Cologne Cathedral is enormous! Like most important cathedrals and churches in Europe, it was built on very early Christian sites. In this case, on the site where early Roman Christians met in Cologne around 300AD. The building as it exists today wasn’t started until the high gothic era – around 1248, and unlike many other cathedrals that took hundreds of years to complete, the build plans never changed.
It’s hard to imagine that everyone who worked on the construction of this magnificent cathedral all knew that they would never live to see the endeavour completed. The plan to build the cathedral was started in 1164, when there was an agreed upon transfer of some relics to the town. In 1225, the planning for a bishop’s residence and pilgrimage church were established, and the prior building (from the 9thC) was demolished. In 1248 the foundation stone was laid.
In the 1360s building work slowed down, as the foundations were completed and some areas of the cathedral were already consecrated and put to use as a church. It wasn’t until the 15thC that the south steeple was completed at a massive height of 58m tall. Around 1530, work on the cathedral came to a halt all together as most of the ground floor, the nave, the choir, transepts and two lower storeys became usable.
And it pretty much stayed in that condition until 1794 when the French Revolution troops invaded and the archdiocese of Cologne was abolished. The cathedral was temporarily used as a fodder storage room and also as a makeshift prisoner of war camp! It wasn’t used as a church again until 1801, and the archdiocese wasn’t reestablished until 1821.
Construction eventually resumed on the cathedral in 1842 to be finally completed in 1880 – and all still to the exact same plans that were laid out in 1225! Which is just unbelievable when you think about how difficult it is to get a committee of five people to agree on how a fucking bus shelter should be built these days… let alone be able to keep an enormously intricate build of this calibre, going to the original plans and specifications for over 600 years and generation upon generation of architects, stonemasons, builders and who knows how many other masters and craftsmen, involved. It’s simply amazing.
In WWII, Cologne was reduced to rubble, and the cathedral was severely damaged by numerous bombs. Entire bays of the vaulted ceilings were collapsed and various windows were blasted out. One bomb tore an enormous hole in the western facade and destroyed a supporting buttress which was hastily stored up with makeshift bricks. Due to the construction techniques though, the bulk of the cathedral was able to withstand the shock of the blasts and vibrations. At the end of the war, it stuck out of a massive field of debris and destruction, looking largely undamaged compared to the rest of the city.
These windows were created in 1884, and based on a designed by Johannes Klein. Six of the eight windows were destroyed in WWII and remade in the 1990s.
This picture does not come close to conveying the sense of enormity and proportion this cathedral has. It feels as big as the Hagia Sofia, or the Florence Cathedral, the only other medieval cathedral that I remember feeling this overwhelming sense ginormity is possibly St Peter’s in the Vatican.
Altarpiece of St Claire, c.1350-1360. Oldest existing retable that contains a tabernacle for holding the sacraments. Originally came from the former Franciscan convent of St Clare and has resided in Cologne cathedral since 1811.
The ‘swallows nest’ organ was built in 1998 to commemorate the 750th anniversary of the Cathedral.
Crucifix of Gero (because… donated by some Bishop Gero c.976). At over 1000 years old, and considered one of the first larger than life size sculptures of the midlands, it represents Christ in the moment of death, through which mankind was redeemed. The Baroque altar was added in 1683 by Canon Heinrich von Mering. The Crucifix was said to be miraculous, and has been especially venerated over the centuries.
Statue of Grace depicting Our Lady, decorated with jewellery – also known as the Schmuckmadonna (great name!).
I just can’t get over the scale of this place.
Altarpiece of St Agilolph carved timber and painted. Antwerp c.1520.
From the former collegiate church of Our Lady at the Steps (St Maria ad Gradus).
St Heribert’s Shrine, c.970. Heriberto was born in Worms to Count Hugo and Tietwista – his maternal half brother was Heinrich, Bishop of Wurzburg. Silver, gilded, gold, precious gems and enamel, Cologne. It is under glass and has a rope around it so it ws difficult to photograph – but stunning enamel work!
St Christoper statue, Tilman van der Burch, c.1470.
Intricate mosaics cover 1,350sqm of the cathedral floor and are based on designs by August Essenwein – and created and laid 1885-1892 by Villeroy and Boch in Mettlach (believe it or not!). Villeroy and Boch… not just overpriced crystal! 😉
The Altarpiece of the City’s Patron Saints – originally created c.1445 the triptych is attributed to Stephan Lochner, Cologne. The central panel portrays Adoration of the Magi flanked by St Ursula and her companion, St Gereon, partron saints of Cologne.
Altapeice of the Magi, Wilhelm Mengelberg, c.1892.
From the crypt below the cathedral:
Visitors are able to climb the 533 steps into the south steeple for amazing views over the city of Cologne. It brings you to 100m above the ground…needless to say, me and my bung knee didn’t make the climb, but Angus did.
The Cologne Cathedral is truly impressive; it’s no wonder it was included in the original 1978 listings of World UNESCO Heritage sites. It was declared endangered in 2004 as there were plans in place to build several high rise buildings close to the Cathedral, but it was delisted from being endangered in 2006 when city planners thankfully came to their senses and put a limit on the height of modern buildings near the cathedral. It would have drastically altered the city skyline had they built up right beside it.
Some clever fundraising… hearts with the flags of all nations. For some reason, people can’t help themselves but pop some coins onto their own flags. The American heart even had a bunch of USD$1 notes plonked on it.
The Cologne Cathedral also has a rather impressive collection in their Domskammer / Treasury, which was an amazing labyrinth of tunnels underground at the back of the cathedral.
Reliquary monstrance. Cologne, c.1500. Silver, copper, gilded, rock crystal and glass.
Reliquary of the Cross from St Mary ad Gradus.
Constantinople, mid-end of the 12thC. Figures, wings and ornaments, Cologne, c.1240.
This reliquary was reset in the late Romanesque times with pieces of a Byzantine relic casket containing pieces of The Cross.
Shrine of St Engelbert. Goldsmith: Conrad Dulsbergh.
Casket Designer: Jeremiah’s Geisselbruhn. Relief Designer: Augustin Braun
Cologne, 1633, silver, partly gilded.
Reliquary of St Vincent de Paul, c.1800, silver, gilded.
Reliquary of the Cross with spectacle-glass.
Workshop of Hans von Reutlingen, Aachen, 16thC. Silver, gilded, spectacle-glass.
Statue of a deacon holding a reliquary of King Melchior. 16thC, Cologne.
Silver, gilded, glass reliquary, bronze, partly gilded, silver plated, precious stones.
Hammer and trowel, Wilhelm Pullack, Cologne, c.1842. Silver and ebony.
These tools were used by King Friedrich Wilhelm IV of Prussi when he laid the foundation stone for the completion of Cologne Cathedral on 4th Sept 1842.
Shrine of the Magi, Cologne, late 12thC.
inner wooden construction of the sharing, oak, glass, copper, gilded.
Reliquary Monstrance with links from St Peter’s Chains.
Cologne, c.1500, Silver, copper, gilded, rock crystal and glass.
Necklaces/Collars of the Mayors of the city of Koln
Cologn, 1954-1955. Gold, niello gold and silver gilded on bronze and garnet.
The Domskammer really feels like you’re walking around in a medieval vault.
Left: Crosier of Philippus Cardinal Krementz, Archbishop of Cologne (1885-1899)
– Unknown artist, Rhineland, 1868, silver, gilded and enameled.
Centre: Crosier of Herman Jospeh Schmitz, Auxiliary Bishop of Cologne (1893-1988),
– Peter Oediger, Krefeld, 1893, silver, partly gilded and enameled.
Right: Crosier of Hubertus Theophilus Samar, Archbishop of Cologne (1900-1902)
– Gabriel Hermeling, Cologne 1892, silver, gilded, enamel, precious stones.
Left: Chalice Franz Christoph Mederle. Augsburg. c. 1750. Silver, gilded.
Right: Chalice, Augsburg, late 18thC. Silver, gilded.
The Lamb of the Apocalypse. Johann Heinrich Rohr, Cologne, c.1774-1780. Silver, brass, partly gilded.
Monstrance. Franz Christoph Mederle, Augsburg, 1749/51.
Pendants: c1516. Gold, silver, gilded, and precious stones.
Necklace c.1657. Donated by Archbishop Maximilian Heinrich as jewellrey for the Schmuckmadonna.
Christian Schweling, Cologne, gold, enamel, previous stones
Matching bracelet – also by Christian Schweling, Cologne, c.1657.
Processional Cross – Silver, copper, gilded, enamel and precious stones.
Enamel plates: Limoges c.1200.
Setting: Cologne, c.1220.
The Sumptuous Monstrance. Christian Schweling, Cologne, c.1657/58.
Destroyed in 1975 when theives broke into the Treasury and reconstructed by Peter Bolg 1978-1987 using original pieces. Gold, silver, gilded, enamel, rock crystal, precious stones, pearls.
Epitaph of Jakob von Crzny, Brussels, c.1518. Bronze, gilt, brass and enamel.
Bust Reliquary of St Gregory of Spoleto. Cologne, c. 1500.
Silver party gilded, gold ring with precious stone.
Bust Reliquary of St Sebastian.
Franz Wusten, Cologne, c.1875. Silver, partly gilded, enamel, precious stones.
Reliquary of St Walburga. Wilhelm Sittmann, Cologne, c.1765. Silver Gilded.
Reliquary. Johann Heinrich Rohr, Cologne, c.1766. Silver, gilded.
Two Angels as Candleholders. Cologne, c.1500, Brass, silver, partly gilded.
Left: Censer, Rhineland, c.1500, silver.
Right: Censer, Cologne, late 16thC lid, 20thC charcoal holder and foot. Silver.
Chalices all from Cologne.
Left: 15thC silver/gilded. Centre: early 14thC, silver/gilded. Right: late 15thC, silver/gilded, enamel.
Monstance, Cologne, c.1400. Silver, gilded, enamel, mother of pearl.
Donated to the Cathedral by Maria Theresia Schaefhaueun in 1846.
Electoral Sword: c.1480-90. Sheath: c.1515-1547. Cologne, Silver, partly gilded, enamel, steel, velvet.
Gothic Bishop’s Crosier: Cologne, c.1322. Silver, partly gilded, enamel.
The bishop’s crosier and the electoral sword are the symbols of spiritual and secular authority of the archbishops of Cologne. The Crosier is from the consecration of the Gothic Cathedral Choir in 1322. The sword from the reign of Archbishop Hermann von Hessen (1480-1508).
Details of above:
Chalice with paten and spoon. Heinrich J Wilma. Düsseldorf, c. 1893.
Silver, gilded, enamel, precious stones and pearls.
Chalice with paten and spoon, Franz Wusten, Cologne, c.1888. Silver, gilded and enamel.
Altar braid from the High Altar of Cologne Cathedral. Cologne, completed prior to 1518.
Silk, and gold threads. The altar braid was believed to have been bestowed by Dean of the Cathedral, Friedrich von Simmen-Sponheim. The coats of arms of his parents are appliquéd onto both ends of the braid.
Fragment of the canopy of the Madonna of Milan, Cologne, c.1280/90.
Limestone with traces of colouration.
Four apostles of the jamb of the portal of Cologne Cathedral, c.1375. Limestone
Behind: Saints Andrew, Peter, Paul and John.
Front: Angel with a bell, St Catherine, a Prophet.
Detail: the Prophet.
Prophet from the reading desk in the choir of the cathedral. Cologne, c.1300. Tuff with colouration.
Grave goods from a Frankish woman’s tomb. Located under the inner choir during renovations in 1959 were these objects belonging to a young woman of approximately 28 years old. Personal objects were burning with noble perons at that time and included these lavish jewellery items.
Rosette brooches. Gold, garnets. Frankish.
Strap tags from cross garterings. Gold and garnets.
Bow brooches, gold, garnets.
Spherical pendant. Gold, rock crystal or moonstone. Frankish.
Six Capitals – Master of the Laacher Samson, Cologne, c.1200. Limestone.
Dalmatic and stole from the Capella Clementina. Paris, c.1742. Silver fabrics, gold embroidery.
Pluvial and five mitres of the Capella Clementina, Paris, c.1742.
A forty-four piece trousseau of silver fabrics and gold embroidery.
These splendid vestments were ordered in Paris by Clemens August von Wittelsbach, Archbishop of Cologne on the occasion of the coronation of his brother, the Emperor Karl VII – 12th February 1742.
Chasuble and mantle of the Capela Clementina, Paris, c.1742. Silver fabrics and gold embroidery.
Pectoral Cross and ring. Johann Bernhardt Clausius, Frankfurt AM, c.1769. Silver, precious stone.
Burse with the Virgin on the Crescent. Germany, late 19thC. Silk, gold and silver threads.
Cope of the Angels Vestements. Germany, c.1713. Silk, gold and silver threads.
Book Cover, Johann Franz Weissweiler, Cologne, early 18thC. Silver.
Book of Hours, Early 17thC. Leather, silver, gilded, iron.
St Peter’s Banner, Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899.
Cotton, silk, gold and silver metal threads, glass stones and pearls.
Magi’s Banner. Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899.
Cotton, silk, gold and silver metal threads, glass stones, pearls.
Chasuble with coat of arms of the Hirzelin Family, Cologne, c.1480 (appliqué work).
Ground cloth replaced in 1963. Silk, linen, gold and silver metal threads.
Pluvial brooch with a figure of St Hubert. Gabriel Hermeling, Cologne, c.1892. Silver, gilded, enamel.
Crosier: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1864).
– Made by Gabriel Hermeling, Cologne, c.1862. Silver, gilded, enamel.
Mitre: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1964).
– Unknown artist, Lyon, c.1850. Silk, gold, glass stones .
Magi’s Chasuble. Joseph Grossé, Bruges, c.1901. Silk, gold and silver thread.
1) Mitre of Joseph Hammels, Auxiliary Bishop of Cologne, 1924-1944. Germany, c.194. Silk, gold threads, glass stones. 2) Bishop’s ring of Antiochus Cardinal Fischer (Archbishop of Cologne 1903-1912), made by August Witte, Aachen, c.1904. Gold and precious stones. 3) Crosier of Peter Josef Lausberg (Auxiliary Bishop in Cologne 1914-1922), made by Leo Moldrickx, Cologne, c.1914. Silver, enamel, precious stones, ivory, pearls.
Large Plate, Friedrich Toussaint, Aachen, c.1900. Silver, gilded, enamel.
Dalmatic, Peter Hecker (design) Cologne, c.1922. Erica Freund (embroidery), Cologne, c.1927.
Silk, gold, threads, steel, pearls and glass pearls.
Pluvial accessories. Peter Heckler (designer of the cope) Cologne, c.1922. Erika Freund (embroidery), Cologne, c.1927. silk, gold threads, steel pearls, glass pearls.
After the cathedral and the amazing Domskammer – we made sure to take a break and visit the famous Peter’s Brauhaus for pork knuckles and schnitzels! Of course. It was a really cool place, great facade on the building and they have a massive overflow dining area across the road, up the street a little and in the square – which was packed at the moment due to all the football fans that are here for the 2024 EuroCup but aren’t using the Fan Zones.
We managed to get a table inside.
I wanted to see the stained glass ceiling, and I did, but it was packed with people and it was impossible to get a photo of it without snapping all these folks mid-forkful, so, below is a pic I unscrupulously stole off the internet.
Naturally I went for a schnitzel, which was such a polite portion of food compared to Angus’ enormous pork knuckle dinner! So much potato though – didn’t eat any of it. I’m going to look like a schnitzel by the time we leave Germny… the cuisine here is not ideal for someone who doesn’t like sausages and refuses to eat bread or potatoes. 😛
Totally forgot to take an ‘after’ picture – he demolished that thing!
