Minden Cathedral

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West bar of Minden Cathedral

The Minden Cathedral of St.  Gorgonius and St.  Petrus is a Roman Catholic provost church in the East Westphalian city ​​of Minden in North Rhine-Westphalia .

Minden Cathedral was the episcopal church of the diocese of Minden, founded by Charlemagne in around 800 . The Catholic diocese was nearing the mid-16th century in the Reformation the Protestant on. With the Peace of Westphalia in 1648, the diocese was de facto abolished, as was the prince-bishopric of Minden, which emerged from the diocese as a spiritual territory . After the abolition of the diocese, the cathedral received the status of a Roman Catholic parish church , which was elevated to a provost church in 1859. Today it belongs to the Archdiocese of Paderborn .

In the course of the centuries the cathedral grew from a simple hall church to a Carolingian - Romanesque basilica with a monumental westwork to today's Gothic hall church with a Romanesque west bar . The bright, high Gothic nave and its large tracery windows were the style for a number of later church buildings. Minden Cathedral remained virtually unchanged for almost 600 years until it was almost completely destroyed in a bombing of the old town on March 28, 1945 during World War II . Between 1946 and 1957 it was rebuilt under the direction of Provost Josef Parensen and the architect Werner March .

The Romanesque Minden cross from the 11th century and a replica of the golden table are among the cathedral's most valuable art treasures ; the Berlin Bode Museum owns its original . In 1168, Bishop Werner von Bückeburg married Heinrich the Lions and Mathilde of England in Minden Cathedral.

location

The freedom of the cathedral and the location of the cathedral in Minden

The cathedral is located in the lower old town of Minden. During the time of the diocese of Minden , the city was located in a south-western outskirts of the diocese, which extended in the northeast to the Lüneburg Heath . At that time, the bishops' churches of the neighboring Catholic dioceses of Verden and Bremen in the north, Paderborn in the south, Osnabrück in the west and Hildesheim in the east were within a 90-kilometer radius of Minden .

Minden Cathedral was built on the western bank terrace of the Weser near an old ford , the only cheap river crossing north of the low mountain range to Bremen . The shore terrace is a natural shield-like elevation that towers over the surroundings by a good four meters. Together with the Johannis Freiheit , the later Wichgrafenhof , the Deichhof and the adjoining development of Markt, Scharn and Bäckerstraße, the cathedral freedom formed the largest part of the flood-prone lower town . This was initially separated from the Weser by ramparts and ditches, but also from the city, and was fortified by the city wall in the late 12th century. The fortification of the cathedral clearance offered protection against the regular flooding; nevertheless, the Weser is said to have flowed into the cathedral during the Magdalen flood in 1342 and on February 10, 1375.

With an area of ​​about 250 × 170 meters, the Mindener Domburg came close to the facilities in Paderborn and Münster . From the 11th century, further church buildings were erected on the cathedral freedom. Among other things, curia houses and the bishop's palace were built . The area of ​​the cathedral freedom thus resembled the urban development of the city of Minden. The former limit of cathedral immunity is hardly recognizable today in urban planning.

The squares bordering the cathedral are known as the Kleiner and Großer Domhof . The small cathedral courtyard is in front of the west bar of the cathedral. It is the forecourt to the main entrance of the cathedral at a spatial distance from the city. On the west side of the Kleiner Domhof is the old town hall , on the north side the new town hall by the architect Harald Deilmann from 1978 and on the south side the house at the cathedral , in which the cathedral treasure is exhibited. To the north of the cathedral is the largest inner-city square in Minden, the Great Cathedral Courtyard . With its eastern branch it connects to the choir of the cathedral. The now closed bishop's portal was once the entrance to the cathedral from the large cathedral courtyard. On the west side of the square is the old government of the Prussian administrative district of Minden , whose predecessor building was the bishop's court . On the eastern side of the square are two restored curia houses . One of them now houses the Dompropstei . To the south, the former cathedral monastery adjoins the cathedral with the monastery courtyard (Kreuzhof). The two-story cloister with east and south wings, which is unusual for Westphalian sacred buildings , was built in 1140.

Functions of the building

View through the nave to the choir

Until 1648 the church was the episcopal church of the diocese of Minden, which was established around 800 . With the Reformation , the Minden bishops approached Lutheran teaching in the mid-16th century . Although Franz Wilhelm von Wartenberg was again a decidedly Catholic bishop on the Minden throne in 1631, in the Peace of Westphalia in 1648 Minden finally became Protestant. On October 24, 1648, the diocese was practically dissolved and the Minden bishopric fell to Brandenburg-Prussia as the Principality of Minden . The territory and large parts of the property of the diocese fell to the secular ruler Friedrich Wilhelm von Brandenburg . In the cathedral, however, the bishop's chair initially remained; The Catholic Church did not formally dissolve the diocese until 1821. The cathedral was still the collegiate church of the cathedral chapter , into which Protestants now also found their way. In the cathedral, however, services were celebrated exclusively according to the Roman Catholic rite. The cathedral preacher was the head of the Catholic cathedral community . The abbot of the Huysburg monastery had the right to propose the position of cathedral preacher, which is why most of the cathedral preachers were monks of the Huysburg monastery. They were required to give a trial sermon before taking up the position.

In 1803 numerous monasteries in the region were abolished as a result of the Reichsdeputationshauptschluss , including the cathedral chapter in 1810 in the Napoleonic era . As a result of this secularization , the state of North Rhine-Westphalia is now the patronage holder for the Minden Cathedral. In 1821 Pius VII finally repealed the diocese of Minden under canon law. Since 1821 at the latest, the cathedral was only a simple Catholic parish church in the Archdiocese of Paderborn . In parlance, however, the building was also referred to as the cathedral after 1821 because of its (historical) importance and size. In 1859 the cathedral was raised to the status of a Roman Catholic provost . The leading cathedral parish priest has held the title provost ever since .

Holy Mass is celebrated in the cathedral every day . The St. Michaels House nursing and retirement home moved into the former cathedral monastery , which is connected to the cathedral via the cloister . In the chapel, which belongs to the cathedral, a monthly evangelical service is held. On the small cathedral courtyard to the west, music events take place in the summer months, which often include the westwork of the cathedral in the lighting concept. The cathedral is also used for Christmas concerts. With over 1000 seats, it is one of the larger event rooms in Minden.

Floor plan and overview of the building parts and the equipment

Layout

Building parts:

  • A paradise , 1072
  • B Devotional chapel with Pietà, 1072
  • C longhouse , 1290
  • D transept , 1230
  • E choir quadrum , 1250
  • F choir polygon , 1350
  • G Sacrament chapel , formerly sacristy , 1072/2002
  • Equipment :

    1 choir window , glazing 1957
    2 Golden Plate , 2002
    3 choir altar (people's altar ), 1972 partly 1170
    4 Mindener Heiligenfenster ,
    around 1300, glazing 1957
    5 Holy Spirit Altar , 1622
    6 Choir screen , 1994
    7 Matthias Altar , 1500
    8 Joseph statue with baby Jesus
    9 Tombstone of
    Johannes Hendricus von Vincke , after 1670
    10 Bishop's portal with Madonna enthroned
    (copy outside, original inside), 1270
    11 Rose window , around 1300, glazing 1957
    12 Mindener Kreuz (copy), original 1070
    13 Vierungsaltar (People's Altar), 1974
    14 Apostle Frieze , 1260
    15 Access to the sacristy and cloister , 1140
    16 Gravestone of Provost
    Thomas von Halle, after 1535
    17 transept organ , 2001
    18 ambo , 1974
    19 statue of St. Anthony
    20 Epitaph of Eberhard von Mallinckrodt , 1622
    21 sacraments , some in 1290
    22 Epitaph of Baron Hueber von Maur,
    member of the cathedral chapter, 1782
    23 Emerentia Group , 1520
    24 Grape Madonna , 1450
    25 Painting on the crossing pillar (Mary and Saints), 1290
    26 Bronze statue of Pauline von Mallinckrodt
    27 canopy , including the
    statue of Emperor Heinrich VI. , 1270
    28 Altarpiece , 1490
    29 Kreuzhof with crucifix
    and burial places on the south wall
    30 canopy , including
    statue of Bishop Thietmar , 1270
    31 Madonna Torso , 1265
    32 Sculpture Way of the Cross , 1960
    33 Baptismal font , 1957/1999
    34 Epitaph of Herbord von Langen , 1628
    35 wooden crucifix (the handy cross)
    36 Main organ , 1996 in front of the Imperial Lodge , 1150
    37 Westriegel staircase , 952/1150
    38 Epitaph of Hieronymus Grapendorf , 1622
    39 Jungfrauenportal , around 1270–1280
    40 Pietà (= Vespers ), 1420
    41 Inner portal (952) with figure of Peter (1300),
    door puller in the shape of a lion's head (around 1225)
    and statues of Ecclesia and the synagogue , 1270
    42 relief (dates of the reconstruction of the cathedral)
    43 Relief (key data of the cathedral's history)
    44 Outside portal, 1957

    Building history

    The Carolingian Cathedral

    In the Saxon Wars , around 800 , the Christian Franks succeeded in subjugating the Saxons . In the course of their Christianization , Christian mission centers arose in the Saxon settlement areas. Examples are Münster , Corvey , Paderborn , Herford and Minden. In 799, Charlemagne founded a cathedral monastery in Minden and probably around or shortly after 805 the diocese of Minden . At first a simple, towerless hall church was created, consisting of a simple hall and a square, flat box choir . This Carolingian design was typical of the churches built in Westphalia after the Saxony mission, such as in Paderborn . The building was erected over a well, probably a pre-Christian-Saxon well sanctuary. This well system was uncovered during the excavations from 1936 to 1949 below the crossing and still contained water. During excavations in the 20th century it turned out that this first cathedral building determined the location of the crossing and the orientation of the central nave of today's cathedral building. In contrast to today's cathedral, this building probably had an outer crypt of unknown size, for example on the site of today's sacristy . The Carolingian cathedral was destroyed by fire in 947.

    The late Carolingian-Ottonian cathedral

    In 952 the successor to the Carolingian Cathedral, a three-aisled, flat-roofed basilica, was completed. The aisles were very narrow compared to the wide central nave; the width ratio to the central nave was 1: 4. The transept could probably be taken over from the Carolingian predecessor building. In addition, a three-tower westwork was integrated for the first time . This westwork was probably intended as a room for the emperor or king, who could take part in the services there on a gallery protruding into the nave. If this assumption is correct, the westwork of Minden Cathedral confirms the supraregional importance of the Minden Bishop's Church as the emperor's residence. Visits by the emperor in Minden can be verified during this time. The two side towers of the westwork flanked an open, barrel-vaulted vestibule. A gallery system spanned this area. In contrast to the south tower, which carried the staircase, the north tower was divided into several floors and had an entrance from the bishop's court adjacent to the north . This guaranteed access to the cathedral from there. The middle quadrum (square) of the westwork was covered by a third tower. The low side stair towers of today's west wing originate from this construction phase.

    There are similarities between the Mindener westwork and the abbey church in Corvey . There, too, the westwork from this period is two-story with a gallery and three towers. The Minden building was consecrated by Bishop Helmwardt in 952, 70 years after Corvey . For the consecration, the bones of St. Gorgonius from the Gorze monastery in Lorraine were permanently transferred to Minden.

    During a visit by King Henry IV , a fire broke out during a dispute between his followers and Minden citizens on May 19, 1062, which destroyed the cathedral. Large parts of the settlement were also damaged.

    The Eilbert Cathedral

    After the destruction of the late Carolingian church, a new cathedral was built in 1071, the Eilbert-Dom, named after its builder, Bishop Eilbert . King Heinrich IV supported the financing with proceeds from a property that he had expressly given to the Minden church as compensation for the fire. During the construction, the mighty westwork was changed and a single-storey entrance hall was placed in front of the front, which opened up with three pillar arcades. It forms the lower part of today's paradise , the porch of the cathedral. The basilical nave was retained in its shape. A Romanesque three-bay transept was built from scratch. Bishop Eilbert consecrated the cathedral.

    Under Bishop Sigward , a new choir building with an internal walkway system based on the Rhenish model and a polygonal apse was added to the Eilbert Cathedral.

    The Staufer Cathedral

    In 1152 the westwork was rebuilt, whereby the west bar was created. The higher bell house was erected between the two lower flank towers, the pillar hall and the gallery were demolished and the western building was reduced to a bar in the depth of the side towers. The inner west end was given a wide, three-arched arcade to the nave. In the neighboring Hildesheim Cathedral , the west bar was built over with a bell house in this way, so that it can be assumed that Hildesheim had an influence on the planning. The vestibule, called Paradise, was also given an upper floor around 1160/1170. A door in the north tower connected the bishop's palace (see: Old Minden government ) with the cathedral. In this way, the bishop was able to enter the west wing directly from the upper floor of the palace and attend the service in the imperial hall . The high Romanesque choir square in the Rhenish style was also created during this time . Presumably, choir flank towers and a ring crypt were built, which later fell victim to the construction of the high Gothic choir polygon.

    On February 1, 1168, Bishop Werner von Bückeburg married the Guelph Duke of Saxony and Bavaria, Heinrich the Lion , and the eleven or twelve year old Mathilde of England in Minden Cathedral . On this occasion, Henry the Lion, who had an accumulation of property and property rights in the area of ​​the diocese, gave the cathedral church a farm and goods in Lahde . The actual wedding ceremony, however, was not celebrated until later at Heinrich's residence in Braunschweig . When Bishop Werner von Bückeburg died in 1170, the cathedral is said to have been in a neglected state. The successor Anno von Landsberg therefore turned to refurbishing the cathedral.

    Reconstruction from the 13th century

    Nave around 1895, looking east

    The late Romanesque renewal of the eastern parts began around 1230. The choir square, the transept and the upper floor of the sacristy originate from this construction phase. Around this time the outer crypt was demolished. It was replaced by a polygon choir . In the middle of the 13th century a new basilic nave was started, but during the construction the plans were changed in favor of today's early Gothic, three-aisled hall church. The sources in the literature to determine the construction time of the hall church are extremely poor, but a construction time between 1267 and 1290 is likely. The rebuilt cathedral was consecrated in 1290. According to Roesner, the construction was finished at that time.

    The construction was supported by money from an indulgence from Pope Clement IV. The nave of the hall church consists of three wide bays and one narrow one. The latter forms the transition between the hall church and the westwork. Some authors assume that the removal of the Romanesque westwork and the construction of a Gothic one-tower complex might have been planned.

    Rose window in the north transept above the bishop's portal, view from outside
    The same rosette viewed from the inside, in front of it the Mindener Kreuz

    Minor construction work until 1941

    When it was built in the 13th century, the eastern end of the choir was not adequately founded, which made a new building necessary around 100 years later. In support of this, the Pope again announced an indulgence in 1341 . The apse in the form of a choir polygon shows late Gothic styles in its tracery windows. Similar motifs can be found in the light-filled windows that were subsequently broken into the late Romanesque eastern parts, for example in the rose window in the north transept and in the tracery window in the south transept (first half of the 14th century).

    This was followed by minor construction work on the outbuildings of the church, such as the renovation of the sacristy annex in the 15th or 16th century. In the years 1737 to 1767 the roofs of the cathedral including the ridge turrets over the crossing and the west tower were rebuilt. In 1830 another renovation brought classicist elements to the cathedral. Interior renovations began in 1939 after the outbreak of World War II and was completed in 1941.

    Destruction in World War II and reconstruction

    Pillar and vault in the nave

    The cathedral remained almost unchanged for almost 600 years until it was destroyed by bombs in World War II . On December 6, 1944, an explosive device hit the cathedral and destroyed the north side of the choir, the sacristy and the then adjoining cathedral treasury. The choir vault collapsed and the high altar was badly damaged. On March 28, 1945, the cathedral was hit harder. The main hall collapsed after a bomb hit. The roof and westwork burned out and the bells on the westwork fell. Only parts of the outer wall, the vault of the transept and parts of the vestibule were preserved. The cathedral monastery and the provost's office burned down to the ground.

    The Minden Cathedral Building Association was founded in 1946 to rebuild the cathedral , and the first security measures began. Reconstruction began in 1950 under the direction of cathedral provost Josef Parensen and Werner March . He was one of the most prominent architects under National Socialism and the architect of the Berlin Olympic Stadium, and after the Second World War he also directed the reconstruction of the Old Town Hall in Minden . March made some stylistic changes and tried to restore the medieval appearance: He gave up the common gable roof of the small west yoke and the adjoining first large yoke; the small yoke received its own copper roof. The Detmold sculptor Karl Ehlers redesigned the capitals of the windows on the east side. The roof turret was reattached in a new form on the westwork, the roofs were designed as simple saddle roofs. Inside, the early Romanesque imperial epore was restored, which had previously been completely covered by an organ. March also renewed the entrance on the west side: instead of the neo-Gothic portal, he created a three-arched entrance and reconstructed the Romanesque window gallery on the upper floor of Paradise. Inside, he removed the tabernacles on the pillars.

    The topping-out ceremony for the westwork was celebrated on March 3, 1950 with a consecration of the bell ; On December 3, 1953, the citizens of Minden celebrated the topping-out ceremony for the nave, and around three years later the vault was completed. The Paderborn Bishop Lorenz Jaeger consecrated the completely rebuilt cathedral on June 29, 1957.

    The city of Minden added the cathedral to the list of monuments in 1995. In 1996 the interior was redesigned again. Among other things, a new western organ was installed in front of the imperial hall. In December 2009, a sacrament chapel was set up in the former sacristy , the new altar of which was consecrated by Paderborn Auxiliary Bishop Manfred Grothe . He placed relics of the blessed Minden order founder Pauline von Mallinckrodt and the blessed Bishop of Münster Clemens August Graf von Galen in the altar. The sacristy had previously been moved to the former cloister.

    Current plans

    In June 2009, the cathedral provost community published plans for the reconstruction of the roof ridge above the crossing, which had been destroyed in the war . At 56 m, it should reach the same height as the roof turret on the westwork. The rider should receive 5 bells. The Detmold district government provides funding of up to 800,000 euros as a state contribution as part of the state's patronage . The construction project was implemented in autumn 2011, and the crossing tower was put on the roof on December 10, 2011.

    Patronage

    The first cathedral was dedicated to St. Peter . Peter was a popular Carolingian patron , so that almost all Carolingian episcopal churches bore the name of this saint. At the same time, Peter was also the patron saint of the diocese of Minden.

    When the second Ottonian cathedral was consecrated in 952, the saints Gorgonius , Laurentius and Alexander became patrons of the cathedral and Gorgonius also became the patron saint of Minden. The elevation of Laurentius to Konpatron is related to the Ottonian imperial policy, as this patronage was an important royal patronage for Otto I. The elevation of the Roman martyr Alexander shows the relationship of Minden to the Alexander monastery in Wildeshausen , where the relics of the saint had arrived through Widukind's grandson Waltbert. At the end of the 14th century, Peter is not mentioned. The relics of Gorgonius come from the monastery of Gorze in Lorraine. The bishops Lothar and Ebergis in the first half of the 10th century were previously abbots of the Lorsch Monastery , a center of the monastery reform of Gorze .

    Today the cathedral is under the patronage of St. Gorgonius and St. Petrus . Both saints have the same rank, the younger being named first. The relics of St. Gorgonius are kept in the church to this day. St. Lawrence is now the cathedral's co-patron saint.

    Architecture and building description

    Dimensional data
    Measure value
    Largest external dimension 39  m  ×  91  m
    Largest interior length 71  m
    Largest interior width 36  m
    Height of the capital zone of the nave 11.4  m
    Vierungsjoch peak 22  m
    Largest nave window 6.9  m  ×  13  m
    Rose window diameter m
    Interior space 1,700 m²
    Height of west tower bar with roof turret 55  m

    The Minden Cathedral in its current form is characterized by the juxtaposition of architectural elements in four styles: early and high Romanesque (western bar), late Romanesque (transept and choir bay), high Gothic (nave hall) and late Gothic (choir closure). The respective builders were influenced by the example of the Hildesheim Cathedral for the west bar , the choir square and parts of the transept by Rhenish churches. The nave and the large tracery windows, on the other hand, were themselves style-defining for a number of church buildings.

    The Minden Cathedral is made of sandstone of different colors, which leads to a non-uniform external appearance. The rather dark Porta sandstone , the lighter Obernkirchen sandstone and the Ibbenbüren sandstone were used .

    Exterior description

    The building is dominated by the Romanesque west bar . The long sides of the cathedral are characterized by the rows of gables and the large Gothic tracery windows . The transept and the choir in the late Romanesque style follow the nave in the east. To the north, the sacristy adjoins the corner of the choir and the transept. The small apse polygon forms the end of the choir, which is also adorned with large tracery windows.

    Various sculptures on the outside of the building enrich the architecture: on the north side between the windows are the sandstone figures of Bishop Thietmar and Emperor Heinrich VI, covered by Gothic stone canopies . The bishop portal to the north of the transept is a tympanum a statue of Mary placed. The Gothic virgin portal is located in the shortened western yoke on the south side. The sandstone figures in an archivolt of the portal represent the parable of the wise and foolish virgins . The wise virgins, smiling happily, hold up oil lamps, the foolish ones have the empty lamps pointing down wailingly because, unlike the wise virgins, they cannot get in. During the reconstruction after the Second World War, the virgin portal was moved to the short southern yoke; previously it was on the south wall of the nave.

    On the south side of the cathedral, the burial places of the Minden canons were laid out within the Kreuzhof.

    Westriegel

    The high Romanesque west bar is the end of the church to the west. The massive structure turns towards the city in smooth, cubic forms. It is like a defense structure , even if it probably did not have this function. Two side towers are surmounted by a bell house in the middle, which carries a roof turret. In front of the middle section, facing the Kleiner Domhof, there is a two-storey barrel-vaulted vestibule, which is also called paradise . The three-arched entrance was built after the Second World War in place of a neo-Gothic pointed arch portal, and the arched gallery on the upper floor of the vestibule also comes from the reconstruction. The main tower opens at the top in a row of windows that serve as the sound opening of the bell chamber and is accompanied by twin windows in the side towers. A second row of arcades breaks through the open floor of the central tower. Gable roofs close off the side towers and the bell house as well as the vestibule and emphasize the massive architectural style. Several supporting pillars set to the west, north and south support the west bar. They were already necessary in the Middle Ages to absorb the thrust of the structure. At the western entrance, a stair portal is framed on both sides with the pair of sandstone sculptures of Ecclesia and the synagogue . Two replicas of Romanesque lion heads adorn the bronze double doors at the entrance to the nave. The originals are in the cathedral treasury . The south tower of the west wing with the stairs can be entered from the hall, the north tower contains a dome-shaped vaulted devotional chapel with a Pietà in the basement . In the west bar, an imperial hall with three arcades opens into the hall church towards the nave. Above is the lapidary . It was established after the Second World War and contains numerous sculptural parts and various pieces of equipment.

    Longhouse

    South view of the tracery windows on the nave
    The tracery windows in the nave

    The multi-sectioned nave presents itself in three naves, which extend over four bays from the west bar to the transept. The floor plan of the central nave forms almost a square within a yoke, while it is rectangular in the yokes of the narrower aisles. This structure is typical of a nave, which stands at the beginning of a series of Westphalian hall churches from the 13th and 14th centuries. Two irregularities stand out in the otherwise symmetrical floor plan: on the one hand, the smaller west bays of the main and side aisles, which serve to connect the Gothic nave to the west bar from the previous building, and on the other hand, the south aisle tapers eastwards to the transept. It is assumed that this is due to the adaptation to previous buildings. With a systematic construction, the transept would not have jumped decisively to the south. The pillars of the nave are not very high, but still create a hall-like character. This is achieved on the one hand by stilting all the arches , on the other hand the vaults are walled with a bus , so that the apex is higher than that of the divider, shield and girdle arches . The busted walling of the vault caps in horizontal ring layers was a change in the reconstruction of the cathedral after the Second World War.

    The cross-section of the pillars in the central nave has a special feature: in front of the pillar core there are four services for the so-called belt and divider arches. Four thinner services for the vault ribs rise in the remaining free diagonals. This means that eight thin and thick services are alternately laid out on a pillar, the struts and capitals of which merge into a closed zone. The early appearance of this pillar shape is a special feature of Minden Cathedral. In the east and west, the staff are not led to the ground, but intercepted above. The reason for this is perhaps the consideration of the altars on the walls under the bundles of services.

    The side window openings in the side walls appear transparent and full of light; they extend in full width in a side part of a yoke down from the shield arches to the four-meter-high base zone. The tracery of the six windows is based on the same basic motif, which is varied. Two window units are each crowned by a window wheel. There are hardly any other large tracery windows in Germany, only in Herford Minster , in Paderborn Cathedral and in Lippstadt there are predecessors with less rich furnishings. The tracery windows were restored after the Second World War, the glazing was redesigned by Vincenz Pieper from Münster and Anton Wendling from Aachen during the reconstruction in the 1950s.

    The Gothic hall church as a counter-type to the basilica finds its perfect realization with the Minden cathedral long house. The hall-like effect of the room is achieved through the wide spacing between pillars and large vaulted yokes. The side aisles are wide open to the central nave and form a coherent space with it, they are not cut off by narrow pillar arcades, as is often the case in Gothic basilicas. The ornate tracery windows on the outer walls take this into account, as they affect the central nave. Precursors are the late Romanesque hall churches of Herford (Münster) and Paderborn (cathedral) from the first half of the 13th century. The Elisabeth Church in Marburg and the Cologne Cathedral may have provided suggestions with regard to the structure of the hall and the Gothic apparatus, but it is only the synthesis of Gothic slenderness with the Westphalian hall type that creates the new result. The Minden type hall and the Minden pillar have found a rich successor in buildings from the 14th century in Lemgo (St. Marien) , Bielefeld (St. Marien), Osnabrück (St. Marien) and Herford (Berg Stift) .

    Transept

    The bishop's portal on the north transept

    The protruding Romanesque transept consists of three square bays of the same size and is significantly older than the nave. The domical vaults are walled upwards in a domed manner. The longitudinal axes of the nave and the transept meet at the apex of the central yoke of the transept, the so-called crossing . This is the sacred center of the church, in which the crossing altar is located. In the crossing and in the south transept the vault is supported by eight ribs, in the north transept by four ribs. The south and north transepts have stepped portals with lateral pillars that continue as beams in the ogival archivolts . In the 14th century, the tracery rose was added on the north wall above the bishop's portal. On the east wall of the south transept there is a tracery window that dates from around 1300 and was re-glazed in 1957 like the other cathedral windows. It is the so-called Minden window of saints and represents the Minden saints and other well-known Minden personalities, such as Thietmar , Helmward , Meimelph , Erkanbert , Hardward , Theoderich , Bruno , Tietwief , Gorgonius , Charlemagne and his Saxon adversary Widukind .

    Choir

    The choir square lies between the transept and the high Gothic choir polygon . The sacristy that was formerly to the north is now located in the former cathedral monastery, which can be reached via the side exit to the cloister in the south transept. The former sacristy has been converted into an adoration chapel, which offers the faithful a quiet place to pray and should not be entered by visitors to the cathedral. The vault in the choir square is constructed similarly to that in the transept: two diagonal ribs support the cross vault. The north and south walls are designed with arcades. A two-storey, double-shell wall system rises above four blind arcades, covering two walkways at the foot of the respective row of arcades. Here the influence of Rhenish churches, which have a similar construction, becomes clear. Two windows are let into the south wall: a wheel window in the upper arcade and an arched window in the main arcade.

    Original of the Golden Plate , Bode Museum Berlin

    The choir is to the east by a late Gothic polygonal - apse completed. As a Gothic building, it contrasts with the late Romanesque choir square. The polygon of the choir is supported by smooth buttresses on the outside . The vault ribs meet at the top in a keystone . The apse is dominated by large tracery windows that Vincenz Pieper re-glazed after the Second World War. The themes of the windows are the solemn birth of Christ , resurrection and the sending of the Holy Spirit . For the new glazing, quite dark glass was chosen. The resulting gloomy lighting in the choir is the main point of criticism of the newly designed choir windows. The original of the golden plaque once stood in the choir; it was sold in 1909 to what is now the Bode Museum , which opened in 1904 as the Kaiser Friedrich Museum in Berlin .

    Furnishing

    Despite considerable losses in the Second World War, Minden Cathedral is rich in important works of art from various epochs, including the Romanesque Minden cross above the crossing altar (copy; original in the cathedral treasury) and a lively late Romanesque apostle frieze (remainder of a rood screen ) in the south transept.

    Altars

    New golden plaque

    View of the choir room, in the picture also the replica of the golden plaque completed in 2002

    Since 2002 there has been a reconstruction of the Minden Golden Plate in the east end of the high choir. The colored and partly gilded winged altar rests on a carved predella . In the middle of the reredos is a coronation of the Virgin Mary , which is framed by a wreath of angels making music. On the center piece and in the two wings, next to the mandorla, there are four saints under canopies. Underneath, medallions depict Old Testament prophets. The cathedral building association financed the two-year reconstruction with contributions and donations.

    The original in Berlin's Bode Museum , which served as a model for the reconstruction, consists of a Romanesque predella from around 1220, which originally served as a reliquary. A Gothic retable was added around 1425 . The representations of medieval instruments in the wreath such as the harpsichord are of particular significance in terms of music history . The predella also shows the coronation of Mary accompanied by apostles and saints on both sides.

    The sculptor Anton Mormann (1851–1940), who belonged to the Wiedenbrück School , made a scaled-down replica of the golden plate for the Catholic parish church of St. Johannes Baptist in Herford . This replica also served as a template for the reconstruction of the golden plaque in Minden Cathedral.

    Popular altars

    In order to implement the requirements of the liturgical reform after the Second Vatican Council and to enable the celebration of the Eucharist to the people , two popular altars were set up.

    The first popular altar in the choir, usually called the choir altar , was built in 1972 in its present form from a piece of oak from the late Romanesque period. The exact origin of the piece is unclear. Wolfgang Leschhorn suspected that it formed the back wall of a throne that was built around 1170. The frame and the panels on the back of the altar are made of carved wickerwork with acanthus leaves and mythical animals. Today he serves mass celebrations on weekdays.

    Named after its location which in 1974 created is Vierungsaltar exactly at the intersection of the longitudinal axes of nave and transept, the center of the crossing . The altar is made as a solid block without a base from sandstone, on the side it is decorated with star and flower-like elements. The altar stands over a well that, according to archaeological studies, is said to be more than 1000 years old.

    Matthias Altar

    Matthias Altar

    The Matthias Altar is a late Gothic winged altar with thirteen statues of saints by an unknown master in Minden Cathedral . It stands on a substructure made of Obernkirchen sandstone in the southern transept below the saint window . The folding altar consists of a fixed shrine and two wings with which the altar could originally be closed. The outside of the wings were originally painted, the inside and the shrine are decorated with sculptures. The carvings are partly colored, partly gilded. By the end of the 19th century, the condition of the altar had deteriorated so much that the original condition could no longer be reconstructed. During a restoration at the beginning of the 20th century, the patronage of the altar and the main figure were committed to the Apostle Matthias . From 1938 to 1940 the reredos were restored in the workshop of the State Museum in Münster . The colored version of the statues was completely renewed and a new predella was created, which extends beyond the main shrine to the middle of the wings and supports them. The inscription on the predella consisted of two invocations of the Latin version of the All Saints' Litany . The first remained: Sancte Matthia ora pro nobis (Saint Matthias, pray for us).

    The paintings that could be seen with the reredos closed are lost. The altar is therefore only presented when it is open. Matthias is dressed as a deacon and holds a halberd in his right hand as an attribute . In two rows he is surrounded by a crescent Madonna with baby Jesus, an Anna herself, and apostles, evangelists and other male saints.

    Holy Spirit Altar

    Holy Spirit altar in the north transept

    The early Baroque, according to Rösner still renaissance style altar in the apse on the north arm of the transept was conceived as an epitaph for the provost Johann von Schorlemer, who served as provost from 1612 to 1622. The two-storey Holy Spirit Altar, which was built around 1625, is assigned to the workshop in the vicinity of Adam Stenelt and was made of Baumberger sandstone. The theme is the work of the Holy Spirit. In the lower middle part a relief shows the adoration of the shepherds after the birth of Christ . It is flanked by two pairs of columns and the four evangelists Matthew , John , Luke and Mark . The columns measure about two thirds of the middle section and the four Latin Fathers of the Church are depicted on the half floor above : Gregory the Great and Augustine on the left, Hieronymus and Ambrosius on the right . The upper floor shows Pentecost , the pouring out of the Holy Spirit on the apostles and disciples. The altar is crowned by a representation of the risen Christ with the flag of victory, on his right Mary with the child , on the left Anna with Mary . The altar, which was badly damaged when the cathedral was destroyed in World War II, was restored until 1959.

    Altarpiece

    Altarpiece by Gert van Loon , 1480

    In 1950 the altarpiece from 1480 was acquired from the princely Bückeburg painting collection of the Ahrensburg for Minden Cathedral. It was erected in 1956 in place of the destroyed high altar in the cathedral's choir and in 1995 it was installed behind protective glass on the south wall of the aisle. The work by Gert van Loon is 235 cm wide and 160 cm high and was painted with oil paints on ten vertically glued oak boards. It shows Jesus crucified, accompanied on his right by Aegidius , Agnes of Rome , Evangelist John and Mary and on the left by the apostles Peter , Paul , Andrew and the Archangel Michael . Angel figures collect the blood from the wounds in goblets. Above the kneeling donor of the picture under the cross you can see a tape with the inscription O leve her vorbarme de myner (Oh dear Lord, have mercy on me) . The coat of arms in front of the founder could not yet be assigned. The names of the saints depicted can be read at the bottom.

    Minden Cross

    The Mindener Kreuz is a bronze Christian grand cross from the 11th century. It was probably created around 1070 in the Helmarshausen workshop of Rogerus von Helmarshausen . The feet stand on a dragon, which symbolizes the evil conquered by Jesus through his death. The body, cast in six parts, was originally gold-plated. The loincloth is made using the niello technique, the eyeballs are made of silver. The original of the cross is kept in the cathedral treasury; A copy has been hanging above the crossing altar of the cathedral since 1992.

    Baptismal font

    The baroque baptismal font, view from 1895

    The font was created in 1957 by the sculptor Gisela Leo-Stellbrink . The smooth and slightly bulged cylinder shows the stylized dove, symbol of the Holy Spirit, and Noah's ark. Werner Rösner and the graphic artist Ingrid Möhlmann created the flat, polished bronze lid in 1999 . The font was initially in the middle of the southern transept and has been located in the entrance area of ​​the nave on the west side since 1993. On the floor, seven circles with an inscribed star and a large circle as a frame encircle the stone. The design was based on a floor ornament from 1071.

    A baroque baptismal font from the 17th century existed until the cathedral was destroyed in 1945. The six-sided wooden baptismal font was designed in the shape of a goblet. The lid was held by an extension arm that could be swiveled. In 1815 the basin was surrounded by an iron grating. A wooden border is documented for 1830. The baptismal font was largely destroyed in World War II. Remains are exhibited in the cathedral treasury or are stored in the lapidary of the westwork.

    Apostle Frieze

    In the inner south transept wall above the portal, the apostle frieze , made of glauconite-bearing sand-lime brick (Baumberge or Stemmer Berge near Haldem), has been embedded since 1957 . Its dating is given differently, between "1220/30" and "soon after 1250". In the middle of the fourteen figures, Jesus Christ is enthroned with an open Bible and on his right is Mary with a staff of lilies . Grouped around them are eleven apostles with a closed Bible, next to Mary stands the Dompatron Peter with a key. The other apostles do not have any specific attributes. Instead of the twelfth apostle, the artist placed the Dompatron Gorgonius on the far right . The apostle frieze is said to have originally been attached to the older rood screen , probably the forerunner of the rood screen that was demolished in 1832 and separated the choir from the nave. From 1839 to 1945 the frieze adorned the Paradise Hall.

    Template: Panorama / Maintenance / Para4

    Painting on the crossing pillar

    Lower part of the painting on the southwestern crossing pillar

    The upper part of the painting on the southwestern crossing pillar (sometimes imprecisely referred to as a large fresco ) from around 1290, which was covered by an altar, was discovered during a cathedral renovation in the 1930s. During the securing work on the cathedral ruins, the lower part of the painting was later found.

    The lower part of the mural shows eight saints under arcades in a two-part frieze. In the top row you can see John the Baptist , the Apostle Peter , Gorgonius and a woman who cannot be identified precisely, probably Anna , Clare or Elisabeth . The second row shows Nikolaus von Myra , Katharina , the Apostle Bartholomäus and one of the earliest depictions of St. Francis north of the Alps. Above it is a larger than life Maria. Some elements, such as a crown and the ornaments in the tympanum , are worked out in relief, probably for the attachment of enamels or semi-precious stones and stucco ornaments. According to medieval tradition, this image is said to have healing powers for the blind.

    Epitaphs

    Several epitaphs from the Minden canons adorn the walls of the nave and the transept.

    Eberhard von Mallinckrodt

    The epitaph of the canon and canon Eberhard von Mallinckrodt from 1622 hangs on the north side of the north-eastern crossing pillar and has a three-storey, symmetrical structure with a squat inscription cartouche. The Passion and Resurrection of Jesus Christ are depicted in plastic form . The main motif is the crucifixion . Due to the model-like, three-dimensional representation, the scenes appear very lively. The epitaph was damaged in the Second World War, and the side wings with the coat of arms have been missing since then. The epitaph was commissioned by friends of the deceased and is not signed.

    Hieronymus von Grappendorf

    The epitaph of Hieronymus von Grappendorf on the west wall of the south aisle was made by Adam Stenelt after 1624 as a work of the transition from the Renaissance to the Baroque . The previously colored epitaph also has a three-story, symmetrical structure. It shows the entombment of Christ in a multi-figurative scene . Hieronymus von Grappendorf kneels in the basement and worships a crucifix in liturgical robe. Von Grappendorf belonged to the cathedral chapter, and the coats of arms shown indicate relationships with numerous noble families from the Minden diocese. “His brothers” commissioned the epitaph; Pieper suspects the confreres of the cathedral chapter.

    Herbord von Langen

    Epitaph of Herbord von Langen

    The epitaph of the cathedral dean and provost of the Marienstift in Minden, Herbord von Langen , from 1628 is symmetrically divided into two main floors and hangs on the west wall of the north aisle. In terms of art history, it is considered a work of transition from the Renaissance to the Baroque . It shows the Passion of Christ with the crowning of thorns and the flagellation . The cathedral towers of Osnabrück can be seen in the background ; the epitaph was made by the Osnabrück sculptor Adam Stenelt .

    Johann von Schorlemer

    Another epitaph is the monument designed as an altar for the cathedral provost Johann von Schorlemer (see Heilig-Geist-Altar ).

    pulpit

    The richly carved Baroque pulpit from the 17th century burned down when the cathedral was destroyed. A Madonna was enthroned above its staircase, flanked by two columns. The six-sided pulpit had a diameter of 1.06 meters and was surrounded by the four evangelists. Other saints were enthroned on the cover, including Laurentius, Gorgonius and Bernward von Hildesheim .

    Werner March designed a cylindrical pulpit for the rebuilt cathedral together with Zoltan Székessy . The basket consisted of four individual segments of shell limestone. The symbols of the four evangelists were depicted in the form of a bas-relief. The exposed concrete stairs led around the pillar and had a metal railing. This pulpit was dismantled in 1993 without the consent of the preservation authorities and is stored in the lapidary of the west bar.

    Emerentia Selbviert

    The wooden group of figures Emerentia Selbviert in a wall niche in the north aisle was made by the Hildesheim Benedict Master around 1520 and has been in the cathedral since 1940. The seldom found image motif is an extension of Anna herself third to include her mother Emerentia, a figure like Anna not included in the biblical canon, who found its way into Christian art as a member of the Holy Tribe . Since the child Jesus belonging to it was lost, the Minden group only consists of the three figures Maria , Anna and Emerentia.

    More figures

    Madonna with the grape

    The 56 cm high bronze statue of the blessed order founder Pauline von Mallinckrodt on the south wall of the nave is the cast of a wooden sculpture on the choir stalls of Paderborn Cathedral, a modern work by Heinrich Gerhard Bücker from Beckum. The proximity to the image of Mary on the crossing pillar, to which healing powers for the blind have been attributed, was deliberately chosen to point out the activities of the blessed in caring for the blind.

    After the Second World War, a devotional chapel with a circular walled-in dome was built in the north tower of the westwork. A wooden Pietà has been erected there since 1995 , the creation of which is dated to 1420. It also suffered damage with the damage to the westwork; the missing parts were later replaced with plaster of paris and reworked in color. In 1971 the Pietà was reconstructed and the replicas made of oak were replaced.

    A late Gothic crescent moon Madonna has been standing on the north-western crossing pillar since 1995 in the rare representation as Madonna with the grape . The oak figure was created in a Rhenish workshop in the second half of the 15th century . The location of the figure is unclear until 1939; Between 1940 and 1943 it stood in the Marien Altar and was recovered in the tower entrance of the westwork. About two thirds of the figure were burned when the cathedral was destroyed. Elly Küpper completed the gaps in plaster of paris in 1946. The Springer workshop in Telgte removed the plaster models in 1979/80 and replaced them with oak. The figure in a gold-blue robe stands on a silver crescent moon and a snake-like dragon. In her right hand she holds the naked baby Jesus with a ball, in her left a bunch of grapes .

    Organs

    The baroque organ destroyed in 1945

    An organ in the cathedral was already in use at the time of Bishop Wedekind I. von Hoya . Further evidence is available from a later period, but does not say anything about the number of organs.

    The west organ from 1625/26 was probably made by Hans Scherer the Elder. J. from Hamburg. It was financed with a legacy of 1000 Reichstaler . It originally had 25 registers on two manuals and one pedal . At the end of the 19th and beginning of the 20th century the instrument was in a poor condition. A report from 1907 showed that 16,000 marks were necessary for a renovation. In 1908 it was planned to use part of the proceeds from the sale of the Golden Plate . Further reports stated that the financial costs and benefits were disproportionate; so only minor repairs were made. During the bombing raid in 1945 the organ was destroyed with all pipes . During the previous repairs, some valuable pipes had been removed and stored in the west tower. Their whereabouts are still unclear.

    In 1755 a choir organ was first mentioned in the cathedral, which was built around 1660. In October 1807 it was built into the Protestant church in Wehdem . There was a new building in the old housing in 1910 .

    Since the west organ was considered irreparable, the plan was to build a new transept organ, which was carried out in 1931 for 41,100 Reichsmarks . A case was dispensed with and the pipes were set up freely. The organ had 26 stops on two manuals and a pedal with an electric action . This organ was also badly damaged in the bombing. In 1946 the Steinmann company from Vlotho built an emergency organ for the St. John's Church out of it .

    After the Second World War, the Seifert & Sohn company from Kevelaer built a new organ for the cathedral. Architect Werner March established contact with the company . The organ had 46 registers, which were divided into main work, swellable positive, upper work and pedal. The action was electric. The organ was completed for the rededication of the cathedral in 1957.

    Today there are two organs for church music and concerts in Minden Cathedral: the large west organ on the west wall of the nave in front of the former imperial porch and a smaller choir organ in the north transept.

    Western organ

    Western organ in front of the imperial box

    The western organ was built in 1996 by the organ building company Kuhn in cooperation with the organ builders Klais and Rieger and was consecrated on December 22nd, 1996. The instrument has 62 registers (4,388 pipes), divided into three manual works and a pedal. When designing the organ, it was crucial that the so-called "Kaiserloge" should not be completely covered by the instrument. The box should at least remain recognizable as such from the church interior. Accordingly, the swell mechanism, the large pedal and the chamaden mechanism were accommodated in the box. Only the main work, the upper work and the small pedal hanging in front of the gallery arcades are visible. They are lowered about 3 meters and thus allow a view of the box arcades. The disposition combines baroque elements with the French and German organs of the Romantic period and is intended to enable true-to-style interpretations of the organ music of these epochs. In particular, the large number of tongue registers were designed for this purpose. The pipes are on slider chests . The stop action is electric, the game action is mechanical.

    I main work C – c 4
    1. Principal 16 ′
    2. Octave 08th'
    3. Flûte harmonique 00 08th'
    4th Tube bare 08th'
    5. Viole de Gambe 08th'
    6th Octave 04 ′
    7th Gemshorn 04 ′
    8th. Fifth 02 23
    9. Super octave 02 ′
    10. Mixture IV-V 01 13
    11. Zimbel III 012
    12. Cornet V (from c 0 ) 08th'
    13. Trumpet (d) 16 ′
    14th Trumpet (d) 08th'
    15th Clarine (d) 04 ′
    Tremulant
    II upper structure C – c 4
    16. Principal 08th'
    17th Reed flute 08th'
    18th Salicional 08th'
    19th Octave 04 ′
    20th recorder 04 ′
    21st Super octave 02 ′
    22nd Forest flute 02 ′
    23. Larigot 01 13
    24. Sharp IV 01'
    25th Sesquialter II 00 02 23
    26th Dulcian (d) 16 ′
    27. Cromorne (f) 08th'
    28. Trumpet (noun) 08th'
    Tremulant
    III Swell C – c 4
    29 Bourdon 16 ′
    30th Violin principal 08th'
    31. Dumped 08th'
    32. Viole de Gambe 08th'
    33. Voix céleste (from c 0 ) 08th'
    34. Octave 04 ′
    35. Flûte octaviante 04 ′
    36. Nazard 02 23
    37. Octavine 02 ′
    38. Tierce 01 35
    39. Mixture V 02 ′
    40. Cor anglais (f) 16 ′
    41. Trumpet harm. (f) 00 08th'
    42. Hautbois (f) 08th'
    43. Voix humaine (f) 08th'
    44. Clairon harm. (f) 04 ′
    Tremulant
    III Chamades C – c 4
    45. Chamade (noun)000 16 ′
    46. Chamade (noun) 08th'
    47. Chamade (noun) 04 ′

    Pedals C – g 1
    48. Pedestal 32 ′
    49. Principal bass 00 16 ′
    50. Sub bass 16 ′
    51. Violon bass 16 ′
    52. Octavbass 08th'
    53. Dacked bass 08th'
    54. violoncello 08th'
    55. Choral bass 04 ′
    56. Flute bass 04 ′
    57. Night horn 02 ′
    58. Back set 04 ′
    59. Bombarde (noun) 32 ′
    60. Trombone (d) 16 ′
    61. Trumpet (d) 08th'
    62. Clairon (d) 04 ′
    (d) = Register in German design
    (f) = French-style register

    Choir organ

    Choir organ

    The choir organ was also built by Kuhn in 2001. The slider chest instrument has 27 stops on two manuals and a pedal. The main and pedal units are located on a common wind chest in the upper part of the organ, the swell unit in the substructure, directly above the mechanical console. In addition, the instrument has two electronic gaming tables that can be set up at different points in the dome. The stop actions are electric.

    I Hauptwerk C – g 3
    1. Drone 16 '
    2. Principal 08th'
    3. Open flute 08th'
    4th Octave 04 '
    5. Reed flute 04 '
    6th Fifth 02 2 / 3 '
    7th Super octave 00 02 '
    8th. third 01 3 / 5 '
    9. Mixture IV 01 1 / 3 '
    10. Trumpet 08th'
    Tremulant
    II Swell C – g 3
    11. Reed flute 08th'
    12. Viol 08th'
    13. Beat 00 08th'
    14th Principal 04 '
    15th Salicet 04 '
    16. recorder 02 '
    17th Larigot 01 1 / 3 '
    18th Piccolo 01'
    19th bassoon 16 '
    20th oboe 08th'
    Tremulant
    Pedals C – f 1
    21st Subbass (= No. 1) 00 16 '
    22nd Octavbass 08th'
    23. Dacked bass 08th'
    24. trombone 16 '

    Bells

    Bell chamber in the Westriegel : Maria in front left , behind Christ Peace

    A first chime order of the Minden cathedral is proven for the 13th century. The church bells from 1251 to 1306 were reassembled when the wooden bell cage was replaced and an electrical bell was connected in 1913/14. The main bell of the west bar contained five bells and the roof turret above the crossing contained another five bells. During the First World War, the bells could remain in the tower. Four bells from the roof turret were melted down on August 18, 1918, one bell remained. The remaining bells were destroyed on March 28, 1945 when the cathedral burned.

    Main bell in the west bar

    After the Second World War, on January 29, 1948, the bell foundry Petit & Gebr. Edelbrock cast five new bells with the strike tone sequence h 0 –d 1 –e 1 –f sharp 1 –g 1 . The material of the old bells destroyed in the war was used for the three big bells. On March 3, 1950, the bells were consecrated at the topping-out ceremony for the westwork. In the tower, the pushing and pushing forces of the bells created major problems that could not be solved. In 1993 they were expanded and sold to Gifhorn .

    The current bell made of new metal was created in several casts by the bell foundry Hans August Mark from Brockscheid . On March 11, 1994, Paderborn's auxiliary bishop Paul Nordhues consecrated the first bells. They hang in an oak bell cage in the westwork of the cathedral; overly heavy wooden yokes ensure a slower pealing rhythm. Contemporary artists designed the bells with reliefs and inscriptions.

    No. Surname Casting year Diameter
    (mm)
    Mass
    (kg)
    Percussive
    ( HT - 1 / 16 )
    Artist
    1 Peace of Christ 1993 2003 5495 g sharp 0 +2 Leopold Haffner
    2 Maria 1537 2445 cis 1 +1 Heinrich Gerhard Bücker
    3 Peter 1386 1850 dis 1 +4 Johannes Halekotte
    4th Gorgonius 1994 1312 1515 e 1 +3.5 Leopold Haffner
    5 Magdalena 1164 1105 f sharp 1 +4 Jürgen Suberg
    6th Herkumbert 1998 1091 955 g sharp 1 +3 Paul Reding
    7th Francis 1994 1053 880 a 1 +6 Walter Habdank
    8th Pauline 1998 844 509 c sharp 2 +6 Sister Erentrud Trost

    New roof turret bell

    Placement of the bells after the consecration in the cathedral

    The new cymbal bells for the reconstructed Vierungsturm were cast from tin bronze by the bell foundry Mark (Brockscheid / Eifel) in November 2010 and consecrated on December 18, 2011 by the Paderborn Auxiliary Bishop Manfred Grothe . On December 19, 2011, they were installed in the crossing tower.

    The new bells have names of the blessed and saints. There are inscriptions on the bells, including from the Magnificat. In addition, about 12 cm large portraits of the saints and the Minden Cathedral are attached to them. On their flanks, the new church bells each bear the indication of Eifeler Glockengiesserei C. Mark-Maas, Brockscheidt, founded in 1840, as well as the location and year Minden 2011 . These include praise and requests with references to the namesake. All inscriptions are in capitals .

    With the consecration of the new bells and their hanging in the new crossing tower, the reconstruction of the cathedral after the consecration of the building in 1957 is completely completed. The state of North Rhine-Westphalia bears the costs for the crossing tower of around 800,000 thousand euros.

    No. Surname Casting year Diameter
    (mm)
    Mass
    (kg)
    Percussive
    ( HT - 1 / 16 )
    inscription
    I. Rupert Mayer 2011 735 348 e 2 +8 My soul praises the greatness of the Lord and my spirit rejoices over God my Savior, because he has looked at the lowliness of his maidservant. See from now on all sexes blessedly praise me
    Trinity God, on the intercession of Mary and Blessed. Rupert Mayer may your praise never fall silent in the church and all our actions contribute to the building of your kingdom.
    The bell is also the only one with an inscription the hip: Cast in the year the choir tower was rebuilt in 2010 as Benedict XVI. Pope in Rome Hans Josef Becker Archbishop in Paderborn and Roland Falkenhahn provost in Minden
    II Maria Faustyna Kowalska 664 246 f sharp 2 +8 For the mighty one has done great things to me and his name is holy. From generation to generation he has mercy on all who fear him.
    Trinity God, on the intercession of St. Faustina, give your mercy to the Church and the world and let us humans also live in mercy with one another
    III Nikolaus Groß 566 170 gis 2 +4.5 He does powerful deeds with his arm and distracts those who are full of pride in the heart. He overthrows the mighty from the throne and raises the Lower
    Trinity God on the intercession of Blessed Nicholas. Let us Christians recognize our responsibility in politics and society and exercise it on your behalf.
    IV Adolph Kolping 560 150 a 2 +8 He gives the hungry with his gifts and lets the rich go empty-handed.
    Holy Trinity at the intercession of Blessed Adolph Kolping let all people find training and work so that they can live a decent life
    V Edith Stein 487 118 h 2 +7 He takes care of his servant Israel and thinks of his mercy that he promised our fathers to Abraham and his descendants for ever
    Trinity God on the intercession of St. Edith Stein let us only search and find you and reconcile in you the people of the old and the new covenant

    Cathedral treasure

    Original of the Minden cross in the cathedral treasury

    The Minden Cathedral has liturgical implements from different epochs in its cathedral treasure , which were collected over a thousand years in connection with the diocese of Minden and the cathedral church. They are open to the public in the Haus am Dom .

    Besides the Minden cross from the 11th century, an important exhibit is a silver reliquary cross from around 1300. The Petri shrine , the beaker reliquary from the 12th century and a reliquary in the shape of the right arm of Dompatron Gorgonius are just as much as a reliquary arm of the Saint Margaret has been preserved.

    See also

    literature

    • Hermann Deuker, Siegfried Kessemeier, Jochen Luckhardt: Cathedral and cathedral treasure in Minden . Langewiesche, 1982, ISBN 3-7845-4830-X .
    • Jörg Ernesti: The medieval German cathedral church after 1945 - reconstruction or new creation? The example of the Minden Cathedral . In: Westphalian magazine . tape 154 , 2004, pp. 371-390 .
    • Hans Gelderblom : The cloister at the cathedral in Minden . In: Communications from the Minden History and Museum Association . Volume 39, 1967, p. 1-36 .
    • Karl stallion ; Historical commission for Westphalia (Hrsg.): Westfälisches Klosterbuch . Lexicon of the monasteries and monasteries established before 1815 from their foundation to their abolition. Volume 1: Ahlen – Mülheim. Aschendorff, Münster i. Westphalia 1992, p. 593-606 .
    • Paul Jakobi: Minden Cathedral - a witness of faith . 2nd Edition. Bonifatius, 2005, ISBN 3-00-015541-4 .
    • Albert Ludorff : Architectural and art monuments of Westphalia . tape 11 . Schoeningh, Verlagbuchhandlung in Paderborn, Münster iW 1902 ( Bielefeld University Library , at archive.org [accessed on November 28, 2010]).
    • Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape 50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 1507 ( overview of the five parts of the 50th volume ).
    • Werner Rösner: Minden Cathedral . In: DKV art guide . 11th edition. tape 321 . Deutscher Kunstverlag, Munich 2007, ISBN 978-3-422-02112-9 .
    • William C. Schrader: The Cathedral Chapter at Minden and its Members, 1650-1803 . In: Westphalian magazine . tape 139 , 1989, pp. 83-122 (English).
    • Heinz voter: 75 destinations in the Minden-Lübbecker Land . 8th edition. JCC Bruns, Minden 2010, chapter: Minden: The old cathedral freedom, p. 264 .

    media

    • Dompfarramt, Dombauverein (Hrsg.): Witness of history - The cathedral of Minden . 2007 ( DVD-Video , 19 min. Published for the celebrations of the 50th anniversary of the rebuilding of the cathedral after its destruction in the Second World War. Contains information on the cathedral treasure and the architecture of the cathedral as well as insights into the lapidarium and the preparations for the service in the Sacristy).
    • Gereon Krahforst : Minden Cathedral - bells and organs . Axel-Gerhard-Kühl-Verlag, Haselbach 2003 (Compact Disc Digital Audio CD-DA).

    Web links

    Commons : Mindener Dom  - Album with pictures, videos and audio files

    Individual evidence

    1. Franz Ruppel: The Minden Cathedral . Ed .: www.discover-guides.de. Hamburg, ISBN 3-939609-32-3 , p. 59 .
    2. ^ A b Klaus Günter: The excavations on the cathedral courtyard in Minden 1974–1977 . In: Hans Nordsiek (Ed.): Between the cathedral and the town hall, contributions to the art and cultural history of the city of Minden . Minden 1977, p. 25 .
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    46. Wolfgang Leschhorn: The wedding of Henry the Lion with Mathilde of England in Minden Cathedral 1168. (PDF; 44 kB) p. 12 , accessed on November 9, 2010 .
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    48. ^ A b Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 650 .
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    50. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , chapter: The equipment, p. 630-634 .
    51. Hans Gerhard Meyer: The five pains of Mary. On the iconography of the Mater dolorosa in the altarpiece by Gert van Lon in Minden Cathedral. Communications of the Mindener Geschichtsverein, year 54 (1982), pp. 113–123.
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    57. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , Chapter: VII Equipment. Built-in stone, p. 567-574 .
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    59. ^ A b Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 461-464 .
    60. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 681-685 .
    61. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 686-691 .
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    63. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 692-695 .
    64. "selbviert" = outdated for "as part of a group of four"
    65. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 792-794 .
    66. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 801-804 .
    67. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 820 .
    68. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 822 .
    69. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 825 .
    70. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 825-828 .
    71. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 828 .
    72. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 834-835 .
    73. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 836-840 .
    74. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 841-842 .
    75. a b Large cathedral organ. Church council of the cath. Dompropsteigemeinde, accessed on September 21, 2010 .
    76. a b Wilhelm Leenen: The new Kuhn organ in Minden Cathedral . In: organ - journal for the organ . Improvisation - performing score. No. 1 . Schott Musik International, Mainz 1998, p. 36 .
    77. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , p. 58 .
    78. ^ Claus Peter: Westphalia . In: Kurt Kramer (Hrsg.): The German bell landscapes . Deutscher Kunstverlag, Munich 1989, ISBN 3-422-06048-0 , p. 74 (with a music cassette ).
    79. ^ Roland Pieper , Anna-Beatriz Chadour-Sampson: City of Minden . Part II: Old Town 1 & The Cathedral District. In: Fred Kaspar, Ulf-Dietrich Korn (Hrsg.): Architectural and art monuments of Westphalia . tape  50 . Klartext-Verlag, Essen 1998, ISBN 3-88474-632-4 , Chapter: VII Equipment. The bells, S. 853 .
    80. wamsiedler.de Where is the old Minden cathedral bell?
    81. Dennis Wubs alias DennisWubs: Minden Cathedral: Kerkklokken Katholieke kerk (ringing the plenary). (YouTube video) In: YouTube. June 20, 2009, accessed on September 21, 2010 (Dutch, ringing of the plenary, Corpus Christi June 11, 2008. 9:08 am at the beginning of the service).
    82. Information on the new bells
    83. See also the information on the new bells (PDF; 327 kB) on the municipality's website
    84. See also the picture –Mindener Tageblatt Zimbelglocken for Vierungsturm by Arnold Weigelt on November 26, 2010 on the website of the Mindener Tageblatt
    85. Festschrift on the occasion of the consecration of the bells of the reconstructed crossing tower at the Cathedral of St. Gorgonius and St. Petrus, Minden, December 18, 2011
    86. Mindener Tageblatt: Bells for orientation and signposting published on December 19, 2011, accessed on December 19, 2011

    Coordinates: 52 ° 17 ′ 20 ″  N , 8 ° 55 ′ 10 ″  E

    This version was added to the list of articles worth reading on December 8, 2010 .