Constance Minster
The Constance Minster or Minster of Our Dear Lady is a minor basilica in Constance on Lake Constance . Patrons of the former episcopal church are the Virgin Mary and the patrons of the former diocese of Konstanz , Pelagius and Konrad von Konstanz .
The church goes back to the beginning of the episcopal see around the year 600 AD and was first mentioned in a document in 780. For a good twelve centuries, the cathedral was the cathedral of the bishops of Constance and served as the meeting room of the Council of Constance (1414-1418). Since the abolition of the diocese in 1821, the minster has been used as a Catholic parish church.
Architecturally, the existing building is one of the largest Romanesque churches in southwest Germany, a three-nave pillar basilica with a cross-shaped floor plan , which was consecrated in 1089. The Romanesque building is shaped in the Gothic style by the broad west tower block with west portal (12th – 15th century), the rows of side chapels (15th century) and, in particular, the neo-Gothic spire that was built in the 19th century . The church furnishings from the Romanesque and Gothic styles have only been preserved selectively; the interior epochs of Baroque , Classicism and Neo-Gothic overlap . A special pilgrimage destination on the Schwabenweg ( Jakobsweg ) is the Romanesque Mauritius rotunda with an art-historically significant Holy Sepulcher structure from the early Gothic. As the tallest building in the historic old town, it still shapes the cityscape today with its striking outline.
history
Ancient and early Middle Ages
The Münsterhügel is the highest elevation in today's Konstanz urban area south of the Seerhein , about 6–7 m above the water level of Lake Constance . Unlike today, this hill formed a narrow headland in prehistoric times, only accessible from the south , which was surrounded by bodies of water and swamps to the west . (Only in the course of high medieval and modern settlement efforts did the cultivable area increase through landfills.) The Celts settled here as early as 120 BC. In the 3rd and 4th centuries after their retreat from the Upper Germanic-Raetian Limes , the Romans built several defenses on this hill to secure the new northern border of the empire ( Danube-Iller-Rhine-Limes ). Archaeological finds show that by 300 AD at the latest there was a brick-built Roman fort - "Constantia", named after Emperor Constantius Chlorus (305/306). The foothills of the Alps and the area around the mouth of the Rhine could be seen from here. The Romans used the place as a naval base and connected it by roads with other bases such as Tasgetium ( Stein am Rhein ), Brigantium ( Bregenz ) and Vitudurum ( Winterthur ). It is assumed that a Roman civil and military settlement existed here at least until the Roman military retreat in winter 401/402 and that an already Christianized Roman-Celtic mixed population remained, which, however, was displaced by the not yet Christianized Alemanni over the course of the next 200 years has been.
The diocese of Constance , founded around 585/590, built its first episcopal church on this hill . The bishopric on the western part of Lake Constance served the Franconian Empire as a base for the Christianization and political subjugation of the Alemanni. The place must have been inhabited at that time, and the first church dedicated to the Virgin Mary was believed to have stood within the ancient walls of the Roman fort. A vita of St. Gall from the late 8th century is taken as an indication that the episcopal church already existed in 615. The Marienkirche was first mentioned in a document in 780. Just a little further south was the older Roman basilica of St. Stephen , which is also mentioned in the Gallusvita and was probably used as a parish church under the Franks , but was not chosen as a bishop's church. In the course of the early Middle Ages, the fishermen , craftsmen and ministers of the bishop's court settled north of the cathedral district, establishing what is now the oldest district, the Niederburg. A settlement slowly grew around the church, but it did not develop to any significant size until the High Middle Ages.
Carolingian and Ottonian times
In the first half of the 9th century a Carolingian new building of the bishop's church was probably built . It may have been a three-aisled basilica without a transept with a three-cell choir and a straight choir closure. (This assumption is essentially based on the assumption that the first monastery church of the prince abbey of St. Gallen had its model in this Constance building.) Around the middle of the 9th or beginning of the 10th century, a crypt was excavated and later expanded, presumably for the bones of the catacomb saint Pelagius , in which the minster and diocese received a second patron saint. (Pelagius churches can still be found in the entire former diocese.) The powerful Bishop Solomon III. (Term of office 890–919) is mostly attributed to the construction of the crypt and the Palatinate , which stood south of the church and served as an apartment for the bishops and the traveling kings.
The 10th century saw an ambitious expansion of the episcopal claim to power: Bishop Konrad I (934–975) had the Constance churches adapted to the model of the five papal patriarchal basilicas; a second Rome was to arise. A wreath of parish churches was created around the episcopal church, which like Santa Maria Maggiore was consecrated to the Virgin Mary: St. Johann in der Niederburg (analogous to San Giovanni in Laterano ), St. Lorenz ( San Lorenzo fuori le Mura ), St. Paul Outside the Walls ( San Paolo fuori le Mura ) and - as St. Peter's Basilica on a smaller scale - the monastery church of the Petershausen Abbey , which his nephew and successor Gebhard II. (979–995) founded. Konrad also had the Mauritius rotunda built northeast of the cathedral, a simplified replica of the Jerusalem Church of the Holy Sepulcher , and dedicated it to the Ottonian imperial saint Mauritius . (In the 12th century Konrad and Gebhard were canonized because of the founding of churches , among other things ; Konrad was even appointed second patron of the minster and the diocese.)
The church buildings by Konrad and Gebhard demonstrated, on the one hand, the importance within the church of the largest diocese in the empire in terms of area , which stretched from Stuttgart to Bern , and, on the other hand, the loyalty to the ruling Liudolfingers and their idea of the Translatio imperii : the Ottonian emperors claimed to be the successors of the Roman emperors to be, so the episcopal city loyal to the emperor on Lake Constance was the second Rome to implement this claim in sacred buildings. The diocese of Constance also belonged to the politically influential ecclesiastical province of Mainz , whose archbishops crowned the German kings in the early Middle Ages . The bishopric had a considerable library ( cathedral library Konstanz ) as well as a cathedral school and together with the monastery St. Gallen (founded 612/719) and the monastery Reichenau (724) formed an important center of the early medieval spiritual landscape on Lake Constance.
Lambert building around 1000
Today's oldest above-ground building documents of the cathedral date from around 1000. This construction phase under Bishop Lambert (995? -1018) is also considered to be the most important Romanesque sacred building in southwest Germany, partly because it was the direct model for the monumental Church of St. Peter and Paul in Hirsau Monastery . The eastern part of the Carolingian minster was extended under Lambert by a transept and a choir to the shape of a cross, while the nave remained essentially unchanged. To the left and right of the square crossing , square sacred spaces were created (Thomaschor and Mariä-End-Chor).
Collapse and new construction (Rumoldbau) from 1054
The nave of the Carolingian basilica collapsed in 1052 for unknown reasons. This event is documented only in the contemporary chronicle of the Reichenau monk Hermann the Lame , who noted succinctly: "Constantiae basilica S. Mariae corruit" ("The Konstanzer Marienbasilika collapsed"). The cause may have been an earthquake or simply disrepair.
The new building began immediately: from 1054 under the bishops Rumold von Konstanz (1051-1069) and Otto I (1071-1080) a new, again three-aisled nave, into which the little damaged transept of the Lambert building was taken over. Construction work continued slowly, as the Bishops of Constance were involved in the time and energy consuming investiture dispute. In 1089, finally , Bishop Gebhard III consecrated . von Zähringen (1084–1110) the newly built cathedral church.
The so-called Rumoldbau had no towers. The transept arms had been raised compared to the Lambert building and now had the same ridge height as the nave. Its rows of columns with simple octagonal capitals characterize the building to this day. Bishop Rumold, previously canon in Goslar , had probably brought its shape with him from Goslar Cathedral there. A perspective meandering strip ran around the room just below the ceiling, as is typical for the Reichenau Georgskirche and the Goldbacher Sylvester chapel. Between 1154 and 1236, the wall crowns were raised again and a new roof structure and a flat wooden ceiling painted with religious motifs were installed, of which only one board remains today.
The cathedral hill in the Middle Ages
Already in the early Middle Ages, the cathedral hill of the city of Konstanz was the center of a spiritual life that reached far beyond the region, while the bourgeois settlement could hardly have been larger than a village. A good dozen monasteries settled in the immediate vicinity of the bishopric, after the Benedictines in St. Gallen (719) and Reichenau (724) as well as in Petershausen (983) and the Schottenkloster im Paradies (1124) the Augustinian canons of the Kreuzlingen monastery ( 1124), the Dominicans (1236), Franciscans (1240), Poor Clares (around 1250), Augustinians (1266), Dominican Sisters (1265) and other religious communities. In addition, the episcopal city was the administrative seat of the secular dominion ( Hochstift Konstanz ), from which the city made itself largely independent in the 13th century. In 1237 Constance was raised to the status of a free imperial city ; In 1308 the city elected its own mayor for the first time - a strong expression of independence from the prince of the church. The power of the bishops, on the other hand, fell apart both in the city and in the empire. Internal quarrels shook the diocese, for example when, as after the death of Bishop Heinrich von Klingenberg , two elected bishops competed for office. From around 1320 until the time of the council, construction work on the minster was therefore slow.
The cathedral hill had been fortified with a wall around it since the 10th century and expanded into a small, representative residence. South of the minster was the “spiritual city” with the bishop's palace, the Palatine Chapel of St. Peter, the bailiwick and the court of the Bishopric of Constance. (These buildings were largely lost in the early 19th century.) The square in front of the church served as the cemetery for the Münster district. The main traffic artery of the city also ran across the Münstervorplatz in a north-south direction - between the Rhine bridge built around 1200 and the civil town with the market square near the parish church of St. Stephan, which was gradually emerging south of the cathedral district . The upper and lower Münsterhof were still subject to the jurisdiction of the bishop in the late Middle Ages and early modern times, even after the city had long been ruled by a council of citizens.
To the north of the minster were the meeting room of the cathedral chapter , the library and utility rooms and the so-called "Stauf" (burned down in 1824), which served as a taproom and warehouse. Around 20 canons , chaplains , the cathedral provost and other clerics lived and worked near the cathedral . There was also a cathedral school that trained the next generation. In the early Middle Ages, the cathedral clergy formed a monastery-like community who lived together in a small space and performed masses and prayers together on a daily basis. In the 12th century, the community life of the canons dissolved. They began to acquire their own houses, which were spread out in a semicircle around the cathedral cemetery and over the Niederburg district, mixed with the houses of the guild members and wealthy bourgeois patricians who sought proximity to the clerical upper class.
Tower construction and entry of the Gothic
The small settlement, which existed at the mouth of the Rhine in the 11th century, was dominated by the mighty cathedral, although it had no towers in its Romanesque form. The construction of the double tower facade began around 1100 . From the beginning, two towers were planned, which many church buildings in Europe could have been the inspiration for. In 1128 the completed north tower, "a beautiful and costly gloggenturm" (diocese chronicle), collapsed down to the two lower floors and had to be rebuilt. It was not until a good three hundred years after construction began on the north tower that the south tower was completed in 1378. Both towers had pointed roofs made of lead sheets.
Another tower was built above the crossing , started around 1200 at the earliest. Rising from its base, it may have been square or - following the example of the Speyer Cathedral - octagonal in the upper part. On September 15, 1299, however, a fire destroyed the “delicious glockhuss vff dem Münster Crütz” (the Vierungsturm) “and dry bells in it and the Tach at the cathedral”, which, however, cannot mean the cathedral roof itself, because the roof structure can be attached to it no evidence of fire damage. The crossing tower was replaced by a simple roof turret , which has been renewed several times to this day.
After the nave and the chancel had received their permanent shape and the building of the tower hadn't made any headway, the subsequent bishops shifted their building measures to the modernization of the cathedral in the Gothic style , which penetrated the Lake Constance area in the late 13th century. The filigree holy grave in the Mauritius rotunda was built as early as 1260 . Brisk building activity in the new style began around 1300 with the construction of the monastery area on the north side of the minster. The cloister and the renovations to the Konradi and Mauritius chapels are part of the extensive construction work under Bishop Heinrich II von Klingenberg (1293–1306). They happened after a reform decision of the cathedral chapter of 1294, which should end the indecision and the collapse of power of the diocese. In particular with regard to the exempted Salem abbey , which had just begun to build a new church in the context of its growing size and importance ( Salem Minster ), the buildings demonstrated a renewed awareness of competition. After renewed disputes about the bishopric and a double election in 1306, the cloister was not completed until 1320, which was reflected in the style break between the south and the newer east wing.
The minster as a council church
From 1414 to 1418 the bishopric was the host of the Council of Constance , the largest medieval congress north of the Alps. The incumbent Pope John XXIII temporarily resided in the city . (Antipope) , King Sigismund , numerous cardinals , archbishops and bishops with thousands of servants, ambassadors from the participating nations as well as scholars, theologians , merchants, craftsmen - and not least prostitutes - from all over Europe.
The cathedral was the official venue for the 45 general councils and general congregations, as well as the major liturgical celebrations. (A contemporary representation from Ulrich Richental's chronicle of the council shows the tribune-like wooden benches that were specially made for the meetings.) Around 200 sermons, some of which were of ecclesiastical policy, were given in the cathedral during the council. The king read here after his arrival on Christmas Eve 1414 in the Gospel of Christmas Mass - with imperial crown on her head, drawn sword as it suited his self-image as overlord of the council. Here, too, on July 6, 1415, at the 15th general meeting, after heated debate, the death sentence was passed on the Czech reform theologian Jan Hus , who was burned outside the city on the same day.
While the election of the new Pope Martin V , which ended the Western Schism , was being held in the city's department store and warehouse (now called the Council Building ), he was ordained priest and bishop in the cathedral and enthroned on November 21, 1417 on a platform on the Munster forecourt. A grave slab in front of the steps to the high choir, made by English craftsmen, still commemorates Bishop Robert Hallum of Salisbury , who died in 1417 during the council and is buried here.
Late Gothic renovation 1420–1520
The council brought the diocese a temporary economic upswing, so that from 1423 a lively construction activity began on the minster, which lasted a good century and essentially brought the minster to its present appearance. Bishop Otto III was considered to be particularly willing to build . von Hachberg (1410–1434). Critical contemporaries report that he “had vyl lust und liebe ze buwen” so much that he plunged the diocese into serious debt.
First, the Romanesque interior of the cathedral received a new version in the late Gothic style: the side aisles, the lower sacristy, the St. Thomas choir, the southern transverse arm and the sanctuary received their late Gothic ribbed vaults and tracery windows between 1423 and 1453 . The east wall of the high choir was broken through and provided with three high pointed arched windows, which stand for the Trinity . The south facade of the transept was also redesigned in order to represent the renewed cathedral appropriately towards the city. The “Schnegg” was created in the Thomaschor, a free-standing hexagonal stair tower made of sandstone with extremely filigree architecture and figural sculptures, from which the skills, but also the limits of the contemporary Constance sculptors and engineers can be read.
As early as the middle of the 14th century, it is believed, there was a permanent building works at the cathedral . In the better-documented time around 1500, the Constance Dombauhütte regularly employed between 20 and 30 stonemasons , who were in lively exchange with the construction works in Speyer , Koblenz , Salem , Strasbourg , Bebenhausen and Maulbronn . The buildings between 1453 and 1526 are assigned to three metalworkers, although work from this period cannot be ascribed to these workshop managers alone - frequently changing craftsmen took care of the execution; The cathedral chapter determined the content of theological image programs .
The first of these three "great" foremen is Vincenz Ensinger (active 1453–1489), son of Matthäus Ensinger . He had the cathedral library on the upper floor converted into the chapter house and the row of chapels on the south aisle was built (1465–1485). Ensinger also commissioned the renowned Strasbourg sculptor Niclas Gerhaert van Leyden to refurbish the choir room. Gerhaert made only one altarpiece , however ; the requested choir stalls did not come about because the Leydener left after a dispute over wages claims for unfinished business. Local Simon Haider took over the job. Haider, who himself was only a carpenter, employed carvers for this purpose, who probably also made the picture fields on the doors of the west portal. Gerhaert's retable was destroyed during the Reformation, but up until this point it served the southern German carvers as an easily accessible, outstanding object to be seen.
Under foreman Lux Böblinger (active 1490–1502), brother of Matthäus Böblinger , the decorative Welserkapelle on the north tower was built. On behalf of Bishop Hugo von Hohenlandenberg , Böblinger laid the foundation stone for the central tower in 1497, which was to complement the facade of the monumental west tower block based on the model of the Strasbourg cathedral . In order to support the force of this facade, the two monumental buttresses were built to the left and right of the portal. His successor Lorenz Reder from Speyer (active 1505–1526), previously foreman at Überlinger Münster , closed the central tower up to the height of the two existing towers. Like the two side towers, it was to have a pointed roof made of lead sheets.
On October 21, 1511, a conflagration destroyed the roofs and bells of the three towers as well as the organ. The church financed the reconstruction through an indulgence that was sold to the citizens of Constance. From 1512 to 1526 the existing towers were first repaired and vaulted tracery domes were placed on the north and south tower stumps. Between the two was the tower watcher's wooden room. The “guard house” was constantly manned, with the city and the canon sharing the costs. An imposing new organ (1515–1523) as well as the organ loft (1516–1518) and the vault of the vestibule (1518) were also completely rebuilt. Immediately after the fire, a conference of smelters from the surrounding large churches recommended the construction of a central tower in the style of the Freiburg Minster ; it never came to fruition because the city came increasingly under the influence of the Reformation and all construction work on the cathedral came to a standstill.
Iconoclasm and Counter-Reformation
In the early 16th century, the Reformation first spread to the imperial cities . In 1518, a few months after Martin Luther's 95 theses , the first Reformation preachers appeared in Constance, probably the most powerful of them being Ambrosius Blarer . The city council seized the opportunity to overthrow Bishop Hugo von Hohenlandenberg, who had been trying for years to extend his secular privileges in the city. In protest the bishop left the city in November 1526 and moved to Meersburg , the cathedral chapter moved to Überlingen and in 1542 to Radolfzell . The city council placed the inventory of the minster and the cathedral treasure, if the clergy could not take it with them, under its own administration. The “ iconoclasm ” took place in Constance in a very orderly fashion: the precious reliquary shrines, the pictures, statues, vestments, carpets and other usable art objects from the bishopric were confiscated by the city treasury and gradually melted down or sold for profit. Relics, including the bones of the diocese saints Konrad and Pelagius and the bones of St. Gebhard kept in the Petershausen monastery , were thrown into the Rhine . The more than 60 altars of the minster as well as almost the entire inventory were thus irretrievably lost. The minster became a Protestant parish church under city supervision, but was only to remain so for about two decades.
In August 1548, Emperor Karl V forced Konstanz - as the last southern German town of the Schmalkaldic League - to recatholicize with military force . Constance lost its imperial freedom and was annexed to Upper Austria . The canons returned to demand the return of their property and houses from the city. At the request of the city, the new bishop Christoph Metzler von Andelberg came back to Constance on May 11, 1551, where he was received rather coolly, in order to rededicate the cathedral in the old faith on May 13; However, Meersburg was to remain the episcopal residence city until the diocese was dissolved.
In the period that followed, all of the furnishings in the minster and the side chapels had to be re-purchased. Some of the altars, bells and organs have been recovered at the city's expense. The diocese's finances were not lavish enough to permit large-scale construction work. Foundations came mainly from wealthy citizens or from the private fortunes of the noble canons themselves. In order to secure the Catholic faith in the course of the Counter Reformation , Jesuits were brought to the bishopric around 1600 . They built the Christ Church (today Old Catholic Church ) in demonstrative proximity to the cathedral and opened a school next to it, today's Heinrich Suso High School . At the urging of the Jesuits, a diocesan synod was held in the cathedral in 1609 to reform the diocese. The counter-reformers were also artistically active: the medieval painted wooden ceiling in the central nave gave way to the new vault (1679–1683) under the direction of the Jesuit architect Heinrich Mayer ; the side choirs received monumental baroque altars . However, more extensive remodeling in the Roman “Jesuit style” could not be financed.
Classicism around 1775
It was not until the end of the 18th century that further building work took place in the cathedral, now in the style of French classicism . The coveted palace and church builder Pierre Michel d'Ixnard , who had recently received the order to furnish the church from the Imperial Abbey of Salem , designed a new high altar (1774) and an overall design of the chancel, the crossing and the transept arms for the Constance cathedral new, antique style.
The execution took his staff Josef Ferdinand Bickel and Carlo Luca Pozzi from the Ticino Stuckatorenfamilie Pozzi . The new high altar moved closer to the east wall, the windows of which were walled up in the lower third. The three choir rooms and the crossing received coffered ceilings with partial gilding, the walls were decorated in a uniform marble bowl. This classicist design is not without controversy. In the 19th century, the classicist transformation of Gothic-Germanic architecture was flatly rejected. Today, on the other hand, it is largely regarded as an appropriate reinterpretation of the original, Romanesque-Gothic spatial shape, as d'Ixnard's helpers also managed in the Salem Minster .
Secularization and dissolution of the diocese
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With the secularization the decline of the diocese began. As early as 1795 Austria seized a considerable part of the Munster treasure in order to finance the coalition wars against France. The bishopric of Konstanz , the secular territorial property of the prince-bishops , was confiscated in 1802 and fell to the margraviate of Baden , as did the city of Konstanz a few years later. The sacred buildings and the cathedral treasure of the bishopric were also owned by Baden. The bishop's spiritual sphere of influence lasted barely two decades: the enlightening theologian Ignaz Heinrich von Wessenberg , vicar general of the diocese since 1801 and a supporter of Josephinism , was elected vicar capitular in 1817 after the death of Bishop Karl Theodor von Dalberg . Pope Pius VII opposed Wessenberg's plans for a German Catholic national church and did not recognize the election. Without further ado, the Pope dissolved the Diocese of Constance and founded the Archdiocese of Freiburg . Under the protection of the state government, Wessenberg continued his work until the new bishop's chair was finally filled in 1827. His house was almost directly opposite the cathedral; In 1860 the city had its honorary citizen buried in the north aisle of the minster.
From 1821 the minster was just a simple Catholic parish church . The old parish church for the Niederburg, St. Johann, was closed and a minster pastor was appointed. With the Stephanskirche , the cathedral survived the wave of profanation and demolition that overtook most of the churches in Konstanz. However, a large part of the cathedral district fell victim to fires and demolition measures in the first third of the 19th century: in 1824 a devastating fire destroyed the old residential complex of the canons as well as the "Stauf" and part of the cloister. The 900-year-old bishop's palace south of the minster, uninhabited since the Reformation, was demolished and replaced in 1830 by the classicist society house of the Konstanzer Museumgesellschaft, which today serves as a parsonage .
Regotisation and completion of the tower around 1850
Around the middle of the 19th century, the idea of monument preservation prevailed in Baden , which soon also affected the Konstanz Minster - "one of the most magnificent monuments of Gothic architecture, one of the most beautiful of its time", as the building report of a contemporary architect puts it . In 1844 Leopold von Baden approved the restoration. Under the supervision of the building director Heinrich Hübsch , the building was renovated from the outside from 1846 to 1860. The construction work included an extensive regotization of the minster. The 19th century saw the Gothic as the very own architectural style of the German nation, which is why the cathedral should be returned to the state before the Baroque era - for which there was little affection.
As with many other German buildings, a patriotically exaggerated ideal condition was to be restored here, which historically had never existed. During the restoration, the damaged framework on the western front was simplified; The north and south portals were also rebuilt in 1854 and 1857, respectively. The style mixture of the facade, which was perceived as “impure”, was standardized according to neo-Gothic ideas and the roof turrets that still exist today were added. It was only thanks to the protests of the minster pastor that the restoration of the classicist choir was abandoned. However, the choir windows walled up by d'Ixnard were reopened.
The most drastic intervention began in 1850: the octagonal tower with its openwork tracery helmet changed the appearance of the minster permanently. The late Gothic tracery domes above the two towers, which Huebsch calls “cheese bells”, and the pyramid roof of the guardroom disturbed the building manager's taste. Initially, a single-storey octagon with a simple dome was planned, which was discreetly based on the existing tower domes; the second design, which was finally carried out, raised the octagon to two storeys and crowned it with an openwork tracery tip. The tower needle of the Freiburg Minster is regarded as a direct model . ( Hübsch did not know the central tower design by the late medieval master builder Lorenz Reder .) The planners did not use the twin towers originally planned in the Middle Ages - whether for aesthetic or financial reasons is not known.
On July 27, 1853, the final finial was at its destination; the tracery domes fell the following year. The 78 meter high spire sealed the Gothicization of the Salian basilica. The addition, which is questionable from the point of view of today's conservationists, also turned out to be a stroke of genius in urban planning, as it gave the city center a distinctive landmark that can be seen from afar.
Restorations 1880–1935
The interior of the cathedral had to wait several decades for the neo-Gothic restoration. In 1879 August Essenwein , director of the Germanic Museum , recommended a restoration of the medieval wooden ceiling, for which the baroque vault should have given way. The plan was not implemented; Instead, the aisle chapels and the Mauritius rotunda were painted in imitated medieval painting between 1881 and 1887 under the direction of building inspector Bär, which, however, was criticized by contemporaries as "haphazard". Glass windows and mosaic floors were designed by Professor Alexander Linnemann from Frankfurt in 1880 . Documents on this can be found in the Linnemann archive. The neo-Gothic furnishings of most of the side chapels date from between 1910 and 1914.
A further restoration of the interior of the church followed in 1922–1923 for the 800th anniversary of the canonization of Bishop Konrad: the Gothic windows of the choir wall were completely closed, the decoration with stucco figures and ornaments were added and integrated into the now uniformly classicist shell; The work was carried out by Victor Mezger's art workshop based on a design by the site manager Paul Motz . The colored paintings in the crypt, the Konradi chapel and various tombs were restored in accordance with the building studies. In the 1930s, exterior repair work followed, mostly using artificial stone , concrete and bitumen ; Sandstone from Switzerland could no longer be used after 1933 for political reasons. The methods of repair, some of which were experimental at the time, are now proving to be problematic, as water accumulates under the seals made at the time and causes further damage.
From the post-war period to the present
On January 17, 1958, the church was opened by Pope Pius XII. with the apostolic letter Venusta quidem raised to the minor basilica .
Another comprehensive renovation of the minster began in 1962. The sandstone in particular suffers from environmental pollutants , so that stonemasonry work on the minster has to be constantly repaired or replaced with copies. The artificial stone from the 1930s also caused additional damage. Since 1968 there has been a permanent Münsterbauhütte under the supervision of the State Property and Construction Office in Konstanz. Six to eight stonemasons work almost exclusively on maintaining and repairing the cathedral. Since the 1960s, around 30 million euros have been spent on the renovation and maintenance of the minster. 1974–1975 the crypt was renovated.
From 1979 to 1988 the Welserkapelle on the northwest corner of the minster was renovated; the original condition before the renovations in the 19th century was restored and, where this was not possible, modern gargoyle figures were fitted. In 1985 a construction survey of the towers revealed that their upper floors were so in need of renovation that superficial measures were not always sufficient. Instead, the bell storey on the north tower was completely removed from 1991 to 1996 and rebuilt identically from healthy sandstone; Repairs to the south tower were sufficient. As at the time of construction, the sandstone used comes from Rorschach and recently also from Lake Zurich . The neo-Gothic octagon and the spire followed from 1998 to 2001. At the same time, the entire west facade was comprehensively repaired. In 2005, work on the tower was largely completed; Renovations to the north and south facades are still pending.
Today's cathedral parish is responsible for around 3000 believers. The Dominican convent in Zoffingen (founded in 1257) is the only monastery in Constance that has survived the Reformation and secularization in the municipality . The largest annual festival of the parish is the Konradifest on November 26th in honor of St. Konrad, at which a bishop or abbot of the diocese of Freiburg im Breisgau or the neighboring dioceses is a guest. The Marian patronage is celebrated on September 8th ( Mary's birth ). The cathedral is open to visitors all year round; the tower platform is accessible from Easter to the end of October. In addition to Catholic church services, concerts are also regularly held in the cathedral.
Architecture and equipment
The Konstanz Minster is a three-aisled basilica with a transept and a three-cell choir that just ends . The actual building with its simple cubature is unmistakably Romanesque, while the tracery on all sides and the high pointed arch windows testify to the late medieval will to adapt the church to the large Gothic bishop's churches. The west side facing Münsterplatz, as the actual face of the church, is characterized by the massive stumps of the twin towers, whose tracery gives them a filigree structure. From the south, the church presented itself from a more decorative side with an elaborate side portal in the 19th century, while today only the early Gothic south wall of the transept bears witness to its representative function. In the east, on the outer wall of the north choir, the buildings of the Mauritius rotunda, as well as the chapter room and the Margaret chapel, which are connected to one another by the remains of the former cloister .
Longhouse
The overlapping of different construction periods is particularly visible on the nave. The rows of columns to the left and right of the lay room are unmistakably Romanesque and come from Rumold's building period after 1054. A total of sixteen columns on each side support the semicircular arcades. They have powerful, simply crafted eight-sided chalice capitals (probably based on models in Goslar Cathedral ) and Attic bases . Each column is made from a single block of Rorschacher sandstone . The narrow, high room creates an optical deep suction towards the altar, which the wide-span round arches divide into a measured rhythm. The final round arch frames the ascending succession of strict cubes from the crossing and high choir ( apse ).
The baroque ribbed vault (1679/80) that roofs the room spans the upper storeys into this sequence of steps and artfully interweaves them into a spatial unit. Although the vault lives from a more stage-like feeling of space than the strict, measured rows of columns, it blends harmoniously into the overall space. The vault ribs continue the late Gothic vaults of the side aisles and the chancel without disturbing the yoke sequence of the nave. On the left side of the nave you can still see the door frame through which the hanging organ was once accessible .
West wall
The balustrade of the organ gallery, designed by Lorenz Reder, mixes sculptural forms from the Gothic and the Renaissance. In the arch below the gallery is the picture of the dead of Auxiliary Bishop Georg Sigismund Miller († 1686). The two-part picture comes from Johann Christoph Storer and is dated to 1659 - the bishop decided on its aftermath while he was still alive. In the right part of the picture the praying bishop kneels next to Christ and Mary. Mariological quotes can be found on banners in front of the bishop's mouth: "HINC LACTOR AB UBERE" ("I feed on your breast"), on Christ's cross: "HINC PASCOR (AB) VULNERE" ("I feast on his wound") and before Christ: “FILIOLI HAEC PECCATORU (M) SCALA HAEC MEA MAXIMA FIDUCIA EST: HAEC TOTA RATIO SPEI MEAE” (“This divine mother, O my sons, is the ladder of sinners through whom they ascend to the height of divine grace, she is my greatest confidence, it is the whole reason of my hope ”; Bernhard von Clairvaux , In nativitate BV Mariae , 441B). At the top of the arch there is a picture of God the Father with two putti holding a scroll. The left picture shows a vanitas motif : a skeleton in a bishop's robe indicates a knight in full armor , who is holding the coat of arms of the auxiliary bishop. In the arched gusset next to it a base with a darkened sun and the slogan “SOL OBSCURATUS EST” (“The sun is darkened”) and an inscription in honor of the bishop. The picture could only be placed so prominently in the nave because it corresponded to the common veneration of Mary.
Transept and high choir
The transept of the minster is divided into three parts: the separated crossing , to which the main choir with the classicistic high altar adjoins to the east , the crossing with the St. Thomas Choir on the left and the End Choir on the right. The crossing square, characteristic of Romanesque basilicas, determines the size of the adjoining spatial units as a unit of measurement ( bound system ). The floor of the crossing and the side choir rooms is about one meter higher than the nave, while the main choir is five steps higher than the crossing.
The entire ceiling of the choir and the crossing is uniformly decorated in a classical style, and the walls of the high choir are clad in gold and white marble . The two side choirs are each covered with ribbed vaults with partially gilded cassettes. In the north choir the vault is designed as a seven-pointed star; In the main choir, floral rhombuses fill the spandrels of the Gothic pointed arches. The high choir served as a sanctuary until the Second Vatican Council . The classicistic high altar, a design by d'Ixnard, still stands there. The rear wall has been windowless since the three large Gothic east windows were closed in 1923. The dimensions of the original pointed arch windows through which the light of the rising sun fell directly into the church can still be seen. In front of the central window hangs a monumental oil painting by Franz Carl Stauder showing the Assumption of the Virgin Mary (1701). The picture is flanked by monumental statues of the church patrons Konrad and Pelagius.
Thomaschor
The two side choir rooms each house monumental baroque altars. The altar in the north transept (Thomaschor) is sculpturally decorated by Christoph Daniel Schenck ; next to Christ and St. Conrad stand here Emperor Heinrich II. and Helena ; the crucifix above the altar was made by Carlo Luca Pozzi from Como .
The so-called Schnegg in the Thomaschor is a late Gothic gem of the cathedral: an eight meter high hexagonal staircase made of hewn sandstone, which is decorated with tracery and figurative representations. The five meter high spiral staircase inside led to the vault of the east building and to the hanging organ in the central nave. The relief figures represent symbols of the virginity of Mary in typological juxtaposition: Gideon and the Annunciation as well as the burning bush and the birth of Christ stand opposite one another. Eight prophetic figures adorn the corners of the turret. The lettering of the banners and the original colored painting of all figures are missing. The masters who carried out the tower are not known by name apart from one “Master Antoni”; the start of construction is dated to 1438. Reiners (1955) sees the artistic model in an eight-sided external stair tower at Bourges Castle . While the sculptural works met with a lot of admiration, the construction as a whole is considered to be a faulty static planning that is only held by the staircase construction.
On the north wall of the Thomas Choir there is also a Gothic depiction of the death of the Virgin Mary and her lamentation by the disciples, which is sculpted as a group of sculptures. It was originally placed in the south choir, as this is dedicated to the death of the Virgin, but is now in a late Gothic niche that actually houses a grave of the canon and cantor Friedrich von Richtenberg.
Mary's End Choir
The altar in the south choir was created by Jörg Guggenbüchel from Einsiedeln in 1637 , the altar sheet with the death of Mary comes from Johann Rieger .
Margaret Chapel
Behind the south or Mariä-End choir is the Margaretenkapelle, a sacred space first mentioned in 1222, which was vaulted in 1423 with a Gothic cross vault. Colored wall paintings (early 14th century) show a constellation of three motifs with a painted frame: on the left Christ in a wreath of angels, on the right the devil, who is pressed down by three angels with lances, and above both motifs the Mother of God with Christ in his arms , at their feet the coat of arms of the founder, Bishop Otto III. von Hachberg , the diocese and the counts of Freiburg.
On the south wall of the chapel there is the high grave of the bishop, directly behind it a blind arch, which is surrounded by wall paintings (dated 1445). High grave, blind arch and the wall painting form a unit. The painting shows a crucifixion scene inside the arch, above the arch a painted tracery parapet, behind which the Mother of God appears in a dance of angels making music. The fine drawing in oil and tempera is partly peeled off or destroyed by later overpainting. With its three-dimensional sequence, it is one of the earliest works of spatial illusionism in German art.
The Margaret Chapel was restored in 2008 and opened to the public again.
Side aisles and side chapels
The side aisles date from the Romanesque construction phase after 1054 and were spanned with simple ribbed vaults in the 15th century. The keystones of the vaults are painted with figures of saints and fantasy creatures, such as a chimera . The services supporting the vault are drawn through to the floor on the back of the longship columns; they have been partially removed from the outside of the ships.
A row of eight side chapels (15th century) are attached to the side aisles. Only sparse light falls through the magnificent stained glass windows of the chapels. The row of chapels is interrupted by the north and south portal. Most of the altar decorations date from the 18th and 19th centuries and were donated by high-ranking Constance families, canons and bishops. Along with the founders, many of them changed patronage over the years. The entrances to the chapels are closed with wrought iron bars, some of which are remnants of the magnificent baroque choir grille .
Only a few of the originally numerous wall paintings have survived. On the west walls of both the south and north aisles, on both sides of the west portal, there are prominent monumental depictions of St. Christopher . Both are greatly faded. The southern picture, dated 1435 and restored in 1924, shows the porter with Christ on his back walking through the river, the surrounding landscape being drawn in detail and vividly. The almost completely faded northern image, dated 1470, shows a far more naturalistic depiction of Christophorus with the hermit against the background of a lake with a siren , ships, ducks, water birds and a city that is often interpreted as an early depiction of the city of Constance.
In the side aisles there are numerous tombstones and epitaphs of bishops , auxiliary bishops and canons . Ignaz Heinrich von Wessenberg, the last diocese administrator and honorary citizen of Constance, is also buried in the north aisle.
Welserkapelle
The Welserkapelle is the westernmost of the north chapels and is connected as a single-storey building to the north side of the north tower. Begun under Bishop Otto von Sonnenberg (1474–1491), the original function of this outstanding structure is unclear. The dense decoration in the outside area shows - after the radical restorations of the 19th century and the reconstruction work in the 20th century - a style mixture of reconstructed Gothic and modern additions: In addition to the revived ornaments, there are four modern gargoyles that represent the four cardinal virtues . Inside, it is the first of the north chapels to adjoin the north aisle. It got its name as the family chapel of the Matthäus Welser family; Canon Severinus Welser donated the altar and was buried here in 1659. The surrounding frieze in relief with half-length portraits of 21 prophets and smaller full-body figures of male and female saints is remarkable . These stone carvings from the Münsterbauhütte from around 1500 are among the most outstanding sculptural works in the Münster. The four colored glass windows of the chapel were designed in 1989/90 by the glass artist Hans Gottfried von Stockhausen .
Towers and west portal
The west side of the church is defined by a mighty sandstone front that spans the entrance portal. It is divided into a north, middle and south tower. The north and south towers (12th – 14th centuries) are divided into four floors by surrounding cornices . The tower facades are undecorated and have only narrow light slits; only the upper floors, which serve as bells, have sound openings decorated with tracery. The towers end on the fourth floor with a platform on which the openwork octagon stands, which merges into the filigree tower needle (19th century). The balustrade of the 40 m high viewing platform is adorned with stone pinnacles . The central tower (around 1500) is flanked by powerful, stepped buttresses on the west side .
On the bottom floor of the central tower, the vestibule opens to the west portal. Over the opening, under a tracery canopy, there are monumental sculptures of the three patrons of the cathedral from around 1855: Konrad and Pelagius were created by the Constance sculptor Hans Baur , the Maria comes from Franz Xaver Reich from Hüfingen . The western vestibule has a complicated four-part star vault (1518) in front of which a large carved crucifix hangs (“Great Lord God of Constance”, 15th century).
The two doors of the main portal are decorated with wood carvings. Each of the 4.05 m high doors is divided into ten image fields. They depict the life of Jesus in 20 stations, starting with the proclamation of Mary in the lower left corner of the left door, ending with the Ascension of Christ, Pentecost and the death of Mary in the upper right corner of the right door. Semicircular reliefs over both doors show busts of Saints Conrad (left) and Pelagius (right). The head carpenter Simon Haider prominently immortalized his name and the year of origin 1470 in the upper end strip of the doors: "ANNO XPI MILESIMO CCCCLXX SYMON HAIDER ARTIFEX ME FECIT". However, the picture fields were made by several carvers whose names were unknown.
crypt
The crypt is the oldest surviving part of the minster. Its origin cannot be precisely dated. It was probably made for the bones of St. Pelagius , which were embedded here perhaps as early as 850 or at the latest in 904.
It was originally an angular corridor crypt, which was later expanded to become a hall crypt. A comparable four-pillar crypt already existed before 900 in the neighboring Reichenau Monastery and, perhaps as a model for both, in the Prince Abbey of St. Gallen . Two tunnels with barrel vaults originate from the earliest late Carolingian construction phase , which probably ended in the aisles of the church. In a second step (possibly under Bishop Konrad) the almost rectangular vaulted hall was created. Four of the six columns of the three-aisled hall are adorned with decorative Ottonian acanthus capitals ; two more, one of them with figural sculptures, were in the 11./12. Century added. The figure capital is possibly a spoof from southern Europe.
The burial chamber on the west wall of the crypt houses a small stone sarcophagus . Today it is passed off as a reliquary of Pelagius, but presumably housed a collection of various relics and may have replaced a more magnificent reliquary that existed before the Reformation. Originally the chamber was located directly under the high altar of the minster, was connected to it by a shaft and thus served as a reliquary of the high altar.
Konradi Chapel
The Konradi Chapel is a “transit station” between the Thomaschor, the crypt and the Mauritius rotunda . Below the chapel is the grave of Bishop Konrad von Konstanz , which became an important pilgrimage destination shortly after his death and remained so until the 18th century. The chapel was built at the latest under Bishop Ulrich I von Dillingen (1111–1127) in the course of the canonization of Conrad and served to guide the streams of pilgrims.
The neo-Gothic wall painting in the chapel depicts the life of St. Konrad and was created in 1875/76 by artists from the Beuron School . In the rear area is the high stone grave of the saint with a monumental reclining figure in high relief , which is considered unique for the Lake Constance area around 1300. In the small chapel there is now a gilded reliquary containing the saint's head - it was probably Bishop Hugo von Hohenlandenberg who saved the important relic from iconoclasm when he moved out of Constance . After the re-Catholicization , she came back to Constance in 1604 via Countess Elisabeth von Fürstenberg .
A small vestibule connects the Conradi Chapel with the crypt, the west choir and the cloister. The architecture of the vestibule is remarkable because the forms of its three-beam vault predominantly appear in the architecture of the Cistercians during this period . The Sacrarium (treasure chamber) is located on the upper floor of the Konradi Chapel, which is accessible via the sacristy.
Mauritius rotunda
The Mauritius Rotunda or Chapel of the Holy Sepulcher is a one- story round chapel east of the minster. Bishop Konrad had the rotunda built in 940 after his second pilgrimage to Jerusalem , originally as a free-standing building east of the cathedral choir. In its shape, it imitates on a smaller scale the central building of the Jerusalem Church of the Holy Sepulcher that existed before 1009 . The chapel is dedicated to Saint Mauritius , who was venerated as the patron saint of the Ottonian kings in the early Middle Ages . The building is therefore regarded as a political declaration of loyalty by the bishop to the ruling Liudolfingers . Mauritius relics came from the Reichenau Monastery to Constance via the Augsburg Bishop Ulrich I (923–973) .
The small architecture of the Holy Sepulcher (around 1260) is adorned with stone carvings in the French Gothic style. It features remarkable sculptures that were originally painted in color. Figures of the twelve apostles stand between the battlements of the roof parapet, which are designed in the form of eyelashes and pierced with three passes . Twelve figurative scenes from the Christmas story are depicted at eye level around the Holy Sepulcher . Inside the Holy Sepulcher there are three scenes from the Entombment of Christ. A wooden shrine has stood in the grave since 1552 , which presumably replaced a silver shrine that was destroyed during the Reformation .
Not only the architecture, but also the liturgy of the chapel followed the Jerusalem Church of the Holy Sepulcher: For centuries, the Mauritius rotunda was the destination of pilgrimages. The numerous pilgrims - especially believers from the surrounding area who could not afford the long journey to the Holy Land - circled the Holy Sepulcher three times. The chapel is still a station on the Schwabenweg , a section of the Way of St. James . In the Middle Ages it was also used during Holy Week for the performance of Easter games.
In the south, the small Blasius chapel adjoins the Mauritius rotunda. Here is a winged altar that survived the iconoclasm in the bishop's private chapel. The triptych shows a crucifixion scene on the middle panel and the burial of Christ on the predella . The side panels show the cathedral cartridge and the founder (according to popular, but controversial opinion, Bishop Hugo von Hohenlandenberg) on the front, the holy clan on the back . Possible painters are Christoph Bocksdorfer or Matthäus Gutrecht the Younger and Philipp Memberger .
Cloister
Only the east and south wings of the two-storey cloister have been preserved. It connects the St. Thomas Choir, the vestibule to the Konradi Chapel, the Mauritius rotunda and the extensions on the east wing. The eastern part of the complex houses a wine cellar, on the ground floor the congregation hall, the New Year's Eve chapel and the former cathedral school, and on the upper floor the large three-aisled chapter house (formerly the library room). The cloister was built in the early Gothic construction phase between 1294 and 1320, with a change in style in between: While the older south wing has simpler double windows with simple quatrefoil motifs, the younger east wing strives for a complex, additive design language that varies from window to window and for them Time in the Lake Constance area is new. It is believed that Bishop Gerhard von Bevar brought the craftsmen from his home in the south of France.
The west and north wings of the cloister and the attached "Stauf", the canons' inn, were destroyed by fire on November 11, 1824. Reconstruction could not be financed. Individual tracery windows were reused during the renovation of Gottlieben Castle . The small Mount of Olives in the middle of the cloister garden has also not been preserved. Right next to its original location is an underground chapel dedicated to St. Barbara . The chapel, donated in 1401, is difficult to access and was rarely used due to its poor lighting.
Other items of equipment
Gold disks
Four fire-gilded copper disks are exhibited in the crypt of the minster , which stood on the outer east gable of the choir facing the lake from 1300 to 1925 at the latest. (Copies have been made there since 1973.) The largest disc (194.5 cm in diameter) is also the oldest and is dated to the 11th century; However, it has not been established whether it was built after the new building, i.e. around 1054, or was made around 1000. It shows Christ as Pantocrator , flanked by two angels . Christ does not have a beard; he holds his right hand raised with an outstretched index and middle finger; in his left hand he is holding an outstretched book with the sentence: "VENITE AD ME OM (NE) S QVI LABOR (A) TIS ET EGO REFICIA (M) VOS" ("Come to me, all of you who are laborious (and laden I want to refresh you ”, Matt. 11:28). Its small-scale design suggests that it was originally installed in the interior, possibly above the main altar. Stylistically, it is related to the illuminations and frescoes of the Reichenau monastery , so that its origin is assumed there.
The three small discs (94/90 cm in diameter) are dated to the 12th or 13th century; stylistic differences suggest three different anonymous masters. In contrast to the Christ disc, they are made using the relief technique . Two discs each show a bust of the cathedral and diocesan patrons Konrad and Pelagius . Konrad is marked by a bishop's staff, Pelagius by a palm branch . The original interior drawing of the faces and limbs has not been preserved. A fourth disk depicts an extremely vividly shaped eagle , the symbol of the Evangelist John . There is no evidence that other discs existed with the other three evangelists .
pulpit
The pulpit of the minster dates from the baroque period around 1680 and is located in the lay room on the north side of the nave. Made by a carpenter from St. Gallen , the architecture consists of walnut and the decorative sculptural elements of soft linden wood . The sides of the pentagonal sermon chair show three-dimensional half-length portraits of the four evangelists and the church father Jerome . The sound cover is surrounded by a banner: "IN OMNEM TERRAM EXIVIT SONUS EORUM" - "Your sound goes out into all lands" ( Ps. 19,5). The lid is crowned with a carved figure of St. Conrad from the workshop of Christoph Daniel Schenck .
A carved figure of the forefather Abraham with the ram carries the sermon chair on its head and seems to be balancing it with his hands. Abraham is here symbolically installed as a representative of the old covenant on which the teaching of the evangelists and the new covenant rests. In the 18th century, however, the Catholic citizens, out of ignorance, considered the sculpture to be a representation of Jan Hus , who was also usually depicted as a bearded man , who was burned as a heretic at the Council of Constance . The "wretched wooden man figure made as monstrous and shapeless as possible" was therefore badly treated, as the Karlsruhe professor Heinrich Sander described in 1781:
- "The common low mob looks at the unimaginative image for Hussen's figure, hits them with iron shoe nails in the head, in the eyes, in the chest, and full of holy zeal spits on the anal birth of the maddened nonsense."
The misconception persisted into the 19th century, although the pulpit was built in the course of the Catholic Counter-Reformation , when no enemy of the Church would have been chosen as the bearer of a sermon place. In the 1830s, the sculpture, now recognized as Abraham again, was shown at an exhibition about the council and then mothballed. Only in 1986 did she return to her original place, where the damage from her previous abuse is now visible.
Madonna figure
On the left choir pillar there is a seated Madonna on a console . Made around 1260 by an unknown sculptor, it is one of the most important works of art in the minster. The seated Mary carries the naked Christ Child on her right knee and holds his left hand with her left. While the child looks up to her, the Madonna figure looks directly at the believers, a sign that the way to Christ should be found through devotion to Mary. The carved figure is made of poplar wood and covered with linen , which was then covered with gold and painted. In the late Middle Ages, this figure was attached to a cathedral column, as can be seen in Ulrich Richental's chronicle of the council. After seven decades in the city's Rosgarten Museum , it has been back in the Münster since 1999.
Choir stalls
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The oak choir stalls from 1467 to 1470 survived the Reformation and are now located in the crossing. It was made by the carpenter Simon Haider and his son-in-law, the sculptor Heinrich Yselin . The well-known Leyden carver Niclas Gerhaert van Leyden was actually supposed to make the choir stalls, but he didn't finish his work; it is debatable what part he still had in the drafts.
The stalls are covered with a canopy made of tracery carving, which is adorned with small sculptural figures of saints. The cheeks show reliefs from salvation history so that the cathedral clergy could take their place between the creation of the world and the Last Judgment . The back wall shows bust reliefs of the apostles and prophets . During the classical redesign around 1775, the number of seats was reduced by eight. Three rows of seats on each side originally offered 72, after the renovation 64 seats.
Marian column
South of the minster, on the upper minster courtyard (in the Pfalzgarten), opposite the side entrance, is the Marian column (Constance) . The 2.10 meter high figure on the granite column depicts Mary with Jesus with her foot on an upward curved crescent moon, with the inscription “Mary, Mother Thrice Admirable, the sublime patroness of the Diocese of Constance”. It was commissioned by Bishop Johann von Praßberg , cast by Valentin Allgäuer and consecrated on May 2, 1683.
organ
The first organ in the cathedral is mentioned in 1130. It may have lasted all through the late Middle Ages. An order for a large cathedral organ was placed in 1498 by organ builder Hans Tugi from Basel . It was damaged in a fire in the towers in 1511 and only poorly repaired. In 1515 the chapter made the decision to “make ayn grosz werck nicely” , that is, to build a completely new organ that should be larger than the old one. The work of the organ builder Hans Schentzer from Stuttgart dragged on for several years and was completed in 1520. However, it fell apart during the Reformation and was not restored until 1592. Michael Praetorius reports on 70 registers and over 3000 pipes ; “The largest pipe weighs more than 3 cents and is 24 shoes long” ( Syntagma musicum , 1618). Accordingly, the low F sounded in a 32-foot position. In fact, the instrument had 27 registers divided between two manuals and a pedal, and was one of the largest German organs. The most important cathedral organist is Hans Buchner from Ravensburg . With several repairs, this renaissance work survived until 1858, when the organ builder Martin Braun (Spaichingen) created a new work in the course of the extensive cathedral restoration .
Another source documents repairs by Anton Hieber in 1845 and from 1851 by Martin Braun and a new building in 1853 by him and his son Michael Braun .
There were also several small organs at times. A hanging organ ( swallow's nest organ ) on the north side of the nave in front of the Obergaden was set up in 1491. Another small work was created in 1598 on the rood screen in front of the crossing; In 1636 the rood screen was torn down, the old rood screen organ was sold to the Dominican monastery and a new small organ was procured for the choir, which symmetrically supplemented a purely decorative mock organ. The choir organ, although frequently used, was sold to the Feldbach monastery in Thurgau in 1843, despite protests from the citizens .
Organ prospectus
The prospectus from the transition period from the late Gothic to the Renaissance and the gallery occupy the entire west wall above the portal. The seven-axis prospectus is flanked by two pedal towers. Two outer narrow pipe fields from 1858 lead over to the two-storey old middle section, which is divided below by profiled columns and pilasters and above by marbled columns and pilasters. Gilded carvings with cornucopia and harps complete the pipe fields at the top. The crowning wooden figures, a Madonna from the second half of the 15th century and to the side St. Conrad and St. Pelagius , both patron saints of Constance, do not belong to the original prospectus . The colorful version of the prospectus comes largely from Matthäus Gutrecht from 1518.
Organ work
The present organ work comes from the Bonn organ manufacturer Klais from the years 1954/55 and is built in the historical case. The instrument has 63 registers with a total of 4951 pipes on four manual works and pedal. Some stops from the previous organ, which had been built by Martin Braun in 1858, were included, including the prospect pipes. The playing and stop actions are electric.
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- Coupling: II / I, III / I, IV / I, I / P, II / P, III / P, IV / P
- Playing aids : a free combination, 5760-fold typesetting system , sequencer, floppy disk drive, register crescendo
- Remarks
- (h) = Historical register from 1858
Church music
Church music director Steffen Schreyer and the cathedral organist Markus Utz are currently responsible for maintaining church music at the Konstanzer Münster .
Bells
There is an ensemble of 19 bells in the cathedral towers . With a total weight of around 35 tons, it is the largest bell in Germany after the Cologne cathedral bell . In the west tower, 16 bells, including 7 historical bells, hang in three belfry. 3 small bells hang in the roof turret. In 2007 a sound documentation of the bells with a comprehensive booklet was published for the first time (see under literature ).
history
On the one hand, 7 historical bells hang in the west tower. The oldest sound body is the death bell, which was cast around the year 1200. Two bells are from 1512 and one other from 1628.
Of particular importance three bells from the year 1584. are you coming from the bell casters Hanns Christoff Loeffler and his son Christoff from Innsbruck , who were charged with five bells with the blow pitches h 0 , cis 1 , dis 1 , F # 1 and h 1 to be cast as a replacement for some bells cast by the bell-maker Jerg in Strasbourg. The founders Löffler achieved the most beautiful and imposing bells of the 16th century, especially with the Ursula bell weighing around seven tons. In addition to the Ursula bell, two other bells of this peal have been preserved.
The historic bells hang in the northern bell chamber on three levels - with the exception of the Ursula bell, which is the only sounding body housed in the southern bell chamber.
In 1966, the number of bells was expanded: On the occasion of the 550th anniversary of the Council of Constance, the state of Baden-Württemberg donated 12 additional bells, which were cast by the Heidelberg bell founder Friedrich Wilhelm Schilling . Their names come from the history of the minster, the city or are taken from the patrons of the city churches.
Since then, nine of these bells have formed the (ten-part) main ringing (bells no. 1 to 10), in which the old Ursula bell was included; they hang in the middle bell-house on three levels. The six historical bells have served as secondary chimes since then (bells no. 11 to 16). The three smallest of the new bells were hung in the roof turret (bells no. 17 to 19).
Main bell
|
No. |
Surname |
Casting year |
Foundry, casting location |
Transit diameter (mm) |
Weight (kg) |
Strike tone (a ′ = 435 Hz ) |
Bell chamber (floor) |
| 1 | Sancta Maria | 1966 | Friedrich Wilhelm Schilling , Heidelberg | 2,270 | 8,349 | gis 0 - 7 / 16 | Middle (below) |
| 2 | Ursula | 1584 | Hanns Christoff and Christoff Löffler , Constance | 2,065 | ≈ 7,000 | h 0 - 6 / 16 | south |
| 3 | Conradus | 1966 | FW Schilling, Heidelberg | 1,656 | 3,450 | cis 1 - 7 / 16 | Middle (below) |
| 4th | Gebhardus | 1,455 | 2,260 | dis 1 - 7 / 16 | |||
| 5 | Pelagius | 1,330 | 1,856 | fis 16 / 16 | Middle (m.) | ||
| 6th | Henricus Suso | 1,189 | 1,293 | gis 1 - 7 / 16 | |||
| 7th | Pius X. | 1,052 | 892 | ais 1 - 7 / 16 | |||
| 8th | John Baptista | 984 | 734 | h 16 / 16 | Middle (above) | ||
| 9 | Paul | 872 | 507 | cis 2 - 7 / 16 | Middle (m.) | ||
| 10 | Peter and Paul | 768 | 339 | dis 2 - 7 / 16 | Middle (above) |
Secondary bell
|
No. |
Surname |
Casting year |
Foundry, casting location |
Transit diameter (mm) |
Weight (kg) |
Strike tone (a ′ = 435 Hz) |
Bell chamber (floor) |
| 11 | apostle | 1584 | Hanns Christoff and Christoff Löffler , Constance | 1,681 | ≈ 3,500 | cis 1 - 3 / 16 | North (below) |
| 12 | Salve Regina | 1,417 | ≈ 2,350 | dis 1 ± 0 | |||
| 13 | Konrad or prayer bell | 1628 | Valentin II. Algeyer, Constance | 1,229 | ≈ 1,400 | fis 1 - 12 / 16 | North (m.) |
| 14th | Beatrix | 1512 | Nicolaus Oberacer | 1.003 | ≈ 780 | ais 16 / 16 | |
| 15th | Osanna or paternoster | ≈ 850 | ≈ 300 | cis 2 - 12 / 16 | North (above) | ||
| 16 | Death bells (sugar loaf bell) | around 1200 | anonymous | ≈ 550 | ≈ 150 | cis 2 - 8 / 16 |
Ridge bells
|
No. |
Surname |
Casting year |
Foundry, casting location |
Transit diameter (mm) |
Weight (kg) |
Strike tone (a ′ = 435 Hz) |
| 17th | Johannes Nepomuk | 1966 | Friedrich Wilhelm Schilling , Heidelberg | 651 | 201 | fis 2 - 6 / 16 |
| 18th | New Year's Eve | 573 | 137 | gis 2 - 7 / 16 | ||
| 19th | Nicholas | 544 | 134 | h 2 - 6 / 16 |
Ringing order
On the highest feast days, the main and secondary bells are rung together. On Sundays, nine bells of the main bell ring, without the Sancta Maria bell . This ensemble will also ring in the Sunday (the evening before from 4 p.m.).
On weekdays, individual bells and combinations of bells are rung from the secondary bell.
For Angelus rings usually the Salve bell . On high feasts, the great Sancta Maria rings for the Angelus.
The tower clock triggers the quarter- hour strike on the Gebhardus bell and the full hour strike on the Conradus bell .
Digressions
The minster as a bishop's church
See also: Diocese of Constance and List of Bishops of Constance
The highest cleric of the cathedral was the bishop , who at the same time had the spiritual district of the diocese under him and - until the secularization of 1803 - the secular rule over the monastery of Constance . In addition to the bishop, there was the cathedral chapter , which elected the bishop and had an important influence on many decisions. It consisted of 20 to 25 canons and formed a power factor that should not be underestimated, and which could occasionally operate against the bishop. The cathedral provost , the highest-ranking member of the chapter, had to protect the property and rights of the other members and to pay the salaries. He was appointed by the Pope from the 14th to the late 18th century and had his own, highly endowed benefice . The chairman of the chapter was the dean of the cathedral , a priest who was elected to this office by the chapter itself. He led the choir service and the chapter meetings and was special judge of the canons and cathedral chaplains . The cathedral custodian watched over the church treasure and the liturgical equipment. There was also a cathedral choirmaster and eight other singers who provided the music for the services.
While St. Stephan was the "citizenship church", whose canonical positions were mostly occupied by the sons of wealthy patricians, the canons of the cathedral until the Reformation mostly came from the regional or supraregional nobility , then mainly from the Swabian knighthood and the bourgeoisie of the diocese cities. Even after that, the aristocracy was still strongly represented, who liked to provide for their sons financially in this way. The financial basis of the clergy was similarly distributed: While a large number of pious foundations and altar donations from the citizenry went to St. Stephen, the higher sums were raised for the up to 60 altars of the cathedral, corresponding to the wealth of the wealthy donors. St. Paul and the collegiate church of St. Johann, on the other hand, lagged far behind both.
Until the dissolution of the diocese, the episcopal church did not have its own parish ; the “Leutkirche” St. Stephan and the parish churches St. Johann, St. Paul and St. Jos / Jodok were responsible for pastoral care in the citizenry. The church services in the cathedral were only accessible to clerics , prelates and nobles on high festivals . It has also been documented since the early Middle Ages that the kings and emperors of the Holy Roman Empire , when they stopped in Constance, took part in the services in the cathedral. Only after the Reformation did the episcopal church increasingly devote itself to the laity, for which a pulpit was erected. But the separation was not strict: the donations for the cathedral came from the nobility as well as from the local patriciate , which wanted to assimilate its status with the nobility. The patriciate and the town guilds also took part in processions in the late Middle Ages .
The lively liturgical life of the city was supported no less by the bishop's cathedral and its clergy than by the other churches, chapels and monasteries in the city. The numerous clerics of the episcopal city took into account the intense popular piety ; at some times they made up a sixth of the total population. Pilgrimages were organized to Einsiedeln , Rome , Santiago de Compostela or the regional pilgrimage churches in (Alt-) Birnau , Allmannsdorf, Markdorf and the chapels around the city: St. Lienhard auf dem Brühl, Bernrain or the Lorettokapelle near Staad . The cathedral itself was also a place of pilgrimage ; especially the Mauritius rotunda , built to spare pilgrims the trip to Jerusalem, was a point of attraction due to the relics of the Holy Sepulcher. The church patrons Konrad and Pelagius were also venerated, both of whom are called upon in intercessions at Münster church services to this day .
Cathedral library
The former library of the bishopric has not been preserved. Its beginnings are dated to the 6th century. From the 8th century onwards, manuscripts came through purchase and exchange, mainly from the Reichenau Monastery and the Prince Abbey of St. Gallen . The library occupied its own room on the upper floor of the eastern cloister, later the chapter house, until around 1450, when it was moved to the farm building (Stauf). Its most prominent readers included Erasmus von Rotterdam and Melchior Goldast . During the Reformation there was a lack of care, so the books fell apart. After the re-Catholicization, the now 900 volumes, including 331 manuscripts, were sold to Weingarten Abbey due to lack of money . From there they fell largely to the Kingdom of Württemberg during the secularization . The greater part of the holdings can be found today in the Württemberg State Library in Stuttgart, a small part is scattered, including in the HLB Fulda and the ULB Darmstadt .
The most important works in the cathedral library include the early medieval manuscripts from the 8th and 9th centuries and, among other things, a magnificently illustrated four-volume missal (around 1500), which is considered one of the most outstanding documents in southern German book illumination .
Cathedral school
The cathedral school of the bishopric, whose existence is documented from the 11th century, was the only Latin school in the city until the Reformation . In the Middle Ages, their reputation reached far beyond the region. Your task was initially to train candidates for the canon , clergy and administrative officials. The curriculum included Latin , liturgy , Bible study , theology, and the trivium . The Domscholaster was in charge . From the 12th century on, teaching was given to a schoolmaster who drew his income from benefices and school fees .
In the late Middle Ages, attending the cathedral school was only preparation for studying at a university . In the 14th and 15th centuries, she sent around 6,000 students, mainly to the universities of Bologna , Paris , Krakow (1364), Heidelberg (1386) and later also to the universities of Freiburg (1457) and Tübingen (1477), which were founded in the diocese . Up to 300 students attended the lessons, which took place from 1453 at the latest in a hall in the east wing of the cloister. The scholar Wenzeslaus Brack is one of its most famous rectors.
From October 1525, there were no more classes because, among other things, the headmaster was suspected of adhering to the Lutheran faith. That same month, the opening of the city's first Latin school broke the clerical monopoly. After the bishop's return in 1551, teaching at the cathedral school was resumed, but it no longer achieved its outstanding importance. For several years it was housed in today's Konradigasse. With the opening of the Jesuit Lyceum (today Heinrich-Suso-Gymnasium ) in 1607, the cathedral school closed its doors.
Dimensions
- Tower: height to the top 78 m, height to the platform 40 m; Number of steps: 193.
- Superstructure: length 63.7 m, width 32 m, ridge height 28 m
- Central nave: length 40.9 m, width 11.3 m, height 17.3 m (to the lower edge of the vault)
- North aisle: width 6.4 m
- South aisle: width 5.9 m
- North and south choir: length 10 m, width 10.7 m
- Crossing: length 10.9 m, width 10.8 m
- Main choir: length 9.5 m, width 10.4 m
- Crypt (pillared hall): length approx. 7.8 m, width approx. 7.7 / 6.8 m
- Konradi Chapel: length 6.6 m, width 4.8 m
- Mauritius rotunda: diameter 11.3 m
literature
- Remigius Bäumer u. a .: Constance. The Minster of Our Lady. Schnell & Steiner, Stuttgart 1989, ISBN 3-7954-0687-0 . (Short guide)
- Markus Bauer: The cathedral district of Constance. Canons' courts and benefice houses of the cathedral chaplain in the Middle Ages. Thorbecke, Sigmaringen 1995, ISBN 3-7995-6835-2 .
- Walter Brandmüller: The Council of Constance 1414-1418. 2 vols. Schöningh, Paderborn 1999, 1998, ISBN 3-506-74698-7 , ISBN 3-506-74691-X .
- Hermann Brommer , Emanuel Frey, Remigius Bäumer (†), Karl-Heinz Braun, Josef Ruf, Markus Utz, Wilm Geismann, Mathias Trennert-Helwig: The Konstanzer Münster (= Great Art Guide . Volume 163 ). 2nd Edition. Schnell & Steiner, Regensburg 2005, ISBN 3-7954-1730-9 (updated edition of the guide by Remigius Bäumer et al.).
- Ministry of Finance Baden-Württemberg (Hrsg.): Repairs to the cathedral of Our Lady of Constance. Zabel, Radolfzell 2002.
- Friedhelm Wilhelm Fischer: A newly discovered late Gothic wing outline and the last late medieval construction phase on the cathedral in Constance . In: Yearbook of the State Art Collections in Baden-Württemberg. 3, pp. 7-50 (1966).
- Elisabeth von Gleichenstein, Björn R. Kommer: The splendor of the cathedral - 900 years of the Konstanz Minster. Municipal museums of Konstanz / Rosgarten Museum. Konstanz 1989, ISBN 3-9801501-5-1 (exhibition catalog with abstracts on the history)
- Julian Hanschke: A medieval construction plan in the main state archive in Wiesbaden . In: Archive news from Hessen . 11/1 (2011), pp. 31-55.
- Norbert Hasler u. a. (Ed.): Under the protection of mighty walls - late Roman forts in the Lake Constance area. Huber, Frauenfeld 2005, ISBN 3-9522941-1-X (To the excavations on the Münsterhügel)
- Konrad Hecht: Hans Böblinger's Konstanz parchment tear . In: Koldewey Society, Association for Building History Research eV: Report on the 30th conference for excavation science and building research from 24.-28. May 1978 in Colmar - France. Pp. 54-57.
- Stefan King: South chapels and south portal of the Constance Minster. Notes on construction technology, the design process and the builders. In: Writings of the Association for the History of Lake Constance and its Surroundings , 133rd year 2015, pp. 125–201
- Hans Klaiber: The Ulm cathedral builder Matthäus Böblinger . In: Journal of History and Architecture. Supplement 4 (1911), pp. 309-382.
- Albert Knoepfli: Art history of the Lake Constance area. Thorbecke, Stuttgart 1961, 2002, ISBN 3-7995-5007-0 .
- Mathias Köhler: The Cathedral of Our Lady. Kunstverlag Josef Fink, Lindenberg 1998, ISBN 3-931820-90-4 (short guide)
- Hans Koepf : The Gothic plan plans of the Ulm collections. = Research on the history of the city of Ulm 18 (1977).
- Bernd Konrad: The stained glass of the 19th and 20th centuries in the Konstanzer Münster. Kunstverlag Josef Fink, Lindenberg 2012, ISBN 978-3-89870-778-7 .
- Kurt Kramer (ed.): The bell and its peal. Pp. 40–41, Deutscher Kunstverlag. The German bell landscapes - Baden-Hohenzollern. Pp. 58 / 79–80, Deutscher Kunstverlag. The Constance bell foundry. Pp. 10–12 / 20–21, Städtische Museen Konstanz / Rosgartenmuseum.
- Ulrike Laule: The Constance Minster. Reflections on the history of its origins. In: Writings of the Association for the History of Lake Constance and its Surroundings , 124th year 2006, pp. 3–32 ( digitized version )
- Ulrike Laule: The west towers of the Constance Minster. Shape and date considerations . In: Freiburg Diocesan Archive . 127, 2007, pp. 13-47.
- Ulrike Laule: The so-called Wiesbaden crack. A suggestion for the reconstruction of the west tower of the Constance Minster after the fire of 1511. In: Writings of the Association for the History of Lake Constance and its Surroundings , Issue 131 2013, ISBN 978-3-7995-1719-5 , pp. 115-133.
- Ulrike Laule (Ed.): The Constance Minster of Our Lady. 1000 years of the cathedral - 200 years of the parish church . Schnell & Steiner, Regensburg 2013, ISBN 978-3-7954-2751-1 .
- Frank T. Leusch: The Constance Minster Tower. The Baden contribution to the tower completion of the 19th century in Germany . In: Preservation of monuments in Baden-Württemberg. News bulletin of the State Monuments Office . 32nd volume, issue 3, 2003, p. 249–251 , doi : 10.11588 / nbdpfbw.2003.3.12386 (PDF; 404 kB; accessed on November 22, 2019).
- Christine Maurer: The Winkelgang crypts in the diocese of Constance. In: Esslinger Studies. Stadtarchiv, Esslingen 30, 1991, pp. 1-86. ISSN 0425-3086
- Helmut Maurer (Ed.): The consecration of the Konstanz Minster in 1089 in its historical setting. Herder, Freiburg i. Br. 1989. ISSN 0342-0213
- Heribert Reiners : The Minster of Our Lady of Constance. (= The art monuments of Baden . Vol. 1). Thorbecke, Konstanz 1955. (Comprehensive standard work, partly out of date)
- Elisabeth Reiners-Ernst (Red.): Regesta on the building and art history of the Minster in Constance. (= Writings of the Association for the History of Lake Constance and its Surroundings . Special Issue (3)). Thorbecke, Konstanz 1956. (source collection)
- Janina Roth: "1584 raw smeared"? The wall and vault paintings of the Sylvester Chapel in the Minster in Constance . In: Preservation of monuments in Baden-Württemberg. News bulletin of the state monument preservation . 40th volume, issue 4, 2011, p. 222–228 , doi : 10.11588 / nbdpfbw.2011.4.12262 (PDF; 630 kB; accessed on November 22, 2019).
- Olaf Struck (Red.): Documentation, International Conference of Cathedral Builders, Minster Builders and Hüttenmeister, Bamberg September 10 - September 14, 1996. Ed. Building and Monument Authority Konstanz. State Building Department, Bamberg 1997.
- Peter Wollkopf (ed.): In the shadow of the minster. History of a quarter in the center of the old town of Constance. Municipal museums of Konstanz / Rosgarten Museum. Constance 1999, ISBN 3-929768-07-0 .
- Sound carrier
- The bells of the Constance Minster. SPEKTRAL :: Label for music and media :: 2007.
Web links
- The full ringing of the Konstanz cathedral bells on YouTube .
- Münsterbauhütte
- Pastoral care unit Konstanz-Altstadt with the minster church
- Cathedral music
- Constance Minster at Bauforschung-bw.de
Individual evidence
- ^ Albert Knoepfli: Contributions to the building history of the Constance Minster in the 10th and 11th centuries. In: Helmut Maurer (ed.): The consecration of the Konstanz Minster in 1089 in its historical setting. Herder, Freiburg i. Br. 1989.
- ↑ Quotations from Knapp: The buildings of the Constance Minster around 1300. In: Gloss of the Cathedral. 1989, p. 75. According to Knapp, the east gable was not re-listed around 1300, as Reiners stated in 1955, because the fire did not damage it.
- ↑ This is what Knapp suspects: The buildings of the Constance Minster around 1300. In: Gloss of the Cathedral. 1989.
- ↑ Melanie Prange (arrangement): The Constance Cathedral Treasure. Source texts on a lost treasure trove of the Middle Ages and the early modern period. Kohlhammer Verlag, Stuttgart 2012, ISBN 978-3-17-022536-7 .
- ^ Frank T. Leusch: The Constance cathedral tower. The Baden contribution to the tower completion of the 19th century in Germany . In: Preservation of monuments in Baden-Württemberg. News bulletin of the State Monuments Office . 32nd volume, issue 3, 2003, p. 249–251 , doi : 10.11588 / nbdpfbw.2003.3.12386 (PDF; 404 kB; accessed on November 22, 2019).
- ↑ Stefan King: The redesign of the choir east wall . In: Ulrike Laule (Hrsg.): The Constance Minster of Our Lady. 1000 years of the cathedral - 200 years of the parish church . Schnell & Steiner, Regensburg 2013, ISBN 978-3-7954-2751-1 , pp. 102-106.
- ^ Pius XII .: Litt. Apost. Venusta quidem. In: AAS 50 (1958), n.2, p. 63s.
- ↑ Peter Eggenberger, Werner Stöckli: The crypt in the cathedral of Our Lady of Constance . In: Preservation of monuments in Baden-Württemberg. News bulletin of the State Monuments Office . 5th year, issue 2, 1976, p. 68–70 , doi : 10.11588 / nbdpfbw.1976.2.14599 (PDF; 432 kB; accessed on November 22, 2019).
- ↑ 1988 according to Dagmar Zimdars u. a. (Editor): Baden-Württemberg II. The administrative districts of Freiburg and Tübingen (= Georg Dehio [founder], Dehio-Vereinigung [Hrsg.]: Handbuch der Deutschen Kunstdenkmäler ). Deutscher Kunstverlag, Munich / Berlin 1997, ISBN 3-422-03030-1 , p. 368 .
- ↑ Attractions Lake Constance, region: Konstanz> Münster in www.sueddeutsche.de, accessed on November 18, 2015
- ^ Paul Kühn: Baur, Hans . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker. tape 3 : Bassano – Bickham . Wilhelm Engelmann, Leipzig 1909, p. 88 ( Textarchiv - Internet Archive ).
- ↑ Remigius Bäumer u. a .: Constance. The Minster of Our Lady. Schnell & Steiner, Stuttgart 1989, ISBN 3-7954-0687-0 , p. 52, preview in the Google book search
- ↑ Cf. on the dating problems Albert Knoepfli: Contributions to the building history of the Constance Minster in the 10th and 11th centuries. In: Helmut Maurer (ed.): The consecration of the Konstanz Minster in 1089 in its historical setting. Herder, Freiburg i. Br. 1989; Fredy Meyer: Saint Pelagius and Gregory the Great. Your veneration in the diocese of Constance . Alber, Freiburg / Munich 2002, ISBN 3-933146-84-4 .
- ↑ cf. Rolf-Dieter Blumer, Katrin Hubert-Kühne: Restoration of the Konrad disk from the Konstanz cathedral . In: Preservation of monuments in Baden-Württemberg. News bulletin of the state monument preservation . 38th volume, issue 1, 2009, p. 37–39 , doi : 10.11588 / nbdpfbw.2009.1.11625 (PDF; 599 kB; accessed on November 22, 2019).
- ↑ Quoted from Martin Burkhardt and a .: Constance in the early modern period. Stadler, Konstanz 1991, ISBN 3-7977-0259-0 , p. 375f.
- ^ Friedrich Opitz: Marian heritage in the Baden region. Hannes Oefele Verlag, Ottobeuren 1982, pp. 7–8.
- ^ Albert am Zehnthoff: Bodensee. Hallwag Verlag, Bern / Stuttgart 1978, ISBN 3-444-10233-X , p. 56.
- ↑ Heike Thissen: Marian column. With one foot on the crescent. In: Eva-Maria Bast and Heike Thissen: Secrets of the homeland. 50 exciting stories from Constance. Volume 2. Südkurier, Überlingen, 2013, ISBN 978-3-9815564-6-9 . Pp. 153-156.
- ↑ Markus Utz: History of the Organs (PDF; 120 kB), accessed on March 6, 2016.
- ↑ Manfred Schuler: A plan from 1777 for the renovation of the large cathedral organ in Konstanz, repair work and new construction ( Memento from March 12, 2014 in the Internet Archive ) (PDF; 141 kB), accessed on March 12, 2014.
- ↑ Disposition of the cathedral organ ( Memento from March 12, 2014 in the Internet Archive ) (PDF; 127 kB), accessed on March 12, 2014.
- ↑ Konstanz am Bodensee (D-KN) Münster of our dear lady. on: youtube.com
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Baden-Württemberg: Our Lady in Constance 1955 | St. Martin in Weingarten 1956 | St. Georg in Walldürn 1962 | St. Vitus in Ellwangen 1964 | The Visitation of the Virgin Mary in Birnau 1971 | St. Martin in Ulm-Wiblingen 1993 | St. Georg in Ochsenhausen 2019
Bavaria: Vierzehnheiligen in Bad Staffelstein 1897 | St. Anna in Altötting 1913 | Assumption of Mary in Ettal 1920 | Cathedral of St. Peter and George in Bamberg 1923 | St. Alexander and Theodor in Ottobeuren 1926 | St. Mauritius in Niederalteich 1932 | St. Ulrich and Afra in Augsburg 1937 | Assumption of Mary in Tuntenhausen 1942 | Most Holy Trinity in Gößweinstein 1948 | St. Peter and Alexander in Aschaffenburg 1958 | Assumption of the Virgin in Ingolstadt 1964 | Collegiate Church of the Old Chapel in Regensburg 1964 | St. Emmeram in Regensburg 1964 | St. Michael in Altenstadt 1965 | St. Lorenz in Kempten 1969 | Assumption of the Virgin in Waldsassen 1969 | St. Benedikt in Benediktbeuern 1972 | St. Peter in Dillingen 1979 | Holy Cross and Assumption of Mary in Scheyern 1979 | St. Martin in Amberg 1980 | St. Margaretha in Altenmarkt 1982 | St. Jakob in Straubing 1989 | The Visitation of the Virgin Mary in Marienweiher 1993 | Maria Brünnlein in Wemding 1998 | St. Martin in Landshut 2001 | St. Vitus and Deocar in Herrieden 2010
Berlin: St. Johannes in Berlin-Neukölln 1906 | St. Hedwig Cathedral in Berlin-Mitte 1927 | Maria Rosary Queen in Berlin-Steglitz 1950
Hessen: St. Marcellinus and Petrus in Seligenstadt 1925 | St. Mary, Peter and Paul in Ilbenstadt 1929 | St. Peter in Fritzlar 2004 | St. Valentinus and Dionysius in Kiedrich 2010
Lower Saxony: St. Godehard in Hildesheim 1963 | Mary Mother of the Seven Sorrows in Bethen 1977 | St. Clemens in Hanover 1998 | St. Cyriakus in Duderstadt 2015
North Rhine-Westphalia: St. Gereon in Cologne 1920 | St. Ursula in Cologne 1920 | Assumption of Mary in Kevelaer 1923 | St. Viktor in Xanten 1937 | St. Severin in Cologne 1953 | Visitation of the Virgin Mary in Werl 1953 | St. Martin in Bonn 1956 | St. Potentinus, Felicius and Simplicius in Steinfeld 1960 | St. Apostles in Cologne 1965 | St. Maria in the Capitol in Cologne 1965 | St. Suitbertus in Düsseldorf-Kaiserswerth 1967 | St. Lambertus in Düsseldorf 1974 | St. Andreas in Knechtsteden 1974 | St. Vitus in Mönchengladbach 1974 | St. Margareta in Düsseldorf-Gerresheim 1982 | St. Ludgerus in Essen-Werden 1993 | St. Kunibert in Cologne 1998 | St. Quirinus in Neuss 2009 | St. Ida in Herzfeld 2011 | St. Laurentius in Wuppertal 2013
Rhineland-Palatinate: St. Matthias in Trier 1920 | Imperial and Mariendom in Speyer 1925 | St. Peter's Cathedral in Worms 1925 | St. Maria am See in Maria Laach 1926 | Our Lady in Marienstatt 1927 | St. Martin in Bingen 1930 | St. Salvator in Prüm 1950 | Our Lady in Trier 1951 | St. Paulin in Trier 1958 | St. Kastor in Koblenz 1991 | St. Severus in Boppard 2015
Saarland: St. Wendalinus in St. Wendel 1960 | St. Johann in Saarbrücken 1975
Saxony: Holy Cross in Wechselburg 2018
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Coordinates: 47 ° 39 '48 " N , 9 ° 10' 34" E