The High Cathedral of St. Maria, St. Liborius, St. Kilian is the cathedral church of the Archdiocese of Paderborn and is located in the center of Paderborn city center , above the Pader springs . The complex that characterizes the townscape with the striking, mighty west tower above the choir, which is flanked by two round towers, is predominantly in late Romanesque and Gothic forms.
Location and surroundings
The cathedral stands together with the rebuilt Ottonian imperial palace from the 11th century to the north of it, directly above the spring basins of the Dielenpader and the Rothobornpader , two of the seven spring arms of the Pader , which is also the namesake of the city of Paderborn.
The foundations of the Carolingian Palatinate Paderborn are visible between the cathedral and the imperial palace . Immediately next to it is the Bartholomäus chapel, consecrated in 1017 , which is considered to be the oldest hall church building north of the Alps. Further to the east are the cloister of the former cathedral monastery and the archbishop's general vicariate . To the south of the cathedral, the area opens up to the large cathedral square, to the south-west is the Diocesan Museum.
Building history of the Paderborn Cathedral
The current cathedral was preceded by various predecessor buildings, which are guaranteed in sources and documented in the excavations from 1952 to 1956 and 1978–1980.
Carolingian Salvator Church
A church consecrated to Christ (under the title of SALVATOR MVNDI, i.e. “Redeemer of the World”) belonged to the imperial palace built by Charlemagne at the sources of the Pader on a burned down Saxon settlement . This 9 meter × 20 meter church was located north of today's cathedral. Today you can recognize the ground plan between the cathedral and the Bartholomäus chapel by the light cobblestones. It was destroyed when the Palatinate was destroyed in 778. This was followed by reconstruction, renewed destruction and renewed reconstruction.
Soon after the Salvator Church was destroyed, a new church was built in Paderborn. The 22 x 50 meter building was dedicated to Maria and Kilian . During his visit to Paderborn in 799, Pope Leo III consecrated . an altar for St. Stephen . For this he brought relics from Rome and placed them in the altar. Presumably on this occasion the diocese of Paderborn was founded with the new church as a bishop's church. The diocese was initially subordinate to the Würzburg bishop before the Saxon Hathumar was appointed the first bishop of Paderborn around 806 . Paderborn's second bishop Badurad expanded the cathedral to accommodate the Liborius relics. He added a transept and a ring crypt based on the model of St. Peter's Basilica in the west. During this time, the Libori worship began to blossom. Under Bishop Rethar , the cathedral was again significantly redesigned in the 10th century. Rethar had a choir with a crypt for the Liborius Shrine added to the east and replaced the west choir with a westwork. The Carolingian building was destroyed in a major fire in the year 1000.
Beginning of the reconstruction by Bishop Rethar and new building by Bishop Meinwerk
After the destruction by the great fire in the year 1000, Bishop Rethar started a reconstruction. The reconstruction, which had progressed up to window height, was put down under Bishop Meinwerk when he took office and replaced by a three-aisled basilica with a transept in the east and an Ottonian westwork , on whose west side there were stair towers. Meinwerk had taken over the crypt slightly changed from Rethar's building. In addition, he added a chapel to the southern part of the transept, which probably served as an episcopal private chapel. This building was consecrated in 1015. It was consecrated to Maria , Kilian , Ulrich von Augsburg and Liborius . A city fire in 1058 destroyed the building.
Enlarged new building by Bishop Imad
Bishop Imad had the cathedral rebuilt significantly larger. It now had a transept in the east and a transept in the west and a nave that was wider than the Meinwerk cathedral. In addition, it had a large east choir and, in contrast to the buildings of Rethar and Meinwerk, again a west choir. Its layout largely corresponded to that of the current building. The crypt remained under the east choir. This building was consecrated to Imad on July 22nd, 1068, just before the feast day of St. Liborius. Around 1100, the crypt was redesigned to its largely unchanged form and the east choir was widened.
Together with the 1000th anniversary of the Paderborn Bartholomäus Chapel in 2017, the Paderborn Cathedral Chapter celebrated the 950th consecration of the Imad Cathedral in 2018 with a festival program.
Reconstruction by Bishop Bernhard I. von Oesede
In a fire in 1133 the roof and ceiling of the cathedral were destroyed. Bishop Bernhard I von Oesede had the walls reinforced with pillars and the cathedral vaulted. This was consecrated in 1144/45. Probably in the second half of the 12th century the paradise porch was built on the southern arm of the west transept.
Today's cathedral essentially dates from the 13th century. It presents itself as a three-aisled hall church with transepts and a paradise portal. Particularly characteristic is the mighty Romanesque west tower from the early 13th century, which towers over the city center with a height of 93 meters. In the crypt , which is one of the largest in Germany with a length of 32 m, the remains of St. Liborius are kept.
The building history of today's cathedral can no longer be traced in detail. The earliest part of the new cathedral is the west tower; then the west and east choirs were probably rebuilt during the first third of the 13th century. The paradise portal was then designed in the early Gothic style, the western nave yoke was rebuilt and the eastern crossing was continued. At this time the plan was made to build the new church as a hall church. A partial collapse at the eastern crossing caused massive damage to the eastern part of the cathedral and interrupted the new building. This was followed by the reconstruction of the crossing and the extension of the nave, which for the most part already has high Gothic features. The nave and the east choir (which had been badly damaged by the collapse) were probably completed in the third quarter of the 13th century. The youngest part of the cathedral (around 1270/1280) are the arms of the east transept; The northern, polygonal arm ("Hasenkamp") was probably completed last.
There were various additions and alterations in later times, but these did not change the overall impression of the cathedral. Especially in the 17th century the restoration and baroque transformation after the looting in the Thirty Years War and from 1945 the reconstruction after the bombing of the Second World War should be mentioned .
Due to the long construction time, the transition of architectural styles can be seen on the cathedral: While the tower is built in the Romanesque style, the five large side windows show the development of Gothic forms in the increasing delicacy of the stone carving : each window is more artfully executed than the previous one, and only the last pointed arch on the transept shows perfectly Gothic proportions. The nave of the Paderborn Cathedral was epoch-making for the entire Westphalian hall system: For the first time, a newer, freer sense of space became effective in this light-flooded nave , which then became typical for the Westphalian churches. Here only a more outward relationship to the early Gothic hall churches in western France was noticeable, which, like French sculpture, were actually exemplary.
The structure of the vaulted yokes, however, is the same in the Romanesque part and in the hall church, but a special route in terms of architectural history: After the Gothic style began in 1144 with the ribbed vaults of the ambulatory of Saint-Denis, the domical vaults in the cathedral of Poitiers were also stabilized with ribs . Such vaults were first erected in Westphalia in the first years of the 13th century with the Marienfeld monastery church . In Paderborn Cathedral, the shape of the domical vaults, similar to a pointed arch dome , was adopted, but the ribs were omitted, so that they now became domed groin vaults . Nevertheless, most of the crowns of the vaults were decorated with keystones , as are normally typical for rib vaults (although they were missing from the first Gothic vaults in Saint-Denis and Poitiers).
The cathedral is dedicated to three saints : Maria (mother of Jesus), Kilian and Liborius von Le Mans . Liborius is also the first patron of the city and the diocese. His bones were brought from France to the episcopal city of Paderborn in 836 under Emperor Ludwig the Pious as part of the reliquary translations customary at the time . The background to this was that Paderborn's then bishop Badurad wanted to consolidate the Christian faith of the still pagan Saxons through the miracles he hoped from the relics. A delegation of envoys from the bishop headed by Archdeacon Meinolf set out at a time of year that was favorable for medieval conditions . On April 29, this delegation was received by Bishop Aldrich in Le Mans. They were given the bones of St. Liborius, and on May 28th the group reached the diocese of Paderborn again. This happened with great participation of the people. To commemorate this event, the Libori Festival takes place every July in Paderborn .
Architecture and building description
Today's cathedral is a three-aisled hall church , the nave of which comprises four bays . In the west, the nave is connected to the western transept , on the north and south sides of which the main entrance portals of the cathedral are located: in the north the so-called “red gate”, in the south the paradise portal. The Paradise Hall stands in the extension of the southern arm. Further to the west there is a yoke, the side aisles of which are lower than the central one, and in the far west the tower yoke on which the large west tower rests. There are lower, round stair towers on either side. To the east of the nave is the east transept. Its southern arm is rectangular and is referred to as the "parish corner" because it was here from the 18th century. up to the 20th century the church services of the cathedral parish took place. The northern arm of the east transept is commonly called "Hasenkamp"; it has a 7/12 ending and is probably the youngest part of the cathedral. Hasenkamp takes its name from the cathedral scholaster Johannes Georg Brüggeney. Hasenkamp, who had a clock attached there. The two-bay east choir with a raised floor connects to the eastern crossing . The crypt is located below the east choir . On the west side there is the anteroom to the bishop's crypt with the grave slab Meinwerk and in a room further to the west the actual bishop's crypt.
Further extensions are attached to the floor plan designed in this way. On the south side of the choir, in the corner between the crypt and the parish corner, is the Marienkapelle from the 12th century. In addition, the side aisles of the nave each have four side chapels (one yoke), most of which date from the 14th century. come. On the south side of the cathedral (from west to east) these are the Hippolytus Chapel, the Matthias Chapel, the Joseph Chapel and the Vitus Chapel. On the north side (from west to east) are the Meinolphus Chapel (also called Schützenkapelle), the Elisabeth Chapel, the Trinity Chapel and the Angel Chapel (also called Konrad Martin Chapel). On the north side of the east choir is the so-called "atrium", a connecting structure between the cathedral and the cloister of the former cathedral monastery. The Brigidenkapelle lies on its east side. In the cloister itself are the tombs of various canons ; Connected to it are a smaller Marienkapelle (mostly called "Westphalenkapelle") and the memorial chapel for the dead in the bombing of the Second World War. The inner courtyard of the cloister serves as a chapter cemetery.
- Length: 104 meters
- Height of the tower: 93 meters
- Width of the nave (without side chapels): 32 meters
- Height of the main nave: 19 meters
Paradise vestibule and paradise portal
In the extension of the southern arm of the west transept is the so-called "Paradise vestibule". The vestibule, probably in the 2nd half of the 12th century. Created and twice as large as today by 1859, it is interpreted as a lounge for pilgrims on the way to Santiago de Compostela . It is very similar to the vestibules of other mainly French pilgrimage churches on the way to Santiago.
The cathedral is a double choir , so it has no facade with a correspondingly large entrance area. That is why it has been provided with an elaborate figure portal on the south side. It is the largest Romanesque portal in Westphalia. It was not executed according to a uniform plan, but, as the inconsistencies in the structure show, initially started as a pure column portal and only completed as a figure portal under the influence of French cathedral Gothic. According to recent research, the group of figures is dated to the first third of the 13th century; it is very rare in this form for Germany.
At the center post stands the Virgin Mary as Queen of Heaven with the Baby Jesus in her arms, one of the earliest standing Madonnas in Germany. In a sensitive gesture, the child turns to its mother with an arm movement. The still visible paint residues are an indication that plastic was painted in the Middle Ages. On the entrance doors, to the right and left of the Madonna, hang the older figures of the cathedral patrons Kilian and Liborius from the 12th century . In the tympanum above the Mother of God there is a wooden cross that is flanked by two angels.
To the left and right of the entrance doors there are three figures of apostles and another figure of saint. Not all figures can be assigned with certainty. Directly to the left of Maria is Peter - recognizable by the type of head that has been fixed for centuries. The apostle with the pilgrim's shell in his hand to the left is James the Elder . The next figure on the left cannot be identified, as the scroll only identifies it as an apostle in general. The subsequent bishop figure could be Julian von Le Mans . Directly to the right of Mary is Paul , to the right of an unidentifiable apostle. The beardless figure second from the right is probably Jesus' favorite disciple, John . As a single figure, St. Catherine is interesting on the far right : She kicks the pagan emperor Maxentius with her feet, against whom she victoriously defended Christianity in a disputation.
The capital zone below the row of figures is designed with great plastic effort. Flat leaf patterns are laid on the capital cores on the left, sometimes in several layers, which also extend over the pieces of wall in between. The fighters zone is about how often covered in the Middle Ages, from a mixture of plant tendrils and mythical creatures. The capitals on the right show people from the fringes of society, for example a man on hand crutches. The warriors are decorated with grapevines and scenes from winemaking and hunting.
On the north and south sides of the cathedral there are chapels, most of which were built in the 14th century. The canons came from Westphalian aristocratic families who raised their assets for the foundations that were necessary for the maintenance of the cathedral. Some of these families claimed a special place, which was designed according to their ideas and wishes and showed the family coat of arms and inscriptions. This place of prayer should also be the burial place for the canons belonging to them. From around the middle of the 17th to the 18th century, the taste of the time changed. The Baroque era came and the chapels were thoroughly redesigned; they were given roughly their current appearance. They were repeatedly damaged and looted, the last time in World War II , the damage and losses were repaired or replaced. The rooms are protected from theft and vandalism by artistically forged grids, some of which were made in the manner of the optically deceptive perspective view . The interior is difficult to see through the grilles. These eight chapels are supplemented by the Brigidenkapelle, the Westphalenkapelle and the memorial chapel, which are located on the cloister.
The chapels on the south side
The chapels on the south side of the cathedral are described below from east to west.
The Marienkapelle on the east side of the cathedral south of the east choir is the largest and oldest of the chapels (first mentioned in 1215). In the 17th century the chapel was renewed in the baroque style. Church services were celebrated here more often. The heavy door through which it is accessed looks similar to fretwork. Openings were punched out of two boards glued to one another, so that the painted Madonna and Child, surrounded by angels, can be placed in front of a simulated perspective architecture. Anton Willemssens from Flanders painted the picture . The door is surrounded by a massive portal frame with two heavy pillars. The ceiling was provided with effective stucco work by Ludwig Willemssens. The small rococo altar shows Maria Immaculata on the altar sheet . On either side are the figures of Liborius and John of Nepomuk , the white and gold taken are. The altar comes from a private chapel and was installed in the Marienkapelle in 1786. It only came to its current location in the 20th century. The tomb of the cathedral dean Kaspar Philipp von Ketteler stands on the north wall of the chapel.
The Vitus Chapel, the easternmost chapel on the south side, was built in the 14th century by the Paderborn bishop and former abbot of Corvey Heinrich III. Donated by Spiegel zum Desenberg (1361–1380). At the beginning of the 18th century, cathedral dean Ferdinand von Plettenberg and his brother Bernhard had the chapel renovated and refurbished. The magnificent framing of the portal, a work by Heinrich Papen , is crowned by a figure of Vitus , represented with a lion and an eagle. The large medallions with the portraits of Anthony of Padua and Franz Xavier in the side panels of the portal are held by angels. The altar of the chapel is made of alabaster and marble. The altarpiece is accompanied by alabaster figures of Liborius , Charlemagne , Henry II and Meinolf . The antependium shows an unmarked pope on a picture painted on leather, in the pose of a builder. The altarpiece was painted in 1988 by Richard Sehrbrock from Elsen and shows Paderborn's auxiliary bishop Nils Stensen . The picture in the upper part of the altar shows God the Father blessing his work of creation . On the side walls of the entrance are the figures of Agatha in the fire and an unknown bishop in two niches .
The Joseph Chapel was also built in the 14th century, at that time under the patronage of the Three Kings . A well-known relief depicting the kings, which has been preserved from the time of this old patronage, was embedded in the southern pillar next to the staircase to the main altar. The image of the three kings has not survived. In the 17th century the chapel received the patronage of St. Josef and was converted to Baroque style by Anton and Ludwig Willemssens. In a shell niche above the entrance there is a bust of St. Joseph with baby Jesus and lily, framed by two putti . The chapel is shaped like a Greek cross , with the altar in the southern niche. The painting above the simple altar shows the marriage of Joseph and Mary; In the eastern niche hangs a picture of St. Ursula with her entourage. Both paintings are works by Anton Willemssen.
The name of the Matthias Chapel goes back to Matthias von der Reck. It "often changed the responsible guardian." Originated in the 14th century, the Paderborn and Mainz cathedral provost Johann Wilhelm Wolff von Metternich zur Gracht , brother of the local prince-bishop Hermann Werner Wolff von Metternich zur Gracht, left it in the 17th century. to be rebuilt and designed by Heinrich Papen . The entrance is surrounded by a richly decorated, magnificent portal frame, which is crowned by a figure of St. Matthias . Reliefs in the side panels represent the vocation and martyrdom of the saint. The large medallions above show St. Judas Thaddäus and St. Liborius . An inscription and a coat of arms identify Johann Wilhelm Wolff von Metternich zur Gracht as the founder of the chapel. The chapel has a cruciform floor plan, with the altar in the southern niche. It is designed as a columnar pedicle and shows the crucifixion; Figures of St. Matthias and St. Andreas flank the pillars. In the other niches there are reliefs with the flagellation of Christ and the crowning of thorns . Figures of John the Baptist and St. Abbot Wilhelm complete the equipment.
The Hippolytkapelle, the westernmost chapel of the south aisle, stands near the paradise portal. It is first mentioned in a document in 1306; a new building by the Domküster and Drost in Neuhaus and Boke, Matthias von der Reck, is documented for 1688. He was awarded it as a burial chapel, but his actual burial is not known. The chapel and portal were probably designed by Ambrosius von Oelde . Ionic columns flank the entrance; on the gable of the portal stands the figure of Hippolytus as a police captain, with a mail shirt and halberd . The chapel has a rectangular floor plan and is divided into three bays . The altar, which is located on the east wall of the chapel, is designed as a columned aedicula and shows the Assumption of Mary into heaven .
The chapels on the north side
The chapels on the north side of the cathedral are described from east to west below.
The Angel Chapel is the easternmost side chapel on the north side of the cathedral. The base of the chapel was an angel altar from the 14th century, for which the angel chapel was built in the 15th century. At the end of the 17th century, the Paderborn cathedral provost Johann Adolph von Fürstenberg had it redesigned as his burial place, but was then buried in the Franciscan church in Attendorn . The portal is richly sculptured. Ionic columns flank the entrance; on the gable is a figure of St. Archangel Michael knocking down the dragon. The floor plan of the chapel is rectangular with a niche to the west. The tomb of Paderborn Bishop Konrad Martin (1856–1875) is located in this niche . The bishop is shown kneeling on the tumba with a cross in his hands. The depiction is one of the main works by the sculptor Georg Busch from 1915. Because of the tomb of the honored bishop, the chapel is also called "Konrad-Martin-Kapelle". The altar is located on the east wall of the chapel and is designed as a columned aedicula. The altarpiece was lost in the war, but the caption was retained. On this basis, Richard Sehrbrock painted a new picture that Pauline von Mallinckrodt added to the altar cartons in the midst of her blind children. There are also two reliquaries hanging on the walls of the chapel . The reliquary of the blessed Pauline von Mallinckrodt (1817–1881) in the form of a vine is the work of the goldsmith Walter Cohausz and was made in 1986. Delicate branches move over the strut of the wall pillar. The grapes are gold-plated, the leaves are silver-plated. The particles of the relic are kept in a rock crystal. An enamel plate in the middle of the reliquary shows a portrait of Pauline. On the opposite wall is a round reliquary of the Blessed Maria Theresia Bonzel (1830–1905), which was created in 2014 by Matthias Engert.
The Trinity Chapel goes back to a Trinity altar from the beginning of the 14th century; the chapel itself should have been built in the middle of the century. At times Gobelin Person was the owner of the Altar and Chapel Foundation. In the middle of the 17th century, Provost Johann Wilhelm von Sintzig had the chapel baroque, probably by the Franciscan brother Gerhard Mahler, who had been restoring the church since 1652. The portal is designed like a triumphal arch with Ionic columns and bears the coats of arms of Johann Wilhelm and Johann Heinrich von Sintzig in or on the gable . The chapel has a rectangular floor plan with a niche in the east and in the west. In the Portallaibung are Meinolfus as Augustinerchorherrenstift with a model of the monastery church of Böddeken and the meeting of Joachim and Anna , the parents of Mary , seen at the Golden Gate. In the window reveal the are hl. Kilian and St. Liborius depicted. The altar stands in the eastern niche and today shows a picture of Adolph Kolping by Richard Sehrbrock. The original altarpiece was lost in the chaos of war; the accompanying figures of St. Mauritius and St. Ursula are preserved, however. In the western niche, the baptism of Christ is depicted in a large relief . The caps of the vaults are decorated with the representations of the four evangelists , as well as a lot of jewelry and angel heads. Angels hold a scroll with the text of the Ave Maria that extends through the vault .
The Elisabeth Chapel is the most richly decorated chapel in the cathedral. The priest Werner Gerlaci had it built around 1376; In 1687, under Prince Bishop Hermann Werner von Wolff Metternich zur Gracht (1683–1704) it was renovated in the baroque style. The sculptor Heinrich Papen created her sculptures . The magnificent alabaster portal facade frames the entrance with two Ionic columns; the spandrels are covered with cornucopia bearing flowers and grapes. The shell niches with the busts of Christ crowned with thorns and the Mater Dolorosa in the side panels of the portal are striking . Elisabeth of Thuringia appears as the crowning figure on the gable. The chapel has a cruciform floor plan, with the altar in the northern choir niche. His relief shows the holy clan : In the foreground are Mary and Elizabeth with the boy Jesus , in the background Joseph , Zacharias and an angel. The characters play with roses and other flowers. In the western niche is the tomb of Prince-Bishop Hermann Werner von Wolff Metternich on the canal. In the foreground the bishop is shown kneeling in front of a crucifix in full regalia . In the background are two allegorical female figures with a mirror and snake or sword and other figures. In the eastern niche of the chapel there is a relief that shows the boy Jesus who saints St. Anthony of Padua and St. Hermann Josef crowns with roses.
The Meinolphus Chapel was built in 1377 by the priest Werner Gerlaci as St. Andrew's Chapel . End of the 17th century. Friedrich von Oienhausen zu Eicholtz had it renewed in baroque style; her patronage changed to that of St. Meinolf . Ionic columns flank the portal opening; The coat of arms of the founder is visible in the gable of the portal frame. On the top of the gable is a figure of St. Meinolf. The chapel has a rectangular floor plan and is divided by three bays . The western and central yokes are separated from each other by a partition. The window of the central yoke today shows St. Hubertus , the patron saint of riflemen. The altar on the east wall presents itself as a simple columned aedicula with a picture of St. Andreas , Sebastian and Meinolf , which was painted by Richard Sehrbrock. The inscription on the portal grille describes the Meinolphus Chapel as the "Schützenkapelle". The name goes back to the commitment of the Paderborn Citizens' Rifle Club for the reconstruction and the repeated renovation of the chapel before and after the Second World War .
The chapels on the cloister
Brigida von Kildare was co-patroness of the Carolingian Salvator Church and is also referred to as co-patroness of the cathedral in a medieval document. She no longer has this status today. The Brigidenkapelle is located on the east side of the atrium and has a complex architectural history; During excavations, previous buildings from the Carolingian era have come to light. Today's chapel goes back to Bishop Meinwerk , who had it built northeast of his cathedral. During the Middle Ages , two pillars made of sintered lime were placed in the corners . They are probably still from Badurad's cathedral . During the restoration from 1976–1987, the chapel was laid out with black and white plate mosaic from the Meinwerk Cathedral from around 1020.
In the 14th century, a Lady Chapel was built on the west wing of the cloister, which is usually called the "Westphalenkapelle", because it was built by the canon Johannes von Westphalen and is the burial place of three descendants of this family. The epitaph of the cathedral dean Wilhelm von Westphalen († 1517) is particularly worth seeing . It was struck by Heinrich Brabender and shows a group of figures with the Virgin Mary in the center, flanked by Liborius , Philip and James the Younger . The deceased kneels before Our Lady. On the walls hang a drum and armor from the Turkish War, which were donated to Liborius in 1719 as consecration gifts. Some stone and cast iron tombstones complete the facility.
The memorial chapel at the north exit of the cloister was designed by Agnes Mann. It commemorates 14 people who died in the air raid on March 22, 1945 in the cloister. The chapel is completely decorated with a colored mosaic that shows the hymn of praise of the three young men in the fiery furnace according to the biblical book of Daniel (cf. Dan 3: 51–90).
Bishop Badurad had a crypt built into Paderborn Cathedral , but at that time in the west apse . The current crypt is a three-aisled hall crypt under the east crossing and the east choir of the cathedral. Its shape goes back essentially to the year 1100, although it was renewed and redesigned in the 13th century. Together with the crypts of the cathedrals in Bamberg and Speyer, it is considered to be one of the largest hall crypts in Germany.
Under the altar of the crypt there is an ebony shrine with the relics of St. Liborius . In the west of the crypt is the anteroom to the bishop's crypt , which was decorated with mosaic in 1935 and in the middle of which there is a grave slab with relics of Bishop Meinwerk . Even further to the west is the actual crypt of the Paderborn bishops. In a central position opposite the entrance hangs a Pietà , which is attached to the left and right by two bronze plates with the names of all Paderborn bishops up to the early 20th century. is flanked. On the right and left side walls are the graves of the bishops since Caspar Klein (1920–1941). The bones of former bishops rest in a collective grave on the ground.
The courtyard of the cloister is a place of remembrance. Members of the cathedral chapter are buried here. A bronze plate on the east side was created by the Winkelmann brothers from Günne. It covers a chamber that contains bones from previous graves. It shows the representation of Jonah , who was devoured by a whale and spat out again after three days. On the north side there is a fountain that is decorated with a peacock. In the Second World War, 1945, Paderborn was bombed and the cathedral was badly damaged. An air mine hit the cloister on March 22, 1945 , killing fourteen people. Remnants of this air mine are exhibited here in memory. Because of its shape and its proximity to the three-rabbit window, this fragment is called the “British eggshell” by the citizens of Paderborn.
Three rabbits window
- The hare and the spoon have three, and yet every hare has two.
This short and concise verse probably best describes the motif of the three-rabbit window. The work of art created at the beginning of the 16th century from red Weser sandstone shows three jumping rabbits arranged in a circle. It is located on the north side in the inner courtyard of the cathedral cloister and is quite inconspicuous at first glance. This motif of the three-hare picture is not limited to the Paderborn Cathedral alone, but can also be found elsewhere, for example in the Hasloch coat of arms, and also outside of Christian culture.
The window is one of the most famous sights of Paderborn and an old landmark of the city. In earlier times it was also a lucky charm that every craftsperson wandering through Paderborn must have seen.
The popular altar made of dark red basalt lava stands in the yoke in front of the crossing in the east; Together with the cathedra, it is the symbol of the unity of the communities in the diocese. The altar was made in 1982 by Heinrich Gerhard Bücker from Vellern, and an alabaster band decorated with medallions runs around it. On the front there are portraits of Jesus , Mary and John , on the back the Saints Liborius and Kilian and the Holy Spirit in the form of a dove with seven tongues of flame. The apostles Peter and Paul are on the narrow sides .
The cathedra is the bishop's seat of the archbishop, which is one step higher than the other priestly seats. In order to be able to do justice to the decisions of the Second Vatican Council regarding the liturgy , the seat was moved to the front wall of the lower choir. It is made of white marble.
The choir stalls are crowned by 23 figures depicting saints and other important people from Paderborn's church history, which were carved by the sculptor Heinrich Gerhard Bücker . They are arranged in two rows and stand on angular pillars. On the north side, their row begins in the west with Charlemagne and ends with Jordan Mai , on the south side stands Julian von Le Mans in the far west and Pauline von Mallinckrodt in the far east .
The tabernacle stele was cast by Heinrich Gerhard Bücker in 1982 . She stands in the choir in front of the reliquary retable. It is octagonal and decorated with motifs from the Old Testament. The obverse shows Abraham in Mamre, then clockwise the sacrifice of Melchizedek , the burnt offering of Noah , the sacrifice of Abel , Elijah in the desert, Moses in front of the burning bush, Jacob's ladder and the sacrifice of Isaac .
The reliquary retable stands in front of the east wall of the choir. It dates from the last quarter of the 15th century. The reredos made of Baumberger sandstone were used to display relics. The Libori shrine was exhibited on the lower, open floor, and other reliquaries found space on the upper floor, whose diamond-shaped lattice are gold-plated. The eyelashes first go outwards and then bend inwards in the form of a so-called donkey back. The gables are decorated with tracery, pinnacles rise in between. The crack behind the middle gable reaches up to a height of 10.75 meters, in the lower part there is a mother of God in a niche. She holds the baby Jesus on her left arm and with her right hand strokes a bird that is pinching the baby Jesus' finger. The reredos stood in the east choir until 1655, then it was moved to Hasenkamp and has been in the choir since 1956.
The medieval builders let in a large window on the east wall. The Otto Peters glass painting company, Paderborn, produced today's three-part window in 1952/1953 based on a design by Walter Kalther Klocke. The individual pictures show scenes from the history of salvation, such as B: The expulsion from Paradise, the birth of Jesus and his crucifixion. Overall, the window looks like a luminous wall.
The relief of the Three Kings on the southern pillar of the entrance to the choir was made from alabaster around 1360 . It was formerly the middle part of an altar that stood in the Dreikönigskapelle (today Vitus Chapel).
Gravestone of Bernhard V.
On the grave slab for Bishop Bernhard V. Edelherr zur Lippe in the Ostvierung the deceased is depicted in life size, he is wearing full regalia . In addition, his house coat of arms with the Lippe rose and his bishop's coat of arms with the Paderborn cross and the Lippe rose are shown.
Grave slab Meinwerk
In the anteroom of the bishop's crypt there is a grave slab of Bishop Meinwerk from the 13th century, who was buried in the church of the Abdinghof monastery. Meinwerk set important accents in the construction of the cathedral and the city.
The bishops of the 19th century are mostly buried in the central nave . To commemorate them, grave slabs are set into the ground, which indicate the approximate location of their resting place. The three archbishops Caspar Klein (1920–1941), Lorenz Cardinal Jaeger (1941–1973) and Johannes Joachim Cardinal Degenhardt (1974–2002) were buried in brick wall niches in the crypt in the bishop's vault.
The original Libori shrine was damaged in the city fire in 1058. This prompted Bishop Imad to have a gold shrine made. This was melted down in 1622, in the course of the looting of the cathedral by the great Christian , and partly minted into Pfaffenfeindtalers . The Libori shrine, which is still in use today, is the most important piece of the cathedral's treasure . The goldsmith Hans Krako from Dringenberg made it in 1627 over a core made of wood from gold-plated silver, copper and bronze were also used. It is used to hold the relics of Liborius and was donated by the landdrosten Wilhelm von Westphal from Paderborn and his wife Elisabeth von Loë. The shrine is carried through the city center in a solemn procession for the Liborifest and exhibited in the high choir. The container in the form of a single-nave church building was probably built on the basis of the lost shrine from the Middle Ages. It stood in the cathedral's display altar until the middle of the 19th century and was the year-round resting place of the bones in it.
Material and manufacturing
The Libori shrine is 1.33 meters long, 0.52 meters wide and 0.62 meters high. It is a construction made of 8 cm thick oak boards. These are covered on the outside with 246 silver and sheet metal parts. The silver weight is 55.64 kg. The large parts are made of sheet metal. The figures are partially cast. Silver and sheet metal parts are fire gold plated. The inside of the Libori shrine is lined with red velvet. In the middle there is a recess for the ebony reliquary box. Support elements are attached to the floor. The last comprehensive renovation was carried out in the first half of the 19th century, and the cathedral chapter decided on conservation measures in 2009. The goldsmith Thomas Schnorrenberg from Paderborn was commissioned with the execution. Defects had to be replaced, soldering work and fixations to be carried out, and breaks to be worked on.
Figures of the Libori Shrine
The people depicted on the Libori shrine are inscribed and recognizable by the attributes they have carried with them. The front side shows the relief-like representation of the Calvary between two round columns in a round arch . In the gable above the Mother of God can be seen with the baby Jesus in her arms. Above the front gable are John the Baptist on the left and Francis of Assisi on the right . A ridge cross can be seen in the middle. Next to the gable sit on the left the evangelist John and on the right the evangelist Luke . On each side of the shrine there are six figures of the apostles in arched niches. The figures of James the Younger on the right and Matthew on the left are reversed in relation to the inscriptions. The slopes of the roof are decorated with the figures of Saints Liborius and Kilian. They are accompanied by round medallions depicting the four Latin Fathers of the Church, Augustine, Gregorius, Hieronymus and Ambrosius. On Liborius' side, between the sloping roof and the side wall, from left to right, are Karl Borromeo , Brigida von Kildare , Maternus , Justina von Padua and Antonius von Padua . On Kilian's side, between the sloping roof and the side wall, from left to right are St. Rochus , Catherine of Alexandria , Benedict of Nursia , Clare of Assisi and Antony the Great . St Sebastian , Erasmus of Antioch , Archangel Michael , St George and Laurentius of Rome can be seen on the roof gable from the front to the back . The back is provided with 32 ancestral coats of arms of the donors in addition to the donation. The gable above the foundation inscription shows the coronation of Mary by the Holy Trinity. Above are Wilhelm of Aquitaine on the left and Elisabeth of Thuringia on the right . In the middle, there is also a ridge cross on the back. Next to the back gable sit the Evangelist Mark on the left and the Evangelist Matthew on the right .
Inscriptions and coins
In addition to the inscribed names of the figures, two further inscriptions can be found on the back of the Liborian shrine. On the top it reads: DOM / VM / SANCTI LIBORII / PATRONI PADERBORNENSIS MO / NVMENTVM HOC NOVVM PRI / ORE A VESANO MILITE PER / CALAMITOSA TEMPORA INFE / LICI EXITV SVRREPTO, EIVS / HONORI ET PATRIAE DEVIS . / VVILHELMVS VVESTPHAL / ARCHISATRAPA, ET ELISABETH / A LOE, CONIVGES FIERI FECERVNT / ANNO C | C [reversed] | C [reversed] C XXVII [to be read as MDCXXVII] (God, the greatest and best, the Virgin Mary. This new tomb of St. Liborius, the Paderborn patron, after it had previously been stolen by a mad soldier in miserable times with an unfortunate outcome In order to restore his honor and the integrity of the fatherland that had hitherto been mourned, the couple Wilhelm Westphal, Archisatrapa, and Elisabeth von Loe had them made in 1627). Underneath is a second inscription: THIS WORK I HAVE HANS KRAKO ZVM DRINGENBERG MADE BY SOLGEN AS YOU ARE BIG LAUGHTER. A. 1627. Two contemporary thalers are attached underneath. On the front there are two Pfaffenfeind talers at the appropriate point .
Just as the peacock as an attribute accompanies the images of St. Liborius, the Libori shrine is accompanied by a peacock whale. In the Libori processions, the peacock feather is carried in front of the shrine. In the cathedral it is shown together with the shrine. Since the peacock feather was a not uncommon liturgical fan for driving away insects in early Christian times, it is assumed that the delegation who traveled from Paderborn to Le Mans under Archdeacon Meinolf in 836 got to know the peacock feather there in the service and then followed it up with the relics Paderborn brought.
Remaining church space
The Margaret Altar is a winged altar that was made by Gert van Loon . Van Loon was born around 1465 and died after 1521. This winged altar is the only one left in the cathedral, it was originally in the parish corner and was placed in the tower hall after the church was rebuilt. When the wings are open, scenes from the life of Christ are presented: on the left wing the adoration of the kings, on the right wing clockwise the Ascension of Christ, the sending of the Holy Spirit, the resurrection of Christ and Christ in limbo. The middle part shows the Last Judgment . On the outer wings there are depictions from the life of St. Margaret of Antioch .
The Fürstenberg tomb is a work by Heinrich Gröninger , he created it from 1616 to 1622. It is an important testimony to Mannerism , that is, the art historical period between the end of the Middle Ages and the beginning of the Baroque . The tomb for Prince-Bishop Dietrich von Fürstenberg (1585-1618) with a height of 14.24 meters was commissioned by him while he was still alive. It originally stood on the north wall of the east choir . Today it is in the northern arm of the west transept, next to the red gate. The tomb makes it clear that Dietrich von Fürstenberg wanted to be involved in the history of the diocese.
The tomb consists of a base, a high main floor and a smaller upper floor. The base bears various inscriptions. In a central position, the life-size figure of the prince-bishop kneels on the base in profile . He is dressed in a splendid smoky cloak and turns to a cross held by an angel. His buildings are shown directly behind him: Neuhaus Castle , the Paderborn Jesuit College and the Wewelsburg . Meinwerk and Meinolf flank the buildings on the left and right . In the middle of the main floor is the vision of the resurrection of the dead from the book of Ezekiel (Ez 37, 1–14). Particularly noticeable are the half-flesh-covered skeletons , some of which are depicted in relief , others in full plastic . Above, God is enthroned in heaven, below is Ezekiel in a central position.
In the side parts of the main floor there are two rows of figures of Christ and saints. In the lower row you can see Maria Magdalena, Jesus Christ, Maria and Kunigunde from left to right. Mary Magdalene carries a vessel whose contents are used for anointing; in Christian art it is often represented this way. Jesus Christ next to her has the globe in his hand. Mary on the right side carries the baby Jesus with both hands on her arm, who places one hand on his mother's shoulder and with the other holds an apple towards the viewer. Kunigunde next to Maria was the wife of Heinrich II., She was crowned in 1002. She does not wear a crown and is dressed in a dress with a lace collar.
Liborius, Charlemagne, Heinrich II and Kilian can be seen from left to right in the upper row of the holy figures. Liborius inclines his head towards the central part of the tomb; he carries his crosier and as an attribute a book with three kidney stones. Charlemagne to the right of him is dressed in knight armor and puffy trousers , the chest piece is fluted. Imperial mantle, imperial orb and crown emphasize his dignity. The sword was added later. Heinrich II was a friend of Meinwerk's; he wears Roman clothing and the emperor's insignia : scepter , crown, orb and the coronation cloak. Kilian stands on the far right and carries the martyr's palm in addition to the bishop's staff .
The upper floor of the middle part is almost square, here the resurrection of Lazarus is shown. The outer figures are fully plastic. The sculptor Gröninger shows the scenery based on the Gospel of John. Jesus, accompanied by two soldiers, approaches the inside of the picture and there meets Mary, Lazarus' sister. She asks him for help, two men help the risen Lazarus out of his grave. Next to the relief and on the pediment are allegorical figures of time, death, power, fame, justice, mercy and eternity.
Baptismal font and baptismal barrier
In the southern side yoke of the western transept, next to the paradise portal, are the baptismal font and the so-called baptismal barrier, which surrounds the baptismal font. The baptismal cabinet was created in 1626 by Gerhard Gröninger in the Mannerist style. Of the twelve apostle figures with which it is decorated, six were later renewed by Dietrich Gröninger. The font in the middle of the baptismal font was created in 1924.
Relief and reliquary of John Paul II
On the wall between the Schützen and Elisabeth chapel is a sculpture showing John Paul II . It was unveiled in 1999 by the then Archbishop Johannes Joachim Degenhardt and is a reminder of the Pope's visit in 1996. The approximately 110 cm high, 100 cm wide and 50 kg heavy version is based on a design by Prof. Thomas Duttenhoefer .
Since April 2017, a reliquary with a blood relic of John Paul II has been under the relief . The relic consists of a drop of blood from the Pope on a piece of cloth. The Archbishop of Paderborn , Hans-Josef Becker , asked the Roman Curia for a relic in 2016 and received it that same year. The reliquary that contains the relic was created by the Zell gold and silversmith Matthias Engert. It has the shape of a tilted square with a gold-plated surface. In the middle there is a rock crystal pyramid that encloses the reliquary capsule. The reliquary bears the inscriptions “S. IOANNES PAULUS II ”and“ 1920 - 2005 ”. Its corners run out into small squares, again occupied with rock crystal pyramids, so that the impression of a cross is created. On April 23, 2017, the so-called “Sunday of Divine Mercy” , it was unveiled in a service and blessed by Cathedral Chapter Thomas Witt .
The double Madonna hangs from the ceiling in the second nave bay of the central nave . It dates from around 1480. The Paderborn Auxiliary Bishop Hans Leo Drewes said: It is clearly large and attached like a traffic sign from God. Visitors to the cathedral may linger here. They may consider their own way of life to Christ with all the diversions and detours and entrust the ways of their loved ones to the company of Our Lady. Maria is represented as the new Eve, she is crushing the head of a snake. She has the boy Jesus, who is holding a bunch of grapes in her right hand, on her arm. Two angels hold a crown over their head.
Figures of the apostles
In the nave, in the west crossing and in the east crossing there are four figures of the Twelve Apostles on pedestals on each of the massive pillars . They were donated in 1608/1609 by the then cathedral dean Arnold von Horst and made by Heinrich Gröninger . The apostles are represented as witnesses of the faith. The figures of Peter and Paul date from 1607 and stand in arched niches. Arnold von Horst had a tablet with an article from the Apostles' Creed hung above each figure .
The white and gold pulpit from 1736 is located on the last pillar of the nave in front of the east crossing and is designed in the Régence style. It was created by the cathedral capitulars of the Fürstenberg family on the occasion of the 900th anniversary of the transfer of the relics of St. Liborius donated. A Pope and the four evangelists are depicted in their fields .
The Rotho tomb stands on the east wall of Hasenkamp; it was donated around 1450 by Wilhelm von Büren- Beusichem and his wife Irmgard zur Lippe (daughter of Bernhard VI. Zur Lippe ) for Bishop Rotho . The tomb originally stood in the choir and was moved to the atrium in 1924 and finally to Hasenkamp in 1959. The sarcophagus is adorned with six half-figures, including Meinwerk , Charlemagne , Pope Leo III. and Kilian . The Madonna on the tomb is represented with the child in her arms, reading a scroll.
A total of four choirs operate in Paderborn Cathedral : the Paderborn Cathedral Choir founded in 1889, the Cathedral Choir founded in 1981, the Schola Gregoriana founded in 2007 and the Girls Choir founded in 2008.
In 1348 an organ for the cathedral was first mentioned in a document. This instrument was relocated and expanded several times in the 17th century by the organ builder Hans Heinrich Bader. In this context, the four stately stone pillars by the sculptor Heinrich Gröninger (1578–1631), which today “support” the tower organ in the west, were also created. In 1661 the cathedral finally had an organ with 39 stops on three manuals and a pedal . In 1666, an additional choir organ was also built by Bader. In the 18th century, Johann Patroclus Möller (1698–1772) created two new instruments for the cathedral: in 1746 the choir organ and in 1754 the main organ was renewed or rebuilt. Due to persistent deficiencies, it was decided in 1923 to demolish the baroque organ. In order to meet the requirements of the cathedral liturgy and the length of the central nave with 104 meters, it was decided to use a three-part system consisting of a tower, choir and crypt organ. The Feith organ with 109 registers was put into operation in 1926 and existed until the cathedral was destroyed in 1945. After the end of the war, the new construction of the cathedral organ began, carried out by the Feith company: 1948–1952 the choir organ, 1958–1959 the tower organ. The largely original crypt organ remained in operation until 1971.
The three-part organ system (tower, choir and crypt organ) that exists today has existed since 1979/1981, was built by the Siegfried Sauer company (Höxter-Ottbergen) and expanded from 2004 to 2005. With a total of 151 registers, the Paderborn cathedral organ is the third largest church organ in Germany. The scope and arrangement of the sub-works optimally take into account the specific acoustics of the large church space, in which individual sound sources are difficult to locate - the listener is completely surrounded by the sound of the organ.
The tower and crypt organ have their own gaming tables. In 2018, the general console in the choir room, from which all three organs can be played, was technically renewed by organ builders Johannes Falke ( Bad Driburg ) and Aug. Laukhuff ( Weikersheim ).
Gereon Krahforst was the cathedral organist from 2003 to 2011 . In 2011–2013 the position was replaced by Sebastian Freitag. Tobias Aehlig has been the new cathedral organist since October 1st, 2013 .
The tower organ forms the largest part of the factory with 83 registers. A good half of the pipe material comes from the previous instrument from 1958/1959. The tower organ stands on the four stately pillars built by Heinrich Gröninger.
- Normal coupling: II / I, III / I, IV / I, III / II, IV / II, IV / III, I / P, II / P, III / P, IV / P
- Sub-octave coupling: IV / I
- High-pressure Bombardwerk coupling: HD / I, HD / IV, HD / P
- Chimes can be coupled to I, IV and P
- previously Scharff IV 1 ⁄ 2 ′
- Cup bells, third chord on c sharp 2
- Cup bells, c 0 -d 3
- Pipes with double labia, overblowing, AH wood, c 0 -c 4 metal
- Tubular bells, g 0 -g 2 in the pedal can be coupled to Gg 1
- N = extension 2005
Today's choir organ is largely based on an instrument that was built in 1948 as a makeshift instrument with nine registers, and was expanded by Anton Feith in 1950 and 1952, initially to 25 and later to 42 registers. 1979–1981 the choir organ was moved into a new case and expanded to 49 registers as part of the revision of the entire organ system by Siegfried Sauer (Ottbergen). In 2004–2005 the instrument was expanded again. a. a high pressure unit as IV. Manual. Today the organ has 53 registers on four manuals and a pedal. The pipework is housed in a chamber above the old singing gallery, with sound openings to the choir and to the north aisle. The old general console by Feith from 1950 is in the singing gallery.
- Normal coupling: II / I, III / I, HD / I, III / II, HD / II, I / Ped, II / Ped, III / Ped, HD / Ped
- Super octave coupling: II / I
- from the Rückpositiv of the tower organ.
- from the crypt organ.
- 190 mm WS.
- 400 mm WS.
- N = extension from 2005
The crypt organ is the smallest part with 15 stops. Anton Feith Jr. built it in 1971. The instrument is invisibly housed in two chambers to the left and right of the southern staircase. In the overall ensemble, the crypt organ takes on the function of an echo and remote mechanism.
Until it was destroyed in 1886, two valuable bells from the 13th century, named Gloria and Clara, hung in the west tower of the cathedral. Both bells were pitched around c 1 and c sharp 1 . Only a sugar loaf bell from approx. 1150 with the tone ~ h 1 could be saved in 1886 after the high medieval, more than seven-part peal including the two large bells were thrown from the cathedral tower.
After the destruction of the medieval peal of the 20th century followed in the late 19th century and early succession two new bells, which as a basic bell respectively Liborius bell with the sounds gis 0 and F # 0 had. In the 1930s, the first idea for a large basic bell with the nominal e 0 came up , but this was not realized at the time.
All bells in the west tower were melted down during World War II, only one bell originally cast for the cathedral by Soest bell caster Joachim Trost from around 1560 remained. Another bell of his is in the parish church of St. Johannes Beheading (Salzkotten) .
Sounded from 1951
The post-war bell consists of six cast steel bells that were cast by the Bochumer Verein in 1951 and two small bronze bells from 1984 by the Petit & Gebr. Edelbrock foundry in the roof turret . The bells were cast in the so-called test rib 7 (V7), a minor octave rib, and are considered to be the first big peal in the rib that was newly developed at the time. The cast steel bell of the Osnabrück Cathedral , cast in 1954, sounds in the same disposition. The large Liborius bell was the deepest sounding steel bell in Paderborn until 2018 and one of the heaviest cast steel bells in Germany. The bells of Ortisei are matched to those of the cathedral and sound with the striking notes d 1 , f sharp 1 , a 1 and b 1 in the so-called Salve Regina motif . The post-war bells were designed with a view to the post-war peace issue; they have inscriptions relating to the theme of peace. The infused portraits (especially portraits of saints) were designed by Hilde Broer (Wattenscheid).
On the occasion of the 950th anniversary of the cathedral's consecration, the existing steel bells were restored in accordance with the listed buildings in the years 2017 to 2018, because together with the bell cage that was built at the same time, it constitutes a high monument ensemble and the high-quality bells were the first steel bells of a European cathedral church.
In addition, the bell has been extended by two bronze bells, which complete the cathedral bell as a “sound carpet” and “sound crown”. Plans for an extension of the bells had been in existence since 1927, and in 1951 the newly built bell cage was statically laid out to accommodate two more, in particular a new large bell.
The Eijsbouts bell foundry from Asten in the Netherlands received the order for the casting . A new bass bell, the Christ Peace Bell , was cast on November 24, 2017. The second bell, the Marienglocke , was cast on February 9, 2018. The two new cathedral bells were designed based on the design concept of the cathedral bells from 1951 by the artist Brody Neuenschwander . In particular, the inscriptions on the new big bell take up the peace theme from 1951.
The new bells were consecrated on April 2, 2018 and pulled up and brought into the tower on May 29, 2018. They sounded for the first time on July 21, 2018, the day before the consecration anniversary. Due to the casting of the big bell, the Paderborn Cathedral now has one of the largest church bells in Germany.
|No.||Surname||Casting year||Foundry, casting location||
( HT - 1 / 16 )
|Inscriptions, design, comments|
|1||Christ Peace||2017||Bell foundry Eijsbouts , Asten (NL)||2,677||13,520||e 0 -3||
Shoulder : "Jesus Christ - our peace" "Peace be with you - as the Father sent me - so I send you - receive the Holy Spirit."
Above the Wolm : "At your word - let us as the Church of Paderborn - sing your praise - testify to your message of justice and peace - support the poor and the oppressed - preserve creation - promote the unity of your church - and in strength Overcome all disputes between peoples and religions of your love. "
|2||St. Liborius||1951||Bochum Association||2,361||4,740||fis 0 -3|
|3||Regina Pacis||1,981||2,590||a 0 ± 0|
|4th||St. John||1,789||2,320||h 0 -0.5|
|5||St. Kilian and St. Sturmius||1,597||1,600||cis 1 -2|
|6th||St. Meinolph||1,350||959||e 1 -1|
|7th||St. Heinrich||1,182||640||fis 1 -1.5|
|8th||Marien||2018||Bell foundry Eijsbouts , Asten (NL)||1,100.5||1.008||g sharp 1 ± 0||
Bell shoulder : "Maria - comforter of the afflicted - what he tells you - does that."
Am Wolm: "Lord Jesus Christ - on the intercession of your and our mother Mary - give peace to the families - healing to the sick - a new home to all refugees - and one day also complete our earthly pilgrimage in the kingdom of your eternal peace."
|I.||St. Mary||1984||Petit & Gebr. Edelbrock , Gescher||581||≈ 120||e 2 +1||Roof turret|
|II||St. Martha||480||≈ 80||a 2 ± 0||Roof turret|
Sagas and stories
The earliest evidence of the peacock saga is found in 1702 with the clergy Clementini d 'Amelia from Umbria . The peacock legend tells of the relic translation from Le Mans to Paderborn in 836. A peacock flew ahead of it. “When the relics were received by the clergy in front of the city on the Liboriberg, the peacock paused in the air until the solemn entry into the cathedral began. Then he rose again and sat on the cathedral. As soon as the cathedral was entered, the peacock fell dead to the ground. "
Saga of the Liborian paper carriers
A legend that originated in the 17th or 18th century initially refers to the reliquary translation of 836: The bearers of the Libori relics at that time fell dead after arriving in Paderborn, as their life's mission was fulfilled with the delivery of the relics. According to legend, in the course of the history of Paderborn there came an epoch in which the Paderborn people neglected the veneration of Liborius. As a result, there was famine, epidemics and war in the Paderborn region. When the Paderborn residents recognized their failure, the cathedral gate opened during the night and those men stepped out with the shrine who had once dropped dead on their arrival with the Libori relics. “[…] The venerable people with their relics kept the parade through the city in silence, just as it had happened before. Then they carried the coffin back into the cathedral, the gate closed noiselessly behind them and the whole apparition was gone. The people of Paderborn took this to heart and when St. Liborus Day came again, they held the procession more solemn than ever before and plague and disease and all misery ended immediately. "
Legend of the fountain in the cathedral
A legend tells of a fountain in the cathedral, under which valuable but irrecoverable treasures rest. With these treasures rested a lucky image of Mary, which is not affected by the magic that binds the treasures. According to the legend, a bishop tried to lift this image of Mary, among other things by using magic. A stranger asked the bishop to lift the stone image of Mary out of the well for him by means of powerful magic formulas, which the bishop agreed to do. The magic worked and the stranger managed to descend into the well and recover Maria. After the bishop placed the image of Mary on the high altar, he began to be interested in the other treasures under the well. Against the advice of the stranger, the bishop urges him to open the way under the well a second time. This time, however, the bishop himself goes to the treasures and has since been considered as lost as the magical stranger and the statue of Mary.
From the previous clock in the aisle
One story relates to a time when the Paderborn canons were also canons of Hildesheim at the same time. If they lived in Paderborn, they only had to take part in a certain fair in Hildesheim once a year to collect their salary. In order to arrive in Hildesheim on time, there is said to have been a clock in the left aisle of the Paderborn Cathedral, which went a quarter of an hour ahead, in order to ensure a timely departure to Hildesheim.
- List of Paderborn cathedral preachers
- Paderborn Cathedral Choir
- Archbishop's Diocesan Museum and Cathedral Treasury Paderborn
- Museum in the Kaiserpfalz
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 .
- Georg Dehio , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia . Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 .
- Hans Leo Drewes: The chapels at the Paderborn cathedral. printed by Typographen GmbH, Paderborn 1992.
- Bernhard Elbers: Reconstruction of the High Cathedral in Paderborn 1945–1949 and the history of the Dombauhütte . Metropolitan Chapter Paderborn (Ed.), Paderborn 1995.
- Wilhelm Engelbert Giefers : The Paderborn Cathedral. Lecture given in the scientific association, Soest 1860 ( digitized version )
- Uwe Lobbedey: The Paderborn Cathedral ( Westfälische Kunststätten , issue 33). Bonifatius-Druckerei, Paderborn 1984, ISBN 3-87088-423-1 .
- Uwe Lobbedey: The Paderborn Cathedral ( Westphalian art ). Munich / Berlin 1990.
- Margarete Niggemeyer : Pictures and Messages - The Paderborn Cathedral as a school of vision of faith . Bonifatius-Druckerei, Paderborn 1996, ISBN 3-87088-881-4 .
- Margarete Niggemeyer: The High Cathedral of Paderborn , 3rd edition, Bonifatius-Verlag, Paderborn 2012
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 .
- Christoph Stiegemann: Paderborn. The chapels at the cathedral , Schnell & Steiner publishing house, Regensburg 2009, ISBN 978-3-7954-6811-8
- Homepage of the High Cathedral in Paderborn
- Virtual tour through Paderborn Cathedral
- City-Portal Paderborn: Cathedral of St. Maria, St. Liborius and St. Kilian
- City-Portal Paderborn.de: A "Hare Story" (PDF; 42 kB)
- Paderborn Cathedral Music
- Anniversary homepage "1000 years of Bartholomew's Chapel - 950 years of Imad Cathedral"
- Bell concert on July 21, 2018 of the two new Eijsbouts bells on the occasion of the 950th anniversary of the cathedral's consecration
- Margarete Niggemeyer (2006): The High Cathedral of Paderborn, A Cathedral Guide, Paderborn, p. 8.
- Klemens Honselmann: Paderborn 777, urbs karoli: Karlsburg. in: PDF , as of August 1, 2014.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Munich 1990, p. 14.
- Margarete Niggemeyer (2006): The High Cathedral of Paderborn, A Cathedral Guide, Paderborn, p. 9.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Munich 1990, p. 15.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Munich 1990, pp. 15–18.
- Barbara Stambolis: Libori, the church and folk festival in Paderborn, A study on the development and change of historical festival culture , Münster 1996, p. 22.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag 1990, ISBN 3-422-06063-4 , p. 18.
- Barbara Stambolis: Libori. The church and folk festival in Paderborn. A study on the development and change of historical festival culture , Waxmann, Münster / New York 1996, ISBN 3-89325-433-1 , p. 24.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , pp. 28–32.
- Protected and thoughtful , website of the anniversary “1000 years of Bartholomew's Chapel - 950 years of Imad Cathedral”, Paderborn 2017 (as of July 26, 2017).
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , pp. 32–33.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , p. 34.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , pp. 36–78.
- Georg Dehio, under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia. Deutscher Kunstverlag, Berlin / Munich 2011, ISBN 978-3-422-03114-2 , p. 837.
- Barbara Stambolis: Libori, the church and folk festival in Paderborn, A study on the development and change of historical festival culture , Waxmann, Münster, New York 1996, ISBN 3-89325-433-1 , p. 18 ff.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , pp. 78–79.
- Franz Josef Brand : Brief description of the city of Paderborn. Paderborn 1846, p. 13
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , p. 35.
- Stiegemann, Christoph: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 4-38.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , pp. 34–35.
- Stiegemann, Christoph: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , p. 41.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 25.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 26.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 27.
- Hans Leo Drewes : The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, p. 5.
- Christoph Stiegemann: Paderborn. The chapels at the cathedral , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , p. 4.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. Typographen GmbH, Paderborn 1992, p. 6.
- Georg Dehio: Handbook of German Art Monuments. North Rhine-Westphalia II Westphalia. Deutscher Kunstverlag, Berlin / Munich 2011, ISBN 978-3-422-03114-2 , p. 848.
- Christoph Stiegemann: Paderborn. The chapels at the cathedral. Schnell & Steiner publishing house, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 4-7.
- Hans Leo Drewes: The chapels at the Paderborn Cathedral , Typographen GmbH, Paderborn 1992, p. 8.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, pp. 6-10.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, pp. 10-15.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 7–8.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, pp. 16-19.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 10-12.
- Hans Leo Drewes: The chapels at the Paderborn Cathedral , Typographen GmbH, Paderborn 1992, p. 20.
- Inscription and coat of arms on the portal of the Matthias Chapel
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 12-16.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 234.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 16-19.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 248.
- Relics of the Blessed Mother Maria Theresia Bonzel OSF in the High Cathedral in Paderborn , December 11, 2014.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 34-38.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, p. 38.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 29–34.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, pp. 34-36.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 24-29.
- Dehio, Georg , under the scientific direction of Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. North Rhine-Westphalia II Westphalia. Deutscher Kunstverlag , Berlin / Munich 2011, ISBN 978-3-422-03114-2 , p. 848.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 19–24.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 38.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 38–40.
- Hans Leo Drewes: Die Kapellen am Paderborn Cathedral , printed by Typographen GmbH, Paderborn 1992, without ISBN, p. 42.
- Christoph Stiegemann: Paderborn. The chapels at the cathedral , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , p. 40.
- Christoph Stiegemann: Paderborn. Die Kapellen am Dom , Verlag Schnell & Steiner, Regensburg 2009, ISBN 978-3-7954-6811-8 , pp. 41–43.
- Hans Leo Drewes: Die Kapellen am Paderborn Cathedral , printed by Typographen GmbH, Paderborn 1992, pp. 44–45.
- Hans Leo Drewes: The chapels at Paderborn Cathedral. printed by Typographen GmbH, Paderborn 1992, p. 46.
- Margarete Niggemeyer: The High Cathedral in Paderborn , Bonifatius GmbH, Paderborn 2012, p. 36.
- Uwe Lobbedey: The Paderborn Cathedral. Prehistory, construction and survival of a Westphalian bishop's church , Deutscher Kunstverlag, Munich 1990, ISBN 3-422-06063-4 , pp. 15, 30–32, 55.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 43.
- Virtual tour - chapter cemetery .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 83.
- Virtual tour - altar .
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 33.
- Virtual tour - the bishopric .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral. Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 90.
- Virtual tour - choir stalls with witnesses of faith from the diocese .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral. Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 246.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral. Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , pp. 200-202.
- Virtual tour - The window in the east choir by Walther Klocke .
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , pp. 131-133.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 190.
- Virtual tour - Meinwerk memorial plaque in the anteroom of the bishop's crypt .
- Margarete Niggemeyer: The High Cathedral of Paderborn , 3rd edition, Bonifatius-Verlag, Paderborn 2012, p. 29.
- Virtual tour - Meinwerk memorial plaque in the anteroom of the bishop's crypt and graves of the bishops and archbishops .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 230.
- Walter Schrader: Consideration and discussion of the Liborischreins , as of August 4, 2014.
- Schrader, Walter: Model of the Liborischreins from the Paderborn Cathedral, Archbishop's Diocesan Museum Paderborn.
- Names of the Church Fathers
- A certificate inside the shrine names the manufacturer "JOHANNES KRACHO ET SOCIVS EIVS"
- Josef Bernhard Nordhoff (1881): Bonner Jahrbücher. P. 127.
- Barbara Stambolis (1996): Libori, the church and folk festival in Paderborn. A study on the development and change of historical festival culture, Münster, p. 20.
- Libori - historical background ( memento of the original from August 9, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. As of August 5, 2014.
- Conrad Mertens (1873): St. Liborius, his life, his worship and his relics, Paderborn. in: PDF ( Memento of the original from August 9, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. As of August 3, 2014.
- Virtual tour - winged altar by Gert van Loon .
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , pp. 28-29.
- Christoph Stiegemann: Heinrich Gröninger around 1578–1631. A contribution to sculpture between late Gothic and baroque in the prince-bishopric of Paderborn, Bonifatius Verlag Paderborn, Paderborn 1989, p. 202.
- Virtual tour - diocese history and cosmos of faith in the Fürstenberg tomb .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , pp. 61-63; 214-229.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , p. 31.
- Virtual tour - baptismal font and baptismal barrier .
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 64.
- condolence on the death of Pope John Paul II is available in the High Cathedral , Archdiocese of Paderborn, Nachrichten, Paderborn, April 2, 2005, in:  , as of July 29, 2014.
- Margarete Niggemeyer: The High Cathedral of Paderborn , 3rd edition, Bonifatius-Verlag, Paderborn 2012, p. 21.
- Internet the Archdiocese of Paderborn, message: A piece of memory , Paderborn, April 23, 2017 (accessed July 5, 2017).
- The Double Madonna
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 55.
- Virtual tour - pillars, apostles, creed .
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , pp. 104-105.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 75.
- Wilhelm Tack: Holy Sepulcher and Easter Game in Paderborn Cathedral , Westfälische Zeitschrift, Volume 110 (1960), p. 232.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 196.
- Margarete Niggemeyer: A cloud of witnesses. The saints in the High Cathedral of Paderborn , Bonifatius Verlag, Paderborn 2007, ISBN 978-3-89710-384-9 , pp. 43-44.
- Christophorus figure
- Homepage of the Friends of Paderborn Cathedral Music Choirs
- Information on the organs in Paderborn Cathedral on the Dommusik website (accessed on June 9, 2018)
- table of the cathedral organs is technically upgraded. Westfalen-Blatt dated January 10, 2018 . Accessed March 11, 2019.
- Paderborn cathedral organ upgraded. Westfalen-Blatt dated September 18, 2018 . Accessed March 11, 2019.
- Tobias Aehlig new organist at the High Cathedral in Paderborn ; Press release from July 29, 2013.
- Heinz Bauer, Friedrich Gerhard Hohmann: The Paderborn Cathedral . Bonifatius-Druckerei, Paderborn, 4th, revised edition 1987, 1st edition 1968, ISBN 3-87088-529-7 , p. 240.
- Information on the choir organ (accessed on June 9, 2018)
- Claus Peter: The German bell landscapes. Westphalia . Deutscher Kunstverlag, Munich 1989, ISBN 3-422-06048-0 , p. 6.
- Record of full bells (29'24 ″) on YouTube .
- Claus Peter: The German bell landscapes. Westphalia . Deutscher Kunstverlag, Munich 1989, ISBN 3-422-06048-0 , pp. 71–72.
- Kurt Kramer (Ed.): The bell and its peal. History, technology and sound from the Middle Ages to the present . Deutscher Kunstverlag, Munich 1990, p. 50.
- Two new bells for Paderborn Cathedral , erzbistum-paderborn.de, July 18, 2016; accessed on June 8, 2018.
- “The 'time without bells' will soon be over for Paderborn” - The two new bells for Paderborn Cathedral were consecrated by Archbishop Hans-Josef Becker on Easter Monday , erzbistum-paderborn.de, April 2, 2018; accessed on April 3, 2018.
- A musically impeccable bell. The sound test of the new cathedral bells was successful - Successful acceptance test in the Netherlands , erzbistum-paderborn.de, March 9, 2018; accessed on April 3, 2018.
- Casting of the new large Christ Peace Bell , erzbistum-paderborn.de, November 27, 2017; accessed on February 13, 2018.
- bass bell weighing 13,500 kilos cast for Paderborn Cathedral , nw.de, November 24, 2017.
- Small Marienglocke for Hohen Dom in cast , erzbistum-paderborn.de, February 9, 2018; accessed on February 13, 2018.
- The bells of Paderborn Cathedral , dom-paderborn.de.
- 13.5 tons on a silk thread - The new bells for Paderborn Cathedral have been lifted into the cathedral tower , erzbistum-paderborn.de, May 29, 2018; accessed on June 1, 2018.
- New bells for Paderborn Cathedral , local time OWL, wdr.de, May 29, 2018, accessed on June 1, 2018.
- Paderborn - First ringing of the new and old bells of St. Liborius Cathedral on YouTube .
- Paderborn, Hoher Dom St. Maria, Liborius and Kilian - big bell "Jesus Christ - our peace" (June 8, 2019) on YouTube .
- new big bell of the High Cathedral is dedicated to "Jesus Christ - our peace" - design of inscriptions and decoration of the new big bell , erzbistum-paderborn.de, October 12, 2017; accessed on April 3, 2018.
- Quote: Conrad Mertens: Saint Liborius, his life, his worship and his relics . Paderborn 1873 ( digitized version )
- Barbara Stambolis (1996): Libori, the church and folk festival in Paderborn, A study on the development and change of historical festival culture, Münster, p. 255.
- Quotation: Johann Georg Theodor Grasse: Sagenbuch des Prussischen Staats, first volume, 727. Legenden vom heil. Liborius, in:  , as of August 1, 2014.
- Josef Seiler : The fountain in the cathedral . In: Volkssagen und Legenden des Landes Paderborn, Kassel 1848, pp. 75–81.
- Josef Seiler : The canon clock . In: Volkssagen und Legenden des Landes Paderborn, Kassel 1848, pp. 37–38.