Regensburg Cathedral

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View of the west facade of the cathedral from the tower of the Trinity Church. On the left the Golden Tower . (2006)
View of the cathedral from the northeast. The donkey tower in front of the left west tower. (2008)

The Regensburg Cathedral (also: Dom St. Peter , named after St. Peter ) is the most important church in the city of Regensburg and the cathedral of the diocese of Regensburg . Along with Cologne Cathedral , the cathedral is one of the most important Gothic cathedrals in Germany.

As a result of a Romanesque cathedral, of which a tower (donkey tower) has still been preserved, construction of the Gothic cathedral began in 1275. From 1450 the building was roofed over and usable. The two cathedral towers and the spiers were not expanded until 1859 to 1869.

history

History of the previous building

The canonical establishment of the diocese by St. Boniface goes back to about 739. Until 975, the abbot of the Benedictine Abbey of St. Emmeram also held the office of Bishop of Regensburg . He chose the area of ​​Porta Praetoria (north gate) of the old Roman fort as the bishop's residence; this cathedral district was never changed again. There are no reliable indications of the first cathedral construction. In the second half of the 10th century - probably as part of the separation of offices between abbot and bishop - a new cathedral was built as a three-aisled basilica with a semicircular apse and no transept , probably also without towers, which was 58 meters long. A large extension to the west followed around 1000 with an approximately 15-meter-deep transept, two towers and an atrium that connected the cathedral with the baptistery of St. Johann to the west. The entire facility now extended over 128 meters. The northern tower, the so-called donkey tower, still shapes the north transept facade to this day. The cathedral burned down twice in 1156 and 1172 and was restored.

History of today's cathedral

South transept, frieze under the gable with a sheet mask in the middle, approx. 1310
Photo of the cathedral from the summer of 1860, after the south tower roof was laid down on May 21, 1860
Oldest known overall photographic view of Regensburg (around 1866). You can see the spiers that are currently under construction
The Regensburg cathedral towers in spring 1865

After the old cathedral was finally destroyed as a result of fires in 1272 and 1273, construction began in 1275. The building site was moved to the west, so that half of the old cathedral could still be used after provisional repairs. According to the initial plans, a cathedral church with a conservative layout was planned without a triforium and buttress , the proportions of which would have been rather squat. From around 1280, the so-called Erminoldmeister can be identified as a sculptor (recently identified as Master Ludwig), who was responsible for the sculptures and the building decor. In 1295, Master Ludwig was appointed master builder for the cathedral. He carried out a careful but consistent re-planning of the already completed components and transformed the cathedral into a high-Gothic building based on the model of the classic Gothic cathedrals of France. Since the nave was limited to five bays by the immunity limit in the west , a crossing tower, which was unusual for the 14th century, was planned as a spatial compensation . Its substructure had already been completed, but completion was postponed. After the three choirs of the cathedral, the transept and the first yoke of the two aisles were completed, the cathedral chapter ceremoniously moved into the new building. The old cathedral was profaned and probably now served as a cathedral construction hut . After the second yoke of the nave, further construction was blocked because the collegiate church of St. Johann stood in the way and the responsible chapter of the abbey carried out lengthy negotiations until the construction could be canceled. This forced an unusual construction progress towards the west. Only the south aisle and the ground floor of the south tower could be raised until around 1360. Even then, the further construction of the central nave, north aisle, north tower and main portal was not allowed, so that the first and second floors of the south tower and the southern upper aisle of the central nave were built. The area was not released until 1380 - now the Dombauhütte was working at full speed and completed the missing parts of the north aisle, the ground floor of the north tower and the main portal with its lavish figural decorations by around 1425. Then the construction activity concentrated on the first floor of the north tower and the northern upper storey, so that in 1443 a new steep roof could be erected over the central nave. The entire cathedral was thus roofed over and could be used liturgically . The entire shell was presented in the white of the limestone; the vaulted sails and the sporadic green sandstone blocks were also whitewashed. Only the keystones, the altars and the sculptures were painted in color. In the following decades, up to around 1500, the north tower followed up to the second floor and the missing areas of the central part of the west facade including the triangular gable . After that, the towers, the expansion of the transept gable, the still planned crossing tower and the last three central nave vaults remained unfinished. Further construction work now concentrated on the cathedral cloister and the new building of the cathedral chapter house. A lack of financial resources and the emergence of the Reformation prevented further activities in the entire cathedral area from around 1525.

West facade of the King on horseback in front of the front wall of the tower buttresses at the height of the ground floor windows. According to the vision of the prophet Daniel (south) the Babylonian king Nebuchadnezzar on a lion. Corbel with leaf mask

Up until the end of the 14th century, the Regensburg bishops and the citizens of the imperial city financed the building of the cathedral through, in some cases, very generous foundations. Since the economic power of the city was noticeably waning and the bishops had other interests, the parishes of the diocese now had to step in, which remained wealthy in the Upper Palatinate due to the iron smelting and in Lower Bavaria due to the fertile arable land.

It was not until Bishop Albert IV von Törring (1613–1649) that the architecture of the cathedral returned. At that time, the three missing bays of the central nave received their vaults, which can hardly be distinguished from the medieval ones. In accordance with the recommendations of the Council of Trent , the Gothic rood screen was removed and replaced with a wrought iron grille . The medieval, all-white color scheme of the interior was replaced by painting in gold ocher, accentuated by gold-plated capitals and other gold decorations. As a result, the entire interior looked gilded , like an inwardly turned monumental reliquary. The altars and sculptures were newly adopted , so that a uniform artistic redesign emerged. Later (around 1700) the cathedral chapter decided to redesign it again. This time the room setting was even darkened to an olive gray. At the same time, the medieval stained glass in the upper aisle of the central nave was removed and replaced with colorless glass to make the interior lighter. This resulted in an exciting contrast between the dark components below and the brightly lit windows above. In this context, in 1697, instead of the crossing tower planned in the Middle Ages, the cathedral was given a flat pendentive dome , which was brightly painted by the Carlone brothers and provided with lavish stucco . The sculptures were also repainted, this time mostly in light white tones with sparse gilding so that they stood out better against the now dark background.

In the 19th century, the disdain for the baroque and the romantic notion of "pure style" architecture led to drastic measures. The Bavarian King Ludwig I donated colored glass windows from 1827 to close the gaps in the inventory of medieval glass paintings. Then in 1834 he ordered a radical purification of the interior, which was carried out under the direction of the Munich architect Friedrich von Gärtner until 1839. Except for the high altar , all baroque altars as well as the choir grille, oratorios and stands were removed. The baroque dome was replaced by a "stylish" Gothic ribbed vault . All baroque grave monuments and the large paintings hanging on the walls were also removed. The color of the shell was not changed, however, as it was considered stone-colored: the remains of the partly powdered olive-gray paint layer of the cathedral, in conjunction with the older ocher frame, which was better preserved and therefore dominated, determined the color of the interior.

During the time of the purification of the cathedral, the long-lost and therefore neglected monograph on Regensburg Cathedral by Aloys Resch was created , which is dated to 1838 but was not published at the time. Resch was the royal Bavarian commissioner to carry out the secularization in Regensburg. He had known the cathedral since his arrival in Regensburg in 1810, long before the purification began. This is why this monograph is particularly interesting, especially since it is illustrated with 216 graphics. Resch left Regensburg in 1839 after he had failed to get his monograph printed and had given it away as a gift. In 1847/8 the historian Schuegraf published his monograph on Regensburg Cathedral. At his suggestions, which were permanently supported by the Historical Association and by King Ludwig I even after his abdication, the expansion took place from 1859 to 1869 under the direction of the Bavarian construction officer, engineer and architect Franz Josef von Denzinger, who was newly appointed as cathedral master builder the cathedral towers and the completion of the spiers . With the completion of the transept gable and the roof turret in place of an expensive crossing tower, the cathedral was completed in 1872 after 600 years. After completing his most important building project, Denziger received many awards and was made an honorary citizen of Regensburg . Nevertheless, it was only after years of consultation in December 1910 that a memorial plaque with a portrait medallion for Denzinger was installed in the east of the southern cathedral facade.

Portal of the cathedral after the restoration

As a result of the house fire with coal and the associated air pollution , an extreme increase in weathering damage was noted just a few years after the cathedral was completed, which particularly affected the additions from the 19th century. Since the repairs and additions by various private companies were unsuccessful, the state cathedral builder was founded in 1923 for the constant maintenance, repair and restoration of the cathedral. It is subordinate to the State Building Authority and still consists of a manager and usually twelve employees. The buildings and workshops of the Dombauhütte are located east of the cathedral in the area of ​​the former cathedral cemetery, now known as the cathedral garden, which was closed at the beginning of the 19th century due to overcrowding and disastrous hygienic conditions.

Since in 1984/1985 the cathedral chapter had the ambition to set up an underground bishop's burial in the central nave of the cathedral, extensive archaeological excavations and building research had to be carried out beforehand. As a result, parts of the former Romanesque atrium arcades were integrated. A comprehensive restoration of the interior took place from 1985 to 1988, which left the historically grown room colors unchanged. Subsequently, all external facades were freed from their harmful plaster crust. The restoration work on the more than 170 figures and figurines of the main portal continued until 2010. Since then, after having appeared black for decades, the cathedral has returned to the original white of the limestone .

Brief characterization of the building

The Regensburg Cathedral was built according to the type of “classical” Gothic cathedrals, which was coined in France. Characteristic of this are the basilica complex with a three-story elevation of the central nave, the transept and an impressive west facade with two towers. In addition, the crossing should be crowned by a towering tower, which was never implemented. However, there are some changes compared to the French models: The continuously vaulted building has a relatively short nave with only five bays. The transept does not protrude, but above all the usual ambulatory with a chapel wreath is missing . There is a traditional solution in Regensburg with three staggered choirs. The old cathedral already had this choir shape. In the new building, elements from the old cathedral were deliberately cited and liturgical “places” were adopted. Unusually, the entire cathedral stands on a mighty pedestal that rose more than three meters above the floor level of the old cathedral. This clearly sets it apart from its surroundings.

Particularly noteworthy is the artistic achievement of the cathedral master builder, who from around 1295 carried out the plan change for the cathedral construction that had already begun. He knew how to convert the initially planned, low and compact structure, which in the eastern parts was already largely fixed by the finished foundations and some towering walls, into a Gothic cathedral according to the French scheme. He carefully converted the older forms into the new style, almost imperceptibly. He therefore decided on a form language that was extremely unusual at the end of the 13th century: Instead of the filigree, fragile skeleton system of the French Gothic of this time, he chose an extremely physically powerful architecture, which uses penetration, mass and three-dimensional modeling as essential design elements. In this way, he succeeded in harmoniously connecting the older building phase to the high Gothic formal language. The architecture described looks like an anticipation of design methods that became widespread after the mid-14th century. This master builder was also able to convince later generations, and his plans were not changed until the interior was completed.

The most important dimensions: total length of the cathedral inside 85.40 meters, width inside 34.80 meters, height of the central nave 31.85 meters, height of the towers 105 meters.

A special feature of Regensburg Cathedral is the spatial separation from the older double cloister, which was created by relocating the new Gothic building to the south-west.

Furnishing

The high altar

Silver high altar

The splendid high altar made of silver and gilded copper, despite its uniform image, only grew together over the course of almost 100 years to form today's complex.

The individual parts were created in the following series:

  • 1695/96 Silver busts of Saints Mary and Joseph
  • 1731 Antependium with relief representation of St. Johannes Nepomuk
  • 1764 Silver busts of Saints Peter and Paul
  • 1777 Six silver candlesticks and an altar cross, donated by Bishop Anton Ignaz Graf von Fugger (1769–1787)
  • 1784/85 altar structure including tabernacle and vases.

Bishop Anton Ignaz donated 5,000 guilders for this purpose; The cathedral chapter financed the remaining 10,000 guilders by melting down large parts of the cathedral treasury. All pieces come from Augsburg artists, with the goldsmith Georg Ignaz Bauer particularly involved.

Canopy altars

Ciborium in the south choir, in front of it the celebration altar by Helmut Langhammer

Five Gothic canopy or ciborium altars have been preserved in the cathedral:

  • The Heinrich and Kunigunden altar in the third yoke of the north aisle is the oldest altar in the cathedral, made around 1320, with exposed old paintwork. In the figure tabernacles, Saints Heinrich and Kunigunde over the coats of arms of the donors and the symbols of the evangelists . Heinrich and Kunigunde von Hohenfels can be accepted as donors (verifiable between 1290 and 1326). The altarpiece shows the baptism of the Bavarian Duke Theodo by St. Rupert (1838/39 by Max Joseph Hailer).
  • The Annunciation altar in the 2nd yoke of the south aisle was built around 1330. Under the corner canopies there is a representation of the Annunciation. In the altarpiece with a halo, created in 1938, there is a small stone figure of Our Lady with Child, in the so-called soft style , around 1420.
  • The Nativity Altar in the southern side choir was built around 1410/20. It takes its name from the altarpiece painted by Joseph Kranzberger in 1838. The altar architecture and the sculptures in the figure tabernacles ( Joachim , Anna , two bishops) come from the workshop that was also working on the main portal of the cathedral. In front of the ciborium there has been a celebration altar made by Helmut Langhammer since 2004 .
  • The Ursula altar in the northern side choir was built around 1420/30. In his artistically refined stonemasonry, he presents a high point of late Gothic decoration. Above the cafeteria there is a stone retable, probably fitted in soon after 1440, with reliefs of the Annunciation to Mary and the martyrdom of St. Ursula , as well as the canon Wolfhard Wölfel († 1440). On the reverse the handkerchief of Christ is shown between two angels.
  • The Albertus Magnus Altar stands in front of the wall of the north transept, under the new cathedral organ. It was created in 1473 by the then master builder Konrad Roritzer - at that time as a Wolfgang altar. The altarpiece shows St. Albertus Magnus (1932 by Franz Xaver Dietrich ).

the pulpit

The late Gothic pulpit , dated 1482 and designed by Matthäus Roritzer , stands in front of the first southern nave pillar. The eight-sided pulpit rises above an elaborate support, the parapets of which are covered with tracery and artfully intertwined branches. 17th century staircase with wrought iron railing. St. Peter Canisius preached from the pulpit in 1556/1557 .

The sacrament house

In the main choir, the sacrament house is placed on the wall north of the high altar . Obviously, it was initially started as a smaller, free-standing complex in the form of a late Gothic monstrance tower , but then moved directly to the wall during the construction and given a very high, slim structure. It bears the year 1493 and the coat of arms of the founder, Canon Georg von Preysing. The substructure is attributable to Matthäus Roritzer, the tall tower was created after 1495 by his brother Wolfgang Roritzer .

The draw well

The more than 12 meters deep draw well next to the south transept portal received a new polygonal well basin around 1470/80. In 1500, master builder Wolfgang Roritzer put a rich tracery canopy on it, supported by two profiled pillars. On the front pillar are the stone figures of Christ and the Samaritan woman at the well.

Stained glass

The Regensburg Cathedral has one of the largest surviving mediaeval glass painting holdings in the German-speaking region. In almost all windows, with the exception of the upper aisle and the west facade, original glass paintings have been preserved. The oldest date yet from the previous Romanesque and were considered spoils built into today's cathedral. The windows on the west facade were not added until the 19th century. In 1967 and 1968, the windows were added by Prof. Josef Oberberger in the left side choir.

Site plan of the Oberberger window

They have the numbers 11 to 14 on the adjacent site plan. He also created the eight upper clad windows (1–8) in the Gothic style, the seven lantern windows (15–21) in the base zone of the main choir closure and a small window (10) in the north choir . In the west of the north transept is the Pentecost window (9), also designed by Josef Oberberger, which was installed in 1989 on the occasion of the 1250th anniversary of the diocese.

Further equipment

The Erminoldmaria is one part of a famous Annunciation group in Regensburg Cathedral. It goes back to the so-called Erminoldmeister, who carved the figure of Mary and the opposite figure of the “laughing angel” Gabriel in stone around 1280 and painted them brightly. The two figures correspond to each other on the two western pillars. Maria raised her right hand in a slightly defensive manner in greeting. In her left hand she is holding a book in which she has noted her index finger.

The stone figures of Saints Peter and Paul, which were made around 1320 and 1360/1370, are located on the eastern crossing pillars.

Is located on the outside of a Jewish pig in the form of a sow, three of whose teats Jews hanging. The Judensau is also oriented towards the former Jewish quarter on Neupfarrplatz. In 2005, a notice was put up after a controversy.

  • Figure of the "laughing angel" on the southwestern crossing pillar

  • Figure of St. Paul on the southeastern crossing pillar

  • Judensau at St. Peter's Cathedral

All Saints Chapel

The All Saints Chapel in the cathedral cloister was built in 1164 as a burial chapel for Bishop Hartwig II of the Comasken (a master builder guild from Como , northern Italy). Inside it consists of a finely structured central building with frescoes from the time it was built.

meaning

Interior of the cathedral; on the left in the foreground the bronze monument to Philip of Bavaria

The Regensburg Cathedral is the bishop's and main church of the Regensburg diocese. The building is considered the most important of the southern German Gothic.

The cathedral is the resting place of important princes and bishops, including Karl Theodor von Dalberg , who was very important for Regensburg , former elector of Mainz, archbishop , and ruling prince of the principalities of Regensburg and Aschaffenburg in the 18th century . Dalberg died in February 1817 and he was buried in the central nave of the cathedral. The created for him in 1824 by the Italian sculptor Luigi Zandomeneghi (1778 to 1850) Epitaph of Carrara marble is often overlooked because it is located away hidden in the northern passage to Domschatzmuseum. The epitaph is one of the main works of classical sculpture in the Regensburg area. Further burials took place for Johann Michael Sailer (1829–1832, grave monument created by Konrad Eberhard in the southern side choir), Georg Michael Wittmann (1832–1833, grave monument also by Konrad Eberhard in the north side choir), Archbishop Dr. Michael Buchberger (1927–1961, also in the northern side choir).

In the western part of the central nave is the bronze monument to Prince-Bishop Cardinal Philipp Wilhelm (died 1598), commissioned by his brother Maximilian I of Bavaria and executed from 1607 to 1611. The important monument on a mighty red marble plinth shows the cardinal who died young kneeling high cross. It was originally in the middle of the choir. One suspects Hans Krumper as a sculptor , perhaps Hubert Gerhard was also involved.

The Regensburg Cathedral is also home to the traditional cathedral choir, the Regensburger Domspatzen . Domkapellmeister and musical director of the Domspatzen has been Christian Heiß as the successor to Roland Büchner since 2019 .

On September 13, 2006 Pope Benedict XVI visited the Regensburg Cathedral and held an ecumenical evening praise there.

Memorial plaque for the Regensburg bishops

Cathedral organs

The Regensburg Cathedral houses two organs : a choir organ behind the main altar and, since 2009, a new main organ in the north transept. Until the new large organ in the north transept was built, the choir organ, which stands directly behind the high altar, was the cathedral's “main organ”. A two-manual organ with 25 registers was built at this location in 1905 by the Binder & Siemann company, and a manual was added by the Steinmeyer company in 1947 . In 1950, Eduard Hirnschrodt carried out a further renovation so that the organ now had 39 stops on three manuals. The pipework of the old "main organ" was put into storage and offered for sale in 2018 by the cathedral chapter.

Franz Josef Stoiber has been the cathedral organist since 1996 .

Choir organ

The instrument was built in 1989 by Mathis Orgelbau (Näfels / CH) and initially had 43 stops on three manuals and a pedal . Play and Registertrakturen are fully mechanical. The organ can also be played from the two new console tables on the main organ. Since the choir organ no longer had to take on the task of a main organ after the completion of the new Rieger organ, the positive was removed by the Swiss company Orgelbau Goll , so that the organ still has 33 registers today. The positive was adapted by the Swiss organ building company Mathis and now sounds as an independent organ (with 16 stops on two manuals and pedal) in the parish church of St. Petri in Hüsten .

II main work C – a 3
01. Bourdon 16 ′
02. Principal 08th'
03. Flauto 08th'
04th Tibia 08th'
05. Octave 04 ′
06th Pointed flute 04 ′
07th Fifth 2 2 ⁄ 3  ′
08th. Octave 02 ′
09. Cornett V 08th'
10. Mixture V 02 ′
11. Scharff IV0 01'
12. Trumpet 08th'
III Swell C – a 3
13. Hollow flute 08th'
14th Viol 08th'
15th Vox coelestis0 08th'
16. Principal 04 ′
17th Transverse flute 04 ′
18th Nasat 2 2 ⁄ 3  ′
19th Octave 02 ′
20th Night horn 02 ′
21st third 1 3 ⁄ 5  ′
22nd Plein jeu V 2 2 ⁄ 3  ′
23. oboe 08th'
24. Clairon 04 ′
Tremulant
Pedal C – f 1
25th Principal 16 ′
26th Sub bass 16 ′
27. Quintbass 10 2 ⁄ 3  ′
28. Octave 08th'
29 Covered bass 08th'
30th Choral bass 04 ′
31. Back set IV0 2 2 ⁄ 3  ′
32. trombone 16 ′
33. prong 08th'
  • Pair : III / II, II / P, III / P

Main organ

The new Rieger organ

The main organ in the north transept was built in 2009 by the organ building company Rieger Orgelbau for € 1.7 million because the choir organ does not have enough sound volume, especially when the church is full. The instrument hangs in front of the north wall. It has 80 registers on 4 manuals and a pedal and is the largest free-hanging organ ( swallow's nest organ ) in the world.

The corset of the main organ is a steel structure. It consists of two upright frames that run over the entire height of the organ and are held in the roof truss by a steel structure using ropes. The two vertical frames are connected by means of horizontal frames, which create a total of five levels that accommodate the 6 parts of the organ and the main console. This support structure itself weighs around seven tons. It hangs on a steel structure that was erected in the attic above the north aisle. At the upper end of the two upright frames there are four eyelets, each with a 30 mm thick steel cable attached. The ropes are led through holes in the vaulted ceiling into the roof structure and are anchored there to the supporting structure. This suspension means that the total weight of the instrument, which is 36.7 tons, is transferred to the crossing piers. The wall behind the organ would have been too weak to hold this weight if the instrument had been attached to it like a swallow's nest. In purely mathematical terms, a single steel cable with a diameter of 16 mm would be able to carry the entire load of the organ.

The steel structure of the organ is divided into five levels. The pedal unit and solo unit (IV) are located on the lowest level; the register principal bass 32 'is visible from G sharp in the prospectus. On the second level above is the positive (II). On the middle level (3rd) is the gaming table, above this (level 4) the main work (I). On level 5, the organ is crowned with the swell (III). The pipes of the organ stand on tone pulp drawers, which are divided into C and C sides. Each individual plant is equipped with a shop bellows, which are supplied by two wind systems (blower and magazine bellows), which are located on the top and bottom levels. Overall, the organ is 18.50 m high, 7.70 m wide and has a depth of 4.10 m in the middle and 2.50 m on the sides.

The instrument can be played from two gaming tables. The main console is located inside the organ (level 3). It is accessible via an elevator built into the instrument, which can be lowered to the floor of the nave, also hanging freely on four ropes. Once you have reached the height of the console (approx. 15 m above the floor), the booth moves horizontally into the interior of the organ, allowing the organist to easily get to his workplace. The telescopic construction of the elevator is located on the fourth level between the gaming table area and the main plant. The action of the main console is fully mechanical, the stop action is electric. The general console is located in the choir of the cathedral, through which the organ is played during liturgical celebrations or during midday meditations. In addition to its electric stop action, the action action here is also electric. Both main and choir organs can be played from both console tables.

I main work C – c 4
01. Principal 16 ′
02. Bourdon 16 ′
03. Principal 08th'
04th Bourdon 08th'
05. Double flute 08th'
06th Viol 08th'
07th Great fifth 5 1 ⁄ 3  ′
08th. Octave 04 ′
09. Pointed flute 04 ′
10. Major third 3 1 ⁄ 5  ′
11. Fifth 2 2 ⁄ 3  ′
12. Super octave 02 ′
13. Mixture major IV – VI0 2 2 ⁄ 3  ′
14th Mixture minor V 01'
15th Cornet V 08th'
16. Trumpet 16 ′
17th Trumpet 08th'
18th Trumpet 04 ′
II Positive (swellable) C – c 4
19th Quintatön 16 ′
20th Principal 08th'
21st Wooden dacked 08th'
22nd Flûte harm. 08th'
23. Salicional 08th'
24. Unda maris 08th'
25th Octave 04 ′
26th Reed flute 04 ′
27. Nasat 2 2 ⁄ 3  ′
28. Octave 02 '
29 Forest flute 02 ′
30th third 1 3 ⁄ 5  ′
31. Larigot 1 1 ⁄ 3  ′
32. Sif flute 01'
33. Scharff V 1 1 ⁄ 3  ′
34. Cymbel IV 01 ⁄ 2 ′
35. Bass clarinet0 16 ′
36. Trumpet 08th'
37. Krummhorn 08th'
Tremulant
Carillon
III Swell C – c 4
38. Bourdon 16 ′
39. Salicional 16 ′
40. diapason 08th'
41. Cor de nuit 08th'
42. Flûte harmonique 08th'
43. Viole de Gambe 08th'
44. Voix céleste 08th'
45. Prestant 04 ′
46. Flûte octaviante 04 ′
47. Viole 04 ′
48. Nazard harmonique 2 2 ⁄ 3  ′
49. Octavine 02 ′
50. Tierce harm. 1 3 ⁄ 5  ′
51. Plein Jeu V 1 1 ⁄ 3  ′
52. Basson 16 ′
53. Trompette harmonique0 08th'
54. Hautbois 08th'
55. Voix humaine 08th'
56. Clairon harmonique 04 ′
Tremulant
IV Solo C – c 4
57. Chamade 16 ′
58. Chamade 08th'
59. Chamade 04 ′
60. Flûte harmonique0 08th'
61. Grand Cornet V 08th'
62. Clarinet 08th'
63. Tuba episcopalis 08th'
64. Campane
Pedal C – g 1
65. Principal bass0 32 ′
66. Principal 16 ′
67. Violon 16 ′
68. Sub bass 16 ′
69. Fifth 10 2 ⁄ 3  ′
70. Octave 08th'
71. cello 08th'
72. Dumped 08th'
73. Choral bass 04 ′
74. Mixture II-IV 2 2 ⁄ 3  ′
75. Bombard 32 ′
76. trombone 16 ′
77. bassoon 16 ′
78. Trumpet 08th'
79. Schalmey 04 ′
  • Pairing :
    • Normal coupling: II / I, III / I, IV / I, III / II, IV / II, IV / III, I / P, II / P, III / P, IV / P
    • Super octave coupling: Sub in each work, III / I, III / II.
    • Sub-octave coupling: Great in every work, III / I, III / II, III / P.
    • 3 Free coupling.
  • Playing aids :
    • Combinations: Rieger Setzersystem: 20 users with 1000 combinations each with 3 inserts, archive for 250 titles with 250 combinations each.
    • 4 crescendos (adjustable).
    • Miscellaneous: Copy functions, repetition functions, factory storage, general storage, sostenuto, Rieger tuning system, Rieger recording and playback system, connection of the choir organ, split pedal on the general console.

The organ was consecrated on November 22nd, 2009 by Bishop Gerhard Ludwig Müller .

Bells

The Great Princess hangs in the massive wooden belfry of the north tower.
The women's bell can only be rung with a cable and was cast in the same year as the Great Princess .

The bell of the cathedral consists of a total of six bells and is one of the lowest in Bavaria. The old women's bell hangs in the south tower bell room and can only be rung from there by rope. There is a small bell in the roof turret that is only rung at Pentecost. The full ringing of the six big bells is reserved for high feasts, the Grand Duchess is absent on Sundays . The angelus bell will sound when the angelus is rung ( e.g. at 12 noon) .

The suspension of the individual bells is different: the three large bells ring on straight steel yokes with overweight and counterweight clapper, bell 5 on the cranked steel yoke and bells 4 and 6 on the straight steel yoke, the latter also having a counterweight clapper. All bell stalls are made of wood.

No. Surname Casting year Foundry, casting location Ø
(mm) 		Mass
(kg) 		Chime Rib type tower
1 Great princess 1696 Joh. Gord. Schelchshorn , Regensburg 2030 4800 g 0 Major Septim North
2 St. Michael's Bell 1961 Bell foundry Rudolf Perner , Passau 1890 4500 a 0 Minor octave south
3 Little princess 1616 Georg (II) Schelchshorn, Regensburg 1800 3250 h 0 None North
4th Angelus bell 1961 Bell foundry Rudolf Perner, Passau 1410 1550 d 1 Major octave North
5 Agnus Dei bell 1965 1260 1151 e 1 Minor octave south
6th Poor soul bell 1961 1050 626 g 1 Major octave
I. Patrona Bavariæ 2000 720 238 d 2 Minor octave Roof turret
II Women bell 1696 Joh. Gord. Schelchshorn, Regensburg 1152 ~ 900 e 1 Small seventh south

Cathedral Illumination 2019

On the occasion of the completion of the cathedral towers 150 years ago, the cathedral illumination "La cathédrale magique" took place from 22 to 28 September 2019. The French artist group "Spectaculaires" developed a 16-minute light projection that told the building history of the cathedral and made the west façade shine in unusual colors. Due to the overwhelming number of visitors, the screenings originally planned only until September 27, 2019 have been extended by one day.

See also

literature

The cathedral. German postage stamp, 2011, joint issue with Japan
  • Herbert E. Brekle : The Regensburg Cathedral Cloister . Schnell & Steiner, Regensburg 2010, ISBN 978-3-7954-2295-0
  • Georg Dehio , edited by Jolanda Drexler, Achim Hubel and others: Handbuch der deutschen Kunstdenkmäler. Bavaria. Volume 5: Regensburg and the Upper Palatinate. Deutscher Kunstverlag, Munich 1991, ISBN 3-422-03011-5
  • Cathedral Chapter Regensburg (Ed.): Te Deum Laudamus. The Regensburg Cathedral Organ . Schnell and Steiner, Regensburg 2009, ISBN 978-3-7954-2328-5
  • Friedrich Fuchs : St. Peter's Cathedral in Regensburg . Schnell & Steiner, Regensburg 2010, ISBN 978-3-7954-2412-1
  • Achim Hubel : The stained glass of the Regensburg Cathedral. Schnell and Steiner, Munich a. Zurich 1981, ISBN 3-7954-0428-2
  • Achim Hubel, Peter Kurmann: The Regensburg Cathedral. Architecture - plastic - furnishings - glass windows (= Great Art Guide. Volume 165). Schnell & Steiner, Munich / Zurich 1989, ISBN 3-7954-0689-7
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral . Schnell & Steiner, Regensburg 2008, ISBN 978-3-7954-1977-6
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral - Text Volume 1 . With contributions by Johann Josef Böker, Friedrich Fuchs, Johann Gruber, Peter Kurmann, Peter Morsbach, Isolde Schmidt, Karl Schnieringer, Angelika Wellnhofer = Die Kunstdenkmäler von Bayern NF, ed. by Egon Johannes Greipl, Volume 7, Part 1, text volume. 1. Friedrich Pustet, Regensburg 2013, ISBN 978-3-7917-2333-4
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral - Text Volume 2 . With contributions by Friedrich Fuchs, Markus T. Huber, Peter Knoch, Michael Kühlenthal, Peter Kurmann, Jürgen Michler, Karl Schnieringer (= Die Kunstdenkmäler von Bayern NF, edited by Mathias Pfeil, Volume 7, Part 2, Text Volume. 2). Friedrich Pustet, Regensburg 2014, ISBN 978-3-7917-2334-1
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral - Volume 3 . With contributions by Philip Caston, Barbara Fischer-Kohnert, Friedrich Fuchs, Johann Gruber, Christoph Kleiber, Markus Kühne, Maren Lüpnitz, Peter Morsbach, Katarina Papajanni, Claus Peter, Isolde Schmidt, Karl Schnieringer, Melissa Speckhardt, Kerstin Weiß, Angelika Wellnhofer = The art monuments of Bavaria NF, ed. by Mathias Pfeil, Volume 7, Part 3, text volume. 3. Friedrich Pustet, Regensburg 2016, ISBN 978-3-7917-2335-8
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral - photo documentation . Photographed and compiled by Achim Hubel (= Die Kunstdenkmäler von Bayern NF, edited by Egon Johannes Greipl, Volume 7. Part 4). Friedrich Pustet, Regensburg 2012, ISBN 978-3-7917-2336-5
  • Achim Hubel, Manfred Schuller: The Regensburg Cathedral - panels . Conception, compilation and processing Manfred Schuller and Katarina Papajanni = Die Kunstdenkmäler von Bayern NF, ed. by Egon Johannes Greipl, Volume 7. Part 5. Friedrich Pustet, Regensburg 2010, ISBN 978-3-7917-2337-2
  • Markus T. Huber: The west facade of the Regensburg Cathedral. Convention and innovation in a late medieval ironworks . Schnell & Steiner, Regensburg 2014, ISBN 978-3-7954-2820-4
  • Maren Lüpnitz: The early building history of the Regensburg Cathedral. Observations on the construction sequence . In: INSITU 2019/1, pp. 41–54.
  • Peter Morsbach (Ed.): The Regensburg Cathedral: excavation, restoration, research. Exhibition catalog. 2., verb. Edition. Fast u. Steiner, Munich / Zurich 1989, ISBN 3-7954-0649-8
  • Peter Morsbach: The builders of the cathedral. The history of the Regensburg cathedral master family Roriczer-Engel . Schnell & Steiner, Regensburg 2008, ISBN 978-3-7954-2036-9
  • Joseph Rudolf Schuegraf : History of the cathedral of Regensburg and the buildings belonging to it. Ed. Historical Association for Upper Palatinate and Regensburg. 2 volumes. Manz, Regensburg 1848/49 ( digitized version of volume 1 , digitized version of volume 2 in the Google book search).
  • Elgin Vaassen: The 19th century stained glass in Regensburg Cathedral: Foundations of King Ludwig I of Bavaria 1827–1857 . Schnell & Steiner, Regensburg 2007, ISBN 978-3-7954-1956-1
  • Wilhelm Schmidt :  Master Albrecht . In: Allgemeine Deutsche Biographie (ADB). Volume 1, Duncker & Humblot, Leipzig 1875, p. 320.
  • Alois Elsen:  Master Albrecht. In: New German Biography (NDB). Volume 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6 , p. 177 ( digitized version ).

Web links

Commons : Regensburg Cathedral  - collection of images, videos and audio files

Individual evidence

  1. ^ Diocese of Regensburg: Cathedral of St. Peter
  2. ^ Karl Schnieringer, in: Der Dom zu Regensburg - text volume 2. 2014, pp. 1–18.
  3. ↑ Markus T. Huber, Regina Simmerl: The rediscovered cathedral script by Georg Resch from 1838 “Addition to the historical topographical description of the cathedral in Regensburg by Georg Aloys Resch, Königl. Bay. Rath et al. Government Assessor 1838. With three additional sheets ” . In: Negotiations of the historical association for Upper Palatinate and Regensburg . tape 154 . Historical Association for Upper Palatinate and Regensburg, 2014, ISSN  0342-2518 , p. 79 .
  4. ↑ Manfred Schuller: Der Dom zu Regensburg - text volume 2. 2014, pp. 19–92.
  5. ↑ Johann Gruber, Achim Hubel, Peter Morsbach: Der Dom zu Regensburg - text volume 3. 2016, pp. 85-105.
  6. ↑ Angelika Wellnhofer: The Regensburg Cathedral - text volume 3 . 2016, pp. 133–230.
  7. ↑ Markus T. Huber, Regina Simmerl: The rediscovered cathedral script by Georg Resch from 1838 “Addition to the historical topographical description of the cathedral in Regensburg by Georg Aloys Resch, Königl. Bay. Rath et al. Government Assessor 1838. With three additional sheets ” . In: Negotiations of the historical association for Upper Palatinate and Regensburg . tape 154 . Historical Association for Upper Palatinate and Regensburg, 2014, ISSN  0342-2518 , p. 71-133 .
  8. ^ Martin Dallmeier: The Franz Josef von Denzinger monument in Regensburg. A long way from a memorial idea to a memorial plaque (1897–1910) . In: Negotiations of the historical association for Upper Palatinate and Regensburg . tape 158 . Historical Association for Upper Palatinate and Regensburg, 2018, ISSN  0342-2518 , p. 143 .
  9. ^ Isolde Schmidt: Der Dom zu Regensburg - text volume 3. 2016, pp. 231–340.
  10. ^ Karl Bauer: Regensburg Art, Culture and Everyday History . 6th edition. MZ-Buchverlag in H. Gietl Verlag & Publication Service GmbH, Regenstauf 2014, ISBN 978-3-86646-300-4 , p. 800 .
  11. ↑ Markus Kühne: Der Dom zu Regensburg - text volume 3. 2016, pp. 341–374.
  12. ^ Achim Hubel, Manfred Schuller: The Regensburg Cathedral. 2008, p. 35.
  13. ^ Herbert E. Brekle: The Regensburg cathedral cloister. 2010, pp. 13-17, 19-31.
  14. ↑ Achim Hubel: The Regensburg Cathedral - text volume 2. 2014, pp. 425–447.
  15. ^ Peter Morsbach: Regensburg churches: A leader . Friedrich Pustet, Regensburg 1990, ISBN 3-7917-1253-5 , pp. 25 .
  16. ↑ Heinfried Wischermann: "Princeps ad maxima natus" - reflections on the monument to Cardinal Bishop Philipp Wilhelm of Bavaria in Regensburg Cathedral. In: Arbeitskreis Regensburger Herbstsymposion (Ed.): Between Gothic and Baroque. Traces of the Renaissance in Regensburg. Regensburg 2012, pp. 91–114.
  17. ↑ a b youtube.com
  18. ↑ Regensburg pulls out all the stops. ( Memento from March 4, 2016 in the Internet Archive ) In: Süddeutsche Zeitung. April 28, 2009.
  19. ↑ Total weight 36.7 tons
  20. ↑ Comprehensive information on the new main organ on the Regensburg Cathedral Organ website
  21. ↑ Cathedral illumination is extended, in: Mittelbayerische Zeitung of September 24, 2019
  22. ↑ ILLUMINATION OF REGENSBURG DOM on the occasion of "150 years of completion of the cathedral towers" on YouTube .

Coordinates: 49 ° 1 '10.2 "  N , 12 ° 5' 53.6"  E