Cologne cathedral window
The Cologne cathedral windows create a colored light in the cathedral that in the Middle Ages was considered a perceptible impression of God's omnipotence. In the spirit of the Neo-Platonic - scholastic light mysticism, the Gothic building system of the cathedral was designed to create the largest possible window areas in order to achieve the desired color tone. In Cologne , the builders created a pastel-colored lighting effect in the 14th century that remained unique among medieval churches. It is preserved in the cathedral choir to this day. The cathedral has a total of around 10,000 m² of window area, around 1,500 m² of which dates from the Middle Ages.
Color effect in the cathedral
The Gothic building system was developed in France in the 12th century to bathe the cathedral in tinted light with the largest possible window areas. For this purpose, the loads of the vault are transmitted via cross ribs to the pillars, which are held from the outside by the buttress . The walls can be broken up into tracery and filled with colored glass: the architecture "only appears as a filigree stone framework", and the stained glass that is clamped into it takes on a key position in the cathedral as a total work of art . Gothic churches, as Cologne cathedral builder Peter Füssenich put it , "are built of light."
Suger , the Abbot of St. Denis , had made a major contribution to this design. He was guided less by structural insights than by theological considerations. Because according to the neo-Platonic - scholastic conviction prevailing at the time, light was a perceptible property that points to the one divine origin. Light proved the omnipotence of God; this is how the light mysticism of the church teacher Pseudo-Dionysius Areopagita , widely read in the 12th century, was understood. In this understanding, the Gothic cathedral should become a light space, which was interpreted as a reflection of the sky cathedral. “The mystical glow of the colored windows”, however, made the presence of God palpable almost physically and put visitors to the church into a state of cultic enchantment. A tremendous force of images emanated from the colored windows that is difficult to understand today. The lighted-through Gothic cathedral became a place that made it possible to experience God through its subdued colors.
The Cologne residents built the fourth high-Gothic cathedral, which, like its predecessor buildings in Chartres (from 1194), Reims (from 1211) and Amiens (from 1218), followed these principles. In particular, the high-Gothic building system of Cologne Cathedral was designed from the start to largely dissolve the walls and create the largest possible window areas. At the cathedral, like those in Saint Denis , the builders decided to glaze even the triforium, although this required a particularly complicated construction for draining water from the aisle roofs. Of all the large cathedrals, Cologne has the largest window area in relation to the length of the church. This is why the cathedral is also referred to as an “extremely harmonious glass house”.
As important as the transparency and the color effect were for the Cologne Cathedral, the Cologne implementation differed significantly from the French models. As a result of the impressive color tone of Chartres, a dense, red-blue color of glass was created in most of the Gothic churches until beyond the year 1250, which was supposed to reproduce the royal color purple.
In Cologne, however, there was a different relationship to light: In the cathedral, attempts were made to create a lighter color tone than was usual in French cathedrals. This was possibly influenced by the preferred practice of the Cistercians for white and silver grisaille discs. Maybe another aesthetic conception of mysticism prevailed, which wanted to imagine the light of the sky in more delicate and brighter colors.
The glazing of the choir, completed around 1340, combined intensely colored figure bands in both the upper storey and in the chapel wreath with high ornamental strips made of light-colored panes. These let - compared to the French models - a lot of light into the church. In the figure representation in the lower part of the window, the panes in the upper storey show pink, light green and yellow colors, which are combined with light blue and a light red. In the ambulatory of the choir, a more intense color palette was chosen for the representations of the figures, in which the colors were placed next to each other on small surfaces to create a jewel-like glow. Due to the small-scale subdivision, the color values lose their independence. All in all, a delicate, pastel-like color tone was created in the choir, which in this consistency remained unique among the medieval churches in Germany. Despite all the renovations that have taken place over the centuries, it has been consistently preserved to this day; it still shapes the lighting in the choir to this day.
In the 19th century, when the cathedral was completed, it was known how important stained glass was to the effect of the cathedral. Sulpiz Boisserée stated in his 1842 cathedral work that in the Middle Ages the cathedral was understood as a "symbol of the heavenly Jerusalem built from precious stones ". This symbol was "made present in the most surprising way" by the scope and the effect of the colored glass windows. In extensive implementation of Boisserée's recommendations, the completed building sections of the cathedral were therefore provided with a richly colored light sound by the builders in the 19th century. The windows used in the nave and transept had enhanced the color scheme in the cathedral with intense, red and purple-ground colors, without completely abandoning the high Gothic tradition. The neo-Gothic glazing in the upper storey, which is essential for the impression of light in the cathedral, faithfully continued the combination created in the Middle Ages of a colored band of figures with a bright ornamental glazing rising behind it. The figures of the so-called Welter cycle, however, were more colorful than the medieval kings in the high choir. The windows from the Bavarian cycle in the south nave, reminiscent of oil paintings, and the large west portal window by Carl Julius Milde , which creates a purple color impression, set additional strong colored accents . Cathedral builder Barbara Schock-Werner judged in 2007 that it “must have been a magnificent sight and filled the room with wonderful light.” However , this light impression has been lost due to the destruction in the Second World War and the distance between post-war modernism and the “brutal colourfulness” of the neo-Gothic .
The color tone in the transept has been dominated by the newly created Richter window in the south transept facade since 2007 . This window with 72 colors on over 11,000 squares is completely irradiated by the midday sun and therefore casts an intense, multi-faceted light into the cathedral "with an incomparable presence". When developing the window, special care was taken to ensure that the colors achieved the desired festive impression, which should also harmonize with the colourfulness of the neo-Gothic windows. Cathedral builder Barbara Schock-Werner, who closely followed the five-year development of the Richter window, explained: “You have to check glass painting on the spot. The colors change under light. That's why we made 17 drafts for this window until we had it. ”Some of the color drafts had been discarded as being too Christmassy or too reminiscent of bathroom colors. For the color scheme that was ultimately used, the artist Gerhard Richter selected a particularly large number of green and yellow tones, which produce a differentiated color tone when transmitted through.
With the realization of the Richter window, the cathedral building is again connected to the neo-Gothic ideas about the lighting effect in the cathedral. In the transept, this lighting effect is also achieved through the ongoing reconstruction of the upper facade glazing and the reinstallation of the Paul and Peter windows. Modern artists can also recognize something transcendent in the effect of the church windows: “In the windows of these walls and in the walls, which are also sources of light, something else reveals itself, namely that the light that is Christ is able to penetrate the walls . "
In contrast, the light impression in the nave is still influenced by post-war modernism. The then responsible cathedral builder Willy Weyres had rejected the “brutal colourfulness” of the Bavarian windows and wanted to achieve a lighter, in his perception modern color tone. The upper facade windows are filled with ornamental panes, which mainly combine blue, gray and green colors. This sometimes creates a pale, but especially when exposed to sunlight, a dull, blue-gray light in the nave. Today the dissatisfaction with the pale gray panes predominates.
history
Gothic windows in the choir
The cathedral builders put in the glass panes as soon as a construction section of the rising masonry allowed it. Therefore, the first glazing of the chapel wreath was created around 1260, when it was completed by cathedral builder Gerhard . A screen with medallion structures in a serrated style was used as the middle window in the central Three Kings Chapel . The zigzag style was a late Romanesque art style in transition to Gothic, in which the artists wanted to achieve image dynamics and represent movement through jagged bulging of the robes. The style was transmitted from Byzantine art via the Norman kingdoms of Sicily and London to Cologne and can be traced back to the Rhineland until after 1280. Stylistically, the Bible window still belongs to the late Romanesque. The motifs each show ten scenes from the Old and New Testaments. An incident in the life of Jesus (on the right) is assigned to a corresponding example from the Old Testament on the left. This Bible window, which is now often referred to as the “older Bible window”, is the oldest surviving window in the cathedral.
The other windows of the chapel wreath, which was initially reserved exclusively for clergy, were glazed purely ornamentally with light grisaille panes. This reflected a then modern, new relationship to light that went hand in hand with the onset of mysticism . The grisaille disks, which were divided by moving tendrils, are lost today; a few remaining discs were handed down through traces of drawings in the middle of the 19th century. On this basis they were reconstructed for the Johanneskapelle.
The high choir was completed and glazed by cathedral builder Arnold and his son Johannes by 1311 . Fifteen windows with a height of 17.80 meters each were created for the upper storey, which are almost completely preserved. With an area of 850 square meters, they are the largest surviving glass painting cycle of the 14th century. The windows of the so-called royal cycle show 48 royal figures, whose identity has been interpreted differently. Probably the bearded represent the 24 elders of the Apocalypse and the beardless represent the 24 kings of Judah . The image composition is highly Gothic: the standing figures are depicted in front of architectural tabernacles, over which there are ornamental discs interspersed with color structures. The entire cycle follows a fixed rhythm in arrangement and color. The tabernacles are alternately golden yellow or white; On the long sides, the representation of the architectural elements and the color of the background also change. Overall, the glasses gave the cathedral a delicate, light color tone with a rich, but overall pastel-like color scale that was never shown in this consistency in other churches in Germany.
In the choir chapels, the ornamental discs were not replaced with a figurative image program until 1330/1340 . It is possible that the slices of grisailles were perceived as out of date. But the new usage situation was probably the decisive factor in favor of the new windows. The ambulatory was opened for the passing pilgrims, for whom a colored program of figures seemed necessary and also didactically helpful. The glass paintings in the choir chapels are small and of high quality; however, they have been greatly renewed over the centuries. Of the 19 windows, 9 are from the Middle Ages, but even these no longer correspond to the original arrangement. In addition, two windows from the Lady Chapel have been preserved, which are now also in the chapel wreath.
In the Middle Ages, all chapel windows had a distinctive three-part structure, which is typical of the High Gothic. This pathos of medieval composition is only recognizable today as a principle in the Johanneskapelle. In the axis chapel, next to the Bible window, there were originally cross-panel compositions on the right and left. The Adoration of Mary on the left was probably juxtaposed with the offering of Christ in the temple on the right. In the other wreath chapels there was a picture composition in the central window, which was flanked to the right and left by standing figures in architectural tabernacles. In addition to 10 saints, the figures presumably represented the 12 holy bishops of Cologne. They were thus contrasted with the 12 apostles depicted in the choir pillars, which formulated a unique claim from the history of salvation.
In spite of all changes and renovations, the color canon of the choir chapel windows has largely been preserved to this day; the distinctive sparkling color was designed to impress a passing pilgrim with “jewel-like color chords”.
Cycle of the Cologne School of Painting
In the 14th century, the cathedral master builders built the southern part of the nave. In 1388 this nave was a kind of hall church two bays wide and 7 bays long and with a temporary roof without vaults, it could be used for church services. Large picture windows were installed in the side walls between 1410 and 1445, but these have been completely lost.
Shortly after 1500 the north aisle was also usable, which was glazed with a large, very high-quality window cycle of five glass paintings, which has been excellently preserved to this day. The windows look as if images from the Cologne School of Painting had been converted directly from panel painting into glass pictures. Since then we have been able to differentiate between the painter who designed and the glass painter who carried out the work. The windows therefore exemplarily show how painting with glass had become painting on glass at the beginning of the 16th century. However, the stained glass windows had lost their original composition ideas and their own color worlds.
The pictorial program resembles an oversized opened altar. The designs are attributed to the master of the Holy Kinship and the master of Sankt Severin , two important representatives of the Cologne school of painting. The composition and the individual representations combine painterly conciseness with festive decorations and a tangible depiction of details. They seem to be influenced by the Portinari altar by Hugo van der Goes and the Columba altar by Rogier van der Weyden . In the middle of the window cycle is the window donated by the City of Cologne with the Nativity, comparable to the central panel of a winged altar . The two laterally adjoining windows show the cartridge of the cathedral: the four-lane depictions of Peter and Mary correspond to the inner side wings. The two outer half-windows with the Passion of Christ and the Coronation of Mary are compared to the outer wings of the altar.
The glass painter proved the special quality and skill of Cologne glass painting in the production of the windows. They handled all technical means with complete aplomb: when using brown solder as paint, they mastered all the nuances between a deep dark and a light brown. They combined this with silver solder (golden yellow), with which they also created a green on blue glass and a blue on green glass. In detail, they reveled in their abilities and made the name of the saint appear in a golden yellow ribbon of red tape by grinding out the overlaid glass and covering the white letters with silver solder. The care in detail can also be seen in the cope of the founder, Philip II von Daun . Small colored glasses were melted onto it as a relief to create the illusion of gemstones.
Baroque losses
In the Baroque era , the 400 to 450 year old Gothic glass in the cathedral showed signs of weathering. The so-called weather stone had attached itself to the outside. This is a whitish, partially opaque coating that is created by oxidation. At the same time, the Baroque preferred bright light in the church. In the course of the Baroque style around 1753, Gothic panes from the chapel wreath were removed and replaced with greenish-white glasses. When an inventory was made in 1821, 34 of the original 67 Gothic windows were still counted. It is estimated that around 3,900 medieval panes were still in the cathedral at that time.
Additions from a medieval fund
After the French occupation of Cologne in 1794, numerous churches were secularized and the church buildings demolished. Ferdinand Franz Wallraf , the then rector of Cologne University , tried to collect as many glass panes as possible from these churches until they could be housed in the cathedral archive in 1823. There were around 700 panes, including the windows of the Dominican Church of the Holy Cross and the cloisters from St. Cäcilien and St. Apern. A large number of these medieval panes were used in the cathedral between 1842 and 1880, so that the cathedral today uses eleven complete windows from this fund. These include the younger Bible window in the Stephanus chapel, the Christ window and the Bernhard window in the north transept as well as the windows in the sacrament chapel, in the sacristy and in the chapter house. At the end of the 19th century and the beginning of the 20th century, extensive reconstruction and renovation work was carried out on numerous medieval windows by the Cologne workshop for glass painting by Schneider and Schmolz on behalf of the canon Alexander Schnütgen .
The so-called Younger Bible Window was donated to the Dominican Church by Albertus Magnus and Archbishop Siegfried von Westerburg around 1280. In the cathedral, the panes were first installed in the sacristy and in 1892 in the correct order in the St. Stephen's Chapel. The motifs show - as is usual with Bible windows - scenes from the life of Jesus, which are juxtaposed with events from the Old Testament. Stylistically, the younger Bible window is the first Gothic window in the cathedral. In rounded medallions, it shows a neatness in the representation of the figures, which follows on from the imagery that originated in Paris around 1250. Around 1280 this replaced the Rhenish zigzag style that had prevailed in Cologne up until then . The figures in the window are extremely fine and of high quality.
The Cologne Cathedral therefore has two of the few typological Bible windows that have survived from the High Middle Ages. Although both show great parallels in the scenic selection, despite their relatively small age difference of only 20 years, they show an attractive style difference. The older Bible window from 1260 is designed in the Rhenish jagged style and is therefore still Romanesque. The younger Bible window, originally created around 1280 for the Dominican Church, on the other hand, has already been adapted to the art concept of beautiful lines conveyed from Paris and thus opens up the Gothic conception of style to glass painting in Cologne.
The youngest of the medieval stained glass can be found in the Christ Window, which contains panes from 1525 and 1562. The windows probably come from the cloisters of the Cologne monasteries St. Apern and St. Cäcilien, where they were part of more extensive Christ cycles. In 1870, remnants of these cycles were combined into a new picture cycle and formed into a two-lane window in chronological order.
The stained glass was originally intended to make the life and suffering of the gentleman understandable for the canons and nuns in the cloisters. They allow stylistic influences from Barthel Bruyn the Elder. Ä. recognize, but are still late medieval in their entire composition. The picture narration is picturesque and very lively; the Passion event is vividly portrayed. The scenes show perspective depth and the people individualized facial features, on which feelings are clearly marked. The glass painters use silver yellow, black and brown solder and iron red for the design. "With these latest panes in the cathedral, which have a long tradition, the great times of medieval stained glass in Cologne come to an end."
Neo-Gothic stained glass
The technique and craftsmanship of glass painting were almost completely lost in the 18th century. It was only through the efforts of Siegmund Frank that colored glass windows could be produced again from 1808, which led to the establishment of the Königliche Glasmalereianstalt in Munich in 1827, in which the glass painter Max Ainmiller was given artistic direction. When the completion of the cathedral was seen as a national task in the 1840s, the Bavarian King Ludwig I promised to donate the windows in the south aisle. Based on the creative ideas of Sulpiz Boisserée , Heinrich Maria von Hess designed an image program for which the painter Joseph Anton Fischer created the designs for the large central windows and the painter Franz Hellweger created those for the side half-windows. Ainmiller created the cardboard boxes for the architectural representations and the ornaments. The window cycle known today as the Bavarian window was used on the occasion of the 600th anniversary of the laying of the foundation stone in 1848.
The painters tried to transfer the effects of oil painting to glass. The painters responsible for the designs, Fischer and Hellweger, belonged to the Nazarene school , which wanted to revive the strict beauty of medieval representations and, above all, gave the graphic line priority over the painterly. In this spirit they tried to create large, monumental paintings for the stained glass windows in the cathedral, which deliberately broke away from the traditional image inventions of stained glass. Her artistic intention was "undoubtedly perfect"; Today, the Bavaria windows are among the earliest and "undoubtedly also among the most high-quality works of monumental glass painting of the 19th century."
The Bavarian cycle aroused exuberant admiration, but also categorical criticism, because of its monumentality and color. Romantic traditionalists wanted to see the cathedral as an ideal complete Gothic work of art “according to the original plan”. In addition, the windows would have been exclusively musical , i.e. H. may be designed in a mosaic-like or small-scale form. The attempt to transfer oil paintings onto glass violated this principle in their opinion. So wanted to August Reichensperger , a founding member of the Central Cathedral Building Association of Cologne , even like to see the Bayern cycle away from the cathedral.
The monumental image conception, based on oil paintings, was also continued in the design of the windows in the south transept (Paulusfenster 1864, Petrusfenster 1876). The two four-lane windows were also created in the Royal Glass Painting Institute and conveyed a subtle political message in the times of the Kulturkampf . In the description of the conversion of Paul, the historical significance of the Reformation also seemed to be echoed. The Peter's window responded by addressing the Pope's infallibility.
On the other hand, the musical ideas associated with the ideal Gothic work of art were matched with the other window cycles of the neo-Gothic : the window cycle in the upper storey of the nave and transept (Welter cycle), the windows in the façades of the nave and transept and the window cycle in the tower halls (Johannes Klein cycle) developed the pictorial inventions of the Middle Ages with neo-Gothic possibilities and thus sought to achieve a harmonious overall impression.
The windows in the upper storey, created around 1870, were based on the medieval choir glazing. In order to achieve a uniform impression, the neo-Gothic artists continue the Gothic structure. In each window strip they placed a figure in front of architectural tabernacles, over which less colorful ornamental discs rise. The couronnements were glazed with brightly colored ornamental panels. 112 more were added to the 48 figures from the 13th century; Figures from the Old Testament were selected on the north side and New Testament figures and saints on the south side. 80 of the total of 112 figures were designed by the painter Michael Welter ; after him, the upper clad windows are now called the Welter cycle. He managed to avoid any impression of monotony by greatly varying the standing figures in clothing and posture. In addition, he set clear and in some cases strong color accents, with which he achieved a rhythmic overall impression. The windows of the transept facades (of which the one in the north transept has been partially preserved and the one in the south transept has been lost) lined up in this harmony. The large west window, created by Carl Julius Milde from 1865 to 1870 , also took up Gothic design elements, in that the picture narration is based on the window strips and integrated into Gothic architectural ornaments. Eighteen scenes from the Old and New Testament are shown depicting selected good and bad deeds. In the pronounced purple-lilac-looking, intense color effect, the west portal window differs significantly from the medieval models.
The Viennese history painter Johannes Klein created a cycle of almost 200 scenes for the eight windows in the tower halls . Klein, who was best known for his missal illustrations, based his design on the younger Bible window and created picture walls in medallion structures. For the depicted scenes from the Old and New Testaments, which the history of salvation paces from the creation of the world to the Last Judgment, he found a simple and easily comprehensible visual language. These "biblical stories made of glass" were produced by the Tyrolean glass painting company in Innsbruck and used in 1884.
The color-intensive, complete glazing of the cathedral was thus completed by the end of the 19th century. It "must have been a magnificent sight and filled the room with glorious light."
Destruction in World War II
A large part of the neo-Gothic windows was destroyed by the bombs in World War II. Only the medieval windows could be removed and secured in time. Several conscious decisions by the cathedral builder Hans Güldenpfennig, who was responsible at the time, made a significant contribution to this result . During the First World War , the removal of the windows was stopped after some panes were destroyed and damaged during the work. Therefore, until 1940 Güldenpfennig considered it too risky to expand the glass windows at all. He tried to protect the medieval panes with wooden cladding. However, he accepted the destruction of the 19th century panes with approval, because their destruction "acts like a valve protecting the old windows".
It was only on the express instruction of Church Minister Hanns Kerrl that the cathedral builder began reluctantly and slowly in the spring of 1940 with the expansion of the medieval windows, which was completed by October 1940. Güldenpfennig considered the stained glass windows from the 19th century, whose appreciation had declined more and more since the 1930s, to be “not irreplaceable”; the cathedral master builder therefore had to be instructed separately to expand it in the winter of 1940. The Bavarian cycle was expanded until March 1941 ; then air alarms and bombing made further security work increasingly difficult, which had to be stopped towards the end of 1942.
From the neo-Gothic windows, the Bavarian cycle, the west portal window, two windows from the Johannes Klein cycle, the Petrus window and the Görres window from the south transept, as well as a large part of the figure panes from the upper aisle were preserved after the war. The south transept window, the Paulus window, six windows from the Johannes Klein cycle and 15 windows from the Welter cycle were lost in full and 13 in parts.
Modern stained glass window
The medieval windows were put back in place immediately after the end of the war, so that in 1948 the choir was lit up again in colorful Gothic light for the 700th anniversary of the laying of the foundation stone. On the occasion of the 1956 Catholic Day, the row of Gothic standing figure windows in the choir chapels was supplemented by two modern windows. The windows of the Engelbertus Chapel designed by Wilhelm Rupprecht and the windows in the Marienkapelle created by Wilhelm Geyer attempt to continue the image structure and color effect of the Middle Ages with modern means.
However, the cathedral builder Willy Weyres, appointed since 1944, treated the windows of the 19th century with great reluctance. He left the dismantled panes largely 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 sought to create what he understood as a more modern, light color impression in the cathedral, which was to be created through abstract, ornamental windows. The transepts were given very light panes that critics found "pale". Weyres glazed the upper storeys with ornamental glazing, with the ornaments predominantly in the colors blue, gray and green in light panes. The ornamental disks are counted among the best stained glass of the post-war period. However, especially when the sun is shining, these windows create a dull, blue-gray light in the nave.
The south transept façade was also given pale ornamental glazing for the 113 square meter window, which was directed precisely to the south, which Wilhelm Teuwen had made in 1948. This window was felt to be inadequate because it let the southern sunlight into the cathedral largely unfiltered and did not produce any color tone in the interior.
Weyres showed a happier hand when he designed windows for the north aisle of the choir around 1960, which are located above the sacristy doors. Here he found freely stylized, colored ornaments that can be interpreted as a modern reinterpretation of Gothic forms. According to critics, the somewhat hidden windows up to the installation of the Richter window in 2007 are "undoubtedly among the best that Cologne Cathedral has to offer in terms of newer furnishings."
The attempt to play off modern window design against the neo-Gothic structural forms, which was ultimately unsuitable, was shown in the fate of the modern west portal window. The painter Vincenz Pieper was commissioned in 1960 to design a modern window for the west portal, which was used in 1963. Pieper had created a window with a hard blue-yellow contrast, which apparently deliberately wanted to counteract the tracery structures of the window with diagonal shapes and extremely wide lead mesh joints. In this urge to assert oneself, the window caused a "shock", the disturbing contrasts of which were not softened by increasing patination, as cathedral builder Weyres had hoped in 1967. Finally, the Pieper window was expanded again in 1992.
When designing the so-called children's window in the north transept, Bernhard Kloss took a different approach from 1960 to 1965. He endeavored to synthesize the modern image idea and Gothic tradition by combining the modern, moderately expressive conception of images with representational figuration, musical (i.e., mosaic-like, small-scale) representation and a white-ground color effect. He also created a scene in which a guardian angel saves a child from the approaching car and thus immortalized a motor vehicle in the cathedral window.
Restoration of the neo-Gothic color effect
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Only in the course of the 1970s did the perception of the neo-Gothic windows change. Their appreciation rose. Arnold Wolff , the cathedral builder in charge since 1972, moved away from the so-called creative preservation of monuments and rather followed the concept of the perfect cathedral . From this perspective, he tried to restore the light impression of the 19th century and to unify the appearance of the cathedral. Critics noted that the rich and rather dark colors of the 19th century were no more in keeping with the original pastel-colored lighting ideas of the high Middle Ages than the pale bluish ones of the modern age. Nevertheless, since the 1970s the idea of reconstructing the appearance of the cathedral in the light of the neo-Gothic prevailed.
In 1980, all Bavaria windows were reinstalled in their original place in the south aisle. In the same year, the Peter window with the depiction of the Apostle Council returned to its place in the south transept. The Paulus window opposite, which was completely destroyed in the war, was reconstructed in 1994 based on documents that have been preserved. A year earlier, the large west window, which had been removed and packed in boxes in 1941, had been reinserted on the west facade. The windows of the tower halls, which were originally created by Johannes Klein as a medallion wall and which except for two did not survive the World War, were reconstructed from old cardboard boxes between 2000 and 2010.
The pale and light glazing of the upper aisle was also found to be unsatisfactory, especially since parts of the Welter windows had been saved in 1941/42. Therefore, since 2005, the upper facade windows of the Welter cycle in the Dombauhütte have been completed and recreated according to the original plans. It is expected that another window can be completed every year.
The south portal window has a decisive influence on the color impression in the transept, as it receives the greatest amount of sunlight. The window donated by Wilhelm I of Prussia in 1863 was destroyed in the war and cannot be reconstructed because the plans were also burned. The cathedral builder Barbara Schock-Werner was therefore looking for modern glazing, the color of which should, however, match the historical windows. Although the cathedral chapter originally wanted to see the martyrs of the 20th century - Edith Stein , Rupert Mayer , Karl Leisner , Bernhard Lichtenberg , Nikolaus Groß and Maximilian Kolbe - as a theme in the window, the artist Gerhard Richter , who was ultimately enthusiastic about the task, was able to enforce that there could be no figurative design for the south transept window, only one in colored areas. Finally, the colors were chosen so carefully that they achieve the desired light impression in the transept when exposed to sunlight. The arrangement of the colors was basically random; in selected areas - especially in the courtyard - they take into account the tracery structure through reflections.
The Richter window was installed in 2007 after five years of planning. It shows 11,263 colored squares with a side length of 9.7 centimeters. The installation met with great interest from the public, some of whom were enthusiastic and others expressed incomprehension. Cardinal Joachim Meisner is said to have burst into anger when he finally saw the window. He criticized that the non-representational window represented "some faith", but not the Catholic one. Today it is recognized that the Richter window "in the sense of neo-Platonic-scholastic light metaphysics, as it shaped the architectural thinking of the Gothic, could serve as a mediator between the divine and the earthly". The work of art unfolds “a magic color.” At the same time, the Catholic Church has found a connection with the current trends in modern art with the window.
Choir window
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Ambulatory with chapel wreath clockwise |
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| designation | location | Brief description | Dating | Artist | |
| Four bishop's windows | Engelbertus Chapel | Two modern windows show figuratively the Archbishops of Cologne Gero and Bruno of Cologne as well as Heribert of Cologne and Engelbert I of Cologne . Gift of the German Association of Cities. | 1956 | Wilhelm Rupprecht | |
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Barbara and Evergislus Windows | Maternus Chapel | Left window of the chapel, neo-Gothic representation of Saint Barbara and the Cologne bishop, Saint Evergislus | 1855 | Peter Grass |
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James window | Maternus Chapel | Middle window of the chapel, various scenes from the martyrdom of St. James . | 1330/1340 | |
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Katharina Heribert window | Maternus Chapel | Right window of the chapel depicting Saint Catherine and Cologne Bishop Heribert . | 1856/1857 | Peter Grass |
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Severin and Anno windows | Johanneskapelle | Left window of the chapel, depiction of Saints Severin (left) and Anno (right) in the bishop's robe | 1330/1340 | |
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All Saints' Day Window | Johanneskapelle | Middle window of the chapel depicting a multitude of saints, heavenly choirs, prophets, popes, kings and the like. a. | 1330/1340 | |
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Mauritius and Gereon windows | Johanneskapelle | Right window of the chapel, representation of Saint Mauritius (left) and Saint Gereon (right) | 1330/1340 | |
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Grisailles slice | Johanneskapelle | Grisailles over the Severin and Anno windows, depiction of leaf tendrils | Design around 1260 / reconstruction in 1974 | |
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Epiphany window | Epiphany Chapel | Left window of the chapel depicting the Adoration of the Magi | 1330/1340 | |
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Older Bible window | Epiphany Chapel | Middle window of the chapel, oldest window in the cathedral with scenes from the Old and New Testament | 1250/1260 | |
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Peter and Maternus windows | Epiphany Chapel | Right window of the chapel depicting Saints Peter and Maternus , the first Cologne bishop | 1330/1340 | |
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Kunibert window | Agnes Chapel | Left window of the chapel, depiction of Saint Kunibert in the bishop's robe with a blessing hand | 1330/1340 (with recent additions) | |
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Central window of the Agnes Chapel | Agnes Chapel | Architectural window in the middle of the chapel, which visually complements the other two windows, which are only partially preserved in the original. | 2004 | based on designs by Arnold Wolff , glass painter Klaus Augenstein |
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Agnes window | Agnes Chapel | Right window of the chapel depicting St. Agnes and her attributes, plus four other female saints | 1330/1340 (with recent additions) | |
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New Year's Eve and Gregor von Spoleto windows | Michael's Chapel | Left window of the chapel, shows Pope Silvester I and Gregory of Spoleto . Originally used in the Lady Chapel. | around 1330 | |
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Coronation window (chapel wreath) | Michael's Chapel | Middle window of the chapel with figurative scene of the Coronation of the Virgin Mary | 1330/1340 | |
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Felix and Nabor windows | Michael's Chapel | Right window of the chapel, representation of Saints Felix and Nabor , surrounded by kings and prophets. Originally used in the Lady Chapel. | around 1330 | |
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Ursula and Clemens windows | Stephanus Chapel | Left window of the chapel, representation of Saint Clement and Saint Ursula | 1852 | Peter Grass |
 Illustrations
|
Younger Bible window | Stephanus Chapel | Right window of the Stephanus chapel with scenes from the Old and New Testament | around 1280 and 1891/92 | |
Windows in the choir aisles, the sacrament chapel and the sacristy
| Choir aisles (Marienkapelle and Kreuzkapelle), sacrament chapel and sacristy | |||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 Illustrations
|
Pius Pope Window | Lady Chapel | Middle window of the Marienkapelle in the south aisle of the choir. Representation of Popes Pius IX. , Pius X. , Pius XI. and Pius XII. Donated by Fides Romana in honor of Pope Pius XII. Installation on the occasion of the Catholic Day . | 1956 | Wilhelm Geyer |
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Ornament window | Lady Chapel | Left and right windows of the Lady Chapel in the south aisle with a grisaille-inspired ornament style. | 1948 | Willy Weyres |
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Floral ornaments | Kreuzkapelle | Full window with floral ornaments in the north aisle above the sacristy. | circa 1960 | Willy Weyres |
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Floral ornaments | Kreuzkapelle | Full window with floral ornaments in the north aisle above the sacristy. | circa 1960 | Willy Weyres |
| Cecilia stained glass window | Sacrament chapel | Two windows each contain 8 glass paintings. Part of the original 120 scenes stained glass from the cloister of St. Cäcilien (today Museum Schnütgen ). Scenes from the life of Jesus. | 1460-1470 | Master of the Cologne School of Painting , succeeding Stefan Lochner . | |
| Johannes window | sacristy | Three-lane window, the middle lane of which comes from the former Dominican Church of the Holy Cross . Figure St. John . Used in the cathedral in 1870. | 1280-1290 or around 1330 | ||
| Dominic window | sacristy | Three-lane window, the middle lane of which comes from the former Dominican Church of the Holy Cross . Figure St. Dominic . Used in the cathedral in 1870. | 1280-1290 or around 1330 | ||
| Peter Martyr Window | Chapter House | Window from the former Dominican Church of the Holy Cross . Figure St. Peter of Verona . Used in the chapter house in 1959. Decorative discs on the side. | 1280-1290 | ||
Upper choir window
 |
Upper arcade of the inner choir | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 Illustrations
|
Cycle of the Chorobergadenfenster | Upper facade of the inner choir | 15 windows, central axis window with Mary with the Christ child and the adoring three kings, the other windows a gallery of young and old kings. | Around 1300 | |
|
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Two kings | Upper facade of the inner choir | Two of 48 kings. Probably the 24 Elders of the Apocalypse (with a beard) and the 24 Kings of Judah (without a beard) | around 1300 | |
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Adoration of the Magi | Upper facade of the inner choir | Central axis window in the upper storey of the inner choir: kings and prophets (above) | around 1300 | |
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Adoration of the Magi | Upper facade of the inner choir | Central axis window in the upper storey of the inner choir: Mary with the Christ child and the adoring three kings (below) | around 1300 | |
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Two kings | Upper facade of the inner choir | Two of 48 kings. Probably the 24 Elders of the Apocalypse (with a beard) and the 24 Kings of Judah (without a beard) | around 1300 | |
Aisle window in the north transept
 |
Side aisles of the north transept | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 Illustrations
|
Christ window | North transept | Half-window in the west aisle of the transept. Fragments of two cycles put together in 1870, presumably from the cloisters of St. Cäcilien and St. Apern. Biblical scenes from the life of Christ (from the baptism of Christ to the descent from the cross). | Around 1525 and 1562 | |
 Illustrations
|
Children's window | North transept | Full window in the west aisle of the transept. The images show scenes in which children play a role in the Old and New Testaments, as well as in the life of the Church. Was financed by donations collected from Cologne children in 1948. | 1960-1965 | Bernhard Kloss |
| Bernhard window | North transept | Full window in the east aisle of the transept above the former treasury. Eight individual panes with scenes from the life of St. Bernard , originally from the cloister of St. Apern: Farewell to the parental home, rebuke from the abbot, Ascension. | 1524-1525 | ||
Aisle window in the south transept
 |
Side aisles of the south transept | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
| Weyres window east side | South transept | Ornamental window in the east aisle of the transept. | Early 1950s | Willy Weyres | |
 Illustrations
|
Paul window | South transept | Full window in the east side aisle of the transept, depicting the conversion of Paul ( Damascus experience ). Below church fathers of the Eastern Church : Athanasius , Basil the Great , Gregory of Nazianzen , John Chrysostom . Completely destroyed in the war. Reconstructed from original documents. | Original from 1858, reconstructed in 1994 |
Leonard Faustner |
 Illustrations
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Peter Window (Apostles Council) | South transept | Full window in the west aisle of the transept. Motif inspired by the First Vatican Council . Representation of the Apostolic Council of Jerusalem , the handover of the keys to Peter by Christ and Pope Pius IX. with an angel and a bull . Among them are the religious: Leo IV ( Benedictine ), Bernhard von Clairvaux ( Cistercian ), Thomas Aquinas ( Dominican ), Bonaventure ( Franciscan ). | 1870 | |
 Illustrations
|
Gorres window | South transept | Half-window in the west aisle of the transept. Donated instead of a memorial for the Catholic publicist Joseph Görres . Görres, accompanied by Saint Joseph , kneels in front of Mary with the child. Including portraits of Saint Boniface and Charlemagne . | 1854 | Max Emanuel Ainmiller , Andreas Fortner |
Obergade window and facade window in the transept
| Obergaden and facades in the transept | |||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
| John Baptist Window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . The compositional model is the medieval king window in the upper aisle of the high choir. Largely destroyed in the war; since 2003 reconstruction according to original boxes. | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Wilhelm Hoffmann (ornament strips); Artist not known for figures from the east side | |
| Joseph window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Wilhelm Hoffmann (ornament strips); Artist not known for figures from the east side | |
|
|
Abraham window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Wilhelm Hoffmann (ornament strips); Artist not known for figures from the east side |
| Adam window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Wilhelm Hoffmann (ornament strips); Artist not known for figures from the east side | |
 Illustrations
|
Large north window or Friedrich window | North portal | Large facade window of the north transept. Figures from the Old Testament: Moses , Joshua , David , Melchizedek , Aaron , Samuel . Figures from 1865, tracery crowning (1968) and ornamental strips (1980) added. Donated by the citizens of Cologne on the occasion of the elevation of Johannes von Geissel to cardinal. | 1865, 1968 a. 1980 | Friedrich Baudri , Wilhelm Teuwen , Hubert Schaffmeister |
| ornament | Triforium of the north transept facade | Ornamental window in the triforium of the north transept facade. | 1968 | Wilhelm Teuwen | |
|
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Nathan — window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . The compositional model is the medieval king window in the upper aisle of the high choir. Largely destroyed in the war; since 2003 reconstruction according to original boxes. | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Michael Welter, Wilhelm Hoffmann (ornament strips) |
 |
Solomon window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Michael Welter, Wilhelm Hoffmann (ornament strips) |
|
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Tobias window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Michael Welter, Wilhelm Hoffmann (ornament strips) |
|
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Judas Maccabeus Window | Upper facade of the north transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Michael Welter, Wilhelm Hoffmann (ornament strips) |
|
Jesus Sirach window | Upper facade of the south transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), 2014–2017 reconstruction | Michael Welter, Wilhelm Hoffmann (ornament strips) |
| Mirjam window | Upper facade of the south transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1856 (ornament panels), 1866 (figure cycle), reconstruction since 2003 | Michael Welter, Wilhelm Hoffmann (ornament strips) | |
| Ornamental window | Upper facade of the south transept | Full window in the upper storey: reinstalled after World War II. | 1948 | Wilhelm Teuwen | |
.jpg) Illustrations
|
Judge window | South portal | Central window of the south portal, mosaic carpet made of 11,263 colored squares in 72 shades. Distribution of colors randomly and with the help of irregular mirror axes. Developed 2002–2007. | 2007 | Gerhard Richter |
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Judge window | Triforium of the south transept facade | Squares in 72 colors with a side length of 9.7 centimeters in the triforium of the south transept facade. | 2007 | Gerhard Richter |
| Gereon window | Upper facade of the south transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1866 (figure cycle), 1948 (ornament panels) | Michael Welter, Wilhelm Teuwen (ornament strips) | |
| Laurentius window | Upper facade of the south transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1866 (figure cycle), 1948 (ornament panels) | Michael Welter, Wilhelm Teuwen (ornament strips) | |
| Agilolphus window | Upper facade of the south transept | Full window in the upper storey: part of the window cycle of the 19th century, named after the designer of the figures Michael Welter . | 1866 (figure cycle), 1948 (ornament panels) | Michael Welter, Wilhelm Teuwen (ornament strips) | |
| ornament | Triforium in the transept | Ornamental window in the triforium of the transept. | 1952-1956 | Willy Weyres | |
Window in the north aisle
 |
North aisle | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 |
Passion window | North aisle | Left, two-lane window in the window cycle of the north aisle with scenes from the Passion of Christ from the Mount of Olives to the Resurrection. Below is a picture of St. Lawrence and Mary in a halo on the crescent moon. At the bottom, the founder, Archbishop Philipp von Daun . | 1508 | |
.jpg) Illustrations
|
Peter Root Jesse Window | North aisle | Four-lane window, second from the left in the north aisle. Left representation of six scenes from the life of Peter . Right illustration of the motif Christ as the root of Jesse . Including donor Archbishop Philipp von Daun with Saint Peter and Saint Sebastian as well as 16 coats of arms of the founder and his ancestors (so-called ancestral test). | 1509 (?) | |
 |
Typical window of the Nativity of Christ | North aisle | Central, four-lane window in the north aisle. The picture shows Moses in front of the burning bush (left half) and the birth of Christ (right half). Including saints from the history of Cologne: St. Georg , St. Mauritius , St. Gregorius Maurus, St. Gereon . At the bottom: Agrippa as the city's founder and Marsilius. | 1507 | |
 |
Typological Epiphany window | North aisle | Four-lane window, second from the right in the north aisle. Visit of the Queen of Sheba to King Solomon (left half) and adoration of the Magi (right half). Including the patrons of the founder Archbishop Herrmann von Hessen : St. Petrus , Maria , St. Elisabeth von Thuringia , St. Christophorus . | 1508 | Younger Master of the Holy Tribe |
 |
Coronation window (north side) | North aisle | Right, two-lane window in the north aisle. Depiction of the coronation of Mary (above), including figures of four saints: Maria Magdalena , Saint George , the apostle John and Simon Peter . Below, the family of the founder, Philipp II von Virneburg. | Around 1509 | Master of Sankt Severin |
Window in the south aisle
 |
South aisle | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 |
Stephen window | South aisle | Eastern half-window of the Bayern window cycle. Stoning of Stephen . The main picture shows the ministry and condemnation of St. Stephen. Below are the four holy bishops Gregory of Spoleto , Apollinaris , Pope Silvester I and Maternus . | 1848 | Max Emmanuel Ainmiller, Heinrich Maria von Hess |
 |
Pentecost window | South aisle | Eastern full window of the Bayern window cycle. Outpouring of the Holy Spirit on the disciples. The handover of the keys to Peter is shown above the main picture . Below is the depiction of the four Latin doctors of the Church, Ambrose of Milan , Gregorius , Hieronymus , Augustine . | 1848 | Max Emmanuel Ainmiller, Heinrich Maria von Hess |
.jpg) Illustrations
|
Lamentation window | South aisle | Middle full window of the Bayern window cycle. Depiction of the Descent from the Cross and the Lamentation of Christ. Above it the representation of the Last Supper and, in grisaille, Christ and Mary Magdalene and Christ and the unbelieving Thomas . Including the four evangelists Matthew , Mark , Luke and John . | 1847 | Max Emmanuel Ainmiller, Heinrich Maria von Hess |
 |
Worship Window | South aisle | Western full window of the Bayern window cycle. The two biblical scenes about the Adoration of the Shepherds and the Adoration of the Magi are combined into one picture. Above it the Annunciation to Mary between the grisaille of Adam and Eve and of Mary Immaculate . Below the four prophets Isaiah , Jeremiah , Ezekiel and Daniel . | 1846 | Max Emanuel Ainmiller , Heinrich Maria von Hess |
 |
John window | South aisle | Western half-window of the Bayern window cycle. The main picture shows the sermon of John the Baptist in the desert. About the birth and baptism of John. Including Helena , Constantine the Great , Charlemagne and Friedrich Barbarossa . | 1847 | Max Emmanuel Ainmiller, Heinrich Maria von Hess |
Windows in the tower halls and in the west facade
 |
West facade and tower halls | ||||
|---|---|---|---|---|---|
| designation | location | Brief description | Dating | Artist | |
 |
The story of creation | Northern tower hall | Half-window above the portal with motifs from the story of creation . | 1884, reconstructed 1993–2010 |
Johannes Klein |
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The order of the world | Northern tower hall | A cycle of pictures about the order of the world: representation of the elements, the months, the seasons and times of day and the seven liberal arts . | Reconstructed in 1884 from 1993 to 2010 |
Johannes Klein |
.JPG) |
Prehistory and the Patriarchs | Northern tower hall | Scenes from the Old Testament : the Flood , the stories of Abraham and the life of Joseph . | 1884 | Johannes Klein |
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History of God's people | Northern tower hall | History of the people of Israel from the finding of Moses to the rebuilding of the temple . | 1884 | Johannes Klein |
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Jesus of Nazareth | South tower hall | Scenes from the life of Jesus from the announcement to Joachim to the event of Pentecost . Bottom right logo of Saturn GmbH for the donors Waffenschmidt and employees | 1884, reconstructed in 2005 |
Johannes Klein |
 Illustrations
|
The Revelation of John | South tower hall | Representation of the Revelation of John : from the vision of John to the representation of the new Jerusalem. Pictures show u. a. Book with Seven Seals , Alpha and Omega , Four Horsemen of the Apocalypse , the Whore Babylon , the Angel Shackles the Dragon ( Millennium ). | 1884, reconstructed 1993–2010 |
Johannes Klein |
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The parables | South tower hall | Illustration of the parable of the prodigal son (left panels) and the good Samaritan (right panels). | 1884, reconstructed in 2002 |
Johannes Klein |
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The Last Judgement | South tower hall | Half-window above the portal with motifs of the Last Judgment . | 1884, reconstructed in 2010 |
Johannes Klein |
.jpg) Illustrations
|
Large west window | West facade | 22 meter high window with six lanes and double tracery. Depiction of 18 Old and New Testament scenes about good and bad deeds: u. a. Moses shows the tables of the law, Cain and Abel , rich man and poor Lazarus , Pharisee and tax collector , prodigal son , stoning of Stephen . The window crown shows the Last Judgment . Donated by Crown Prince Friedrich and his wife Victoria . Installed in 1877, expanded in 1941 to protect against war destruction, only used again in the cathedral in 1993. | 1865-1870 | Carl Julius Milde / Johann Jacob Achelius |
| ornament | Triforium in the west facade | Twelve lancet windows in the triforium below the west window. | 1993 | Arnold Wolff | |
See also
literature
→ Main page: Bibliography on Cologne Cathedral (in the portal: Cologne Cathedral )
General representations
- Ulrike Brinkmann, Rolf Lauer: The medieval glass windows of the Cologne cathedral choir. In: sky light. European stained glass in the century of Cologne cathedral building (1248–1349) Exhibition catalog Schnütgen Museum Cologne, November 20, 1998 to March 7, 1999, Josef-Haubrich-Kunsthalle Cologne, Cologne 1998.
- Rolf Lauer: The glass paintings , in: Arnold Wolff, Toni Diederich: The Cologne Cathedral reading and picture book, Cologne 1990, pp. 89–97
- Herbert Rode: The medieval stained glass of Cologne Cathedral ( Corpus Vitrearum Medii Aevi Germany IV, 1); Deutscher Verlag für Kunstwissenschaft, Berlin 1974, ISBN 3-87157-046-X
- Herbert Rode: Cologne Cathedral, stained glass in Germany's largest cathedral . Verlag Josef Hannesschläger, Augsburg, 1968.
Literature on individual windows
- Gerhard Richter - Chance, The Cologne Cathedral Window and 4900 Colors , published by Museum Ludwig and Metropolitan Chapter of the High Cathedral of Cologne, Cologne ²2007
- Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the choir 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 )
- Ulrike Brinkmann: The younger Bible window (masterpieces of Cologne Cathedral 1), Cologne ²1993 ISBN 978-3-922442-03-5
- Ulrike Brinkmann: The typological circle of images of the older Bible window in Cologne Cathedral , in: Cathedral construction and theology in medieval Cologne, commemorative publication 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. 151-184
- Ulrike Brinkmann: Biblical stories on glass: Johannes Klein's windows on the ground floor of the tower halls of Cologne Cathedral. Cologne Cathedral Publishing House, Cologne 2010, ISBN 978-3-922442-67-7
- Michael Burger: The ornamental cathedral glazing of the Cologne Cathedral In: Kölner Domblatt, yearbook of the Central Cathedral Building Association. Vol. 82, Verlag Kölner Dom, Cologne 2017, ISBN 978-3-922442-92-9 , pp. 82–111.
- Eva Frodl-Kraft: The ornamentation of the upper choir window of Cologne Cathedral. In: sky light. European stained glass in the century of the Cologne Cathedral (1248–1349). Exhibition catalog Schnütgen Museum Cologne, November 20, 1998 to March 7, 1999, Josef-Haubrich-Kunsthalle Cologne, Cologne 1998.
- Peter Kurmann: Heinrich II. Von Virneburg, the coronator Friedrich the beautiful as donator of the Dreikönigswindow in the high choir of the Cologne cathedral , in: Matthias Becher, Harald Wolter-von dem Knesebeck (ed.): The king's elevation Friederich the beautiful in the year 1314. Coronation , War and Compromise, Cologne 2007, pp. 209–228
- Hannes Roser: Sources on the foundation and the program of the Pius window by Wilhelm Geyer in the Marienkapelle of Cologne Cathedral. In: Kölner Domblatt, Jahrbuch des Zentral-Dombauverein, Vol. 69, Verlag Kölner Dom, Cologne 2004, ISBN 3-922442-57-9 , pp. 297-310.
- Brigitte Wolff-Wintrich: The north aisle windows of Cologne Cathedral and the Rhenish stained glass of the late Gothic, Bonn 1998
Web links
- Website of the Cologne Cathedral, alphabetical listing of the individual windows with description, numerous illustrations and exact position in the cathedral
- glasmalerei-ev.net / Research Center for Glass Painting of the 20th Century eV: Cologne, Hohe Domkirche St. Peter , images of all windows in the cathedral with brief descriptions
Individual evidence
- ↑ a b c www.planet-wissen.de Cologne Cathedral, glass painting
- ↑ a b c Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 56
- ^ Rolf Lauer: Die Glasmalereien, in: Arnold Wolff, Toni Diederich: The Cologne Cathedral Reading and Picture Book, Cologne 1990, p. 89
- ↑ Ksta.de Cologne Cathedral: "Jesus Sirach window" after three years of restoration back in the cathedral
- ↑ dear magazine: Gothic light
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 9
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 56
- ↑ Hiltrud Kier: Cologne, City Guide Architecture and Art, Stuttgart 2008, p. 45
- ^ A b Herbert Rode: The Cologne Cathedral, stained glass in Germany's largest cathedral, Augsburg 1968, p. 53
- ↑ a b Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 62
- ^ Sulpiz Boisserée: History and description of the Cologne Cathedral, 2nd revised edition, Munich 1842, p. 21, p. 45
- ↑ Stephan Dahmen: The Bavarian Windows of Cologne Cathedral 1844-1848, church furnishings between art, theology and politics, Cologne 2009, p. 97ff
- ↑ a b Barbara Schock-Werner: The new window as part of the historic cathedral glazing, in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 23
- ↑ a b Willy Weyres: Restoration work on Cologne Cathedral, in: Yearbook of the Rheinische Denkmalpflege, Vol. XXI (1957), P. 143ff
- ↑ Stephan Diederich: Coincidence, plan, given? The southern transept window in Cologne Cathedral and 4900 colors in the Museum Ludwig, in: Gerhard Richter - Zufall, the Cologne Cathedral window and 4900 colors, Cologne 2007, p. 7
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing, in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 26
- ↑ Deutschlandfunk.de: Artists create church windows
- ^ Gerhard Richter - chance, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 40
- ^ Georg Meistermann in: Deutschlandfunk.de: Artists design church windows
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing, in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 23f
- ^ Herbert Rode: The Cologne Cathedral, stained glass in Germany's largest cathedral, Augsburg 1968, p. 31
- ↑ 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: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 39
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 53f
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 32
- ↑ a b Rolf Lauer: Image programs of the Cologne Cathedral Choir from the 13th to the 15th century, in: Cathedral construction and theology in medieval Cologne, commemorative publication for the 750th anniversary of the laying of the foundation stone of Cologne Cathedral and for the 65th birthday of Joachim Cardinal Meisner (studies for Cologne Cathedral Volume 6), Cologne 1998, p. 192f
- ↑ a b Arnold Wolff: The Cologne Cathedral, edited by Barbara Schock-Werner, Cologne 2015, p. 33
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 56ff
- ↑ Ulrike Brinkmann, Rolf Lauer: The medieval glass windows of the Cologne cathedral choir. In: sky light. European stained glass in the century of the Cologne Cathedral (1248–1349). P. 23 f.
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing in the choir 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. 164ff
- ^ 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 in the choir 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. 155f
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing in the choir 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. 154ff
- ^ Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing in the choir 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. 153
- ^ Herbert Rode: The Cologne Cathedral, stained glass in Germany's largest cathedral, Augsburg 1968, p. 38
- ↑ a b c d Arnold Wolff, Der Dom zu Köln, edited by Barbara Schock-Werner, Cologne 2015, p. 17
- ^ Herbert Rode: The Cologne Cathedral, stained glass in Germany's largest cathedral, Augsburg 1968, p. 115
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 70
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 118
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 96f
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 70f
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 40ff
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 42ff
- ^ Herbert Rohde: Corpus Vitrearum medii Aevi Germany IV / 1. The medieval stained glass of Cologne Cathedral , Deutscher Verlag für Kunstwissenschaften, Berlin 1974, ISBN 3-87157-046-X .
- ^ Arnold Wolff: Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 42f
- ^ Herbert Rohde: Corpus Vitrearum medii Aevi Germany IV / 1. The medieval stained glass of Cologne Cathedral , Deutscher Verlag für Kunstwissenschaften, Berlin 1974, ISBN 3-87157-046-X , p. 85.
- ↑ a b Ulrike Brinkmann: Nah dran, The Christ Window in Cologne Cathedral, flyer for the exhibition of the Cathedral Treasury, Cologne 2019.
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 94f
- ↑ a b Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 122
- ^ Meyers Großes Konversations-Lexikon, Volume 8. Leipzig 1907, pp. 5-8. Electronically at Zeno.org
- ↑ a b c d e f g h i Arnold Wolff: The Cologne Cathedral, edited by Barbara Schock-Werner, Cologne 2015, p. 51
- ↑ a b c d Hans-Georg Lippert: Historicism and cultural criticism, Der Kölner Dom 1920–1960, Cologne 2001, p. 386
- ^ Statutes of the Central Cathedral Building Association approved by the Prussian King
- ↑ Thomas Söding: The biography of two apostles: Petrus and Paulus, p. 1f, full text on kath.ruhr-uni-bochum.de
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing , in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 21ff
- ^ Arnold Wolff: The Cologne Cathedral, edited by Barbara Schock-Werner, Cologne 2015, p. 20
- ↑ koelner-dom.de: West portal window Mildefenster 1865-70
- ↑ Ulrike Brinkmann: Biblical stories on glass: The windows by Johannes Klein on the ground floor of the tower halls of Cologne Cathedral. Cologne Cathedral Publishing House, Cologne 2010, ISBN 978-3-922442-67-7
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing , in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 23
- ^ Niklas Möring: The Cologne Cathedral in the Second World War, Cologne 2011, p. 27
- ^ Niklas Möring: The Cologne Cathedral in World War II, Cologne 2011, p. 37f
- ↑ Hans-Georg Lippert: Historicism and cultural criticism, Der Kölner Dom 1920–1960, Cologne 2001, p. 385
- ↑ a b Niklas Möring: The Cologne Cathedral in World War II, Cologne 2011, p. 40
- ^ Niklas Möring: The Cologne Cathedral in World War II, Cologne 2011, p. 97
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing, in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 25
- ↑ Willy Weyres: The restoration work on the cathedral in the years 1963–1966, in: Kölner Domblatt 1967, p. 106
- ↑ Koelner-Dom.de: Children's window
- ↑ Klaus Gereon Beuckers: The Cologne Cathedral, Darmstadt 2004, p. 113
- ^ Rolf Lauer: Die Glasmalereien, in: Arnold Wolff, Toni Diederich: Das Kölner Dom reading and picture book, Cologne 1990, p. 97
- ^ Arnold Wolff: The Cologne Cathedral, edited and edited by Barbara Schock-Werner, Cologne 2015, p. 48
- ↑ a b c d e f Arnold Wolff: The Cologne Cathedral, edited and edited by Barbara Schock-Werner, Cologne 2015, p. 14
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing , in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 24
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing , in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 25f
- ↑ Barbara Schock-Werner: The new window as part of the historical cathedral glazing , in: Gerhard Richter - Zufall, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 27f
- ^ A b kathisch.de: When Cardinal Meisner got an outburst
- ↑ Stephan Diederich: chance, plan, given, the southern transept window in Cologne cathedral and 4900 colors in the Museum Ludwig, in: Gerhard Richter - random, the Cologne cathedral window and 4900 colors, Cologne 2007, p. 10
- ^ Paul Böhm, in: deutschlandfunkkultur.de: An incredibly exciting play of colors
- ^ Arnold Wolff: Der Dom zu Köln, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 34
- ↑ a b Rüdiger Becksmann: Picture window for pilgrims. For the reconstruction of the second glazing of the choir 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. 162
- ↑ koelner-dom.de: Pius Päpstefenster
- ↑ a b c d e f g h i j k l m n o p q r s t Research Center for Glass Painting of the 20th Century eV: Cologne Cathedral
- ^ A b c Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 58
- ^ Koelner-brauerei-verband.de: Exhibition Petrus von Milano
- ^ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 6
- ↑ Cologne Cathedral Treasury: Nah dran, The Christ Window in Cologne Cathedral, brochure for the exhibition, 2019
- ^ A b Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, p. 19
- ↑ Herbert Rode: The Cologne Cathedral, glass paintings in Germany's largest cathedral, Augsburg 1968, p. 94f
- ^ A b c Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 48
- ^ A b Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 50
- ^ A b Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 20
- ↑ Kölner Stadt-Anzeiger: Jesus Sirach window back in the cathedral
- ^ A b c Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 18
- ^ A b c Arnold Wolff: The Cologne Cathedral, edited and supplemented by Barbara Schock-Werner, Cologne 2015, p. 52
- ↑ Cologne Dom.de: West Portal Window
Coordinates: 50 ° 56 '28.64 " N , 6 ° 57' 29.41" O