statues, in: Klaus Hardering (ed.): Die Chorpfeilerfiguren des Kölner Domes, Kölner Domblatt 2012, p. 287.Suckale argues that all similar style successors were not created until 1330. In doing so, he corrects his assessment of 1979/80, when he dated the Cologne cathedral pillars to not much later than 1290/1300. Cf. Robert Suckale: The Cologne Cathedral Choir Statues. Cologne and Paris sculpture in the second half of the 13th century, in: Kölner Domblatt 44/45, 1979/80, pp. 223–254.
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 74
- ↑ Peter Kurmann: Perfection and Preciousness, The Choir Pillar Figures in the Architectural Context of the Cologne Cathedral, in: Klaus Hardering (ed.): The Choir Pillar Figures of the Cologne Cathedral, Kölner Domblatt 2012, p. 302f
- ^ Rolf Lauer: Artworks in the Cologne Cathedral, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral Reading and Picture Book, Cologne 1990, p. 99f
- ↑ Peter Kurmann: Perfection and Preciousness, The Choir Pillar Figures in the Architectural Context of the Cologne Cathedral, in: Klaus Hardering (ed.): The Choir Pillar Figures of the Cologne Cathedral, Kölner Domblatt 2012, p. 291f
- ↑ Peter Kurmann: Perfection and Preciousness, The Choir Pillar Figures in the Architectural Context of the Cologne Cathedral, in: Klaus Hardering (ed.): The Choir Pillar Figures of the Cologne Cathedral, Kölner Domblatt 2012, p. 297
- ↑ Kölner Dom.de: Choir pillar figures
- ↑ Marc Peez: The color version of the choir pillars of the Cologne Cathedral, in: Klaus Hardering (ed.): Die Chorpfeilerfiguren des Kölner Domes, Kölner Domblatt 2012, p. 231
- ↑ Barbara Beaucamp-Markowsky: The garment patterns of the choir pillars and their role models, in: Klaus Hardering (ed.): Die Chorpfeilerfiguren des Kölner Domes, Kölner Domblatt 2012, p. 254f
- ↑ The Parisian tradition emphasizes Robert Suckale: The Cologne Cathedral Statues. Cologne and Paris sculpture in the second half of the 13th century, in: Kölner Domblatt 44/45 (1979/1980), p. 223ff. Bernd Wedemeyer underlines the influence from Reims: The pillar figures of the Cologne Cathedral Choir and their style-historical relationship to Reims, Braunschweiger Kunsthistorische Arbeit Vol. 1, Braunschweig 1990.
- ^ Arnold Wolff: The Cologne Cathedral, supplemented and edited by Barbara Schock-Werner, Cologne 2015, p. 32
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, p. 31.
- ↑ Barbara Schock-Werner, Maria Jonas, Lucia Mense: The angels making music in Cologne Cathedral , Cologne 2012, p. 2ff
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 32
- ↑ www.koelner Dom.de: Angel cycle in the arcade peaks
- ↑ Peter Springer: The floor mosaic in Cologne Cathedral. History and program. In: The Cologne Cathedral in the century of completion. Exhibition catalog of the historical museums in the Josef-Haubrich-Kunsthalle Cologne, Cologne 1980, Vol. 2, pp. 354-362.
- ↑ Floor mosaic. In: Metropolitan Chapter of the High Cathedral in Cologne. Retrieved February 12, 2020 (with detailed views of the mosaic).
- ^ Paul Clemen: The Cologne Cathedral . Verlag L. Schwan, Düsseldorf 1937, p. 203 .
- ↑ Peter Springer: The "lost" mosaic from the axis chapel of Cologne Cathedral . In: Kölner Domblatt 1975 . tape 40 . JP Bachem Publishing House, Cologne 1975, p. 177-204 .
- ↑ Reiner Dieckhoff: The medieval furnishings of the Cologne Cathedral, in: Arnold Wolff (ed.): The Gothic Cathedral in Cologne; Vista Point Verlag, Cologne 2008 p. 48
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 37ff
- ↑ Reiner Dieckhoff: The medieval furnishings of the Cologne Cathedral, in: Arnold Wolff (ed.): The Gothic Cathedral in Cologne; Vista Point Verlag, Cologne 2008, p. 47
- ^ Arnold Wolff: The Cologne Cathedral, edited by Barbara Schock-Werner, Cologne 2015, p. 36
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the chapel chapels of Cologne Cathedral under Archbishop Walram von Jülich (1332–1349). In: Kölner Domblatt , yearbook of the Zentral-Dombauverein. Vol. 67, Verlag Kölner Dom, Cologne 2002, ISBN 3-922442-48-X , p. 185. ( Corpus Vitrearum CVMA Freiburg )
- ↑ www.dombau-koeln.de: high altar
- ↑ Joseph Braun: The Christian altar in its historical development , Munich 1924, I, p. 256 and 340–341
- ↑ www.dombau-koeln.de: high altar
- ↑ www.koelner-dom.de: high altar before 1322
- ↑ Hugo Borger (Ed.): The Cologne Cathedral in the century of its completion. Catalog for the exhibition of the historical museums in the Josef-Haubrich-Kunsthalle Cologne from October 16, 1980 to January 11, 1981, Cologne 1980, p. 37.
- ↑ Barbara Schock-Werner: Domgeschichten, with retired cathedral master builder through the Cologne Cathedral , Cologne 2020, p. 88
- ↑ Barbara Schock-Werner quoted. According to Aachener Zeitung: Altar panels are returning after more than 100 years
- ↑ Alexandra Koenig: The beginnings of Cologne panel painting , Düsseldorf 2001 (diss.), Uni-duesseldorf.de: Doc p. 145
- ↑ Norbert Wolf : sehepunkte.de: Review of The Claren Altar in Cologne Cathedral
- ↑ koelner-dom.de: Clear altar back
- ^ Udo Mainzer, Small illustrated art history of the city of Cologne, Cologne 2015, pp. 80f
- ↑ Klaus Carl: German Painting, From the Middle Ages to New Objectivity, New York 2014, p. 27
- ↑ Birgit Lambert: Agilolphus Altar, around 1520. From: koelner-dom.de , accessed on September 2, 2017
- ↑ koelner-dom.de: Dreikoenigenaltar
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 20
- ↑ a b Joseph Hoster: Signpost through Cologne Cathedral . Greven Verlag, Cologne 1965, p. 4, 24 .
- ^ Arnold Wolff , Barbara Schock-Werner : The Cologne Cathedral . Greven Verlag Cologne, Cologne 2015, ISBN 978-3-7743-0658-5 .
- ↑ Birgit Lambert: Tilman van der Burch, St. Christophorus on koelner-dom.de
- ^ Georg Dehio : Handbook of German Art Monuments. North Rhine-Westphalia I. Rhineland. Deutscher Kunstverlag Munich, Berlin 2005, ISBN 3-422-03093-X , p. 585.
- ↑ Udo Mainzer, Small Illustrated Art History of the City of Cologne, Cologne 2015, p. 115
- ↑ Walter Schulten: Triumph of the Eucharist. Tapestries based on designs by PP Rubens (masterpieces from Cologne Cathedral 2). Cologne Cathedral Publishing House, Cologne 1986.
- ↑ The organs in Cologne Cathedral
- ↑ For disposition on the website of the organ building company
- ↑ a b The cathedral organists
- ^ Koelner-dom.de: Marienorgel
- ↑ Jost Rebentisch: Die Domuhr, in: Werner Schäfke (ed.): How time flies, exhibition in the Kreissparkasse Cologne and in the Cologne City Museum about the turn of the year 1999/2000, Cologne 1999, p. 46
- ↑ a b Christian Schnurbus: The Mannhardt cathedral clock, its predecessors and clockmakers . In: Kölner Domblatt . 83rd episode. Verlag Kölner Dom, Cologne 2018, ISBN 978-3-922442-94-3 , p. 129-165 .
- ↑ Kölner Dom.de: nave clock
- ↑ Kölner Dom.de: Restoration of the cathedral clock completed
- ↑ Robert Boecker: From the dark into the light - New lighting of the cathedral presented. In: Church newspaper for the Archdiocese of Cologne. 42/08, October 17, 2008, p. 52.
- ↑ Hiltrud Kier: Cologne, Reclams Art and Architecture Guide, Cologne 2008, p. 55
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 43
- ↑ https://www.koelner-dom.de/grabmaeler/grabmal-rainald-von-dassel-um-1290
- ↑ Ulrich Back: Tour: Crypt. In: koelner-dom.de , accessed on July 19, 2017.
- ↑ Marc Steinmann: Tour: Grave Chamber of Cardinal Frings. In: koelner-dom.de , accessed on July 19, 2017.
- ↑ Terra X : series of images: Architecture and Construction Technology Cologne Cathedral. In: ZDF , March 4, 2010, see Fig. 5.
- ↑ "Opening times" or "Tower ascent" (with entrance fee). In: koelner-dom.de
- ^ Markus Eckstein: The Cologne Cathedral. Bachem, Cologne 2008, ISBN 978-3-7616-2083-0 .
- ↑ Spon December 5, 2010: http://www.spiegel.de/wirtschaft/jura-kurios-wem-gehoert-eigentlich-der-koelner-dom-a-725153-6.html
- ^ Guido Assmann new landlord at Cologne Cathedral | Worship | DOMRADIO.DE - Catholic News. Retrieved September 25, 2020 .
- ↑ Height and weight are irrelevant Joachim Frank Kölner Stadt-Anzeiger February 2, 2019
- ↑ rundschau-online.de: Bag controls From now on, stricter security conditions apply in Cologne Cathedral
- ↑ Kulturstiftung Kölner Dom: facts and figures
- ↑ Kulturstiftung Kölner Dom - data
- ↑ Kulturstiftung Kölner Dom: Facts and Figures Klaus Hardering, Leonie Becks: Reports, here: Conservation expenses Cologne Cathedral . In: Michael Hauck, Klaus Hardering (ed.): Kölner Domblatt. Yearbook of the Central Cathedral Building Association . tape 78 . Verlag Kölner Dom, Cologne 2013, ISBN 978-3-922442-83-7 , p. 304 .
- ^ Frank Piotrowski: Property of the Archdiocese of Cologne. Cologne Cathedral for 27 euros. In: Deutschlandfunk , February 18, 2015.
- ↑ Domprobst Feldhoff in Bild.de: What is the cathedral really worth?
- ↑ a b New guide to the fauna and flora of Cologne Cathedral. In: domradio.de. August 22, 2014, accessed March 30, 2017 .
- ↑ Andreas Fasel: Ecology: What lives on and around Cologne Cathedral. In: welt.de . August 24, 2014, accessed March 30, 2017 .
- ^ Dome bees. In: imkerverein-dormagen.de. September 10, 2014, accessed July 13, 2017 .
- ^ Mathias Deml: Dombienen . In: Peter Füssenich, Klaus Hardering (ed.): Kölner Domblatt. Yearbook of the Central Cathedral Building Association . tape 80 . Cologne Cathedral, 2015, p. 277 .
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 60f
- ↑ Uta Winterhager: The transformation of the plate, in: Bauwelt 15.2017, p. 16f
- ^ Carl Dietmar: The medieval Cologne, Cologne 2006, p. 268f
- ↑ https://www.koeln-lese.de/index.php?article_id=166
- ↑ https://www.koelner-dom.de/rundgang/bedeutendewerke/riss-f-ende-des-13-jahrhunderts/sagen-legende/
- ^ Carl Dietmar: The medieval Cologne, Cologne 2006, p. 268
- ^ Johann Wolfgang von Goethe: Berlin edition. Art theoretical writings and translations [Volume 17–22], Volume 20, Berlin 1960 ff.
- ↑ Quoted from Heinrich Böll, Werke. Essayist writings and speeches 2, 1964-1972 , Kiepenheuer & Witsch, Cologne 1979, pp. 213-215
- ↑ No. 3. Document on the dissolution of the parish at the High Cathedral of St. Petrus, Cologne, (Dompfarrei), its union with the new parish / parish of St. Apostles, as well as on the exemption of the High Cathedral and the clergy working there. In: Official Journal of the Archdiocese of Cologne , January 1, 2010, p. 5, (PDF; 64 p., 507 kB).
- ^ Statutes of the Cologne Metropolitan Chapter of January 1st, 2010 , § 18.
- ↑ TV show Who knows something , repeated on rbb on June 28, 2018.
- ↑ See Muslims praying in Cologne Cathedral. In: Die Zeit , February 12, 1965.
- ↑ DOMiT (Ed.): 50 Years of Migration from Turkey ( Memento from January 4, 2015 in the Internet Archive ), p. 21, (PDF file; 14.1 MB), DOMiD 2011. See also: Aytac Eryilmac: ( Red.): 40 years of foreign homeland: Immigration from Turkey to Cologne. Volume accompanying the exhibition from October 27 to November 23, 2001 in the City Hall of Cologne, Cologne 2001, ISBN 3-9808030-0-7 .
- ↑ ksta.de: History of the house number
- ↑ a b c d e Planet-Wissen.de: Superlatives of Cologne Cathedral
- ↑ a b c d e f g h i j k l m n o p q r s t u v w Cologne Cathedral: The Cathedral in Numbers
- ^ Arnold Wolff, Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 10.
- ↑ traveling-europe.eu: The finial in front of Cologne Cathedral
- ↑ Andreas Friesecke, Die Audio-Enzyklopädie: A reference work for sound engineers , 2007, p. 100.
- ^ Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 64.
- ↑ a b c d WDR: Discoveries in Cologne Cathedral , p. 19.
- ↑ Domradio.de Kölner Petersglocke in second place
- ↑ Kulturstiftung Kölner Dom: facts and figures
- ↑ Domprobst Feldhoff on Bild.de What is the cathedral really worth?
| before | Tallest building in the world | after that |
| Rouen Cathedral | (157 m) 1880-1884 |
Washington Monument |
Cathedrals : Aachen Cathedral | Augsburg Cathedral | Bamberg Cathedral | St. Hedwig's Cathedral Berlin | Catholic Court Church Dresden | Eichstätt Cathedral | Erfurt Cathedral | Essen Minster | Freiburg Cathedral | Fulda Cathedral | Cathedral of St. Jakobus Görlitz | St. Mary's Cathedral Hamburg | Hildesheim Cathedral | Cologne Cathedral | Limburg Cathedral | Cathedral St. Sebastian Magdeburg | Mainz Cathedral | Frauenkirche Munich | St. Paul Cathedral Münster | Cathedral St. Peter Osnabrück | Paderborn Cathedral | St. Stephan Cathedral Passau | Regensburg Cathedral | Cathedral of St. Martin Rottenburg | Speyer Cathedral | Trier Cathedral | Wurzburg Cathedral
Concathedrals : Dom St. Petri Bautzen ( Simultankirche ) | Basilica of St. Peter Dillingen | Freising Cathedral | St. Eberhard Cathedral in Stuttgart
Cultural heritage:
Aachen Cathedral (1978) |
Speyer Cathedral (1981) |
Würzburg Residence with Hofgarten and Residenzplatz (1981) |
Pilgrimage Church on the Wies (1983) |
Palaces of Augustusburg and Falkenlust in Brühl (1984) |
Cathedral and Michaeliskirche in Hildesheim (1985) |
Roman monuments, cathedral and Church of Our Lady in Trier (1986) |
Hanseatic City of Lübeck (1987) |
Palaces and Parks of Potsdam and Berlin (1990) |
Lorsch Abbey (1991) |
Rammelsberg mine, old town of Goslar and Upper Harz water management (1992) |
Maulbronn Monastery Complex (1993) | Old Town of Bamberg (1993) |
Collegiate Church , Castle and Old Town of Quedlinburg (1994) |
Völklinger Hütte (1994) |
Cologne Cathedral (1996) |
The Bauhaus and its sites in Weimar, Dessau and Bernau (1996, 2017) |
Luther memorials in Eisleben and Wittenberg (1996) |
Classic Weimar (1998) |
Museum Island Berlin (1999) |
Wartburg (1999) |
Dessau-Wörlitz Garden Realm (2000) |
Reichenau Monastery Island (2000) |
Zeche Zollverein and coking plant Zollverein (2001) |
Upper Middle Rhine Valley (2002) |
Old towns of Stralsund and Wismar (2002) |
Bremen Town Hall and Bremen Roland (2004) |
Fürst-Pückler-Park Bad Muskau (2004) |
Limits of the Roman Empire : Upper Germanic-Raetian Limes (2005) |
Old town of Regensburg with Stadtamhof (2006) |
Settlements of Berlin Modernism (2008) |
Prehistoric pile dwellings around the Alps (2011) |
Fagus factory in Alfeld (2011) |
Margravial Opera House Bayreuth (2012) |
Bergpark Wilhelmshöhe (2013) |
Carolingian Westwork and Civitas Corvey (2014) |
Hamburger Speicherstadt and Kontorhausviertel with Chilehaus (2015) |
The architectural work of Le Corbusier : two houses in the Weißenhofsiedlung (2016) |
Caves and Ice Age Art of the Swabian Alb (2017) |
Archaeological border complex Haithabu and Danewerk (2018) |
Naumburg Cathedral (2018) |
Ore Mountains / Krušnohoří Mining Region (2019) |
Augsburg water management system (2019)
Natural heritage:
Messel Pit (1995) |
Wadden Sea of the North Sea (2009) |
Old beech forests (2011)
Former world heritage: the
Dresden Elbe Valley cultural landscape (2004–2009)
Coordinates: 50 ° 56 ′ 28.6 " N , 6 ° 57 ′ 29.4" E