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Home , Cologne Cathedral, History of Cologne, Paul Melchers

Arnold Wol

Cologne

Its History – Its Artworks Edited and extended by Barbara Schock-Werner About this Cathedral Guide

Arnold Wol , who was ‘Dombaumeister’ (cathedral architect) at Cathedral between 1972 and 1998, created this guide in collaboration with Greven Verlag, Cologne. His wealth of knowledge on the history of the cathedral and his profound knowledge of the interior have both gone into this book, and there are no other publications that do justice to both of these aspects in equal measure. is book presents the reader with the full spectrum and signicance of the architectural and artistic creations that has on o er. In addition, the fold-out oor plan is a useful orientation aid that allows cathedral visitors to search for informa- tion on individual objects. Six editions of this book have now been published. Arnold Wol has overseen all of them. For this new edition he has tasked me with bringing the text up to date in line with the latest research and introducing the new- ly added artworks. e publisher has taken this opportunity to implement a new layout as well. Nevertheless, for me this guide remains rmly linked with the name of the great ‘Dombaumeister’ Arnold Wol .

Barbara Schock-Werner Former Dombaumeister (1999–2012)

Hint for using this guide: in the text that follows, the architectural features are labelled with capital letters, the furnishings, fittings, artworks, and other interesting objects with numbers. The letters and numbers correspond to those on the fold-out floor plan at the back. The tour starts on page 10.

3 Cologne Cathedral is one of the most outstand- visual insight into the prehistory and construc- eastern (138; ill. 5). e old cathedral was ing buildings in the whole of Christen- tion Cathedral. already one of the largest churches in Europe and dom. As the seat of a signicant Roman Catho- had a magnicent interior. e oor consisted of lic archbishop, it is the spiritual centre of the The old cathedral (ill. 5) marble and porphyry slabs, while murals cov- religious life of Catholics in . Its vast Looking through the grille, you can see the west- ered the walls. e surviving columns and cap- size and pure High Gothic style have made it ern apse of the old cathedral. It was built in the itals are evidence of outstanding stonemasonry. world-famous, and it is no surprise that it sees ninth century on the grounds of one or several ere are even clues that coloured windows had around six million visitors every year. ey look predecessor churches. It possessed a already been installed at this time. up full of admiration to the towering architec- and an adjoining semi-circular apse in the east e Carolingian episcopal church enjoyed ture, but they are not aware that the history of as well as a transept and a choir apse in the west such high renown that it was altered but not re- this magnicent cathedral goes back to the very (ill. 5). e east choir was dedicated to Mary, placed when Romanesque churches were being early days of Christianity. while the west choir, anked by two towers, was built in many locations around Cologne. e sit- dedicated to St Peter. e ten bays of the , uation only changed when Archbishop Rainald which was around twelve metres wide, were sup- von Dassel brought the of the Magi from I. History and ported by columns (ill. 6). In front of the west Milan to Cologne in 1164. is transformed were entrance halls, and in front of Cologne Cathedral from being the church of construction history the entire western area was a large square lined the powerful into one of by the buildings of the cathedral chapter. At the Europe’s most important places of pilgrimage. Roman Cologne resembled an irregular rectan- centre of this atrium was a well that has survived gle with sides of about one kilometre. e streets to this day in the underground garage in front of The Gothic cathedral crossed at right angles, dividing the walled area the cathedral. In the tenth century two further Between April 1246 and November 1247 the ca- into around y square blocks. ere is not Ill. 1 ‘And It Will Be Completed’, aisles were added to the Carolingian complex. thedral chapter decided to build a new church. much evidence of this now in the current city- vision of the finished cathedral , At around the same time the two-storey Palace On 13 April 1248 a contract to fund the undertak- scape. Only the main north-south axis, today watercolour by Vincenz Statz, 1861 Chapel of St John was built to the south of the ing followed. Work must have begun immediately called Hohe Strasse and now the city’s main shopping street, has lost none of its signicance since Roman times. south tower (Q), which were created in the Roncalliplatz (the square to the south of the mid-fourteenth century, were drilled. is drill- cathedral) and what is now the cathedral fore- ing work has le its marks on the walls of the court were also heavily built up with houses tunnel-like passage (ill. 2). Walk through it to during Roman times. e many surviving cellars get to the ticket oce for climbing the tower, an almost all disappeared when the cathedral sur- ascent of more than ve hundred steps to the rounds were remodelled in the 1960s. south tower’s viewing platform (see ‘Climbing the south tower’, p. 61). Crossing the ticket of- The entrance building (A) (ill. 2) ce, you reach the space between the founda- To the right of the façade visitors are greeted tions of the two west towers. e foundations of by the entrance building, which, completed in the south tower are around seven metres thick. 2009, houses the cathedral shop upstairs (152); On the south side they are no less than twelve the entrance to the tower and to the excavation metres thick and sixteen metres deep, reaching sites is located downstairs. e cellar of a Roman down to the pebble layer that was once depos- house has been uncovered in the glass foyer. It ited there by the . e foundations were is the last to have survived in this area. It is still carefully laid in horizontal layers of black basalt possible to use the size of the once vaulted cel- and tufa blocks. lar and the niches in its walls to calculate how In front of the wire fence which separates auent the Roman owners must have been. the public area from the excavation site – which But it can also be seen that the construction can only be visited as part of a guided tour – the of the cathedral’s foundation wall involved the gateway that served as the access point to the destruction of part of the cellar already in the unnished cathedral between 1502 and 1860 has . been rebuilt. e historical context is illustrated Ill. 2 Passageway through the foundations Ill. 3 View through the rebuilt former During the construction of the entrance clearly on the panels on the le-hand wall. An of the south tower in the new entrance building entranceway of the western apse of the old building, the massive foundation walls of the on-screen presentation also gives a ten-minute on the cathedral’s south side cathedral

4 5 the roof was completed with its iron ridge turret 1956 that the particularly badly damaged west- at a height of 109 metres. In 1863 the high vaults ern section was opened up for services again. above the nave and transept were closed, and Willy Weyres was succeeded by Arnold Wol the dividing wall in front of the choir, which (1972–1998) and Barbara Schock-Werner (1999– dated back to around 1300, could nally be 2012). demolished. Zwirner died in 1861, to be suc- Nevertheless, construction work continues. ceeded by Richard Voigtel (1861–1902) from As in the Middle Ages, a permanent cathedral Magdeburg. masons’ yard supports the life of the cathedral, In order to deal with the stressful and con- whose stones are being eaten away by wind and stantly recurring worries about sucient fund- weather and even more by pollutants in the air. ing, the Zentral-Dombau-Verein held the rst e masons’ yard has almost a hundred em- cathedral building fund lottery in 1864, which ployees and several contractors and ensures that started bringing in large sums of money every destroyed components are replaced, roofs and year, so that the huge towers could be completed gutters are renewed, wall and glass paintings are in just seventeen years. By 1868 the north tow- restored, and all the at-risk components are kept er had reached the height of the south tower. in order. However, it will take decades simply to Lamented by many, the old , one of Co- repair the remaining war damage. e medi- logne’s landmarks, had to make way for onward eval trachyte stonework of the choir poses a construction. On 15 October 1880 the nal stone particular problem for everyone involved, since was placed on the nial of the south tower. Kai- it was badly damaged and will need addressing ser Wilhelm I was present, but the archbishop, soon. Measures are also necessary on the towers Paul Melchers (in oce 1866–1885), was not: he because the iron tie bars and plugs that secure was living in exile as a result of the ‘’ the many pinnacles, wimpergs, and nials are (Bismarck’s dispute with the ). starting to rust, threatening to break the stones e cathedral was completed aer 632 years and apart. It is therefore a fact that nobody alive to- two months. day will ever see the cathedral without sca old- ing. As the people of Cologne say: ‘When the The third construction phase cathedral is nished, the world will end.’ e cathedral stood complete in every aspect for only a few years. In 1905 cathedral architect Bernhard Hertel (in oce 1903–1927) set up a II. Architectural components new masons’ yard (‘Dombauhütte’) to rectify the now clearly visible damage caused by weather- and artworks ing. He and his successor Hans Güldenpfennig (in oce 1928–1944) renewed the whole but- e best place to start a tour of and around the tress of the choir in muschelkalk (T). During cathedral is at the west front. e following sec- the Second World War fourteen heavy bombs tion describes the individual components and hit the cathedral. Twelve vaults of the nave and interior furnishings, ttings, and artworks. the north transept as well as four aisle vaults col- lapsed and all the window tracery was damaged. The west front (B) (cover) e wimperg (ornamental gable with tracery) of e cathedral’s west front measures almost 7,000 the north transept broke o , and the great west square metres in area, making it the largest church window was destroyed. A dangerously deep hole façade ever built. It also has a completely uniform was ripped into the north buttress on the west design, because it adheres very closely to the sur- front, which was immediately closed up with viving parchment plan (‘Fassadenplan F’), which bricks (150). is 4.05 metres in height and was probably drawn Aer the war cathedral architect Willy Wey- in around 1280 by the then cathedral architect, res (in oce 1944–1972) was tasked with mak- Arnold, or his son and successor, Johannes (72). ing at least the choir usable again in time for the anniversary year of 1948, which was only possible with immense e ort. It was not until Ill. 8 St Peter’s portal (1)

10 26 The windows side (Peter Hecker, 1964) depict the signicance e clerestory contains the windows of the cy- of music for divine worship in the Old (north cle that the painter Michael Welter designed in side) and New (south side) Testaments. Above the around 1870 for the of the north southern pillar opposite the stairs to the crypt we side of the nave and the north transept. Aer can see Cardinal Joseph Frings playing the violin. they were removed from there before the Second e organ was built by Johannes Klais in World War, they returned to new locations in the in 1948. In 1956 it was expanded to 88 stops and north transept from 2005 onwards, supplement- in 2001 it was restored and raised by two metres. ed by reconstructed rows of ornaments based on e reliefs depicting the Last Judgement and the original designs by Wilhelm Ho mann. ey de- Resurrection of the Dead on the east side of the pict characters from the Old Testament, starting gallery’s wooden railing was created by sculptor at the northern end of the west wall with Adam. Manfred Saul aer the Second World War. e reglazing was made possible by private do- 30 The epitaph of cathedral architect nors, whose names are recorded in the bottom Konrad Kuene (1445–1469) row (ill. 13). e cathedral architect can be seen kneeling over 27 The Altarpiece of the Magi a slab with inscriptions, introduced by St An- e tall marble superstructure was originally drew, in front of a statue of the Madonna. the front of the mausoleum for the Magi in the 31 The crypt axial chapel (M4), where the Shrine of the Magi e stairs down into the crypt are located in stood until 1864 (51). Aer the mausoleum was front of the gate that leads to the ambulatory. A dismantled in 1889, the cathedral chapter had section of this excavation area below the choir the front rebuilt here as an altarpiece. Above was transformed into a modern crypt in 1960, the wimperg we see the star of Bethlehem ris- based on a design by the then cathedral architect ing between two female gures with coats of Willy Weyres. e stucco ceiling was made by arms; below that a large alabaster relief depicts the sculptor Erlefried Hoppe. e space is also the Adoration of the Magi, while to the side are used as an anteroom and funeral chapel for the the marble statues of SS Felix and Nabor, added archiepiscopal crypt located behind Paul Nagel’s by Michel van der Voort in 1699. Between 1920 wrought-iron lattice. e crypt’s long walls ac- and 1939 the bronze lattice provided a view of commodate the archiepiscopal tombs, which the Shrine of the Magi, which at that time was are closed o with slabs of tufa. ey bear the kept in the treasury behind. e cabinet in front names, dates, and coats of arms of the arch- of it now contains a highly venerated, richly bishops laid to rest here. eir names can also adorned eighteenth-century devotional Madon- be found on the crypt’s walls. e mausoleum na. Two virtuoso wrought-iron candleholders is only accessible via a raised walkway because can be seen to the side; they were probably made part of the excavation area is located below it; c.1769 by Gottfried Jungbluth together with the this is intended to remain visible. Two prince- altar rail that was originally in the choir. To the ly tombs dating from around 540 were found right of the altar is a commemorative inscription there when the modern archbishops’ crypt was for the future Pope John XXIII, who celebrated built between 1958 and 1960. In addition to the mass here on 27 December 1921. remains of a pulpit typical of the sixth century, 28 The ‘year rods’ above the door they too provide crucial evidence of an early to the treasury Christian church in this location. Following a very old custom, these show how On the crypt’s north wall, a panel designed many years the incumbent archbishop has been by Markus Heindl records the names of the in oce. On the wall below, the blood of saints and beatied individuals who visited Co- Pope John Paul II is venerated; it was donated to logne Cathedral in their lifetime. On the south the cathedral by the former archbishop, Cardinal . 29 The great organ Ill. 13 The Solomon window from the clerestory e organ stands on a gallery that rests on two of the north transept, based on a design by concrete supports. e paintings on the under- Michael Welter (26)

20 wall, Jakob Schorb’s bust of Clemens August von 32 The cathedra Droste zu Vischering (archbishop of Cologne e archbishop’s throne was designed in 1952 by 1836–1845) was placed on a new plinth created cathedral architect Willy Weyres and made out by Markus Heindl. of cherrywood by cathedral carpenter Anton Rücker. e anks depict Christ giving Peter Chapel of St Hubert (H) the keys (Matthew 16: 19) and Peter giving his Built into the east aisle of the north transept, sta to St Maternus, the rst bishop of Cologne the Chapel of St Hubert consists of two bays (that we know of by name). Above the throne with late-Gothic lierne vaults, the northern one hangs the coat of arms of the present archbishop, having been added in 1845 on the model of the Rainer Maria Woelki. other, southern, one. is one in turn was creat- 33 The pulpit ed in around 1500 and originally served as the e ne oak Renaissance work with its expressive cathedral’s vestibule. e room above housed the sculptures was created in 1544 and set up in the famous cathedral library until 1794. e vault is still unnished nave. is oldest surviving pulpit decorated by nine large, colourful keystones that in Cologne is evidence that the nave was used for depict the ‘genealogy of salvation’. e salvation services from very early on. It was moved to its of man comes from Christ, who towers at the current position in the post-war period. centre on Mary’s arm. It reaches the church fa- 34 The crossing altar, the four lustres, the thers via the evangelists and from them to us. In communion rails, and the lecterns 2014 the rear of the Baroque mausoleum of the ese were cast in bronze by Elmar Hillebrand Magi was erected at the west wall; its front is now between 1960 and 1971. e mosaic oor by used on the Altar of the Magi with the devotional August Essenwein, dating from 1889 (36), sur- Madonna (27). e mausoleum was created by vives unharmed under the wooden altar dais. the sculptor Heribert Neuss between 1668 and e crossing dais, based on a design by cathedral 1683. e relief depicts the relics of the Magi be- architect Arnold Wol , was erected in the late ing taken to the then still unnished cathedral. 1990s; the carpets by the artist Hanns Herpich e procession can be seen to include Archbish- were added in 2007. op Rainald von Dassel, who brought the relics 35 The pillar statues from Milan to Cologne. Four evangelists and four church fathers can be Walk through the Chapel of Hubertus to get seen standing by the crossing pillars. ey were to the cathedral shop and treasury. created by Peter Fuchs and tted in 1866.

The crossing (I) The Chapel of the Holy Cross (J) e Shrine of the Magi (51) was originally meant e two aisles on the north side of the choir are to stand at the centre of the crossing, which, also called the Chapel of the Holy Cross because however, was not completed in the Middle Ages. this is the location of the Altar of the Cross (42). e eastern pillars date back to the thirteenth e glass paintings in the upper area with their century, while the western pillars date back to imaginative ornaments were created by cathe- the fourteenth and eenth centuries at the bot- dral architect Willy Weyres in around 1960. tom and to the nineteenth century at the top. 36 The mosaic floor e vault was completed in 1863. Aer 1948 the is nal and largest nineteenth-century interi- crossing was gradually transformed into the ca- or tting in the cathedral covers all the surfaces thedral’s liturgical centre. e items in the cross- of the choir – a total of 1,350 square metres. It ing illustrate the bishop’s three main tasks in his was designed by August Essenwein between diocese as shepherd (cathedra, throne), teacher 1885 and 1892 and executed by Villeroy & (pulpit), and priest (altar). Boch in Mettlach. Aer Essenwein’s death Fritz Geiges continued the work until its completion in 1899. e ambulatory lists the names and, if Ill. 14 Archbishop Hildebold with the model known, the coats of arms of all the bishops and of the old cathedral, first field of the floor mosaic archbishops of Cologne, starting with Maternus in the ambulatory (36) (c.313/14) and ending with Philipp Krementz

23 the other sides were removed during the period of Baroque ‘modernization’ and can now be found in the Schnütgen Museum. Copies were produced in around 1900, aer which they were installed in arcades added to the altar. e front centre features the crowning of Mary by Christ, with six disciples to either side; the south side features the Annunciation, the east side the Adoration of the Magi, and the north side the Presentation of in the Temple, all of which are framed by prophets and saints. e ornamentation of the al- tar stone was created between 1310 and 1320 by a group of stonemasons from Cologne working at the highest level. e gures illustrate how the style of Cologne’s masons’ yard had changed since the thirteenth century, especially when compared with the slender gures of the choir pillars. 51 The Shrine of the Magi (ill. 18) e mortal remains of the Magi were presented to Archbishop Rainald von Dassel by Emperor Frederick I in 1164. Rainald von Dassel then moved them from Milan to Cologne. Work on Ill. 17 A knob between two seats of the choir stalls, making the golden shrine started soon aer- shaped as a squatting figure (53) wards, and it became the main work of gold- smithery in the Rhine-Maas area. Aer 1181 the workshop was led by Nikolaus of Verdun. e All this fell victim to the push to turn everything gures on the long sides, prophets at the bottom Baroque in around 1770. Nevertheless the choir and apostles at the top, date back to that time. of Cologne Cathedral has more original medieval e front must have been completed before features than any other European cathedral, and 1209, the rear in around 1225. Aer much dam- everything that has remained is without excep- age and losses, the ’s largest and tion of the highest artistic quality. most famous reliquary sarcophagus was restored 49 The choir’s wrought-iron grilles between 1961 and 1974. ese were created by Gottfried Jungbluth in In spite of what is oen said, the shrine’s 1769 to a design by Etienne Fayn. ey replace shape is not that of a basilica with a nave and the medieval open-work stone screens. Only aisles; rather – as the rear makes clear – it is a fragments survive of their extensive gure cycle. combination of three shrines, with the top one 50 The high altar resting on the wimperg peaks of the two oth- (consecrated on 27 September 1322) ers. While the many other reliquary caskets of e altar stone, a richly proled monolithic block the Rhine-Maas area invariably depict scenes of the blackest marble, measures 4.52 by 2.12 me- from the lives of the saint laid to rest within it, tres, which, with a thickness of 25 centimetres, the Shrine of the Magi presents God’s appear- makes it one of the most massive in all Christen- ance in the world. Christ is shown three times dom (surpassed only by the one in Magdeburg on the front: at the Adoration of the Magi, who Cathedral). Weighing around six tons, it is also the represent the whole of humanity, at His baptism largest stone in the cathedral. e altar’s walls are in the River Jordan, where He is presented as the clad in the same black marble, and the tracery ar- Messiah sent to the Jewish people, and at the top cades made of bright white Carrara marble stand as the Judge of the World at the End of Days. On out e ectively against it. e front is the only part still in its original state; however, the formerly col- ourful gures are now pure white. e gures on Ill. 18 The Shrine of the Magi (51)

28 result of a diary entry by Albrecht Dürer. e and their owers and fruits, but there is also a painter is mentioned in several documents dat- large, magnicent stag beetle. e altar is closed ing back to between 1442 and 1451 as a wealthy during the last two weeks of Advent and Lent. citizen of Cologne and even as a council mem- During that time we can see the exterior panels ber. In the central panel, measuring 2.87 metres depicting the Annunciation. in width and 2.61 metres in height, we see Mary 96 The Madonna of Milan enthroned in front of a curtain embroidered In 1164 Archbishop Rainald von Dassel brought with birds and upheld by two charming little back a statue of the Madonna from Milan; by the angels. To the le we see the oldest of the ree thirteenth century, however, it had been lost. For Kings kneeling; he has placed his gi, a small reasons unknown, the name was transferred to box in the shape of a reliquary casket, on the this walnut statue, which was made c.1280–1290 grass at Mary’s feet. His gown of red and gold as one of the main works of Cologne’s masons’ brocade is an outstanding piece of skilled paint- yard in connexion with the statues decorating ing. To the right the second king, a middle-aged the choir pillars (55). e statue originally stood man, presents a precious, two-tiered silver cup. above the chapel’s altar below a high stone bal- Behind him we see the youthful third king with dachin, where it remained even when the old a chalice made of red jasper. e entourage of altar was replaced by a Baroque one in 1663. the Magi, magnicently dressed characters with In 1855 the crowns and the sceptre were added the most extraordinary headdresses, can be seen during restoration works, but one year later the coming from both sides. Blowing in the wind statue had to make way for Friedrich Overbeck’s above are ags displaying the emblems that Altarpiece of the Assumption (114). Cathedral legend attributed to the Magi at this time: the architect Ernst Friedrich Zwirner subsequently crescent with the star, the Moor with the lance, had the baldachin and corbel tted on which the and a group of stars. Five small angels in blue Madonna of Milan now stands. gowns oat in the gold background. e picture 97 The Holy Kinship is completed at the top by gilded wooden tracery. is group of stone statues, attributed to the e wings, both 1.17 metres across, depict sculptor Johann Spee, goes back to a donation two groups of saints from Cologne who have by Victor von Carben, who converted in 1473. always been venerated as city patrons. To the is is evidenced by the inscription at the base le we see St Ursula with her female entourage. of all the statues: ‘victor sacerdos olim iudeus’ Legend has it that they were murdered by the (e priest Victor, formerly a Jew). All gures Huns here in Cologne because of their Chris- still have their original paint: From le, Barbara, tian faith. Among the many lovely women in Joachim, Virgin and Child with St Anne (with the entourage we can also make out a pope and donor), Joseph, and Catherine. e Annuncia- a bishop as well as the saint’s betrothed. A pro- tion group in the southern transept was given by cessional cross and a red-and-white ag tower in the same donor (106). the golden background. e group on the right 98 The chapel’s modern interior panel is quite di erent. Here we see St Gereon e altar and the tabernacle stele made of Ro- with his entourage from the eban Legion, man travertine were designed by Willy Weyres who are said to have su ered martyrdom here (1956 and 1972); the silver tabernacle was cre- in Cologne during the time of Emperor Dio- ated by Carl van Ackeren (1956). e lectern is cletian. e heroes have put on precious gowns, from England (1887), while the altar rails and some of them covered in fur, over their armour benches, made of cast iron and oak, were de- and highly polished cuisses. Attached to the signed by Arnold Wol (1965). top of Gereon’s red lance is the badge that also 99 The organ of Mary adorns his robes. e grass connecting all three e Baroque housing was built in around 1700. panels deserves special attention. Not only does In 1963 the company Romanus Seifert, based in it contain accurate depictions of many herbs Kevelaer, installed an organ with a mechanical action by Daniel Roetzel dating from the year 1874, which was formerly in the church at Balve Ill. 30 Virgin with Child (105) (ill. 4).

45 108 St Anne 113 The south transept window by e painting, which was created towards the (ill. 33) end of the eenth century, came from the e south transept window originally possessed studio of a Flemish master. At this time the glazing given to the cathedral by King Wilhelm I doctrine of the Immaculate Conception was of in the mid-nineteenth century. It de- still controversial. e picture clearly takes the picted the three worldly rulers , view of the later dogma, whereby the Mother of Emperor Henry II, and Sigismund of Burgundy, God was conceived in the regular manner but and the two saints Archbishop Anno and Arch- remained free from original sin. At the centre bishop Engelbert, as well as Bishop Otto of Bam- of the picture we see St Anne with the as yet berg. is window was destroyed in the Second unborn Mother of God in her womb. Kneeling World War. Colourless glazing based on a de- to the side are Mary’s ancestors as well as the sign by Wilhelm Teuwen was installed in 1948; Old Testament kings David and Solomon and however, over time the window was considered the doctors of the church Anselm of Canter- increasingly inadequate, both from an artistic bury and St Jerome. e picture was given to perspective and because it let too much light the cathedral by former archbishop Joachim into the cathedral. It would have compared par- Meisner in 2004. ticularly unfavourably with the colourful win- 109 The window of St Paul dows of the Welter cycle (see 26, 110, and 111) e glass painting was donated by the Köln- that will be fully returned in a few years’ time. Mindener Eisenbahngesellscha (a railway com- For that reason the cathedral chapter invited the pany) in 1868, made in the Königliche Anstalt artist Gerhard Richter to design coloured glaz- für Glasmalerei in , and tted in 1875. It ing for the window. Aer an intensive ve-year was completely destroyed in the Second World period of collaboration with the masons’ yard, War, but thanks to surviving documents it was the window was inaugurated in 2007. It features reconstructed in 1994 by the workshop of Gus- 11,263 squares made of mouth-blown glass with tav van Treeck in Munich. e four fathers of sides of 9.7 centimetres in seventy-two di erent the Eastern church can be seen below the main colours. e squares were distributed through- scene, the ‘Damascus experience’ of St Paul out the window both at random and with the (Acts 9: 1–7). help of axes of reection that are deliberately 110 The Miriam window and the Sirach di erent in di erent sections. window 114 The Assumption (ill. 26) e Miriam window from the nineteenth-centu- Commissioned by the Düsseldorf Kunstverein, ry Welter cycle was installed in the clerestory on the Nazarene artist Friedrich Overbeck painted the east side of the south transept (see 26); the this large canvas picture in Rome between 1847 Sirach window, from the same cycle, will follow and 1854. It is considered one of his masterpiec- in the near future. es and was originally intended for the cathedral’s 111 The clerestory window in the west wall high altar. In 1856 it was given its spot in the of the south transept neo-Gothic altarpiece designed by Ernst Fried- e twelve gures of saints were designed by Mi- rich Zwirner in the Lady Chapel. However, this chael Welter c.1870, the ornamental windows of altarpiece was dismantled in 1949 to make way the by Willy Weyres c.1956 (see 26). for the Altarpiece of the City Patrons by Stephan 112 The south wall of the transept Lochner (95). e wall panel between the central door (hidden 115 The Annunciation behind a porch) and the large main window is is is a canvas copy of the fourteenth-century enriched with six double arcades featuring im- devotional picture in the Santissima Annunziata pressive tracery and tabernacle architecture. in Florence. Canon Peter Bequerer had it made e typically neo-Gothic ornamental panel was for the cathedral in 1712. designed by cathedral architect Ernst Friedrich Zwirner and completed in 1848. e twelve g- ures, saints at the bottom and angels at the top, Ill. 33 The south transept window, designed were created by Peter Fuchs c.1870 (see 22). by Gerhard Richter (113)

48 126 The commemorative plaque for World Youth Day Axed to the buttress next to the tower is a bronze plaque created by sculptor Bert Gerresheim in 2009 to commemorate the World Youth Day of 2005. e relief depicts Pope John Paul II handing over the World Youth Day logo to Pope Benedict XVI. ey are standing in front of St Peter’s Basili- ca and Cologne Cathedral. e mitres at their feet display the coats of arms of the two popes. 127 The buttress A5 Aer being destroyed in the war, the buttress was replaced along with the adjoining window to the east with Londorf basalt lava (1952–1962) and is a typical example of the masons’ yard’s restoration style aer the Second World War. e architec- tural shapes are exactly replicated; the sculptures, however, have been freely designed by sculptors within the original outline. e intrados of the window and the frieze above depict angels mak- Ill. 35 ‘Cologne Burning’, scene from Ewald Mataré’s bronze door of the Ursula portal (134) ing music in praise of Mary. e sculptors were Ewald and Gerhard Stoll (1954). 128 The clapper of the Kaiser’s Bell Jerusalem. e large window in the west wall il- (‘Kaiserglocke’) of 1876 lustrates the parable of the Prodigal Son in the two e heavy cast-iron clapper broke in 1909 and le rows, while the two right-hand counterparts fell into the bell cage while the bell was being depict the parable of the Good Samaritan. e rung; fortunately none of the more than y half-window above the portal depicts the Last people present were injured. e Kaiser’s Bell Judgement (a publication about this cycle is avail- itself was melted down in 1918. able in the cathedral shop). 129 The memorial panel for Pope John XXIII Hanging next to the working door is a memori- The south wall of the nave (R) al panel for Pope John XXIII, whose birth name e medieval cathedral is not a well-built sculp- was Angelo Giuseppe Roncalli (1881–1963). It is tural object in the way an ancient Greek temple aer him that the large square on the cathedral’s would have been; it is an interior in a densely south side is named. e sculptor Michael Oster built-up city that only reveals itself to the public created the panel in 2007/08. with its façades. at is why the exterior walls 130 St Peter’s Fountain on the south side remained unadorned, because St Peter’s Fountain, given to the city of Cologne they were to disappear behind the high buildings by the Prussian queen and future German em- close to the cathedral. It is only above the normal press Augusta, was created in 1870 to designs by building height that the loosening structure of the then cathedral architect Richard Voigtel. It all the elements by means of tracery and other was erected on a terrace with plants at the ca- Gothic ornaments takes place. e buttresses at thedral’s east end. Because there was initially this end of the cathedral, completed in 1863, are no water supply at all, and the water supply la- wholly in keeping with those of the choir and ter was somewhat poor, the fountain was quickly depict the full wealth of Cologne’s High Gothic named ‘Drüjje Pitter’ (Dry Peter) by the people style of the thirteenth century (ill. 36). e Schlait- of Cologne. dorf sandstone used for the buttresses and the clerestory walls of the nave and transept between 1848 and 1863 is now very much under threat Ill. 36 Flying buttresses on the south side of the from weathering. nave and the south tower, seen from the east

52 Despite the large-scale destruction the cathe- ly Schlaitdorf sandstone, its height 70 metres. dral su ered during the Second World War, the e sculptures of the three portals were made fountain remained unharmed. When the envi- by Christian Mohr (1851–1869) to designs by rons of the cathedral were remodelled in the late Ludwig Schwanthaler (1847). ey are consid- 1960s, the neo-Gothic stairs were demolished ered the highlight of Romantic-Nazarene sculp- and St Peter’s Fountain was removed. e foun- ture in Germany. e south façade is one of the tain was given a new location on the raised part most signicant and artistically consummate of the square, between the sacristy and the choir, neo-Gothic works in the world, neo-Classical in in 1969. is somewhat hidden location turned the rigour and consistency of the architectural out to be a stopgap. In 1999 the fountain was tak- development and Romantic in the choice of the en down once more and, aer the sandstone ele- stylistic example. ments were restored, it was kept in a repository. 132 The central portal (frontispiece) Aer the new entrance building was constructed In the wimperg we see Christ standing between and the associated renovation of the papal ter- the four evangelists. e tympanum depicts the race immediately outside the south aisle had tak- life and the Passion of Christ. e arches con- en place, the fountain was moved there in 2010. tain an extensive angel cycle, and the central 131 The ridge turret (crossing tower) pillar features St Peter, accompanied by statues e 65-metre-high substructure, made of cast and in the jambs of martyrs of the early church. e rolled iron, is a signicant example of early met- bronze portals were created by Ewald Mataré for alworking; it was designed in 1855 by cathedral the cathedral’s anniversary in 1948. e right- architect Ernst Friedrich Zwirner and installed in hand door is dedicated to Pope Pius XII (reigned 1859. e tower, 109 metres high overall, used to 1939–1958). In the top section it features his coat be richly adorned with Gothic architectural ele- of arms and his motto ‘Opus justitiae pax’ (e ments in cast zinc, but they have been largely lost work of justice shall be peace); below we see a because of corrosion and the impact of the war. pelican and a cockerel in a mosaic. e le-hand e modern lead coatings, designed by Willy ‘bishop’s door’ depicts the coat of arms of Joseph Weyres, were installed between 1965 and 1970. Frings (archbishop 1942–1969) and his motto e eight large angels were created by Erlefried ‘Pro hominibus constitutus’ (Appointed for the Hoppe. e tracery parapet, the copper nial, people). Below we see seven of Cologne’s saints and the gilded star on top are all original. as representatives of the gis of the Holy Spir- it: le Hermann Joseph – piety; Duns Scotus – The south façade (S) (ill. 37) reason; Petrus Canisius – scholarship; Gereon – is façade was planned in the Middle Ages; its strength; right Albertus Magnus – counsel; eastern section had already been given founda- omas Aquinas – wisdom; Ursula – godliness. tions at that time, but the façade itself had not 133 The portal of Gereon (right) been started. We do not have a plan, and the e tympanum depicts the martyrdom of St reconstruction attempt by Sulpiz Boisserée also Gereon and his companions. e arches feature turned out to be unusable. For that reason ca- saints of the eban Legion and the Fourteen thedral architect Ernst Friedrich Zwirner collab- Holy Helpers. e jamb features saints who orated with Karl Friedrich Schinkel, Boisserée, worked in Cologne and along the Lower Rhine and Frederick William IV between 1833 and or who are venerated there. e bronze door by 1842 to develop a new design to go with the ar- Ewald Mataré (1954) depicts symbols of the cre- chitecture of the south tower. On 4 September ation of the world (God’s hand), the appearance 1842 the king and the coadjutor-archbishop Jo- of God in the Old and New Testaments (burning hannes von Geissel laid the founding stone for bush, Mount Tabor), and the church (net). the cathedral’s onward construction above the 134 The Ursula portal (left) façade’s foundations. e south façade was n- e tympanum features the martyrdom of St ished in 1855. Its construction material is large- Ursula, while the jamb depicts the saint’s female entourage. e standing gures are martyrs who are venerated in the cathedral. e heads of St Ill. 37 The cathedral’s south façade Cecilia and St Ursula (second and fourth le)

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