Salzburg Cathedral
The Salzburg Cathedral is the cathedral of the Roman Catholic Archdiocese of Salzburg and thus the Metropolitan Church of the ecclesiastical province of Salzburg ; she is the hll. Dedicated to Rupert and Virgil , the patronage is celebrated on Rupert's Day , September 24th . The baroque building , which was opened during the Thirty Years War , is a listed building and is part of the UNESCO World Heritage Historic Center of the City of Salzburg .
history
The first Romanesque cathedral was a three-aisled basilica with paradise in front and its own baptistery . The Romanesque building was completed in 774. Abbot Bishop Virgil inaugurated the sacred building on September 25, 774. On the night of April 4th and 5th, 1167, the cathedral burned down. Allegedly, the Counts of Plain had the city set on fire on behalf of Emperor Friedrich Barbarossa because the Archbishop of Salzburg, Konrad II von Babenberg, did not recognize the antipope Viktor IV appointed by the emperor (see also the schism of 1159 ). It was under Bishop Konrad III. the even more stately five-aisled (or three-aisled with side rows of chapels) Konradinische Dom was built, which was then the largest basilica north of the Alps. (Today's baptismal font still comes from this building.)
After the fire in the Romanesque cathedral in 1598, Archbishop Wolf Dietrich von Raitenau had individual parts of the heavily damaged but still usable old cathedral demolished in order to modernize them using a large part of the old structure.
It was not until 1606 that the radical and now complete demolition of the old cathedral began. In this way, space was to be created for the construction of today's Residenzplatz, the north-facing forecourt of the cathedral, which was originally intended to be oriented towards this square. The early planning was mainly done by Vincenzo Scamozzi . Archbishop Wolf Dietrich's successor, Markus Sittikus Graf von Hohenems , then hired Santino Solari as master builder , who significantly reduced the earlier plans. In 1614 the foundation stone was laid for the new building. On September 25, 1628, the cathedral was consecrated by Prince Archbishop Paris von Lodron ; sounded u. a. also the two new crossing organs that the court organ maker Leopold Rotenburger had created. The eight-day cathedral consecration festival was probably the largest historical festival that the city of Salzburg has ever celebrated.
In October 1682 the 53-part Missa Salisburgensis was probably performed for the first time as part of the celebrations for the 1100th anniversary of the Archbishopric of Salzburg .
On October 16, 1944, the dome of the cathedral collapsed during the first air raid on Salzburg . From 1945 to 1959 the cathedral was renovated and the dome was reconstructed. The "bombing" of the cathedral is remembered for example. B. the so-called "bomb mass", composed by cathedral music director Joseph Messner .
Fires in the cathedral
- 1127: The fire that had started when a bell was cast on the Domplatz destroyed large parts of the city, including the collegiate church of St. Peter and the cathedral itself.
- 1167: In that year, the Counts of Plain allegedly burned the city down on behalf of Emperor Friedrich Barbarossa because they did not recognize the antipope appointed by the emperor.
- 1312: During this fire even the bells melted due to the great heat.
- 1598: On the night of December 11th to 12th, the roof trusses of the cathedral burned down. The unfortunate several weeks of continuous rain and subsequent snowfall caused the vaults to collapse little by little, which led to a kind of total write-off on the cathedral building.
- 1859: Another fire caused by careless renovation work in the roof structure.
ensemble
The cathedral is largely free in the center of Salzburg. On the north side, towards the Salzach, is the spacious Residenzplatz , to the Festungsberg to the south the Kapitelplatz , behind the cathedral there is an alley belonging to the Residenzplatz. To the west are the (old) archbishop's residence on Residenzplatz and St. Peter's Monastery on Kapitelplatz. The cathedral, residence and St. Petersstift stand together around the cathedral square , from which a wide flight of stairs leads to the cathedral portals. Both buildings of the Cathedral over archways is connected, the cathedral arches , which are the passages to residential and Kapitelplatz. The Domplatz itself is closed by an archway on the opposite side, towards Franziskanergasse and the Festspielhaus , the Wallis tract of the residence. In the middle of the cathedral square is a stylized fountain with a figure of Mary.
As a result, the magnificent baroque, marble-white main facade of the cathedral with its program can only be viewed from close up, while the main side facing the city is presented as a completely unadorned and almost windowless massive raw masonry. Since 2014, visitors to the DomQuartier Salzburg have again been able to access the cathedral via the cathedral arches.
facade
The hinge turned to Cathedral Square barockklassizierende Westwerk with its rich decorative figures and accompanying 81 m high towers is particularly magnificent. The facade is clad with Untersberg marble , a marble-like fine and light limestone . The facade and the side towers are horizontal with cranked belt gesimswerk divided into three parts, with the floor height decreases towards the top. The floors are equipped with Tuscan, Ionic and Corinthian pilasters . A tambour floor with a dome is placed on the third floor . The tower clock is on the second floor of the towers . The other facades of the cathedral in Romanesque style appear raw and unadorned in conglomerate masonry (Nagelfluh), a building material common in Salzburg.
The gate grilles to the vestibule ( paradise ) bear the three years of consecration 774, 1628, 1959 as inscriptions. In front of the portals there are four larger-than-life figures on plinths. The plinths bear the coats of arms of Archbishops Guidobald von Thun (outside) and Johann Ernst von Thun (inside). The two outer figures from 1660 are by Bartholomäus van Opstal . They depict the patron saint of the church - on the left St. Rupert with a salt barrel and on the right St. Virgil with the church. Although the poses appear a bit static, the details of the stone carvings in both the bishop's robes and the coats of arms are much finer than the more moving figures of Mandl. The two middle figures were created by Bernhard Michael Mandl in 1697–1698 . On the left, recognizable by the key, is St. Peter , and on the right, St. Paul with the sword. The entrance to the cathedral is behind the four large figures. On the balustrade on the 2nd floor you can see the figures of the four evangelists : Luke, Matthew, Mark, and John. The order of the evangelists does not correspond to the canonical and in the New Testament order according to the book Ezekiel 1: 4–10 (Mt – Mk – Lk – Joh), as it is eg. B. can be seen on the facade of Maria Plain (1673). At the cathedral, the four evangelists are arranged from left to right according to the opposition of the four signs of the zodiac and the evangelist symbols derived from them: Lk-Mt (left) and Mk-Joh (right). In the zodiac the Taurus (Lk) stands in opposition to Scorpio (Babylonia: Child) (Mt) and the Leo (Mk) in opposition to Aquarius (Babylonia: Eagle) (Joh). In the gable tops of the windows you can find the lion and the ibex , the heraldic animals of Paris Lodron and Markus Sittikus. Two angel figures holding a crown are attached above the central window. This is crowned by the statue of the Virgin Mary , which stands on Domplatz, when you - coming from today's festival hall - walk through the arcades of the Wallis tract towards the cathedral. On the gable of the cathedral are Moses with the tablet on the left , Elias on the right and Christ Salvator in the middle . These three figures are thought to have been created by Tommaso Garove Allio, the master of the residential fountain, around 1660 . All figures on the cathedral facade look to the center and thus to the believers entering as well as Christ Salvator on the gable, the Passion in the vaulted ceiling of the nave and the resurrection of Jesus at the high altar.
The already badly damaged facade was last completely restored from the late 1990s. The total budget for this was ATS 70 million (€ 5 million), which was collected with the commitment of Prelate Domdechant Johannes Neuhardt .
Texts (facade, altars)
Text (facade)
On the cathedral facade is the saying " HAEC EST DOMVS DEI / IN QVA INVOCABITVR / NOMEN EIVS " affixed under Markus Sittikus ("This is the house of God in which his name will be invoked"). According to the Breviarium Romanum (1568), this text comes from the Antiphon for the Magnificat , which was written for the II. Vespers, d. H. was sung on the evening of the solemnity of the consecration (September 25, 1628). The full antiphon reads: “Sanctificavit Dominus tabernaculum suum: quia haec est domus Dei, in qua invocatur nomen eius de quo scriptum est: et erit nomen meum ibi, dicit Dominus.” (“The Lord has sanctified his tent, for it is God House in which the name of him is called, of whom it is written: And there my name will be, says the Lord. "
Text (altars)
The text from the facade leads directly to the text above the portiuncula altar from the Revelation of St. John: “ ECCE TABERNACVLVM / DEI CVM HOMINIBVS / APOCAL. XXI ". This text comes from the Lectio Brevis , which is also presented at the Second Vespers of the consecration. The full text reads (Rev 21): “2 Vidi civitatem sanctam Jerusalem novam descendentem de cælo a Deo, paratam sicut sponsam ornatam viro suo. 3 Et audivi vocem magnam de throno dicentem: Ecce tabernaculum Dei cum hominibus! Et habitabit cum eis, et ipsi populi eius erunt, et ipse Deus cum eis erit eorum Deus ». 22 Et templum non vidi in ea: Dominus enim Deus omnipotens templum illius est, et Agnus. 27 Nec intrabit in ea aliquid coinquinatum et faciens abominationem et mendacium, nisi qui scripti sunt in libro vitæ Agni. ”(“ 2 And I saw the holy city of Jerusalem, descending from God out of heaven, prepared like a bride adorned for her husband. 3 And I heard a great voice from the throne saying, Behold, the tabernacle of God with the people: and he will dwell with them, and they will be his people, and he himself, God with them, will be their God 22 And I saw no temple in it, for the Lord Almighty God is their pool, he and the Lamb. 27 Nothing unclean shall enter in it, and none who do abominations or lies, but only those written in the Book of Life of the Lamb. ”) (Rev 21,2-3, 22, 27). The textual connection of DOMVS (house) on the facade and TABERNACVLVM (tent) on the portiuncula altar creates a reference from the entrance to the church interior. The cathedral is to be understood as the decorated bride Jerusalem waiting for her bridegroom, the Lamb of God. How splendidly not only the cathedral, but also the entire city of Salzburg was transformed into a "decorated bride" for the dedication of the cathedral can be seen from the reports that have been handed down.
This text from Revelation leads directly to the text above the Maria-Schnee-Altar from the book Ecclesiasticus , chapter 24: “ IN.ME.GRATIA.OMNIS.VIAE./ET.VERITATIS.ECC.XXIV. ”(“ 25 In me is all the loveliness of the way and the truth ”). Only on this altar are all the words of the inscription connected with a point, which could indicate another sculptor. In chapter 24 “Praise of Wisdom” the Blessed Mother Mary is seen as wisdom personified. As in the Book of Revelation at the Portiuncula Altar, the Mother of God Mary is not explicitly mentioned in Ecclesiastes, but an unspecified female figure was interpreted as Mary by the Catholic Church in retrospect. Both altars are labeled with a text in which the figure of Mary was later interpreted. Both altars show the Virgin Mary, once seated on the right of her son, once surrounded by angels in heaven.
The text from the book Ecclesiasticus leads via the common word VIA (path) directly to the text above the high altar from Psalm 16 (according to the Greek count Ps 15) “ NOTAS MIHI / FECISTI / VIAS VITAE / PS XV ” (“11 You have me the Ways of life shown ”). This text can only be understood together with verse 10: "for you will not surrender my soul to the realm of the dead and you will not allow your faithful one to see corruption." Whoever believes will not die, but will live forever. Accordingly, on both sides of the high altar are the "Death on the Cross" (left) and "Christ in Limbo" (right), as well as the overcoming of death in the "Resurrection" on the altar panel.
Portals
The three bronze gates of the cathedral have the three cardinal virtues of faith, love and hope as their theme. They were designed between 1955 and 1958 by Toni Schneider-Manzell (Gate of Faith), Giacomo Manzù (Gate of Love) and Ewald Mataré (Gate of Hope).
Gate of faith
The theological program for the left portal comes from Thomas Michels and was artistically implemented by Toni Schneider-Manzell . The central figure on the right wing of the gate is the apostle Paul, how he is converted from Saul to Paul on the way to Damascus. Schneider-Manzell uses the Paulus statue at the entrance. The saint kneels and raises his arms to heaven and is enclosed by two spheres. The effect of grace from above and the human will from below. In the sky he sees two angels who raise the cross of Christ as a symbol of faith. Below is the church father Augustine, who is pointed out by a child that he can never fathom the miracle of faith. On the left gate wing you can see the work of faith in seven scenes from top to bottom: (1) The Transfiguration of the Lord on Mount Tabor with Moses and Elias (see the group of figures on the facade and the Transfiguration Chapel in the cathedral). (2) Dove and flames as Pentecost symbol ( Acts 2, 1–41 EU ). The same theme can be seen in a very similar way on the background of the sermon pulpit, which was also designed by Schneider-Manzell. (3) Beatitude of Mary by Elisabeth ( Lk 1,39-46 EU ). (4) The unbelieving apostle Thomas puts his hand into Christ's side wound ( Jn 20 : 19-29 EU ). (5) Peter sinks into the water because for a moment he does not believe in the omnipotence of God. He is saved by Jesus and brought back to the ship ( Lk 5 : 1–11 EU ). (6) Abraham at the sacrifice of Isaac ( Gen 22.1–19 EU ). (7) The three young men in the fiery furnace. The portal handle is designed as a cross (see cross chapel in the left aisle). Everyone who steps through this door must therefore touch the cross. The inside of the portal shows the four paradise rivers : Euphrates (Tirat), Tigris (Hiddekel), Nile (Gihon) and Ganges (Pischon). The sponsors of the cathedral portals are also mentioned here.
Gate of love
The middle portal is the "gate of love". It was designed between 1957 and 1958 by the Italian sculptor Giacomo Manzù and is therefore also known as " Porta dell'amore ". The apostle Paul's letter to the Corinthians says: “But now there remain faith, hope, love, these three; but love is the greatest of them. ”( 1 Cor 13:13 EU ). Accordingly, the middle gate is the largest.
The portal is divided into four rectangular fields. The handles on the outside represent vine leaves (left) and ears of wheat (right) and thus symbolize the Eucharist. Manzù also used the same handles on his "Porta della morte" (1964) for St. Peter's Basilica in the Vatican. On the inside are the handles in the form of the two bishops St. Rupert and St. Virgil designed and corresponded with the two large figures at the entrance.
The gate is divided into four scenes. The reliefs depict scenes of mercy and charity. (1) At the top left is St. Martin is shown splitting his cloak and giving one half to a beggar. St. Martin is also the patron saint of the city of Salzburg (3rd chapel on the epistle page). (2) At the top right you can see St. Severin of Noricum. According to legend, he also stayed in Salzburg. (3) Blessed Engelbert Kolland is shown at the bottom left . He was a Salzburg Franciscan and was murdered as a missionary in Damascus in 1860. With this, both the Christian mission and the theme of St. Francis in Portiuncula taken from the transept. Next to him stands the popular saint Notburga, who is venerated by representatives of agriculture. Usually it has a sickle as an attribute, here it is only shown with cut ears of corn. (4) At the bottom right sits Konrad von Parzham , who was canonized in 1934 . He was porter in the Capuchin monastery in Altötting for 41 years and showed himself untiringly in prayer and in helping the arriving pilgrims. Francis of Assisi is standing next to him. Here the theme of the north side altar is taken up. The Franciscans as well as the Capuchins were brought to Salzburg by the Archbishops in the 16th century and have always been closely associated with the Metropolitan Church.
In the lower area, four birds can be seen, all of which represent a symbol of God's love for people: hen, raven, pigeon and pelican. The hen is a symbol of maternal love, but also of the church as a meeting place for the faithful. Just as a hen gathers her chicks under her wings, so Jesus Christ gathers the believers among himself ( Mt 23,37 EU ). The raven reminds of the prophet Elijah, who was provided with food by a raven as a sign of God's love for humans ( 1 Kings 17 : 1-7 EU ). Elijah can also be seen in the Transfiguration scene on the gable of the facade and in the Transfiguration Chapel (3rd chapel on the Gospel side). The dove is the most famous symbol and can be seen as a symbol of the Spirit of God in every church. It goes back to the Gospel of Matthew: “ When Jesus was baptized, he immediately came up out of the water. And behold, the heaven opened and he saw the Spirit of God descending on him like a dove. “( Mt 3,16 EU ). The pelican has been considered a self-sacrificing animal since ancient times by watering its offspring with its own blood. He stands as a symbol for Jesus Christ, who took the sacrificial death on the cross ( Psalm 102,7 SLT ). In the hymn " Adoro te devote " by Thomas Aquinas, it says: " Like the pelican you died, Jesus mine, wash me of sins with your blood ". The pelican thus also refers to the cross chapel (4th chapel on the Gospel page). Markus Sittikus had the pelican depicted as a Christ symbol in the octagon in Hellbrunn.
Gate of hope
The right portal is the "gate of hope". It was designed by the German sculptor Ewald Mataré and is dedicated to Mary, the mother of God, corresponding to the southern conical altar. The focus is on “ Annunciation ”. When the gate is open, you enter the cathedral between angels and Mary and thus become an actor in this scene. Similarly, at the Gothic portal at Nonnberg Abbey, one enters the church through the annunciation scene. Instead of the expected “Ave” from the angel's mouth, Mary is embedded in a rosary mandorla. The imagery surrounding them suggests the joyous rosary. She is clearly shaped as a young pregnant woman. The saying “In te speramus” ( Ps 91.2 EU ) can be read next to it. According to this biblical passage, Mary is here “under the umbrella of the God of heaven” ( Ps 91.1 EU ). The protective hand of God with a shining sun symbol can be seen above her, surrounded by the heavenly hosts (Lk 2,13-14): “ And immediately there was the multitude of the heavenly hosts with the angel, who praised God and said: Honor be God in the highest and peace on earth with the people of his pleasure. “Below, flower buds symbolize the earthly sphere and at the same time the germination of hope. Further scenes are added here: The shepherds in the field see a shining morning star (Lk 2,9): “ And the angel of the Lord came to them, and the clarity of the Lord shone around them; and they were very afraid. "Mary with the child in the manger (Lk 2,12):" And this is a sign: you will find the child wrapped in diapers and lying in a manger. “The door handle shows the expulsion from Paradise, a reference to the parallel position of Eve from the Old Testament, where sin came into the world, with the New Covenant, the Mother of God, Mary.
Cathedral Square
Since 1771 the center of the cathedral square has been adorned by a Marian column. Coming from the Franciscan Church, you can experience a perspective game in which the two angels crown the head of Mary on the cathedral facade. Every year since 1920, Jedermann has been performed here as part of the Salzburg Festival , a play by Hugo von Hofmannsthal based on the medieval mystery plays . In Advent u. a. also here the Christkindlmarkt, in the week around September 24th the Rupertikirtag .
Longhouse
In the 32 m high nave there are ceiling paintings by Donato Mascagni and Ignazio Solari (son of Santino) from Ramponio Verna , which show scenes from the life and passion of Christ. In 15 large pictures the suffering of Christ is shown up to the crucifixion. Ten smaller cross-images show details from the life of Christ, from the wedding in Cana to Jesus on the temple battlements . The stucco work in this area - as in the entire cathedral - comes from the workshop of Giuseppe Bassarino . These works were probably created around 1628. The white stucco with black recesses and undercuts adorns the cathedral in the form of tendrils, putti and acanthus leaves.
Side chapels
The Salzburg Cathedral has a nave with four bays and an additional gallery berth above the vestibule. There is a row of chapels on both sides of the nave. The four chapels are connected to each other and open towards the main nave with a round arch. Each of these chapels has its own side altar. The "Distributio Capellarum Beneficiatarum in Ecclesia Metropolitica Salzburgensi", ie the thematic program for the design of the eight nave chapels, was written by Paris Lodron and is dated March 16, 1652.
The northern row of chapels is the so-called Gospel side , or the women's side. The row of chapels begins with (1) the baptismal chapel. There is also the bronze baptismal font. This chapel was originally located on the south side and was only replaced with the St. Sebastian and Rochus Chapel in the 19th century. This is followed by (2) the chapel of St. Anna ( Joachim von Sandrart ), (3) the chapel with the Transfiguration of Christ (altar sheet by Johann Joseph Fackler ). Until 1828 there was a St. Vincent chapel with an altar sheet by JH Schönfeld. In front of the transept (4) is the cross chapel ( Karel Škréta ). In each chapel there are ceiling paintings by Ludwig Glötzle.
- Chapel vault (north side 1–4)
The southern row of chapels is the so-called Epistle side , or also the men's side. Here are (1) the chapel of St. Sebastian & Rochus (altarpiece by Johann Heinrich Schönfeld ). It was originally on the north side and was only replaced with the baptistery in the 19th century. The baptismal font from 1321 was also located next to the entrance on the south side. This is followed by (2) the chapel of St. Karl Borromeo (JH Schönfeld), (3) the chapel of St. Martin and Hieronymus (JH Schönfeld) and (4) the chapel with the sending of the Holy Spirit ( Karel Škréta ). In each chapel there are ceiling paintings by Ludwig Glötzle.
- Chapel vault (south side 1–4)
Sermon pulpit
The pulpit, like the left entrance portal (Faith) and the cover of the baptismal font, was designed by Toni Schneider-Manzell . A pulpit often consists of a pulpit foot with a pulpit and a sound cover. The pulpit in the cathedral, unusually, has no sound cover. Due to the height of the cathedral, the pulpit is placed roughly in the middle of the nave in order to ensure that the sermon can still be heard from the pulpit.
The base of the pulpit consists of a column made of Untersberg marble , which at the top ends in a symbolic representation of the four evangelists Markus (lion head), Luke (bull head), Matthew (human face) and Johannes (eagle head). The pulpit basket is octagonal, one side of which forms the rear wall of the pulpit. Here the dove is on a bronze relief plate as a symbol for the Holy Spirit with the "tongues of fire" as an image for the power of the Holy Spirit. The inscription “Semen est verbum dei” (“The seed is the word of God”) can be found in the parable of the sower from Luke 8:11, where it also says: “The seed fell on good ground with those who shared the word Hear it with a good and sincere heart, hold fast to it, and bear fruit through perseverance.
The pulpit consists of seven bronze relief plates with depictions of the life of Jesus Christ, which can be recognized by the large, circular halo. 1) Isaiah. 2) The saying "Stupebant [autem] omnes, qui eum audiebant" ("And all who listened to him were amazed") can be found in Luke 2:47. Here the twelve-year-old Jesus is shown in the temple, the audience of whom were amazed at "his understanding and his answers". 3) Christ with Nicodemus. 4) Here is the same inscription "Semen est verbum dei" as on the back wall. Birds, worms (?) And plants show Jesus in the midst of nature, how he sows the seeds from the apron with his right hand. In the background, a harvesting person bends down on the plowed field. 5) The saying "Vade et non amplius noli peccare" ("Go there and sin no more!") From John 8:11 shows the scene in which Jesus was supposed to stone an adulteress according to the law. But Jesus said: “Who of you is without sin, be the first to throw a stone at you. And he bent down again and wrote on the earth ”(Jn 8: 7–8). 6) Apparition on the mountain. After his resurrection, Jesus appeared to the disciples on the mountain and commissioned them to preach the good news all over the world (Matthew 28: 16-20). 7) Ezekiel.
Domed room
The dome area is designed as a three-cone choir . It thus ties in with Romanesque , i.e. H. of pre-Reformation traditions, but may also have the St. Peter's Basilica in Rome as a model. The cathedral, which burned down in 1598, already had three cones. Vincenzo Scamozzi adopted this in a very pronounced form in his five-aisled cathedral plan. Santino Solari was familiar with the plan of the cathedral by Vincenzo Scamozzi, which was already under construction, and for his part reduced the size of the cathedral, but adopted the triangular shape. The dome of the Salzburg Cathedral is based on the dome of the Sixtus Chapel of the Papal Basilica of St. Maria Maggiore on the Esquiline in Rome, designed by Domenico Fontana in 1585 . His architectural treatise " Della trasportatione dell'obelisco vaticano et delle fabriche di nostro Papa Sisto V. ", published in Rome in 1590 , had a decisive influence on the buildings created under Markus Sittikus in Salzburg.
Sanctuary
The design of the high altar from 1628 is attributed to the builder of the cathedral, Santino Solari. It has a free-standing marble structure. There are three angels on the gable of the main altar. The one on the top of the gable carries a gilded cross. The altarpiece shows the resurrection of Christ, painted by Arsenio Mascagni. Above the altarpiece there are statues of the church patrons - of "St. Rupert" and "St. Virgil" - as well as allegories of religion and charity. These figures are given to the masters Pernegger the Elder. Attributed to J. and Hans Waldburger . Between the figures is the Latin inscription NOTAS MIHI FECISTI VIAS VITÆ - ( You showed me the ways of life ) from Psalm 16:11. On the walls and ceiling in the choir and above the altar of the cathedral there are pictures of the resurrection and ascension of Christ.
Epitaphs : The epitaphs are arranged chronologically according to the year of death. They begin in the presbytery (1st, 2nd). These are followed by the epitaphs in the transept. The series begins with the epitaphs on the inside of the gospel page (3rd, 4th), then on the inside of the epistle page (5th, 6th). Then the two epitaphs on the outside of the Gospel page (7th, 8th) come stylistically in a slightly different form, followed by those on the outside of the epistle page (9th, 10th). All marble epitaphs of the prince archbishops in the cathedral are two-story, framed by mourning putti and symbols of death. In the middle part there is a medallion with a portrait of the archbishop painted on copper. A heraldic cartouche is attached to the gable of the epitaph.
In the presbytery, to the left of the main altar, there is the tomb and epitaph for (1st) Prince Archbishop Markus Sittikus († 1619), to the right of the main altar the epitaph for (2nd) Prince Archbishop Paris Lodron († 1653). The angels and other sculptural work (detailed pickaxe and the spade) on the earliest epitaph for Markus Sittikus as well as the angels on the high altar, on the choir screens and on the facade are by Hans Konrad Asper . With their typical curly heads, these differ significantly from all other angel figures.
Transept
In the transverse arms, in accordance with the patronage of the side altars, there is a St. Francis cycle on the north side and a Mary cycle on the south side. In the north transept (Gospel side) there is an altar (around 1628) with the altarpiece of the Transfiguration of St. Francis of Assisi , painted by Arsenio Mascagni. The tabernacle on this altar is modeled on the tabernacle of Domenico Fontana for the Sixtus Chapel in St. Maria Maggiore. It is made of gilded brass, flanked by silver statues of the four evangelists . In the center of the tabernacle there is an embossed relief of the Last Supper and the coat of arms of Archbishop Paris Lodron. To the left and right of the altar are marble epitaphs of the Prince Archbishops (7th) Leopold Anton von Firmian († 1744), (3rd) Guidobald von Thun († 1668), (4th) Max Gandolf von Kuenburg († 1687), the Portrait was by Frans de Neve d. J. painted and (8th) Jakob Ernst von Liechtenstein-Kastelkorn († 1747). On the walls and the ceiling there are scenes of the life and death of St. Francis.
The altar panel in the south transept (epistle side) shows the Maria Schnee miracle and is attributed to Ignazio Solari. The altarpiece shows Pope Liberius , who points with his right hand to the floor plan of St. Maria Maggiore , which he had erected on the Esquiline in Rome. Since the dome of the Salzburg Cathedral is identical to the dome of the Sixtus Chapel, one also stands symbolically in St. Maria Maggiore in the Salzburg Cathedral. Liberius is shown with the likeness of Markus Sittikus , who in turn commissioned the Salzburg Cathedral. The portrait of the deceased Archbishop was taken from Arsenio Mascagni's painting with Hellbrunn and the cathedral from 1618, which is under construction. Here, too, Markus Sittikus points to the cathedral with the same hand gesture. The tabernacle shows a copy of the Altöttinger Madonna. Statues of other saints can be found in the niches and on the gable legs of the altar. Between the figures is the Latin inscription " IN ME GRATIA OMNIS VIÆ ET VERITATIS, ECCL. XXIV. " ("In me is all the loveliness of the way and the truth, Eccl. 24") from the book Ecclesiasticus (Jesus Sirach, Ben Sirach ), Chapter 24, 25. Since the early Middle Ages , the wisdom of God was no longer related to Jesus Christ alone, but also to Mary, the Mother of God . The Marian feasts ( Assumption of Mary and Immaculate Conception ) received readings from the book Jesus Sirach, Chapter 24, quoted at the altar. Mary as an allegory of "wisdom" and " Mater pulchrae dilectionis " ("mother of beautiful love") refers to also the program of the Mariensäule on Domplatz, as it was set to music many times in the Lauretanian litany. The miraculous image of Mary, Mother of Beautiful Love , located in Wessobrunn , became the model for the face of the statue of Mary on Domplatz. A copy of this painting from the early 18th century is on the St. Ivo Altar of the University Church . Next to the altar are marble epitaphs of the Prince Archbishops 9. Andreas Jakob von Dietrichstein († 1753), 5. Johann Ernst von Thun († 1709), 6. Franz Anton von Harrach († 1727) and 10. Sigismundus Christoph von Schrattenbach († 1771) ), the portrait was painted by Rosa Barducci-Hagenauer . Stations from the life and ascension of Mary can be seen on the walls and ceiling .
Baptismal font
The baptismal font is now on the north side in the first side chapel, which is dedicated to the baptism of Jesus. The baptismal font and altar with an altar sheet by Joachim Sandrart were located on the opposite south side until the beginning of the 19th century, where the holy water drain is also located. The baptistery is the first of the eight side chapels that were opened after the death of Paris Lodron. The altar structure from the baptistery located on the south side at that time dates back to the time of Guidobald von Thun, whose coat of arms can be seen on the column base. All other marble altars in the side chapels were only erected under Max Gandolph von Kuenburg. In 1674 the altarpiece by Sandrart was exchanged for the current painting by Schönfeld. It is not known why the baptismal font with the associated altar sheet changed sides and the Rochus & Sebastian altar sheet came to the south side.
The baptismal font is a bronze cast and was taken over from the previous building. According to the inscription, it was created by Master Heinrich in 1321. The Romanesque bronze lions on which the baptismal font rests date back to the 2nd half of the 12th century. The inscription on the upper edge of the pool reads: “SVM. VAS. EX. (A) ERE. FACIAM. PECCATA. DELERE + PER. ME. FIT. SACRI. PVRGACIO. VERA. LAVACRI. + PVRGATVR. TOTVM. QVOT. FIT. BAPTISMATE. LOTVM + M (agister). HEI (n) RIC '(us). ME. FECIT.:. + ANNO. D (omi) NI. MCCCXXI + " ( " I am a vessel made of bronze. I erase sins. Through me, true cleansing occurs in the holy bath. What is washed in baptism is completely cleansed. Master Heinrich created me in the Yahweh of the Lord 1321 " ). It is a rhyming saying (aere / delere, sacri / lavacri, totum / lotum), as can be found in a similar way on other baptismal fonts of this era. The inscription on the lower edge reads: “GRACIA. DIVINA. PECCATORVM. MEDICINA. +. ME. DEDIT. VT. MVNDA. MENS. FIAT. FONTIS. IN . VNDA. (Oak branch relief) LEX. VETVS. ERRAVIT. NOVA. LEX. ME. SANCTIFICAVIT. +. ” ( “ Divine grace gives me the means to heal my sins so that the spirit becomes pure in the water of the spring. The old law was wrong, the new law sanctified me ” ). This saying also shows rhyming pairs (divina / medicina, munda / unda, erravit / sanctificavit). The lower inscription connects baptism with Augustinian theology and thus gives testimony to the tradition of the cathedral chapter, which was regulated as the Augustinian canon monastery from 1122 to 1514.
On the basin wall there are 16 relief representations of saints, bishops and abbots of Salzburg , namely S. Rupertus, S. Virgilius, S. Martinus, S. Eberhardus, S. Hartwigus, S. Ditmarus, S. Vitalis, S. Augustine (two names illegible), S. Valentinus, S. Ditmarus Martyr, S. Eberhardus, S. Johannes, S. Maximilianus and S. Amandus. The lid of the baptismal font was designed by Toni Schneider-Manzell in 1959 and shows twelve Old and New Testament motifs on the baptismal symbolism.
dome
Above the crossing is the cathedral's 71 meter high drum dome. In the dome there are eight frescoes in two rows with scenes from the Old Testament, which, like the paintings in the main nave, are assigned to Fra Arsenio (Donato) Mascagni (1579–1636) and Ignazio Solari. The Old Testament scenes are related to the scenes of the Passion of Christ in the nave.
On the segmental surfaces of the dome there are depictions of the four evangelists, above which are the coats of arms of Archbishop Paris Lodron and Archbishop Andreas Rohracher, the two archbishops who consecrated the cathedral or consecrated it a second time after its reconstruction.
Pastor at the cathedral
Cathedral dean
- 1992–2005 Johannes Neuhardt
- current: Hans-Walter Vavrovsky
Organs and church music
The cathedral has seven independent organs . On the west gallery is the main organ from 1988, in the crossing the four instruments restored after 1990 that were once important for polyphonic baroque church music practice, one of which has a second continuo work that can be played independently, as well as a positive chest .
Bells
The Marienglocke and Virgilglocke are from the baroque cathedral, created by the Augsburg bronze casters Wolfgang II (1575–1632) and Johann Neidhart (around 1600–1635). They are among the most valuable sound instruments of their time.
The new bells (manufactured by the Salzburg bell foundry Oberascher ) were consecrated on September 24, 1961 . The Salvator bell is one of the largest church bells in the world and is the second largest bell in Austria after the Pummerin in St. Stephen's Cathedral in Vienna . In addition, the Salzburg cathedral bell is considered to be the most beautiful sounding in Austria and, with a total weight of 32,443 kg, is one of the heaviest large bell bells in German-speaking countries.
Data overview
|
No. |
Surname | Casting year | Caster |
Diameter (mm) |
Weight (kg) |
Nominal ( HT -1/8) |
tower |
Inscription [Latin] |
| 7th | Salvator | 1961 | Robert Schwindt and Ing.Georg Sippel ( Bell Foundry Oberascher ) |
2790 | 14256 | it 0 +4 | North | [“You, God, we praise you, Lord, we praise you, the Father of immeasurable majesty, your true and only Son and the Holy Advocate Spirit. We praise your name forever. "] |
| 6th | Rupertus | 2330 | 8273 | ges 0 +4 | south | "Saint Rupertus, patron saint of our archdiocese, keep us the faith!" | ||
| 5 | Maria | 1628 | Wolfgang and Johann Neidhart | 1830 | 4004 | b 0 +4 | [“Holy Mary, Gate of Heaven, open your help to those who plead and keep away all attacks of the repulsive enemy at the sound of this metal, which consecrated your glorious name Paris from the family of those of Lodron, Archbishop and Prince of Salzburg in the year of salvation 1628. "] | |
| 4th | Joseph | 1961 | Robert Schwindt and Ing.Georg Sippel ( Bell Foundry Oberascher ) |
1560 | 2517 | of 1 +4 | “Saint Joseph is intended by God to protect the working people. That undefeated it may stand, in all time storms. " | |
| 3 | Virgil | 1628 | Wolfgang and Johann Neidhart | 1360 | 1648 | it 1 +4 | [“St. Rupert, teacher and most loyal patron! So that you can assault the ears of God diligently for your flock and drive away plague , hunger, war and the stalking of the arch enemy, this bell was consecrated to you Paris from the family of those of Lodron, Archbishop and Prince of Salzburg, in the year of salvation 1628. "] | |
| 2 | Leonhard | 1961 | Robert Schwindt and Ing.Georg Sippel ( Bell Foundry Oberascher ) |
1190 | 1025 | ges 1 +4 | "God save the Salzburg peasantry." | |
| 1 | Barbara | 1040 | 715 | as 1 +4 | "Saint Barbara, patroness of the dying, pray for us!" |
- ↑ The numbering of the bells on the Salzburg Cathedral is contrary to the norm of assigning number 1 to the largest bell.
Ringing order
The chime is as follows: the angelus chimes three times a day ; in the morning at 7:00 a.m., at noon at 12:00 p.m. and in the evening at 6:00 p.m., 7:00 p.m. or 8:00 p.m. depending on the season. The selection of the single bell depends on the liturgical rank of the day. Bell 4 rings on weekdays, bell 5 on Sundays, bell 6 on holidays and bell 7 (Salvator) rings on the highest holidays . In the evening, the small bell 1 rings in memory of the poor souls . On Thursday, bell 5 will also follow in memory of the agony of Jesus on the Mount of Olives. Every Friday at 3 p.m. bell 6 rings to commemorate the hour of Jesus' death. Bell 3 rings at the weekday chapter mass.
On Saturdays and before public holidays, the Sunday or public holiday is rung in at 3 p.m. This is usually done with the same bell combination that is also intended for the high mass / pontifical mass. On the highest feast days, all seven bells first ring together, then each bell individually (starting with the smallest) and finally the full bell rings again, starting from bell 7. This ringing cycle lasts about a quarter of an hour. If a Vespers is celebrated before these high feasts , this ringing is postponed to the ringing together for Vespers and is therefore omitted at 3 p.m.
The bell for the trade fairs is designed according to a clear and consistent principle. First there is the "quarter ring", a quarter of an hour before the start of the measurement with the single bell, which forms the basis for the following "ringing together":
- Working day: 3… 1 + 2 + 3;
- Sunday: Parish Mass 4… 1 + 2 + 3 + 4, High Mass 5… 1 + 2 + 3 + 4 + 5;
- Feast day: Parish Mass 5… 1 + 2 + 3 + 4 + 5, Pontifical Mass 6… 1 + 2 + 3 + 4 + 5 + 6;
- High feast day: Parish Mass 6… 1 + 2 + 3 + 4 + 5 + 6, Pontifical Mass 7… 1 + 2 + 3 + 4 + 5 + 6 + 7.
The ringing of the Holy Conversion takes place with the bell that was used for the "quarter ringing ".
After the evening mass on the 1st of Advent, all bells in Salzburg ring at 6 p.m. to ring in the new church year .
The great Salvator bell announces the death of the Pope or the Archbishop of Salzburg . When a Salzburg cathedral capitular dies, the Rupertus bell is rung.
Dimensions
- Main nave length: 101 meters
- Main nave width: 45 meters
- Transept length: 68 meters
- Height of main nave: 32 meters
- Crossing dome height: 79 meters
- Tower height: 81 meters
- 11 altars
- 900 seats
- Standing room for 10,000 people
photos
Panoramic view of the interior with the dome and the crossing organs
Salzburg Cathedral seen from Hohensalzburg Fortress
Interior view of the dome
Ceiling in a side chapel
Stucco detail in a side chapel
Memory of Pope John Paul II
Interior view to the east
Performance of multi-choir church music, copperplate engraving by Melchior Küsel (approx. 1682)
50 Schilling silver coin for the 1200 year anniversary (1974)
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See also
literature
- Patrick Bircher: "Ad maiorem Dei gloriam". Aspects of the relationships between architecture, art, music and liturgy at the Salzburg Cathedral in the 17th century . Schnell & Steiner, Regensburg 2015, ISBN 978-3-7954-3061-0 .
- Franz Fuhrmann : Salzburg Cathedral. 18th edition. St. Peter, Salzburg 1999. (Austria's Christian Art Centers, No. 4).
- Ferdinand Grell: Das Salzburger Dombüchlein - for the 350-year existence of the cathedral, consecrated by Paris Lodron on September 25, 1628. Verlag der Salzburger Druckerei, Salzburg 1978, ISBN 3-85338-125-1 .
- Ernst Hintermaier: The organists at Salzburg Cathedral from the beginning to the present. In: Metropolitan Chapter of Salzburg (Ed.): Festschrift for the consecration of the new large organ in Salzburg Cathedral in 1988. Salzburg 1988, pp. 41–56.
- Wolfgang Lippmann: The Salzburg Cathedral 1598–1630: with special consideration of the client and the cultural and historical environment. VDG, Weimar 1999, ISBN 3-89739-059-0 . (At the same time: Dissertation. University of Bonn 1992 under the title: The Salzburg Cathedral and Italian Church Architecture north of the Alps around 1600. )
- Heribert Metzger : The organs in Salzburg Cathedral . Ed .: Metropolitan Chapter of Salzburg. Salzburg 2011.
- Johannes Neuhardt : The Salzburg Cathedral: official guide of the cathedral chapter. Photos: Kurt Gramer. 2nd Edition. Schnell & Steiner, Regensburg 1998, ISBN 3-7954-1139-4 . (Great Art Guides, No. 78).
- Eva Neumayr, Lars E. Laubhold, Ernst Hintermaier: Music at Salzburg Cathedral. Repertoire and liturgical practice between high baroque representation and Mozart cult. Hollitzer, Vienna 2018, ISBN 978-3-99012-539-7
Web links
- Information about the cathedral and the cathedral museum
- Official website of the cathedral
- Federal Geological Institute : Cathedral - Salzburg
Individual evidence
- ^ Personnel status of the world and religious clergy of the Archdiocese of Salzburg for 1957 (Schematismus 1957), ed. from the Archbishop's Ordinariate Salzburg 1957, p. 133.
- ↑ 1st attack . In: The air raids on the city of Salzburg . After simultaneous records and found Communications from the Municipal Statistical Office. In: Mitteilungen der Gesellschaft für Salzburger Landeskunde , No. 86/87, year 1946/47, p. 119.
- ↑ Renovation and restoration of sacred buildings, historical monuments and secular buildings with Gollinger conglomerate . Hubert Steiner, conglomerate quarry.
- ↑ Johannes Neuhardt . In: Salzburger Nachrichten : Salzburgwiki .
- ^ Breviarium Romanum [1] .
- ↑ [2]
- ^ Ecclesiasticus. The book of Jesus Sirach. Chapter 24 . vulgata.info. Retrieved March 19, 2020.
- ↑ In detail by Gerhard Walterskirchen on the function of the new crossing organs .
- ↑ tower receiving the Salvator bell on YouTube .
- ↑ Bells of the Salzburg Cathedral Video, Salvator bell on YouTube .
- ↑ Bells of the Salzburg Cathedral Video, Rupert bell on YouTube .
- ↑ Tower photo of the 6 south tower bells on YouTube .
- ↑ Bells of the Salzburg Cathedral Video, Plenum Part 1 on YouTube .
- ↑ Bells of the Salzburg Cathedral Video, Plenum Part 2 on YouTube .
Coordinates: 47 ° 47 '52.3 " N , 13 ° 2' 47.9" E