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HE
CATHEDRAL if COLOGNE,
, its legends, history, architecture, decorations
and art treasures.
A guide for visitors,
compiled from historical and descriptive records,
as well as the official reports of the
building committee;
by
Frz. Theod. lilalti.
Translatetl from tie German
by
Capt. J. W. Watkins. (late) R. A.
Cologne.
Published by J. & W. Boisseree
(Carl Boisseree & Frz. Tlieod. Helmken.)
Contents.
Historical sketch of the town of Cologne
List of works which have been consulted
Legends of Cologne Cathedral
Albertus Magnus and the Cathedral . . .
The architect and Satan
History of the Cathedral
Plan of the Cathedral
Exterior of the Cathedral
West-Facade Page 46 I Choir . . . .
South side „ 49 | North side . .
Interior of the Cathedral
Objects of interest in the Nave and Transept
63
63
Windows in choir . .
Windows of nave, north
aisle
Windows of nave, south
aisle i, 64
Windows of south transept ,, 66
Chapel of the Virgin with Overheck's altarpiece
Seven apsidal chapels
Windows ofnorth transept
Windows in the west
porch
Statues on pillars of
centre aisle of nave
& transept ....
Page 5
,, §
„ 9
„ io
„ 13
„ 32
„ 11
,, 45
53
„ 55
Page 59
„ 32
P. 66
Page 70
„ 70
70
Of St. Stephen ....
Of St. Michael ....
Of St. Agnes with the
famous Dombild
Choir and High-Altar ....
Sacristy
Consistory, Library and Treasury
Shrine of the Magi
Ascent of the Cathedral . . .
Peal of Bells
Epilogue
Of the Magi . .
Of St. John . .
Of St. Maternus .
Of St. Engelbert.
Page 69
„ 70
72
„ 72
„ 73
74
Page 74
n 75
„ 76
„ 77
,, 83
„ 86
„ 87
Historical sketch of the town of Cologne.
Cologne, the metropolis of the Rhenish provinces, cover¬
ing a semicircle of over one mile in length on the bank
of the Rhine, was founded 37 B.C. and was named Colonia
Agrippina after the consort of the founder, Claudius Agrippa.
Agrippina, the mother of Nero, was born in Cologne and
Yitellius and Trajan were both in their turn proclaimed
Emperor in this town. The first historical records of Col¬
ogne, date from a time when ancient history was a thing
of the past and the convulsions of the middle ages were
regenerating the world. The Emperor Constantine built a
bridge here over the Rhine A. D. 308 and his mother Saint
Helena founded the church of St. Gei*eon. Thousands of
martyrs, St. Gereon with his followers, St. Ursula with her
company of heroic virgins, have watered the soil of Cologne
with their blood. In the year 355 Cologne was taken by
the Franks and nearly entirely devastated. For a short
time the city again fell into the hands of the Romans; but
in 463 the Franks reobtained possession of it. The Frank
kings Chlodwig, Dagobert and Pipin resided in Cologne
and the consort of King Pipin founded, on the spot where
the ancient Roman Capitol had stood, the church of "St.
Maria im Capitol." Charlemagne also had a palace in
Cologne. The town had already been in existence for nine
centuries and had played an important part in history when,
in the year 949, it was incorporated with the Germanic
Empire.
During the Middle Ages Cologne was one of the most
important cities of Germany, its Archbishops crowned the
— 6 —
Emperors of that land, and those prelates have on frequent
occasions occupied the position of Regent. The arch¬
bishops Bruno I. brother of the Emperor Otto I. (A. D.
953—965), St. Anno (A. D. 1055—1075), Reinald von Dassel
(A. D. 1159-1169), Engelbert I. (A. D. 1215—1225), are
all worthy of a place among the most important characters
of the Middle Ages. St. Engelbert I. was the first to con¬
ceive the idea of building a magnificent cathedral in honour
of the relics of the Magi, whose bones had been brought,
during the archiepiscopate of Reinald von Dassel, to Cologne.
The erection of the structure was however reserved for
Conrad von Hochstaden, second successor to Engelbert.
The city of Cologne vigorously defended the liberties and
privileges belonging to it by charter; its conflicts with the
archbishops, are some of the most important in German
history. The battle near Worringen, which took place in
1288, compelled those prelates to quit Cologne and to take
up their residence in Bonn. Out of these conflicts with
the archbishops, and the civil feuds between the nobility
and the guilds, sprang a commonwealth, which exercised
its influence far beyond the borders of Germany. Colognese
citizens captured Damietta during the crusades; in Cologne
the great Hanseatic League was formed; the flag of Cologne
waved over every ocean; the sciences and arts flourished
within the walls of the town; an Albertus Magnus, a Duns
Scotus and a Thomas Aquinas, taught in the schools. In
Cologne the two most important creations in the art-domains
of architecture and painting — the Cathedral and the Dom-
bild — were brought into being. Magnificent buildings, in the
romanesque as well as gothic styles, still testify to the
former power and grandeur of the city, concerning which
Aeneas Silvius, subsequently Pope Pius II., writes as
follows; "nothing can be found in Europe more spleftdid,
more rich in decoration than this town." The change made
in the highways of commerce, which followed the discoveiy
of America, the revolution caused by the reformation under
archbishops Hermann von Wied and Gebhard Truchsess
von Waldburg, and the wild times of the 30 years' war
— 7 —
caused the fall of Cologne from its proud position and led
to its entire decay; to which the finishing stroke was put
when the French occupied it in 1794, in that the city then
lost its independence and was robbed of its possessions.
The churches and cloisters were broken down; of the 137
churches and chapels which it possessed, only about 30 have
been spared. In the year 1806 the number of inhabitants
had dwindled down to 42,596.
With its annexation to Prussia, after the overthrow of
Napoleon, better days have arisen for Cologne. Its condi¬
tion improved from year to year and the ancient city is
now reflected in its pristine beauty in the broad waves of
the Rhine. The number of inhabitants in 1880 had risen
to 144,225 and splendid means of communication have made
it one of the most important centres of traffic and com¬
mercial exchange between west and east.
Cologne is now the third largest city in Prussia, an
important fortress and the chief town of the Rhenish pro¬
vince. It has 19 gates, and within an area of 3 square
miles it contains 34 open spaces, as squares, parks &c., and
368 streets and alleys. It is the seat of an archbishopric;
of a high court of justice, of the royal government and
various official departments.
List of principal Works
consulted in preparing this volume.
Albertus Magnus in Geschichte und Sage (by Dr. Thomes). 1880.
Bloemer, Fr., zur Literatur des Domes. 1847.
Bock, Fr., Knnst- und Reliquienscliatz des Domes. 1870.
Boisseree, Sulp., Geschichte und Beschreibung des Domes zu
Koln. 1823. Ansichten, Risse und einzelne Theile etc.
1822—1831.
Cardauns, Dr. H., Konrad von Hostaden. 1880.
De Noel, M. J., der Dom zu Koln. Histor. archaol. Beschrei¬
bung. 1837.
Domblatt, Kolner. Amtliche Mittheilungen des Central-Dom-
bauvereins. 1842—1880.
Eisen, F. C., neueste Beschreibung des Domes zu Koln. 1857.
Ennen, Dr. L., Baugeschiclite des alten und neuen Domes. 1863.
Frenken, Dr. J. W., das Schicksal der Werthgegenstande des
Kolner Domes. 1868.
Gorres, J. von, der Dom von Koln und das Minister von Strass-
burg. 1842.
d' Hame, A. E., histor. Beschreibung der beriihmten Erz-
Domkirche zu Koln. 1821.
Jaffe & Wattenbach, Ecclesise Colon, codices manuscripti. 1874.
Lacomblet, Dr. Th. J., Urkundenbuch. Vol. II.: Baugeschichte
des Domes. 1846.
Liitzow, Dr. C. T. A. v., die Meisterwerke der Kirchenbau-
kunst. 1851.
Poems on the Legends of the Cologne Cathedral by E. von
Groote, Annette von Droste - Hiilshoff, N. Hooker,
H. Arenz, A. L. Follen, L. Schiicking.
Schnaase, Dr. C., Geschichte der bildenden Kiinste. Vol. V. 1872.
Schmitz, Fr., der Dom zu Koln, seine Construction und Ans-
stattung. 1871—1878.
Schiicking, Levin, der Dom zu Koln. 1842.
Waldbruhl, W. v., der Fiihrer im Dom zu Koln. 1843.
Legends of Cologne Cathedral.
In the sketch above given of the history of the town
of Cologne we find the site determined on which the glor¬
ious fane of the Cathedral stands. Although so majestic in
its proportions and hold in execution, it is, notwithstanding
its massiveness, really delicate in its details; hence we
may easily comprehend how deeply the fact of its concep¬
tion and erection has impressed the mind of the German
people and exercised their imaginative faculties.
When the strength of the German nation, whose power
may he seen in the bold erections of the middle ages, had
been exhausted, as exemplified in the decline of ecclesio-
religious life and the postponement of their national unity
for centuries, they stood before the ruins of this structure
and pondered on the reasons which prevented the possi¬
bility of its completion. Instead of tracing these causes
to the want of harmony amongst themselves, the popular
imagination preferred to attribute them to the action of
supernatural powers.
Hence we may justly assume that the legends which
cluster around the Cathedral of Cologne sprang into ex¬
istence as the progress of the work was arrested. This
would be about the 16th or 17th centuries, when super¬
stition and witchcraft were at their height.
So that, when the sound of hammer and chisel had
ceased and the name of the designer had been forgotten,
the mists of mythical lore arose; and like the tendrils of
growing ivy disguising the outlines of a ruined castle, so
too the cobwebs of legend enshrouded the gigantic blocks
of the cathedral walls.
The legends of Cologne Cathedral have a twofold origin,
corresponding to the twofold tendency of the human mind
— lo¬
in which good and evil constantly strive for the mastery.
The first legend, which is connected with the Dominican
friar Albertus Magnus, ascribes the design to Divine inspir¬
ation; whereas the second legend ascribes it to the inter¬
vention of Satan.
Before proceeding to relate the history of the cathedral
and to examine its present condition by the light of con¬
temporary literature, we will lay both legends before our
readers.
I.
Albertus Magnus and the Cathedral of Cologne.
Several years before the foundation stone of the cathe¬
dral was laid, during the height of the middle ages, there
lived a man who was far in advance of all his contemporaries
in the cultivation of human knowledge. This was Albertus
Magnus.*
At this period, Conrad von Hochstaden occupied the
archiepiscopal throne at Cologne and had for some time
* Albertus born in the year 1193 at Lauingen in Suabia, was des¬
cended from the noble house of Bollstedt. At the university of Padua, he
studied more especially philosophy, natural science and medicine, and in
the year 1222 entered the order of Dominican Friars. When he had fi¬
nished his theological studies in Bologna and Paris, he was sent as public
lecturer to Germany, where he was employed in several places.
About the year 1228 he was probably appointed for a short time
public reader of his order in Cologne, for we find him in the third decade
of his life, as tutor at Hildesheim, Strassburg and Regensburg, and as
organiser of his order. About 1243 he was again in Cologne, at which
period also Thomas Aquinas was his scholar. In the year 1245 Albertus
was called to Paris, whither T. Aquinas followed him. There bishops,
prelates, princes, and clerics of the order flocked to hear him. His
fame had become very great. When (1248) a public school was founded
at Cologne, Albertus, with the title of Director of Studies, again went thither
with T. Aquinas and remained 6 years. During the year 1254 he was
chosen Grand-master of the order, and as such lived during 1256—1257 at
the papal court: at the age of 66 years (1259) he was called as bishop to
Regensburg. At the end of two years however, with the consent of the
Pope, he resigned the office of bishop in order to return to the quiet of
— 11 —
been engrossed with the thought of erecting <a vast and ma¬
jestic cathedral. With this object in view he caused the
the cloister and to resume his educational duties. He returned 1267 to
Cologne, made several journeys, consecrated churches and altars, and was
much in request as arbitrator in the quarrels of the city of Cologne
with the archbishop Engelbert von Falkenburg, as also with his prede¬
cessor archbishop Conrad von Hochstaden who laid the first stone of
the cathedral. In the year 1271, when Albertus was 81 years of age he
took part in the Council of Lyons and died at Cologne on the 15tli Nov¬
ember 1280, in his 87th year, much respected and admired for his piety,
justice and learning. It may be asserted without fear of contradiction
that Germany has never produced a greater and more versatile man of
letters than S. Albertus the Great, or Albert of Cologne, as he is also termed.
He was the embodied presentment of all theological, philosophical and
natural-scientific knowledge of his day. He was the first to introduce
the philosophy of Aristoteles to the west and rejecting the theory of the
eternity of matter he founded rational theology. Excelling all his com¬
peers in the pursuit of natural science he opened up new paths in logic
and metaphysics. He was the precursor of a Francis Bacon and of all
more modern students of nature.
His works comprise 21 folio volumes, some of which are on botany,
zoology and astronomy. The famous botanist E. Mayer says that, no
botanist preceded Albertus who could be compared with him, and Hum-
bold mentions him, in his Cosmos, as the founder of physical geography.
A perfect halo of legends and sayings refer to him or to his person.
In the popular lore of Germany he was looked upon as a magician armed
with supernatural powers, who as a handsome, golden-haired, stripling
had brought to nought the wiles of an amorous princess, who by means
of concealed machinery had made human figures to speak and move
and who on the occasion of a visit from William of Holland to Cologne
at the feast of the Magi, hence midwinter 1249, had converted the snow
covered and ice-bound yard of the cloister into a lovely garden, filled
with beautiful trees and flowers in full bloom and covered with fruit,
whilst birds of the most variegated plumage enlivened the scene with
their songs.
So much is an historical fact that, the choir of the Dominican church
in Cologne, which was pulled down at the commencement of the present
century, was erected under Albertus Magnus; whether or no it was built
according to the plans of Albertus cannot now be determined. In the
same way with the design of the cathedral; when the first stone of
the cathedral was laid, Albertus was in Paris. Although we may safely
assume that at that time the plan must have been already prepared, and
although the absence of Albert from the ceremony of laying the first
stone is no proof that he did not design the plan; still opinion is very
divided as to whether he had anything to do with it. But whether this be
so, or not, the popular legend ascribes the plan to him and will not admit
that any other than his master mind, under the direct influence of divine
inspiration, could have conceived the design for this wonderful work.
He was looked upon as the great magician of his day, about whose head
the popular imagination delighted to weave a many hued chaplet of myths.
— 12 —
monk Albertus to be summoned before him and directed
him to design a plan for the erection of a building, which
should eclipse in splendour all then existing structures.
Albertus cogitated day and night in his lonely cell over
the grand idea which had been entrusted to him; he prayed
frequently and continuously, with all the fervour of a pious
mind, that God would assist him' in the conception of a
design which was to be erected to His honour. But, notwith¬
standing all his meditation and prayer, a mist seemed to
enshroud his imagination; no picture that he could reduce to
shape, would present itself. His heart was bowed down
with anxiety and care, as, in the silent watches of the
night, he sat immersed in thought and reflection, and yet
the shadowy outline of a superb temple floated before his
mind and seemed to fill his thoughts. When he was tired
out with the strain of mental exertion he would cast
himself upon his knees and implore the Holy Virgin to
assist him in the task which he was unable alone to accom¬
plish. In this way weeks passed by. On one occasion
when Albertus had been sitting, by the flickering light of
his lamp, deeply immersed in the construction of a design,
after offering a fervent prayer for help he became over¬
powered with sleep. It may have been midnight when he
awoke. His cell was filled with a heavenly radiance and
the door leading to the hall of the monastery was standing
open. Albertus rose in terror from his seat; it seemed as
if a flash of lightning had passed before his eyes, and he
became aware of four men dressed in white cassocks entering
his cell, with crowns of gold, glistening like fire, on their
heads. The first was a grave old man with a long, flowing,
white beard covering his breast, in his hand he held a
pair of compasses; the second, somewhat younger in appear¬
ance, carried a mason's square; the third a powerful man,
whose chin was covered with a dark curly beard, held a
rule, and the fourth, a handsome youth with auburn locks,
brought a level; thus betokening that they were masters
of the sacred art of free-masonry. They walked in with
grave and solemn tread and behind them, in all her celestial
— 13 —
beauty, came the saintly Virgin carrying in her right hand
a lily stalk with brightly gleaming flowers. The virgin
made a sign to the master-masons, whereupon they proceeded
to sketch, with practised hands, a design in lines of fire
upon the bare walls of the cell. The pillars rose on high,
the arches curved to meet them and two majestic towers soared
into the blue vault of heaven. Albertus stood lost in con¬
templation and wonderment at the glorious picture thus
presented to his gaze.
As rapidly as it had appeared the heavenly vision
again vanished, and Albertus found himself alone, but the
plan of the splendid edifice which had been drawn by
the four masters of the art of architecture, under the
directions of the Virgin-mother, were traced upon his memory
in ineffaceable lines. He very soon after this presented a
plan of the cathedral of Cologne to the archbishop Conrad.
The most high-flown aspirations of the prelate had been
surpassed, the foundations of the building were laid and
future generations carried on the erection, until completed
as we now see it.
II.
The Architect and Satan.
No one knows by whom the plan of the cathedral of
Cologne was designed. But the reason why the name of the
architect has not come down to us, is given in the following
legend, as preserved in popular lore.
When the holy archbishop Engelbert, who had already
conceived the idea of erecting a grand cathedral in Cologne,
wras murdered, and his successor Heinrich von Molenark
had avenged him, Conrad von Hochstaden followed the
latter upon the archiepiscopal throne. He took up Engel-
bert's idea and for this purpose commanded a young archi-
— 14 —
tect, who had already made himself famous by the erection
of several imposing structures, to come before him and
then communicated his intention of building a fane which
should cast all existing cathedrals in the world into the
shade, by its splendour and grandeur. The young man was
to draw up a design for this purpose and should be entrusted
with the erection of the building. The architect was rather
nonplussed at the commission, shewing by the expression
of his face that he did not much like the job. The arch¬
bishop smiled on seeing this and added: "Go your way now
Sir, you will doubtless be able to cany out your instructions,
although your modesty does at present impel you to decline
the honour."
The architect left the presence chamber and as he stepped
into the open air his breast swelled, with conscious pride
his eye flashed and the streets seemed too narrow to con¬
tain him. Going along in this way muttering to himself:
"A fane which shall surpass every cathedral in the world!
a name which shall surpass every other name!" he came at
last to the banks of the Rhine in the neighbourhood of the
Frankenthor. A cool breeze fanned his temples and the
moon was reflected in the waves of the Rhine rolling on
in its majesty. The architect threw himself upon a seat
and began to trace all sorts of lines, straight and curved,
in the sand with his stick, till at last a drawing appeared
which bore some resemblance to a design. "I have it!"
exclaimed the young man. "Master! Master! who will be
your equal in future generations!"
Suddenly he heard a coughing and rustling close to
him and a small voice said softly: "That is the minster of
Strasburg. The architect looked up quickly and saw in
the shadow of the wall, a grey old man, thin and tall, though
bent and weak, standing near him; and as this person
again, with a malicious smile, said "You have invented the
design of the Strasburg minster" the architect waxed wrath,
he rubbed out his drawing and drew a fresh outline in the
sand. "That is the Cathedral of Spires" said the stranger.
Whereupon the architect for the third time began to draw
Htan with his stick, but the stranger merely smiled as it
^vas completed and uttered the one word "Rheims."
Beads of perspiration stood upon the brow of the young
man and he exclaimed "The d—1 take you; if you know
everything so much better than I do, take the stick yourself
and draw something better!" Whereupon the old grey-beard
took the stick, coughed a little and bending still more drew
a plan in the sand, as if so doing had been child's play, but
so full of grand conception and beautiful symmetry that the
young man confessed to himself he had never in all his life
seen anything to approach it. When the sketch was finished
the stranger at once rubbed it out. "Whei*e do you come
from?" asked the architect; "I do not come from any place
in particular, I am everywhere" was the reply. The young
man drew a small bag out of his pocket and said: "Sell me
the plan." The stranger however again smiled and throwing
a handful of gold pieces at him, said with a leer "Not at
that price." — "At what price then?" — "As the price of
your soul" was the reply of the stranger, who whilst speak¬
ing the words seemed to grow taller and taller, as though
he would at last be able to look over the wall of the town.
The architect gave a scream of terror and made the
sign of the cross. He fell to the ground and the cool breezes
of the Rhine blew about the locks of hair which clustered
around his temples; but he did not feel the wind for he,
lay all prostrate and unconscious in the silvery beams of
the moonlight.
On recovering his senses, the stranger and the plan
had disappeared; the night was far spent and the morning
was breaking when the architect regained his home. Sleep
was out of the question, for his pulses throbbed with the
fever of excitement; he seated himself therefore at a table
and commenced to sketch the outline, which the stranger
had drawn in the sand and which was burnt with lines of
fire into his imagination: but he could not hit the right
proportions. The lengths became mixed up with the breadths;
at first the arches were too large and then again too small;
as soon as he took up a pencil, his memory seemed to desert
him. After sitting and working thus for a long time in
he went out into the open air and performed his morning
devotions in the Church of the "Twelve Apostles."
Still he could find no rest, some impulse seemed to
compel him to walk up and down the banks of the Rhine.
At last as the evening drew on he found himself again at
the Frankenthor. The stranger was standing at no great
distance, drawing with a stick upon the moss-grown surface
of the wall and wherever the stick passed a faint blue line
of fire followed it. The architect stood still and watched
in amazement how the delicate arches and spandrils and
the rows of columns gleamed forth for a moment and then
disappeared.
The old man seemed to become aware that he was
being watched and turning round said to his observer
"Will you buy my design now?" The architect drew his
cloak closer about him, for a cold shiver passed through
his frame as he saw how the stronger went on with his
drawing, without even looking at fi[hat he was doing and
yet the lines seemed to fall naturally into their right places?
forming a splendid gothic doorway, which for a moment
glistened in all its beauty upon the moss-grown wall and
then faded away. "Will you buy my design now?" —
"Yes" faltered the young man, trembling in evei-y limb.
The old man let fall his stick and plucked a single hair
from the architect's beard with the words: "Tomorrow, at
midnight!"
When the young man awoke the next morning the
sun was shining brightly into his room. He got up in good
spirits and rejoiced to think, as he opened his window, that
soon, very soon, a gigantic building would overtop the roofs
of the houses in the town and that his name would over¬
shadow all those of his compeers. His housekeeper, who
had taken the place of his mother ever since he could re¬
collect, now came in from the church, where she had been
praying for some poor soul, and found him pacing up and
down his room, in feverish excitement, muttering about
the plan and the fame which should once be his. She
— 17 —
begged of him to give up his mad longing for fame. "Let
the archbishop" she said "get the design as best he can,
only don't have anything to say to Satan at the Franken-
thor"; and when, by her advice, he had been to confession
and had partaken of the holy sacrament he did become
more calm and composed; but, as the day went on and the
sun began to sink in the sky, the hours seemed to pass
with leaden footsteps and he could obtain no peace; at
one time he would sit down contemplatively in his room,
at another he would pace up and down like some caged
wild beast. At last the witching hour of midnight drew
near. He could restrain his restlessness no longer and the
old housekeeper seeing this put a silver crucifix into the
breast-pocket of his coat and sprinkling him with holy water,
made the sign of the cross on his forehead, lips and breast,
saying, "You have an evil encounter before you master! May
the saints protect you!" The architect went out into the
silent streets and, as he passed over the lowered draw¬
bridge of the Frankenthor — the clock struck twelve!
The stranger was already there before him, sitting on
the bench under the shadow of the wall; only the tassel of his
cap on his bowed head was illuminated by a ray of the
moon. He was evidently not asleep, for as soon as he saw
the architect coming he greeted him with a nod and moved
a little on one side in order to make room for him to sit
beside him upon the bench.
"Give me the drawing!" said the architect going up to
the old man. "Well then sit down a minute my friend and
contemplate the beautiful effect!" and saying these
words the latter unrolled a parchment, on which the design
was clearly and distinctly drawn out. It was complete.
Ground plan and elevation, longitudinal and transverse
sections, together with detail drawings were all there, and
the doorway, which he had admired so much the previous
evening, was also not wanting. With fierce haste the archi¬
tect snatched at the plan and the old man made no attempt
to resist him; but allowed him to stow it quietly away in
his breast-pocket, whilst he himself drew another parchment,
2
— 18 —
smaller than the former one, out of his coat sleeve and
proceeded to unfold it. There were only a couple of lines
written on this deed, for such it appeared to he, hut they
gleamed and glistened with a bluish flickering flame. "Now
my friend", said the old man, "there is still one little
formality to be gone through; you must sign this contract
with a drop of your pretty red blood! You have made a
capital bargain. You must admit, the plan is the finest ever
conceived by an architect and what do I get in exchange
for it? Nothing but a miserable soul! My dear fellow, you
little imagine what a worthless thing that is; and who
knows hut what it would have come to me of its own
accord."
Talking in this way, Satan — for the old man was
none other than that very personage — seemed like a huck¬
stering old Jew trying to enhance the value of the wares
he had to dispose of whilst depreciating the price he was
about to receive. During the conversation he stretched out
his finger, in order to make an incision with a lancet in the
arm of the architect, in which to moisten the pen he held
in his left hand.
At this moment the architect drew from the breast¬
pocket of his coat the silver crucifix and holding it before
the fiend exclaimed with a loud voice "Get thee behind
me Satan! In the name of the Holy Trinity, I abjure thee
and all thy works!" "Accursed priest-ridden slave" yelled
the fiend recoiling and he again drew himself up to such a
height, as though he would look over the town wall. He
tried to snatch the drawing out of the young man's breast¬
pocket, but in vain, the crucifix was always in his way
and when his claws came in contact with it he was obliged
to draw back like a cat wetting her paws.
"Keep the plan then" screamed Satan, "hut as it is
still my property I will curse it. It shall never be executed
and the work shall never be finished; besides which, as
soon as the soul shall have quitted your body, your name
shall be forgotten." The earth opened at the young man's
feet and a dense smoke arose from it; but when the chasm
— 19 —
had again closed and the vapour had passed away the fiend
was nowhere to be seen.
The building was commenced; but the architect, in lieu
of thanking God humbly and heartily for aid--in the hour
of his need, chafed, so much, at the curse of the fiend, by
which the work should never be completed and his own
name should be forgotten, that one morning he was found
dead in his bed.
Another legend makes the life of the architect to end
in a different way.
When the devil saw that he had been duped and that
the erection of the cathedral still went on, he tried in all
kinds of ways to interrupt the beautiful and holy work. It
irritated him to see the walls rising higher and higher; but
more especially — when the pillars of the choir were topped
by the vaulting of the roof and when the pinnacles above
pointed to the throne of that Almighty Being, whose name
was to be worshipped and whose praises were to be sung
in the building which they surmounted — then Satan did
indeed gnash his teeth.
One day when the architect was going about the finished
portion of the work, measuring with his rule and giving
instructions to the workmen, a journeyman came up.to him
and said "Master, you are taking a deal of unnecessary
trouble, the building will never be completed but will
always remain an unfinished fragment." Enraged at the
fellow's impertinence in thus addressing him, he replied "You
have no faith in a work which is intended to reach to heaven;
and therefore you are unworthy to be employed upon it."
The journeyman made a gesture of scorn and answered
"You'll repent giving me the sack, for I will construct a
canal from Treves to Cologne to bring water up to the
doors of the cathedral before the spires are finished!''
"That you will never accomplish!" said the architect and
they parted, both men going about their immediate tasks.
When the journeyman, who had at once left off work
at the cathedral, had reached the heights of the Eifel, a
volcanic range stretching away to Treves, he came up
2*
— 20 —
with a man of withered aspect, limping and possessing a
cunning, unpleasant cast of features, who was wearing a cap
with a scarlet feather in it. The two walked on chatting
over various topics and amongst others the journeyman
began to talk about the cathedral, how he had been turned
away, and how it never would be finished, how that he in
fact had pledged himself to construct a canal from Treves
to Cologne* before the architect should be able to put up
the finials on the spires. On hearing this, the stranger,
who had spoken of himself as not unacquainted with archi¬
tectural art, exclaimed: "Take me with you, I will work
hard and help you to finish the canal, if you will promise
to work for me as soon as the enterprise is completed." The
journeyman agreed to the proposal and signed a contract
to that effect with his own blood.
The canal was commenced and years were passed in
the laborious undertaking. The work was carried on over
hill and dale. The stranger was acquainted with all the
laws applying to water-works, and, when the "canal had
reached the top of the hills surrounding the ancient town
of Cologne at a distance of 5 or 6 miles, the journeyman
and the stranger saw the cathedral standing before them
in the plain. The choir was finished, the south tower
rose above it and on the latter stood the crane. From
their point of observation they could see how industriously
everybody was working and how much need they themselves
had of straining every nerve, if they wished to accomplish
their task within the given time. However if no unforseen
accident should interrupt their labours the work was as
good as done.
The cathedral architect had laboured without ceasing.
His fame was assured and his name was known all over
the world. Pride puffed him up; he had quite forgotten
* This portion of the legend refers to the Roman aquaduct which
was constructed from the neighbourhood of Schmidheim to the Eifel
mountains, in order to supply Cologne with water. Remains of this
aquaduct may still he seen in many places between Cologne and
Schmidheim.
that the design was not his own and that he ha*
■God for his assistance in that little episode at the 1L
thor. But when men are well off they often forget ti*
own weakness, and thankfulness is a virtue which few possess.
The architect had frequently heard others talking of
subterraneous sounds which had been heard coming in the
direction of the cathedral; but in his self-sufficiency he had
taken no particular notice of this.
One day, when he was measuring about on the scaffold¬
ing, and giving his orders to the workmen, he looked
down from one of the towers upon the town. Suddenly
the ground opened at his feet and a wicked-looking worm
crept out, followed by the journeyman. When the latter
.saw the architect standing on the tower,, he called out to
him "The canal is finished master; hut the cathedral never
will be!" At the same
y. moment the dam gave
way and the waters
came pouring out, bea¬
ring with them a duck
from Treves, which
was to be the sign of
the accomplishment
of th*e task.
The architect was struck dumb with astonishment
With the words "Heavens! how shall I avenge this dis¬
grace;-' he threw himself from the tower into the yawning
chasm and his faithful
dog jumped after him.
The worm at the same
moment broke the
neck of the journey¬
man and carried away
his soul; for the worm
was no other than the
cunning-looking, lim¬
ping stranger, and he was Satan impersonated, who, for
once at least, had not been duped of his bargain.
— 22 —
lie centre pillars of the first and second stages
"west side of the south tower may still be seen a
iple of ancient gargoyles, which are said by the people
to be true likenesses of the original architect and his dog.
Thus the magnificent building remained unfinished until
our clay; hut the architect has often been seen walking
about the desolate walls with a measuring rod and pair of
compasses in his hand. He is always dressed in a green
coat with a grey cap on his head — there is no rest for
him in the grave. He has frequently been heard to
exclaim "I erected this building, I cannot rest until I hear
the old crane moving again; as then I shall be able to
hand over my measuring rod to a competent successor."
When, during the present century, a deeply religious
and generous feeling again awoke, the ancient power of the
people and the national spirit arose. The competent men
were found and among the desolate walls of the cathedral
fresh life commenced. The Evil One had not only been
robbed of his plan, but his curse was overcome and since
then the old, unknown architect has never again been seen.
His soul has at last found rest.
History of the Cathedral.
On the spot where the present building stands, a cathe¬
dral also stood during the time of the emperor Charlemagne
and of archbishop Hildebold. In the course of subsequent
centuries this structure was much altered and enlarged, so
that, at the commencement of the 13th century, according
to all descriptions that have reached us, it was a handsome
erection, having two choirs, two crypts and four towers. The
number of upper windows in the nave, 24 on both sides,
leads us to conclude that its dimensions too must have
been anything but insignificant; still it seems no longer to
have sufficed for the progressive requirements of the age
and for the increasing importance of the town; moa*
— 23 —
especially when, owing to the fact of the relics of the Magi
having been brought from Milan to Cologne at the time of
the emperor Frederick 1 and archbishop Reinald von Dassel
(1163), this fane to which pilgrims from all parts of Europe
flocked, required to be endowed with greater splendour.
Hence archbishop Engelbert I conceived the idea of building
a new cathedral, which should surpass all others in magnifi¬
cence and should be worthy of the great city of Cologne;
but he was not permitted to carry out his design, as in
1225 he was foully murdered near Gevelsberg in the vicinity
of Schwelm.
When, during the month of March 1248, under the
archbishop Conrad von Hochstaden (1238—1261), the chapter
determined upon commencing to build a new cathedral —
the old one having, in that year, fallen a prey to the
flames — the foundation stone of the present building was
laid on the 15th August 1248, the festival of the Assumption
of the Virgin, with great ceremonial pomp and solemnity.
Over the name of the architect, who prepared the designs,
there still hangs an impenetrable veil of mystery, which it
is difficult to conceive will ever be completely cleared up.
Tradition mentions the Dominican friar Albertus Magnus as
the inventor of the plan. The latest researches however
leave no doubt that a certain architect, called in the docu¬
ments Gerhard de Rile, whose surname is derived from
his birth-place of Kiel, a village near Cologne, was the
first superintendent (Rector fabricae) of the building of the
choir and probably also he was the inventor of the design.
The choir, commenced by him, was carried on by his
successor Arnold (1295—1301) and completed by Johann
(f 1330) son of the latter, being finally consecrated 1322 by
archbishop Heinrich von Virneburg. The architects who
subsequently carried on the work, are here given in chi'ono-
logical succession; Rutger(1330—1332), Michael(f about 1368),
Andreas von Everdingen (f about 1412), Nicolas von Bur en
(f 1446), Conrad Cuyn (1469) and Johann von Frankenberg
(1469—?). The first intention seems merely to have been
to add a choir to the existing building, for only when the
— 24 —
choir was finished do we hear of a resolution to make the
nave correspond with it, and to pull down the older portions
which had been left standing. In the year 1347, the erection
of the walls of the nave and of the southern tower was
commenced. The troubles of the empire and the constant
feuds between the archbishops and the townsmen, were
however by no means conducive to speedy progress. In
the year 1437 the southern tower was so far advanced that
the bells could be hung; it had therefore reached the same
height as it possessed in 1868, when the old crane, which had,
during the 15th century, been erected on a platform, for the
purpose of raising building materials, was finally "removed.
During the 16th century the northern aisle of the nave
was completed and in 1508 the stained glass windows, which
still exist, were put in. But as the shafts rose and the
arches curved over them the star of the empire sank lower
and lower; corruption from above, joined hand-in-hand
with decay from below, to mar the whole! The building
proceeded with sluggish steps, funds for prosecuting the
design flowed in more and more sparsely and, in the year
1560, the work came to a complete stand-still. Hammer
and chisel were at rest, the workmen's sheds were deserted,
the crane no longer creaked, there was no more occupation
for a cathedral-architect and the Magister Fabricae devoted
his attention solely to the execution of any urgently needed
repairs. The tooth of time gnawed away at the stonework
and in the interior many a piece of decorative work was
sacrificed to the pedantic taste — or want of taste — of the age.
Thus the cathedral of Cologne remained unfinished and as
Sulpiz Boisseree very aptly remarks: "it was a twofold
symbol; on the one hand of the most sublime ideas, the
greatest firmness of will and lavish artistic power, and on
the other, of a disintegrating want of unity. . It was a
symbol of the entire history of the German nation." At the
end of the 18th and commencement of the 19th centuries the
period of revolutions and wars brought with it still greater
misfortunes for the cathedral. Plundered within and
without, it was converted into a store for forage and the
i great Napoleon 1, had no more than a passing expression of
I admiration to waste upon the picturesque ruins of this
: splendid masterpiece of bygone ages. Our own poet William
Wordsworth seemed to despair of human powers accomplish¬
ing the task of completion, when he wrote:
"O for tlie help of angels to complete
This Temple — Angels governed by a plan
I Thus far pursued (how gloriously!) by man,
Studious that He might not disdain the seat
Who dwells in heaven! But that aspiring heat
Hath failed; and now, ye Powers! whose gorgeous wings
And splendid aspect yon emblazonings
But faintly picture, 't were an office meet
For you, on these unfinished shafts to try
The midnight virtues of your harmony."
Tlie Cathedral in 1824.
With the resuscitation of national life, after the glorious
struggles for liberty, we again find a revival taking place
of the dormant affection for the grand works of ancient
masters. When the German nation awoke to a perception
of what was due to itself, a new era dawned for this
work also. Men, such as G. Forster, Fr. Schlegel, J.
Sulpiz Boisseree,
born 1783 died It 54.
v. Gorres, the brother?^
Sulpiz & Melchior Bois¬
seree, W. Goetlie and F.
Wallraf, all called atten¬
tion to the beauties of
the cathedral and arous¬
ed an appreciation of
and affection for this
work. It was more par¬
ticularly Sulpiz Boisseree
who, by the publication
of his magnificent work
on the cathedral of
Cologne and the re-dis-
covery of the original
plan, gave an impetus to the interest taken in the cathedral
in higher circles. When the chief consulting architect
Moller and Mr. Schmkel both proved the possibility of com-
-pleting the structure, His Majesty King Frederick William III
of Prussia determined upon undertaking a restoration of
such portions as had suffered from the effects of weather
and wilful damage: the Prussian Government granted an
annual subsidy of 10,000
Thalers — £ 1500 which
was at once doubled by
means of a cathedral tax,
imposed by the archbishop,
Ferdinand August von
Spiegel. The restoration
was commenced under thq
direction of Fred. Adolph'
Ahlert (f 18133) and was
carried on after 14th August
1833 by Zwirner. But the
chief lever, which gave an
impetus to the progress of
the work, was the newly-
kindled enthusiasm of the
J. v. Gorres,
born 1776 died 1848.
— 27 —
German people towards the finest ecclesiastical monument
of its past existence, in the ruins of which the nation saw
a mournful type of its own want of unity and in the com¬
pletion of which it recognised a debt of honour due to the
church and a symbol of its own intellectual progress and
power. Thus the idea of finishing the building became
more and more vivid and took deeper root in the popular
mind. In this way, on the 14th February 1812, the central
building committee (Central-Dombauverein) was instituted,
under the patronage of King Frederick William IV of
Prussia, possessing a number of branch committees. Its
object was to collect funds, by means of a suitable organ¬
isation, for prosecuting the erection of the cathedral. The
central committee under its president E. von Groote f 1864
consisted of the President of the Government von Wittgen¬
stein, f 1869; Chief Councillor Rolshausen, f 1861; Judicial
Councillor F. J. Esser, f 1871, and Accountant General
J. J. Nelles, who have been able, by unceasing exertions, to
excite an interest in the building and to influence the disposal of
considerable donations and legacies for the decoration of
the magnificent structure. Such men as Mr. Fr. Bloemer,
Levin Schucking, Dr. G. Pfarrius, Dr. A. Reichensperger,
M. J. de Noel, J. Kreuser & Dr. Ernst Weiden, endeavoured
by word of mouth, as well as by their writings, to win new
supporters for the good work. King Frederick William IV
of Prussia, who was a great lover and patron of art and
deeply interested in the prosecution of this national under¬
taking, granted an annual subsidy of 50,000 Thlr. = £ 7500,
from the State coffers and all the different German States
under their various rulers — of whom Ludwig of Bavaria
was conspicuous for theliberality of his donations in money
and treasure — combined to furnish ample funds for carrying
on the most magnificent architectural feat that the world
has ever witnessed.
Found was the master, laid was the ancient ban,
Love of the work inspired the heart of every man. *
Ernst Zwirner, who was born on the 28th February
1802 at Jacobswalde in Silesia, proved to be a worthy
— 28 —
director of the cathedral works, and he has always kept in view
the completion of the design in its integrity. The proposal for
covering the nave with a wooden roof and leaving away the
flying buttresses was very properly rejected, the aisles being duly
arched in and surmounted with their pinnacled embellishments.
On 4th September 1842, the foundation stone for con¬
tinuing the erection of the cathedral was solemnly consecrated
by the coadjutor archbishop John of Geissel and laid in
its place by King Frederick William IV of Prussia, in the
presence of a number of princes, bishops and noblemen,
amid the joyful acclamations of a multitudinous assembly
of the people. The artistically-minded monarch held, on
that occasion, the following memorable speech: "Gentlemen
of Cologne! great things are happening to-day in your
midst. This is, I feel no ordinary building. It is the
work of brotherly feeling amongst all Germans, amongst
all confessions. When I reflect on this fact, my eyes
fill with tears of joy and I thank God for having permitted
me to see this day. Here, where this stone is being laid,
hand-in-hand with yon
towers, the finest gates
in the world shall
arise. Germany is
building them, and
may they, by the grace
of God, be the portals
through which Ger¬
many shall enter upon
new, grand, and good
times. May all that
is evil, ungenuine, un¬
true, and therefore un-
German, be put away
from them. May this
path of honour never
admit any dishonour¬
able attempts to un¬
dermine the unity be-
King Frederick William IV of Prussia,
1840—1861.
— 29 —
|tween German princes and their people; to shake that peac
which reigns amongst all classes and confessions; may that
spirit never again find admittance here, which once in¬
terrupted the building up of this House of God, yea—the
building up of the Fatherland! The spirit which erects
these gates is the same as nine and twenty years ago broke
our fetters; as prevented our country being disgraced and
this river's bank from becoming foreign soil; that same
spirit which — as it were impregnated with the blessing
of the dying father of the last of the three great princes —
demonstrated, two years since, to the world, that it exists
in all its youthful vigour — the spirit of German unity
and power. And may this grand work testify to yet unborn
generations, of a Germany, which, owing to the unity of
its princes and people, is great and powerful, and bloodlessly
compels peace among the nations of the world! . . God grant
that the cathedral of Cologne may look down upon a Ger¬
many and upon periods productive of peace amongst men
as well as peace with God, until the end of all time!"
After the building had proceeded for six years the
ientre-aisle could, in the year 1848, be furnished with a
temporary roof and the side-aisles be arched in. The south
aisle was in the meantime provided, by the munificence of
King Ludwig I of Bavaria, with splendid stained glass
windows. On the 14th August of the same year — so im¬
portant a one in the annals of Germany — the centennial
anniversary of laying the first stone and at the same time
*>f the consecration of the cathedral, performed by archbishop
Ifohn of Geissel, was celebrated in the presence of King
Frederick William IV of Prussia, the German Imperial
Regent, Archduke Johann of Austria, several bishops and
a numerous assembly of grandees, together with the
[deputies of the Frankfort branch of the German National
Assembly.
From that time forward the progress made with the
juilding has been surprising. Under the direction of Mr.
Zwirner the grand work, with the "exception of the two
;owers, made enormous strides towards completion. At the end
— 80 —
of the year 1849, the entire
south facade with its deli¬
cate tracery, ornamental
finials, and numerous pinna- ,
cles, was finished and the I
north front was very far
advanced. On 14th May
1850, the first stone for the
continuation of the north
tower of the west front was
laid.
The outside walls of the
nave and transept were
finished in 1854 and on 3rd
October 1855, the gable
point of the south faqade
could, in the presence of Frederick William IV, be sur¬
mounted with the appropriate finial; the same occasion!
being taken advantage of for laying the foundation stone
of a new standing bridge orer the Rhine and of a
museum. The roof, made of iron was finished by that time
and put on, and over the intersection of nave and transept,
the centre tower, also constructed of iron (360 feet), was
The Cathedral. 1852.
Ernst Frederick Zwirner,
horn 180'i died 1861.
— 31 —
erected, rising 1587^ feet above the ridge of the roof, which
again is 20172ft- from the ground. On I5tli October Zwirner
planted the golden star on the spire of the central tower.
Thirty years did Zwirner spend as chief architect of the
cathedral; to his activity and earnestness in the work, may
be ascribed the important position taken by the cathedral
workshops, wherein were trained such men as Frederick
Schmidt of Vienna, Vincent Statz of Cologne, and Franz
Schmitz the publisher of the new grand work on the
cathedral, all of whom have deserved well for their zeal in
furthering the prosecution and completion of the work.
When, on the 22nd September 1861, Zwirner died, the
superintendance of the building operations was transferred
to Richard Voigtel, Inspector of public buildings, who had
been employed on the works ever since 3rd April 1855.
In the year 1863 the north and south entrances, all the
flying buttresses with their pinnacles, and the clerestory with
its numerous gables were completed, whilst the north tow<^
was carried up so far that the middle-aisle could be per-
imanently roofed in.
When the nave and transept had been completed, the
'inner partition wall, which had for centuries separated the
nave from the choir, was removed in the autumn of 1863
and on the 15th October
of that year the entire
interior of the building
was dedicated, by cardi¬
nal archbishop Johann
von Geissel — in the
presence of numerous
bishops and with great
solemnity — to the pur¬
poses of divine worship.
The object that had
been hoped and longed
for during centuries was
now an accomplished
fact, with the exception
Cardinal Archbishop J. v. Geissel,
born 1796. 1842—1864.
— 32 —
of the towers. The cathedral of Cologne, the most magni¬
ficent gothic structure in the world, was available for use!'
The sole attention of the workmen could now bei
directed to the completion of the towers, and in 1868 the
northern tower was brought up to a level with the southern.
The old sign of the town of Cologne, the cathedral crane,
after remaining unused for centuries; — during which
it had no longer served the purpose for which it was origin¬
ally erected, but had rather stood forth a sad type of the
town; and like a gigantic note of interrogation placed over
the colossal fragments of the cathedral, had looked down
over the city and the country around — disappeared, on the
13th March 1868, in order, at the bidding of the unani¬
mous will of a new period, to make way for more modern
scaffolding and machinery.
The superintendent of the building, Richard Voigtd,
found himself now face to face with a task of no ordinary
magnitude, viz: the completion of the towers, which had
at that time attained a height of about 186 feet. For the
purpose of obtaining sufficient and ample funds for com-
I— 33 —
leting the towers in as short a space of time as possible,
ne State sanctioned a scheme, prepared by Messrs. Mevissen
and Oppenheim Commercial Councillors, for a Cathedral-
Lottery which was to continue for 8 years from 1865, and,
when that period had expired, an extension of another
8 years was granted.
In addition to the subsidy provided by the State, the
ollections made by the Cathedral Building Committees and
rivate donations and legacies, an annual sum of 540,000
dark = £ 27,000 was thus placed at the disposal of the
athedral treasury. By these combined efforts ample funds
Ivere obtained for completing the erection of the towers on
the grandest scale.
, A. steam engine, for the purpose of raising building
materials and blocks of stone, was erected and, on 2nd October
1869, steampower, that mighty agent of the nineteenth
century was pressed into the service of the sublime con-
eptions of the middle ages. On the above named day the
,rst block of stone was raised, by means of a steam-crane
ilaced on the northei'n tower.
Year by year the two gigantic steeples visibly grew
igher and at the same time the laborious and difficult work
©
of restoring the weather-
beaten south tower and
the decorative work of
the interior and of the
doorways was hurried
forward.
The reports of the
Building Committee, ex¬
tracts from which form
the basis of our subse¬
quent narrative, shew the
restless activity with
which the completion of
the cathedral was pushed
on, under the guidance
of its indefatigable and
K. Ed. Richard Yoigtel,
born 1829.
— 34 —
tatented superintendent, the cathedral-architect and stat
councillor Richard Voigtel.
The Franco-Prussian war of 1870—71 produced {
disturbing influence on the progress of the building
the withdrawal of workmen and interruptions in the
transport of stone, exercising a material power of hindrance
to the work. Nevertheless the third story of the souther
tower visibly progressed and, notwithstanding the ver
rich ornamentation and the numerous gables with which :
is embellished, attained a height of about 213 feet. At tb
end of 1871, all the tracery of the windows and the arc he;
over the four windows of the third story of the tower, a'
well as the springings of the arches, were completed in the
workshops.
In the year 1871 moreover, 22 bronze cannon captured
from the French and weighing 25 tons were handed over
to the Building Committee for the purpose of being cast
into a large bell, which was satisfactorily accomplished in 1°7^
It has been named the "Emperor's Bell" and weighs 27 1 7'M
The continuation of the towers as proposed in pfl
estimates for the year 1872 was duly carried out, up to tlfl
third principal string-course. At the same time the oper;H
tions of the year 1872 included those very important stru«
tural modifications, which the transition of the externa*
walls of the towers from a four sided to an octagonal figurJJ
involved. I
In the year 1873 the progress made in erecting the!
towers was confined to the completion of the enriched frieze,J
finishing the roof and laying the sockets for the octagoJ
of the fourth story. Other important operations were,
the same time materially pushed on; thus, the front wfB
enclosing the nave at the west end, containing the chiW^
window with its double triforium and double tracery, was J
finished. The dimensions of the window are 2072 ft, broad i
by 4772 ft, high.
The canopy over this window was finished and the
thorough restoration of the abutments and pinnacles of the
southern tower, which had been exposed to the destructive
— 35 —
action of the weather daring 300 years was also accom¬
plished.
The building up of the western facade gave the exterior
walls of the cathedral a completed appearance; in like
manner the putting in of the massive vaultings, being the
first solid finish to the towers in the interior, brought out
the enormous dimensions of the compartments in the third
story. The spreading groined roofing, composed of richly
profiled ribs of cut-stone and carefully executed copings of
hewn tufa, covers a superficial area of about 512 sq. ft, and
has a diagonal span of about 48 ft. The entire height of
the chamber in which the peal of bells is hung, is about
•83 ft. During the year 1874 all the workmen were em¬
ployed in getting ready the blocks of free-stone for carrying
up the fourth story of the south tower.
Whilst the towers of the cathedral, from the ground
to a height of about 2291/^ ft, are square, both within and
without, at the third chief string-course the so-called Octa¬
gon reaching to a height of about 308 ft, commences.
Upon the four angles of the towers left free by the
transition to the octagonal form, there rise corner pinnacles
which are perfectly detached from the octagon. In the case
of other churches such pinnacles usually consist of mere
shafts, but in the case of Cologne cathedral they are inde¬
pendent towers, about 100 feet high and 20 feet diameter,
the summits of which reach above the commencement of
the open-work stone spires. How lavishly ornamentation
has been employed, even at this height, may be gathered
from the fact that 1510 is the number of separate and
•detached ornaments, such as pinnacles, crockets, spouts and
chapiters, which, cluster round the octagon, in both towers.
All these works on the octagon or fourth story of the
tower, as well as the ornamental string-course to it, were
completed in the years 1875—1876.
Besides the above, the groined roof in the third story
of the northern tower and the relieving arch over it, were
put in. Whilst these operations were going on, the two
arched chambers between the towers were roofed in and
3*
— 36 —
consequently the interior as far as the nave was concerned
was completely finished. By the end of 1876 both towers
had reached a height of about 30Q feet; so that in February
and March 1877 the plates for receiving the stone steeples
could be laid, and when the vaulting of the fourth story had
been turned, the building of the two gigantic spires could
be simultaneously proceeded with.
In the meantime the central shaft in the south towerr
which is intended to support the iron bell-cage on the third
floor, was raised to its intended height of 180 feet, and the
whole peal of bells including the Emperor's bell was raised,
into position, by means of an hydraulic press — without
any accident — between 13th July and 7th August 1877.
The plastic decoration of the doorways and of the in¬
terior, as well as the tedious and difficult work of restoration
on the south tower, the pinnacles, cornices and tracery of
which, as high as the second story, had been entirely de¬
faced by the action of the weather during the lapse of
centuries, was at the same time vigorously pushed on.
Whereas the erection of the external walls of the
towers necessitated the preparation and raising of numerous
plain blocks of stone and simple carvings, when the steeples
were commenced the work was entirely confined to cutting
the richly profiled hips, horizontal plinths and tracery for
the rosettes and carrying out the crockets.
How extensive and comprehensive the work required1
for the erection of the two towers was, may be judged of
by a perusal of the subjoined figures:
The hip mouldings of the two spires, formed by the abutment of
each course of stone, amount to a total of 2624 running feet; the number
of large crockets is 448, of which each, having a relief of 21/.- feet, cost
including the price of material, 238 Marks = £ 11.18s; thus for the crockets
on the hips of both steeples 106,624 Marks = £ 5,331.4s, were paid. The
open work of the tracery in the rosettes between the hips — taking the
depth of profile to be 2 ft — amounts to 2-50 sq. yds. The tracery of the
rosettes in both towers, if fitted together, would occupy a space equal to
two thirds of the entire flooring of the interior of the cathedral.
As it was necessary for putting up the spires and their
finials to raise eight tiers of scaffolding in all, the skill of
the workpeople was the more called into play as the con-
— 37 —
atantly increasing height necessitated increased care in
unlashing, raising and relashing the timbers.
This scaffolding itself was a complete marvel in joinery
and the care displayed by the architect and his workpeople
cannot be sufficiently praised, when we consider that, even
at this giddy height, not a single accident occurred; although
the timbers were often exposed, in a most dangerous manner,
to the effects of storms from all directions.*
The spires progressed rapidly and in the spring of
1880 the finials were standing finished at the foot of the
towers, awaiting their final placing in position. Each finial
The Cathedral, with scaffolding. October 1880.
* 826 steps led from the floor of the cathedral up to the finial, the
height to which visitors were allowed to proceed; to the upper
platform, about ten feet above the knob of the finial, there were in all
553 steps.
— 38 —
is built up of about 20 separate pieces and weighed nearly
50 tons when first put up; but when in position it was
found that the wreath of foliage was too massive, producing
a heavy effect. Hence the too severely square form of the-
wreath was altered and the foliage was undercut, as far
as the safety of this colossal mass would permit. It is
probable that the weight of each finial has been reduced
by this process by about I21/a tons. Twice the finials were
surrounded with scaffolding and the work was continued
from October 1880 until February 1881. On 12th February
1881 the removal of the scaffolding from the spires could
be proceeded with.
The building and erection of these
colossal ornaments, the raising of the
huge bells, and the construction of the
steeples at a height never hitherto
attempted, are of themselves engineering
feats which will permanently connect
the name of the last architect, Richard
Voigtel, with the cathedral. During the
months of July and August 1880, the
separate blocks composing the finials
were hoisted up by means of an iron
wire rope and on the 14th of August
" ' 1 5 5 the last block was raised. About 10*
Finials of the steeples on that day the dressing of the
previous to being towers with flags proclaimed to the
undercut. city and to the world at large that
the-cathedral wasfinished — 632 years to a day after the
laying of the first stone.
After the work of restoring the south tower was finished
and the lower stages of the scaffolding had been removed,,
on the 15th October 1880, the ceremony of completing the
cathedral, by inserting the usual documents in the finishing
stone of the finial on the south steeple, was celebrated in
the presence of the Emperor William I of Germany, his
consort the Empress Augusta, the members of the royal family,,
the cathedral dean Dr. Baadri, the capitular body and numerous.
— 39 —
noblemen and officers
of the Empire. Un¬
fortunately the chief
pastor of the archdio¬
cese of Cologne — the
archbishop Paul Mel-
chers — was necessarily
absent. He had taken
a prominent part in that
struggle between church
and state, which had
been going on during
the previous ten years
and was constrained to
live in exile.
We may pause a mi¬
nute here in our narra-
assistants who, in modern
have come into prominent
repute. The first is the
chief architect and sculptor
of the cathedral workshops
J. Marchand a native of
Cologne. He has been em¬
ployed for nearly 20 years
in the workshops, in which
since 1868 he has occupied
the aforesaid position as
successor to V. Statz and F.
Schmitz. Together with the
chief architect Richard
Voigtel, he was permitted
— after years of active
work — to set the finishing stone in its place on the steeple
and thus to see the crowning of his labours.
As superintendant of the building operations Messrs.
Becker and M. Schmitz have deserved well and in the
'sing and difficult construction of the huge and skilfully
King William I of Prussia,
1861
Emperor of Germany,
1871.
tive to mention the technical
times, under architect Voigtel,
Archbishop Dr. Paul Melchers,
born 1813, archbishop of Cologne 1866.
— 40 —
designed scaffolding, the master carpenters C. von Amelen
and his successor G. Busch are worthy of note.
Finally, working in a different manner it is true, but
none the less effectively, we would here mention the Presi¬
dent of the Central Building Committee Dr. Haass, f 1878,
Chiefburgomaster Bachem, + 1878, and Mr. Oswald Schmitz;
as well as Mr. Fr. Baudri, f 1877, member of the Committee.
More especially however we must advert in terms of highest
commendation to Dr. C. A. Heuser Canon of the cathedral,
who, as an learned exponent of christian art and symbolism,
has been entrusted with the superintendance of the orna¬
mentation, both exterior and interior.
The cathedral now stands in a finished condition, and
in a short time the very scaffolding will he removed. Free
and clear the spires are reflected in the waters of the Rhine
and announce to the world, how much persistency and unity
of will are capable of accomplishing. The cathedral, which
so long stood — an unfinished ruin — as symbol of the
Fatherland, is now completed, together with the restoration
of the Empire. Ten years after the mighty struggle with
France, the building looks down upon a united Germany;
but sad to say harmony has not been restored with unity.
Discord, which was present at the inception of the structure
and prevented its completion for centuries, again raised its
head after the war of 1870 — 71, and cast its gloomy shade
over the ceremony of completion on the 15thOctober. Heaven
permit that the words spoken by His Majesty, King Frederick
William IV, when he laid the foundation stone on 4th
September 1842, may be fulfilled: "God grant that the
Cathedral of Cologne may look down upon a Germany and
upon periods productive of peace amongst men and peace
with God, until the end of all time."
The Ground Plan of the cathedral displays a clearly
defined Latin cross; five longitudinal, ci'ossed by three
transverse aisles. The choir is finished by a heptangular
apsis or head, surrounded with seven chapels.
Proportions: The external length of the cathedfc*
measures 4447a ft, the breadth 200 ft, the internal ufl
— 41 —
length is 390 ft, with a breadth of 14872 ft. The external
length of the transept is 283 ft, the interior length is 246 ft.
Thus the entire building encloses a free interior space, in¬
cluding the detached columns, of 7359 sq. yds.
Plan of tlie Cathedral.
— 42 —
Compare:
The cathedral at Freiburg with an interior space of 3527 sq.yds
„ ■ „ „ Vienna 3756 „
„ „ „ Mayence 4354 „■
„ „ „ Strasburg 4886 „
„ » Spires 5344 „
„ „ „ Antwerp . 5901 „
The mosque of St. Sophia in Constantinople . 8233 „
The cathedral of St. Paul in London .... 9296 „
„ „ at Milan 10050 „
„ „ of St. Peter in Rome .... 18138 „
Heights: The ridge of the cathedral roof has a height
of 201 Vs ft, from the ground and the iron tower erected
over the intersection of nave and transept is 158 72 ft, higher,
thus giving a total height of 360 ft.
Compare:
The spires of the Cologne Cathedral 51D/2 ft; the cathedral, Rouen
495V2 ft; St. Michael's, 'Hamburg 473 ft; St. Peter's, Rome 45272 ft, according
to others 470 ft; the minster of Strasburg 4657-2 ft; the pyramid of
Cheops at Gizeh 449 ft; St. Stephen's, Vienna 448 ft; the cathedral, Amiens
439 /2 ft; the pyramid of Cheprem 436 ft; the cathedral, Freiburg 410 ft;.
the»cathedral, Antwerp 403'/2 ft; the cathedral, Florence 390 ft; St. Pauls,
London 365 ft; the cathedral, Milan 357 ft; the town hall, Brussels 354
ft; the square tower, Asinelli 350^2 ft; the dome des Invalides, Paris
344 ft; the cathedral, Magdeburg 340 ft; the cathedral, Augsburg 336
ft; the tower of the castle, Dresden 331 ft; the church of the Liebfrauen,
Munich 325 ft; St. Peter's, Berlin 314 ft; Notre Dame, Paris 223 ft; St.
Sophia, Constantinople 190 ft; the leaning towerof Pisa 187 ft; l'Arc de tri-
ompliede l'Etoile, Paris 144 ft; Pantheon of Agrippa 141ft; the obelisk on
the place de la Concorde 88V2 ft.
The foundations of the towers, are laid at a depth of
657s ft; those of the corner pillars of the doorways at
depths varying from 25 to 44 ft; the foundations of the
nave and transept vary from 20 ft, and upwards; the
foundations of the detached pillars in the interior are 44 ft,
below the pavement of the cathedral.
Materials: During the middle ages the only material
used in building the cathedral was the stone derived from
the quarries in the Drachenfels, one of the Seven-mountains
(Sieben-Gebirge). The trachyte procured from that place
— 43 —
however proved to be so little capable of resisting the
influences of the weather, that the external parts of the
building, especially of the south tower, had become com¬
pletely defaced. Hence, when it was proposed to resume
building operations, the first step taken was to make a
careful selection of the stone to be employed.
The quarries of Oberkirchen, Osterwalde, Staudern-
beiin, Berkmn, Hannebach, Stenzelbach, Drachenfels
and Caen in France, furnished the requisite material.
Whilst in the interior a stone less capable of resisting
atmospheric influences has been used; the exterior parts,
«i ih as richly sculptured facing stones, gables, pinnacles
c» ickets, and the floral decorations of the string-courses, have
been cut, in the cathedral workshops, out of Oberkirchner
sandstone, which is known to be almost unaffected by the
a.non of the weather.
The plastic decorations; such as statues, decoi*ated
bihlachins &c. are cut in Caen-stone.
The groinings, are constructed of porous Tufa.
The trussing of the roof in the nave is of iron; the
<•■• v-ering consists of sheet lead.
Whereas the whole of the building, up to the finials
oi the spires, is of the above mentioned sandstone, the
c .tre tower, having regard to the want of strength in the
p I'.ars at the intersection of nave and transept, is constructed
■ tti rely of iron with a leaden roof.
The cost of building incurred, since the restoration was decided
i in 1824, up to the end of 1841, was £ 49,092, provided entirely by
Lite State; from 1842—1880 it amounted to £ 930,000, provided partly by
* te State and partly by funds collected by the Committee; thus, including
fhe amount probably still to be spent in 1881, the restoration and com-
il. tion of the cathedral will cost not less than a million of money. The
lms expended in earlier times, in laying the massive foundations and
n purchasing the ground on which the building stands, must have
'■oine to about the same and we may therefore safely calculate that the
,uire cost of the structure from first to last, will not be less than two
.uillion pounds sterling.
West front of the Cathedral.
— 45 —
Exterior of the Cathedral.
Let us commence our examination of the outside at
the point where it is most elaborate; namely at the west,
or tower end. We find the lower part to consist of two
-dories, surmounted in the middle by a gable, behind which
the roof of the centre aisle of the nave is hidden. On both
sides of this gable rise the two colossal towers, whose various
details are marvellously harmonious. The force which
compels this development seems to be contained below, in
those majestic flying buttresses and huge doorways, which
latter, as it were constrained by the former, have impatient¬
ly shot up into triangular canopies. In the second story also
his force is productive of the numberless shafts and niches,
pointed canopies and pinnacles between the high and narrow
v. ndows, exhausting itself in the centre gable which forms
the end of the middle aisle, and from which the towers
separating themselves rise less elaborately, containing now, in
lieu of two windows only one, in preparation for the tran¬
sition from the square to the octagonal form. In the second,
third and fourth octagonal story with its bartizans, the
members become more elongated and at times less rich in
decoration than below; but gain in lightness, in consequence
>f the masses becoming less compact, until the finials are
reached, where they run out in the sign of the ever-blessed
cross.
Statistics:
The walls of the towers are 20V* ft, thick. Owing to their enormous
circumference, each foot in height contains about 1601 cub. yds. of
, stone, which including wages may be. reckoned to cost about £ 625; the
;breadth of the west front, measured between the sockets of the external
1 shafts of the towers, is 200 ft. The chief doorway up to the crown of the
arch measures 96 ft, and is 32 ft, wide between the side pests. The two en¬
hances are 32 ft, high and 6 ft, wide, the side doorways are 37 ft, high to
the crown of the arch and 18 ft, wide between the side posts.
The entire, six-mullioned window of the centre-aisle measures, from
the sill to the upper point of the arch 48 ft, with a clear opening
of 201,12 ft.
For further details see pages 34—41.
— 46 —
As regards the statuary decorations of the west or
chief-entrance* we find four mouldings forming the arch.
The outer row of mouldings is enriched with figures of
angels and of the sun, moon and earth, figurative of the
spiritual and material creation; in the second row of mould¬
ings, we find the minor prophets and two sybils, pointing
to the preservation amongst the Jews, as well as amongst
the heathen, of the glad tidings of a future Redeemer; the
third and fourth rows of mouldings contain the human
progenitors of the Saviour.
The reliefs on the tympanum of this doorway represent
the chief incidents in the histoi-y of the redemption during
the pre-christian era and the history of our Saviour in
His youth, as well as His public ministry previous to His
passion. The statues represent our first parents and such
personages mentioned in the Old Testament as were pre¬
eminently typical of Christ, or were immediately connected
with His appearence in the flesh. On the centre shaft of
the doorway is the divine infant carried in the arms of His
virgin mother; in the canopy over the doorway, Jesus Christ
the creator, redeemer, and judge of the world, is seen with
the book of life in His hands surrounded bjr the four greater
prophets. The advancing, intermediate pillars carry statues
of Constantine, Charlemagne, the Emperor Henry II and
King Stephen of Hungary, representing the protection afforded
to spiritual blessings by the temporal power.
As regards the side doors of this facade, the south
door is dedicated to St. Peter, the north door to the three
kings (Magi). The reliefs of St. Peter's door, and the
mouldings are ancient; as are also the greater part of the
statues, representing the apostles and only require to be
completed by the addition of such figures as are missing.
* The plastic embellishments of the interior and of the exterior
are being carried on according to a plan approved by the cathedral
chapter. The decorations of the chief entrance at the west end, of th
towers and of the door of the three kings (Magi) as well as those of the-
north door were for the most part executed in the atelier of Mr. Fitch.st
statuary in Cologne. The statue of the archangel Michael on the north!
door is by Mr. Meinen.
— 47 —
The reliefs on the north door, or door of the Magi shew
forth the narrative of the wise men, the statues represent
their persons and those of their types in the pre-christian
■era; the 34 figures in the mouldings are those of saints
[who, like .the former, were the first-fruits of Christianity
[in various lands of the ancient and modern hemispheres,
or who more especially laboured to spread the gospel.
Chief Entrance, West Facade.
A. Centre door. (Door of the Virgin.)
1. In the canopy.
a) Christ seated.
b) The four greater prophets.
2. Bas reliefs of the tympanum.
al The fall of man, and the promise of the Redeemer.
b) The flood and the ark.
c) The giving of the law on Mount Sinai.
d) The birth of Christ.
e) Christ amongst the doctors in the temple.
f) The baptism of Christ.
g) The sermon on the mount.
3. Mouldings.
a) Outer row, 14 figures:
1. Seraph; 2. Cherub; 3. Thronus; 4. Dominatio; 5- Virtus;
6. Potestas; 7. Principatus; 8. 9. 10. the archangels Michael,
Gabriel, Raphael; 11. an angel; 12. sun; 13. moon; 11 earth,
b) Second row, 14 figures:
1. Hosea; 2. Joel; 3. Amos; 4. Obadiah; 5. Jonah; 6. Micaii;
7. Nahum; 8. Habakkuk; 9. Zephaniah; 10. Haggai; 11, Zacha-
riah; 12. Malachi; 13. and 14. two sybils.
c) Third row, 12 figures:
1. Jesse; 2.Roboam; 3. Josaphat; 4. Joram; 5. Ozias; 6. Joatham;
7. Achaz; 8. Ezekias; 9. Manasses; 10. Amon; 11. Josias; 12.
Jechonias. With the exception of the first all are represented
as kings.
d) Fourth, or inner row, 10 figures, patriarchs of the period sub¬
sequent to the Babylonian captivity:
1. Salathiel; 2. Zorobabel; 3. Abiud; 4. Eliakim; 5. Azor;
6. Sadoc; 7. Achim; 8. Eliud; 9. Eleazar; 10. Matthan. The first
of these is represented as a king.
4. Statues.
a) On the centre shaft: The Virgin and infant.
— 48 —
b) On either side of the entrance:
John the Baptist. Joseph.
Joachim. Anna.
Elijah. Elisha.
David. Solomon. J
Moses. Samuel. jS
Noah. Abraham.
Adam. Eve. I
c) On the advancing, intermediate pillars:
Constantine. Charlemagne.
Emperor Henry II. King Stephen of Hungary.
B. North Side Door of the West fagade. (Door of the Magi.)
1. Bas reliefs.
The Magi see the star in the east. The Magi before Herod.
The adoration at Bethlehem.
2. Mouldings.
a) Outer row, 10 figures:
1. Augustine, archbishop; 2. Lucius, pope; 3. Columba, abbot;
4. Patrick, archbishop; 5. & 6. Methodius and Cyril, bishops;
7. Olaus, King of Norway; 8. Erich, King of Sweden; 9. Peter
Claver, jesuit; 10. Rosa of Lima.
b) Second row, 10 figures:
1. Dionysius Areopagita, bishop of Greece; 2. Titus, bishop
of Crete; 3. Photinus, bishop; 4. Balbina, martyr; 5. Lazarus,
bishop; 6. Martha, virgin; 7. Remigius, bishop; 8. Clotilda,
queen of Gaul; 9. Ildephonse, archbishop; 10. Herminegild,
martyr.
c) Third row, 8 figures:
1. Paul, hermit; 2. Cyprian, bishop; 3. & 4. Balaam and
Josaphat; 5. Cornelius, captain; 6. Ignatius, bishop of Antioch;
7. Francis Xavier; 8. Ludovicus Ibarki, chorister, one of the
Japanese martyrs,
dj Fourth, or inner row,
1. King Abgar; 2. Gregorius Illuminator; 3. Marutha, bishop t
4. Simeon, archbishop of Seleucia and Estiphon in Per.sij
5. Frumentius, bishop; 6. Elerbaan, King of Ethiopia £
Abyssinia.
3. Statues.
Caspar. Melchior.
Belshazzar. Josiah.
Hezekiah. David.
Queen of Sheba. Widow of Saropta.
Job. Melchisedech.
Japliet. Enoch.
Abel. Seth.
C. South Side door of the West facade. (St. Peter's door.
1. Bas reliefs.
The martyrdom of St. Peter and the apotheosis of the two chiefi
apostles. Below the bas reliefs, six male figures are seated, v?it"!*
prophetic attributes.
allies
wit! I
— 49 —
■1. Mouldings.
The 4 Evangelists, G Prophets, St. Babara, St. Catherine and
a row of rejoicing angels.
" Statues.
The 12 Apostles with Matthias and Barnabas. The reliefs, the
figures in the mouldings, and the statues of SS. Peter, James,
Philip, Paul and John, were executed in the 15th century; they
are now however to be replaced by new and exact copies as
they are much weather-beaten.
The Cathedral Towers
bear the following plastic decorations:
1. In the compartments of the first story: patrons and representatives of
the principal churches of Cologne and of the archdiocese:
a) in the north tower, 21 saints:
I. Columba; 2. Martin; 3. Lupus; 4. Gregory; 5. Bridget;
G. Maurice; 7. Clement; 8. Christopher; 9. Pantaleon; 10. Nicolas;
II. Catherine; 12. Cordula; 13. Anthony, hermit; 14. Barbara;
15. Francis; 16. Agnes; 17. Longinus; 18. Caecilia; 19. Mary
Magdalene; 20. Aper; 21. Clara.
b.) in the south tower, 22 saints:
I. Gertrude; 2. Marcellus; 3. Remigius; 4. Margaret; 5. Cornelius;
6. Dionysius; 7. Anna; 8. Benignus; 9. Apollinaris; 10. Vitus;
II. Chrysanthus; 12. Daria; 13. Quirinus; 14. Potentinus;
15. Maximinus; 1G. Sebastian; 17. Faith; 18. Hope; 19. Charity;
20. Pancratius; 21. Lambert; 22. Hubert.
2. In the niches of the third story, the chief patrons of the city and
archdiocese of Cologne and of Germany.
a) On the north tower, G figures:
1. Maria Immaculata, first patroness of the archdiocese; 2. St.
Joseph, second patron; 3. St. Michael, patron of Germany;
4. 5. 6. The Magi.
b) On the south tower, 5 saints:
1. Peter; 2. Ursula; 3. Gereon; 4. Severin; 5. Suitbertus.
3. Tn the compartments of the fourth story of the north and south
towers, each 16 figures: Angels with musical instruments and the
instruments of the passion.
Leaving the west front let us turn to the south side
and the exterior of the choir. The side-walls abut on the
eastern shafts of the towers and are pierced with five
indows, of which, those adjoining the towers and the tran-
iept are only half as broad as the others. The nave is
i-rossed by the transept (which has both on the east and
p-est side one full and one half window) measuring 283 ft
t.» the outside of the buttresses, and being closed in on the
south as well as the north side by a splendid facade, con-
4
— 50 —
taining magnificent doorways and fa9ade windows. Beyond
the transept again, the choir with its semicircle of chapels,
forms the continuation of the nave. Before reaching the
actual apse we have 2 whole
and 2 half windows; the choir
and chapels have 19 windows
of half the breadth of the full
windows in the nave.
The clerestoiy of the nave
has, if counted from the towers
to the semicircle of chapels
and excluding those of the
transept clerestory, 11 windows
with 3 mullions each. The
transept clerestory has 4 win¬
dows on each side; and at
the ends, both north and south,
the large faqade window. The
semicircle of chapels has five
half windows with one mullion
each.
The richness of the archi¬
tecture displayed in these side-
walls can hardly be sufficiently
admired. Out of the solid
pillars of the basement arise
a multitude of pinnacles richly
surrounded with shafts and
capped with countless gables
and pyramids. Between the
pinnacles gracefully curved
arches are thrown,the triangular
canopies of which are enrichecf
with open work quarters and
crockets. A stroll in this fore si
of noble forms makes us pause
in admiration at the certainty
of hand and boldness of con-
Portion of Sideview.
— 51 —
ception with which the stone-hewers have known how to
hit off with exactitude the right amount of execution, to
bring out all the important lines which may he distinguished
even from below and still to avoid anything petty or
finicking. The same may be said of the pointed gables
enriched with varied tracery, which rise above the upper
windows, and, together with the smaller pinnacles connected
by a delicately lined balustrade, form a graceful finish to
the upper part of the roof.
That the different portions of the building are more
or less plentifully enriched and adorned, is explicable from
the length of time the structure has been in completing.
The buttresses of the choir end are somewhat undeveloped,
but those of the nave are beautifully clear and free, corres¬
ponding with the full beauty of gothic art in the 15th
century. At each end of the transept three doors admit to
the three aisles and these are all broader and the under¬
cutting of the mouldings much deeper than those of the
west facade.
Whereas the north doorway is carried out in a more
simple manner, although in exactly the same proportions
as its fellow at the other extremity of the transept, the
south door is enriched with the most lavish ornament¬
ation corresponding with the elaborate execution of the
south side of the nave. Like the portals of the chief en¬
trance, the doorways — of which King Frederick William IV,
on the occasion of laying the foundation stone, said with
enthusiasm, "Here .... the finest gates in the world shall
arise;" — are certainly second to none as yet in existence,
whether wre have regard to the architectural or to the
plastic decorations, seeing that every available surface and
moulding in the soffits of the arches has been enriched
with a statue covered by an elegant baldachino.
The gables over the chief doorways both north and south have
a breadth of 133 ft and a height of 228 ft. The plans for these, as no
ancient drawings of them existed, were designed by Mr. Zwirner after
■i careful consideration and examination of the entire building and deed
•>tudy of gothic art forms. The cost of the south door was defrayed
out of State means and amounted to 2,100,000 Mk. — £ 105,000; the expense of
— 52 -
the north door was defrayed from sums collected by the Building Committee
between 1842—1859.
Over the triforium, the main window rises to a height of 53V2 ft,
with a breadth of 253A ft; above it is a colossal canopy, behind which
the gable end of the transept towers and is surmounted by a finial 21 ft,
high aud 6 ft, in diameter. The finishing stone of the latter was laid by
King Frederick William IV, on 3rd October 1855, on the occasion of laying
the foundation stone both of a fixed bridge across the Rhine and of the
new museum.
In the reliefs of the chief south door the passion of
the Redeemer, from his entry into Jerusalem, is depicted
and terminates with the very appropriate emblem of the
resurrection. The figures in the mouldings and the statues
of the martyrs alongside of this doorway have reference to
the passion. The dominating idea here also is the com¬
pletion of the redemption; the struggle with and victory
over sin. This great divine act forms the focus of the whole
history of the world and is hence most conveniently applied
here to the south side of the cathedral. Everything that
took place before the redemption, led up to it, and sub¬
sequent events are only the application of that crowning
act of Divine mercy, to mankind. Thus it is a natural
sequence that the chief doorway of the west front should
contain the representation of the preparations made for the
redemption until the passion took place, and that the north
front should contain the realization of that redemption, in
regenerate man, by Christ and His church.
The side doors are dedicated to St. Ursula and St.
Gereon, patron saints of the town.
In the canopy of the centre door, we find the life size figures of
Our Saviour and the four Evangelists.
In the tympanum of tlie arch of the centre door, we have the passion
of Our Lord represented in has relief. The large mouldings inside the
baldachino are enriched with 58 figures. The outer row contains the
angels mentioned in the Apocalypse and in Scripture generally, amongst
them the 4 angels with the judgments sounding their trumpets to the.
4 quarters of heaven; the second row contains 16 laudatory and adoring
angels; the.third row contains 14 annunciatory angels and the fourth, j
or inner row, contains the 12 angels of the passion cognisable by their
attributes.
The tympanum of the arch of the left side door contains scenes in •
bas relief taken from the martyrdom of St. Ursula and that of the right,
side door, the martyrdom of St. Gereon and his companions. The mould- ■,
ings of each of the side doors is enriched with 30 figures of angels and
— 58 —
saints. The niches in the soffit below the has reliefs, and the angels in the
mouldings, as well as in the outside faces of the corner shafts, contain
life size statues of saints in the following order, taken from the left.
The execution of .all these statues is the work of Professor C. Molir,
Although the drawings for the has reliefs were made by Prof. L. Scliwanthaler
still the spirited style of carrying out the designs, harmonising so well
with the general character of the building, is worthy of great commend¬
ation. Prof. Molir also in the composition of the figures on the very
difficult ground of the curved mouldings has displayed great fertility of
idea combined with artistic skill and more especially by means of variety
of pose has produced a very excellent effect.
After examining the south side and the splendid gables
of the transept and doorways, we will proceed to the ramp
of the new bridge over the Rhine, whence we obtain a
grand view of the oldest portion of the cathedral — the
choir with its semicircle of chapels — which was finished
in 1322 and then consecrated.
This part was restored under the direction of Ahlert
and is seen at its best from the above named point; the
grandeur of the system of flying buttresses being here most
distinctly apparent.
Scarcely any other structure in the world, so richly
and yet so legitimately decorated, makes such an impression
of majesty and grandeur upon the mind of the visitor. Of
late years additional attractions have been carried into
effect. The whole building, from the choir along the north
side, has been protected by a low wall of stone blocks with
•i beautiful balustrade. The terrace walk thus formed, which
's reached by handsome and easy flights of steps at the
choir end and at the north doorway, may in connection
with the laying out of the ground be looked upon as one
of the loveliest pieces of landscape gardening that any town
Germany can boast of.
o
"5
"o
St. Ursula's door
West side.
Centre doorway. St. Cereon's door.
East side.
— 54 —
Between the clioir and the north transept, on the
terrace, stands the new Sacristy which contains a council
chamber for the cathedral chapter and a record room.
Strolling further on we come to the northern side of the
nave, which is much more simple in its decorations, but is
on the same lines and of course similarly proportioned.
As regards the statuesque embellishments, we have
already mentioned that, in the chief entrance of the north
side, the redemption of mankind by our Lord and His in¬
stitution of the Church is represented; hence in the canopy
Recessed Finial of a Buttress.
Flying Buttress.
— 55 —
we see Christ as the risen Saviour, holding the standard of
victory, amidst the four great fathers of the church; in the
tympanum, we see the founding and first propagation of
the church; in the mouldings 58 patron saints of the various
professions, arts, and trades, betokening that these, under
the protection of the church have been impressed with the
spirit of Christianity; on the centre 'shaft is St. Michael
the archangel, as protector of the church; at the sides
are statues of popes, bishops, priests and founders of mo¬
nastic orders, as representing those who have been espec¬
ially active in furthering the spread of and maintaining the
integrity of Christianity.
Of the two side doors the west is named after St.
Maternus the first bishop of Cologne; the east, after St.
Boniface the apostle of Germany. In the tympanum of the
west side door, the reliefs represent scenes from the life of
St. Maternus ; the statues are those of the saint and other
holy bishops of Cologne and the mouldings contain the
figures of 30 saints belonging to the town and diocese. In
the tympanum of the. east side door, the reliefs represent
scenes from the life of St. Boniface; the statues in the
soffits are those of the saint and other holy bishops and
patrons of such dioceses as still are or formerly were
suffragan-bishoprics of Cologne. The 30 figures in the
mouldings give such a selection from the saints of Germany
that all the provinces of that country are represented.
North entrance.
A. Centre door.
1, In the canopy.
a) Christ holding the standard of victory.
b) The four fathers of the Church, SS. Jerome, Augustine, Am¬
brose and Gregory the Great.
2, Bas reliefs in the tympanum.
a) Endowment of Peter with the chief pastorship.
b) Mission of the apostles.
c) Ascension of Christ,
d; Day of Pentecost.
— 56 —
c) Conversion of St. Paul.
f) Separation of the Apostles.
g) Council at Jerusalem.
3. Mouldings.
a) Outer row 16 figures.
b) Second row 16 figures, f
c) Third row 14 figures. i
d) Inner row 12 figures.
1. S. Albertus Magnus. Patron of
Theology.
2. S. Raymond de Pennaforte.
Canonists.
3. S. Ivo. Jurists.
4. S. Pantaleon. Physicians.
5. S. Cosmas. Surgeons.
6. S. Catharine. Philosophers.
7. S. George. Soldiers.
8. S. Joseph. Carpenters.
9. S. John Baptist. Furriers and
Coopers.
10. S. Peter. Watchmakers.
11. S. Paul. Carpet makers.
12. S. Eliphius. Fishermen.
13. S. Servatius. Curriers.
14. S. Stephen. Stone cutters.
15. S. Martin of Tours. Habit-
makers.
16. S. Evergislus. Painters on glass.
17- S. Eligius. Goldsmiths.
18. S. Bridget of Sweden. Needle-
makers.
19. S. Mary Magdalene. Hair workers.
Comb-makers.
20. S. Elisabeth of Thuringia.
Bakers.
21. S. Erasmus. Turners.
22. S. Eustache. Harness-makers.
23. S. Crispin. Cobblers.
24. S. Antony the hermit. Basket
weavers Besom-Binders.
Pig-butchers.
25. S. Florian. Chimney-sweeps.
26. S, Agatha. Bell-founders.
27. S. Afra. Hand-bell-makers.
28. S. Maurice. Armourers.
in all 58 patron saints of the various
professions trades and arts which are
named below.
29. S. Boniface, Apostle of Ger¬
many. File-makers.
30. S. Reinold. Masons,
31. S. Kilian. Plasterers.
32. S. Roche. Paviors.
33. S. Louis, King of France. Book¬
binders. Case-makers.
34. S. Goar. Innkeepers^ Potters.
35. S. Werner of Oberwesel. Vine¬
dressers.
36. S. Medard. Drivers.
37. S. Dorothy. Gardeners.
38. S. Wendeline. Shepherds.
39. S. Nicolas. Mariners. Hoopers
Apothecaries.
40. S. Peter of Milan. Brewers.
41. Severus. Weavers.
42. S. Anna. Housekeepers. Semp¬
stresses. Cabinet-makers.
43. S. Barbara. Builders.
44. S. Csecilia. Musicians.
45. S. Clement, Pope. Sailors.
46. S. Frumentius. Merchants.
47. S. Hubert. Huntsmen.
48. S. Isidore. Country people.
49. S. Lawrence. Cooks.
50. S. Leonard. Smiths.
51. S. Martha. Publicans.
52. S. Onesimus. Servants.
53. S. Cassian. Schoolmasters.
54. S. Ursula. Governesses.
55. S. Veronica. Linen weavers and
dealers.
56. S. Vincent Ferrarius. Tile-makers.
Roofers.
57. S. Luke. Painters. Sculptors.
58. S. Christopher. Fullers. Porters.
4. Statues.
a) On the centre shaft. S. Michael the archangel.
b) On either side of the entrance.
Leo the Great. j Athanasius.
Anthony, abbot. I Benedict.
57 —
Francis Assis.
Charles Borromseus.
Ignatius, Jesuit.
Vincent a Paulo.
B. West side door, (St. Maternus' door.)
1. Bas reliefs in the tympanum.
a) S. Maternus is sent on a mission to Germany with SS. Eucharius
and Valerius.
b) S. Maternus being raised from the dead on being touched with
the staff of St. Peter.
c) The dead body of S. Maternus travels in a boat from Lyskirchen
up the Rhine.
2. Mouldings. Saints of Cologne.
a) Outer row, 8 figures:
1. Luftildis; 2. Christina of Stommeln; 3. Famianus; 4. & 5.
the two Ewalds; 6. Irmegard; 7. Peter Canisi; 8. John of
Colonia, Dominican friar and martyr.
b) Second row, 8 figures:
1. Sanderad; 2. Herman Joseph; 3. Irmund of Miindt; 4.
Adelaide of Villich; 5. Adelrich of Fussenich; 6. Everard ot
Berg; 7. Wolphelm of Brauweiler; 8. Gezeline of Schlebusch.
c) Third row, 8 figures:
1. Benedict of Aniane; 2. Arnold; 3. Rupert; 4. Willeick;
5. Cassius; 6. Florentine; 7. Remachus; 8. Popo, abbot.
d) Fourth and inner row, 6 figures:
1. Adolphus, bishop and Cistercian friar; 2. Gerhard of Toul;
3. Maurice: 4. Reinold; 5. Albertus Magnus; 6. Cordula.
3. Statues.
1. Bas reliefs in the tympanum. Scenes from the life of St. Boniface.
a) S. Boniface felling Thor's oak.
b) S. Boniface consecrated bishop by S. Gregory II.
c) Martyrdom of S. Boniface.
2. Mouldings.
a) Outer row, 8 figures:
1. Ulrich, bishop of Augsburg; 2. Adalbert, archbishop of
Prague, martyr; 3. Kunigunde, empress; 4. Leopold of
Austria; 5. S. Elizabeth of Thuringia; 6. S. Nothburga;
7. John Sarkander, priest; 8. Fidelis of Sigmaringen.
b) Second row, 8 figures:
I. Willibald; 2. Walburg; 3. Burchhard of Wiirzburg;
4. SturmiusofFulda; 5. Adelhard of Corvei; 6.Meinrad ofEin-
siedeln; 7. Mathilda, empress; 8. Wolfgang of Regensburg.
Maternus.
Suitbert.
Cunibert.
Heribert.
Valerius.
Severinus.
Bruno.
Anno.
C. East side door. (St. Boniface's door.)
— 58 —
e) Tln'rd row, 8 figures:
1. Alban of Mayenee; 2. Emeran of Regensburg; 3. Goar of
the Rhine; 4. Rupert of Salzburg; 5. Fridolin of Bavaria; 6.
Kilian of Wurzburg; 7. Arbogast of Strasburg; 8. Corbinian
of Freisingen.
d) Fourth or inner row, 6 figures:
1. Crescens; 2. Agritius, bishop of Treves; 3. Sastor, hermit
on the Moselle; 4. Afra of Augsburg; 5. Severin of Austria;
6. Valentine of Passau.
3. Statues.
Boniface. Eucharius.
Servatius. Lambert.
Willibord. Ludgerus.
Ansgar. , Liborius.
We now return to the west front, having made the
tour of the Cathedral outside, in order to enter the interior
through the chief doorway between the towers.
- 59 —
Interior of the Cathedral.
The cathedral is open, free of all charge, from early in
the morning until evening; still, whilst any service is going on,
(during week days before 10 A.M., and from 3 to half past in the
afternoon), an inspection of the building is not permitted. A verger
receives voluntary contributions towards the building fund on a
plate. The interior, as far as the entrance to the choir, may he seen
gratis. Permission to go further is only granted by tickets which
must be purchased from the cathedral verger.
1. A ticket for inspecting the choir, the Dombild and the Treasury,
costs 1 Mark 50 Pfg.
2. A ticket of permission to ascend the cathedral costs 1 Mark.
Interior of the Cathedral.
The first thing we notice, on entering at the west
porch, are the five aisles, which are continued beyond the
transept in such a manner that the two inner aisles alone
proceed right round the choir, the outer aisles going only
as far as the third bay and then forming, as eastern termin¬
ation to the choir, a semicircle of chapels, each of which
is enclosed by the three contiguous sides of an octagon.
As antitype to this apse, we find at the other end the
porch with its two steeples. This contains two bays, the
centre aisle of the nave 6, the choir, induding the apse 5;
so that the transept, which overlaps the body of the church
— 60 —
by two bays on either sic
almost in the centre. Ea
high and half as broad as
Portion of Longitudinal
!, intersects the whole building
h of the side aisles is half as
he centre aisle. The shafts which
carry the arcades form a splen¬
did vista, and there is this
amount of difference amongst
them; those of the side aisles
of the choir which, after the
foundations were laid, was
evidently the first portion
commenced upon, have more
the form of columns; i. e. they
have a centre pier around
which the larger and smaller
pillars cluster to support the
arcades and vaultings; whereas
in the centre aisle the columns
assume more the form of
square or octagonal piers
around which semi-columns are
placed being connected with
each other by the lines of
mouldings. These latter are
■ generally twelve in number;
in the stouter columns, at the
intersection of transept and
nave, which have to carry the
centre tower, they are 16, so
that such a group of columns
with their piers and mouldings
displays the most varied effects
of light and shade. The pedi¬
ments of these columns, which
follow the form of the separate
shafts, are composed of two
members, finished with a plinth
common to the whole group;
i. the -capitals also are sur-
— 61
Plan of a Pillar.
rounded with a double
garland of foliage upon
which again the abacus
rests. Higher up, over
the side arches of the
middle aisle, the wall
is pierced by the open¬
ings for a gallery run¬
ning along the whole
building and above which,
divided from it by a cor¬
nice, the clerestorial
windows of the middle
aisle are placed. All
these large and small
pointed arches of the
windows, vaultings, door¬
ways, &c follow the most
natural and simplest of
all forms namely that
composed on the isos¬
celes triangle, which, in
the cathedral of Cologne
alone, is so persistently
carried out and which
in addition to the strict
numerical proportions
maintained, respecting
height,length and breadth
of the aisles and distance
between the piers, contributes not a little to the beauty
of the structure.
The floor of the cathedral covers a surface of 7374 square yards.
Including the porch, the entire length from the tower entrance to the
eastern wall of the chapel of the Magi is 445 feet; the middle aisle to
the extremity of the choir is 390 feet; the width of the middle aisle from
the axis of one pier to the axis of the opposite one is 49 feet; each inner
side aisle, from the axis of one pier to the axis of its neighbour, is 27 ft,
wr le and the outer side aisles from the axis of the piers to the walls
nna-ure 223U ft.
One of the Pillars.
— 62 —
Chapiter of a column.
Chapiter of a column.
The side arches of the
middle aisle, from the pave¬
ment to the key stone, are
147'/2 feet high; the side aislse
however are 62V2 ft onljr. The
nave, up to its intersection
with the transept, contains 20
piers in 4 rows, the transept
has 16 piers in 2 rows, the
choir has 12 piers in 4 rows,
the apse has 8 piers. The
distance between the piers
from axis to axis, in the di¬
rection of the length of the
nave, is 27 feet, and the width
of the side aisles being the
same, the vaultings are per¬
fectly square.
G. Forster in his ,,An-
sichten vom Niederrhein"
has very well described
the interior of the choir,
which was in his time
the only part of the ca¬
thedral then finished and
his language is even more
applicable to the entire
building as it now stands,
completed. "The splen¬
dour of this choir with
its arcades rising heaven¬
wards, possesses a majes¬
tic simplicity exceeding
all powers of description.
The groups of slim col¬
umns stand ranged in
their rows, like the trees
of some ancient forest,
and at their summits
they divide into a mult¬
itude of branches! which interlace with their neigh¬
bours forming a series of pointed arches, almost too high
for the unaided eye to reach. If, as is true, infinity cannot
— 63 —
be pourtrayed in a defined space; still, these grand pillars
and lofty walls, rising boldly on high do give an impression
of continuity which may be easily prolonged to infinity."
Objects of interest in the Nave and Transept.
Painted glass. The first glance down the centre aisle
brings our eye to rest on the 15 painted windows of the
choir, which are the oldest in the cathedral. As such also
they are the least satisfactory, for they serve to shew how
the art of staining glass, at the end of the 13th and com¬
mencement of the 14th century, was looked upon as a
merely ornamental adjunct, rather than as capable of pro¬
ducing independent works of art. The treatment is, almost
invariably the same, a maze of variegated foliage amongst
which the lines of the tracery are interwoven. Only over
the escutcheons with the arms of the donors — the Counts of
Virneburg, of Holland, and of Jiilich, as well as the
knightly orders of Cologne — we find figures representing
the Kings of Judah under pinnacled canopies and in the
centre window, we have the one large scene of the ado¬
ration of the Magi. * Every where the eye meets richness
of colour; but no variety of shade. In this respect, but
even still more if we have regard to the scenes depicted,
The Ave windows of the nave in the north aisle, with
a world wide fame, are far better and were executed in
the years 1507—09, when the mediaeval art of staining
glass was coming to an end. Who painted these windows
is not known; at any rate this much is certain, that they
are not the production of any one person alone. Although
we are bound to admit the brilliancy of the colouring still
they lack shade and rhythmical connection. They were
presented by archbishop Hermann, Landgrave of Hesse,
* The new window in the triforium over the high-altar, made in
the glass painting establishment of Fr. Baudri, represents SS. Peter and
Jjhn. It was presented by cardinal archbishop John of Geissel, in
memory of the Provincial-Council held in I860.
— 64 —
archbishop Philipp of Dhaun Oberstein, count Philipp of
Virneburg, and the town of Cologne.
The first, as well the last, are half windows; the second,
third, and fourth are full windows. They contain the
following figures and scenes.
1. Half window. Christ on the Mount of Olives; His humiliation,
scourging, crowning with thorns, crucifixion and resurrection. The figures
of St. Lawrence and of the Virgin; beneath are the donors with their
families in a kneeling posture.
2. Full window. Above, to the left, scenes from the life of Peter;
to the right the genealogical tree of Christ, springing from the loins of
the patriarch Jacob; below, an archbishop kneeling before St. Peter
and on the opposite side St. Sebastian in knight's armour surrounded
by family escutcheons.
3. Full window. Above, the adoration of the shepherds; below,
the tutelar saints of Cologne, SS. George, Reinold, Gereon, and Maurice;
below these, to the right, the founder of Cologne Marcus Agrippa,
holding in his hand the standard of the city, with the inscription: "Marcus
Agrippa ein romischer Mann, Agrippina Colonia einst begann;" opposite
to him Marsilius with the inscription, "Marsyles ein Heideson stolz,
Behielt Collen sei voeren zu holtz." *
4. Full window. Above to the left, the queen of Sheba visiting king
Solomon; to the right, the adoration of the Magi; below these, the
apostle Peter as Pope, with a kneeling archbishop and the Virgin; then
the patrons of Hesse; i. e. SS. Elizabeth and Christopher and some family
escutcheons.
5. Half window. The crowning of the Virgin; the figures of St. John
the Evangelist, St. Peter, Mary Magdalen and St. George, together with
two female and one male donor, the latter clad in golden armour.
The five windows of the nave in the south aisle,
present us with the finest specimens and most perfect works
of the modern art of glass painting; which as is well known,
has not long been resumed. Whereas in the painted win¬
dows of the north aisle, we find much left to be desired
in the conception as well as in the composition, and the
colours to be not properly shaded off owing to the fact that
the ancient workers did not know how to reproduce flesh-
* This inscription, of which the translation runs "Marsyles a
heathenman proud, preserv'd Cologne by his trip to the wood," refers to
a legend, according to which a mythical Roman, Marsilius, is said to have
saved Cologne from destruction. Hence arose a popular festival termed
"Marsilius Holzfahrt," when all the inhabitants of Cologne went out to a
neighbouring wood and, after holding wrestling matches and other
athletic sports, brought the hero Marsilius, crowned with twigs and
branches, back in triumph to the town.
— 65 —
tints on glass; moreover the light greys are too predominant;
in those of the south aisle all things, composition and
colouring alike, are in the grandest harmony. * These
windows are the finest ornaments of the cathedral; they
were presented by the art-loving King Ludwig I of Bavaria
in the year 1848; they were drawn by the Munich painters
J. Fischer and J. Hellweger after the designs of Professor
II. von Hess and were carried out under the directions of
M. Ainmiiller, in the Royal Glass Painting Establishment
at Munich. They comprise a connected series of scenes,
representing the founding of Christianity and the Church.
1. Half window. Below, Charlemagne and Frederick Barbarossa;
over these, the emperor Constantine and his mother St. Helena. Chief
scene, John, the forerunner of Christ, preaching in the wilderness. Over
this again in medallions, Evergislus, Cunibert, Agilolph and Heribert,
all bishops of Cologne. Above, to the right, the annunciation of the
birth of John, to the left the birth of John. Over all, six-figures of
saints.
2. Full window. Below, the four greater prophets, Isaiah, Jeremiah,
Ezekiel, and Daniel. Chief scene: The adoration of the shepherds and
of the Magi, in most brilliant colours and wonderfully accurate land¬
scape perspective. Over this again, Abraham, Noah, David, Solomon,
Jacob and Isaac. Above, to the left, our first parents, symbolising
original sin; in the middle, the angel Gabriel appearing to the Virgin;
to the right, the immaculate conception. Over all, the Star of the Magi.
3. Full window. Below, the four evangelists, Matthew, Mark, Luke
and John. Chief scene: The work of redemption completed; the body
of Jesus resting in the lap of His mother. Above, to the left, Christ
appearing to Mary Magdalen; to the right the unbelief of Thomas. Over
all, the last supper.
4. Full window. Below, the fathers of the church, SS. Augustine,
Jerome, Gregory and Ambrose. Chief scene: The pouring out of the
Holy Ghost at Pentecost. Above, the four Christian virtues; temperance,
wisdom, prudence and justice.
5. Half window. Below, SS. Maternus, Sylvester, Apollinaris and
Gregory of Spoleto. Chief scene: Stoning of St. Stephan. Over this
again, in double medallions (from left to right) SS. Engelbert and Bruno,
Severin and Hermann Joseph. Above, two larger pictures; to the left,
St. Stephen as deacon; to the right, his condemnation. Above all, the
holy virgins, Catharine, Cordula, Columba and Clare, surmounted by
medallions of SS. Csecilia and Agnes.
* This opinion of course only applies to these windows when
regarding them as independent works of art. As the painted windows
of a cathedral should he subservient to the architecture, the more ancient
ones may in that respect be preferable. The modern windows are too
self-asserting and distract the attention of the visitor from the archi-
tr-^.ure to themselves.
5
— 66 —
Windows in the south transept:
■ West Side: 1. Full window. Below, St. Leo, Pope, SS. Bernard,
Thomas Aquina, Bonaventura. Chief scene: The Council at Jerusalem.
Over this again, a smaller scene: Christ giving Peter the Keys with
Pius IX and an angel standing by, and on each side of this latter scene,
2 figures of apostles. In the centre foil, the Holy Ghost in the form of a
dove. This splendid piece of stained glass, was presented by the Rhenish
Railway Company and was executed in Munich.
2. Half window. (Gorres window.) Below, the figures of Charlemagne
and St. Boniface. Chief scene: Joseph von Gorres, with his patron saint
Joseph, kneeling before the Virgin carrying the infant Jesus. The inscrip¬
tion on this window runs "Joseplio Gorres nato Confluent, d. 25 m. Jan.
1776 denato Monachii 29. Jan. 1848, catholiese veritatis in Germania
defensori generoso, amici ejus 1855. Gorres, a highly eminent man of the
19th century was one of the most spirited champions of Catholic ideas
and a valiant combatant for German nationality in the insurrection
against France. Napoleon I termed him the 6th great power. Gorres
was one of the first who exerted his influence towards the completion of
the cathedral. His friends and admirers erected this beautifully coloured
memorial window which was made in the establishment at Munich, after
designs by H. von Hess.
Bast side: 1. Full window. Below, the fathers of the church, SS.
Athanasius, Basil the Great, Gregory Nazianzen, and Chrysostom. Chief
scene: The conversion of Saul. Over this, smaller scenes from the life
of that chief apostle. This splendid window was presented by the
Directors of the Cologne and Minden Railway and was executed in Munich.
2. Half window. Below, SS. Lambert and Hilary. Chief scene: the
arrest of Pope Sixtus V, before whom St. Lawrence is kneeling. This
window, made in the Glass Painting Establishment of Fr. Baudri, is a
worthy companion to the Munich windows. It was presented by the
Colognese families Gobbels and Dunn.
The large window in the South Facade, was a present from the Em¬
peror, then King William I of Prussia and was made in Berlin. It contains
6 figures of saints beneath richly ornamented baldachinos, representing
Charlemagne, Henry II, Sigismund King of Burgundy, Anno and Engel-
bert archbishops of Cologne and Otto archbishop of Bamberg. Below
these, are the arms of Prussia and Bavaria. Unfortunately this window
in not worthy of its position; from a technical point of view it is far
inferior even to the ancient glass painting.
Windows in the north transept.
The large window in the North Facade, is very much more beautiful
than its fellow which we have just mentioned. It was presented in
memory of the elevation of archbishop Johann von Geissel to the rank
of Cardinal, and was executed by Fr. Baudri of Cologne. It contains the
following figures: Moses, Joshua, David,Melchisedec, Aaron and Samuel.
Below these we have, in the same order, the arms l. of Cardinal von
Geissel, 2. of Bavaria, 3. of the Pope, 4. of Prussia, 5. of the cathedral
chapter, 6. of the town of Cologne. The height of these faqade win¬
dows is 51 Va ft, the breadth 2b3:* ft, the gallery windows have a height
of 20V2 ft.
— 67 —
The upper part of these windows, like all the other windows in
the clerestory over the triforium gallery, have a gothic carpet pattern,
with a centre foiled circle, surrounded by a garland; whereas the lower
portions contain figures under gothic baldachinos. (See below.)
The half window of the West Aisle of the north transept next the
organ (put in 1870) belonged originally to one of the churches razed
during the French occupation of Cologne and is a worthy companion to
the ancient stained glass in the north aisle of the nave. Unlike that
however, the scenes here represented, 18 in number, are small, with the
exception of those in the couronnement; the four lower ones represent
single figures of saints and donors, the upper fourteen are scenes from
the life of our Saviour: The baptism, Jesus at.the well in Samaria, the
conversion of Mary Magdalen, the entry into Jerusalem, Jesus driving
out the dealers from the temple, and scenes from the passion to the
resurrection.
The windows of the clerestory, contain the following figures of saints:
A. In the north Transept.
1. Zephaniah, Haggai, Zachariah, Malaclii.
2. Jonah, Micah, Nahum, Habakkuk.
3. Hosea, Joel, Amos, Obadiah.
4. Isaiah, Jeremiah, Ezekiel, Daniel.
5. Adam, Abel, Enoch, Noah.
6. Abraham, Isaac. Jacob, Judah.
7. Joseph (ruler in Egypt), Caleb, Barak, Gideon.
8. John Baptist, Zachariah, Simeon, Anna.
B. In the south Transept.
9. Peter, Paul, Andrew, John.
10. James (the greater), Philipp, Bartholomew, Matthew.
11. Thomas, James (the less), Simon, Judas, Thaddeus.
12. Matthias, Barnabas, Mark, Luke.
13. Linus, Clement I, Agilolphus, Evergislus.
14. Gregory of Spoleto, Ewald, John of Nepomuk, Lawrence.
13. Sebastian, Gereon, Pantaleon, Georgius.
16. Ursula, Columba, Csecilia, Agatha.
C. In the Nave.
17. Eleazar (High priest), Eli, Nathan, Zadok.
18. Jesse, Solomon, Josapliat, Josiah.
19. Hilkiah, Tobias sen, Tobias jun, Zorobabel.
20. Nehemiah, Esdras, Mathathias, Judas Maccabeus.
21. Eleazar, Two of the Maccabean brothers, Jesus Sirach.
22. Deborah, Miriam, Judith, Susannah.
23. Maternus, Severin, Cunibert, Suitbert.
24. Stephen, King of Hungary, Edward, King of England, Ludovicus,
Ferdinand III.
25. Liborius, Paulinus, Ludgerus, Willibord.
26. Bernard, Thomas Aquina, Bonaventura, Albertus Magnus.
27. Benedict, Francis of Assissi, Dominic, Ignatius.
28. Helena, Monica, Elisabeth, Mathilde.
— 68 —
The large window (about 72 ft high) between the towers of the west
fayade contains a representation of the "Day of Judgment" after the
cartoon ot P. Cornelius, which was originally intended for the Campo
Santo in Berlin. This window was made to order of the crown prince
of Milde in Liibeck.
The 6 windows in the west porch under the towers and the 2 smaller
windows over the side entrances of the west front, will contain the entire
history of the redemption; beginning with the Creation and Fall of man,
and proceeding to the Day of Judgment, in a consecutive series of
medallions.
Statues on the pillars of the centre aisles of
Nave and Transept.
In the year 1867, the decoration of the nave and
transept was commenced with the figures of saints carved
in stone, intended for the pillars. Presented by private
individuals they were executed by Messrs. Fuchs, Mohr
and Werres. The following are the names of the personages
they represent.
1. Adam.
2. Eve.
8. Abraham.
4. Moses.
5. Melchisedec.
6. Aaron.
19. Thomas Aquina.
20. Anno.
21. Ludgerus.
22. Boniface.
A. In the Porch.
7. David.
8. Elijah.
9. Isaiah.
10. Jeremiah.
11. Daniel.
12. Ezekiel.
B. In the Nave.
23. Suitbert.
24. Martin of Tours.
25. Helena.
26. Gere on.
13. John Baptist.
14. Joseph.
15. Zacharias.
16. Elisabeth.
17. Anna.
18. Simeon.
27. Maternus.
28. Ursula.
29. Luke.
30. John.
31. Mark.
37. Basil.
38. Athanasius.
43. Chrysostom.
C. In the Transept.
32. Matthew. 35. Ambrose.
33. Jerome. 36. Gregory.
34. Augustine.
D. In south aisle of Transept.
39. Severin. 41. Lawrence.
40. Heribert. 42. Stephen.
E. In north aisle of Transept.
45. Cunibert. 47. Bernard.
44. Gregory Nazianzan. 46. Liborius.
48. Engelbert.
— 69 —
F. On the inner side of south door.
49. Benedict.
50. Dominic.
51. Francis.
52. Bruno.
53. Ignatius.
51. Theresia.
G. On the inner side of north door.
55. Anthony.
56. Evergislus.
57. Agilolphus.
58. Hermann Joseph.
59. Norbert.
60. Albertus Magnus.
Besides these new statues, there is in the south arm
of the transept, on the last column of the choir, the ancient
tutelar saint of journeymen, St. Christopher with the
infant Jesus. This figure is well worth careful inspection,
as it is full of life and action.
The great organ, is for the present in the north arm of the transept
over the entrance. It was built in the year 1572. The screen, which
corresponds in style with the building, was erected 1842. The organ has
three sets of keys each containing octaves and two octaves of
pedals; it has 42 stops and 5 couplers. Owing to the excellent acoustic
properties of the building the effect of the organ, when playing, is
very grand.
The altar in the middle of the crossing of nave and transept,
was erected in the year 1864 when the division wall was taken down.
It has a gothic reredos in carved wood.
The winged altar of St. Agilolphus (1521) in the south arm of the
transept below the window of Pope Sixtus, is especially worthy of notice.
It was taken from the church of Mary Magdalen and contains within
beautifully carved representations of the passion of our Lord, whilst on
the outside of the wings or panels, scenes from the life of archbishop
Agilolph are painted.
From this point, Tickets are necessary.
Immediately alongside of the last mentioned altar we
pass through the iron gates into the circular aisle passing
round and behind the choir. The first chapel we come to
is the Chapel of the Virgin, used for vicarial services.
The new gothic altar was made from designs by Zwirner. The
new altar piece, "The Assumption of the Virgin," painted by Fr. Overbeck
was presented by the Art Union of Dusseldorf; it cost £ 1500 and was
put up in 1856.
The polychromatic statue of the Virgin on the former altar, brought
from Milan together with the relics of the Magi by archbishop Eeinald
von Dassel — stands now on the south wall, under an elegant baldachino
designed by Zwirner. On the left of the altar is the tomb of archbishop
Frederick of Saarwerden (f 1414). The bronze figure of the deceased
rests upon the lid of a sarcophagus, of which the sides are decorated
with figures of angels and apostles and with a representation of the
Annunciation, which ornaments are reckoned among the best dating from
the 15th century.
— 70 —
The sarcophagi nearest the iron railing, are dedicated, on the left,
to Count Gottfried of Arnsberg whose effigy is protected by an iron rail;
on the right, to archbishop Reinald von Dassel (f 1167) who conveyed
the relics of the Magi to Cologne. The bronze figure of this prelate
which has disappeared, has been replaced by the marble figure of arch¬
bishop William of Gennep, whose remains are buried in the choir.
The painted glass windows represent scenes from the life of the
Virgin and were made by Ramboux from drawings of P. Grass. Behind
the chapel of the Virgin we come to the
Seven apsidal Chapels:
a. St. Stephen's Chapel: Sarcophagus of archbishop Gero (f 979).
On the marble lid reposes the effigy, likewise in marble, of General von
Hoehkirchen, who fell in the Spanish war of succession 1703, before
Landau; he is represented in a recumbent position, his head, encased in
a tremendous full bottomed wig, rests on his right hand. This figure
was carved by the Florentine sculptor Fortini. The winged altar made
in the year 1880 out of funds supplied by the chapter was executed by
R. Moert; it contains, the crucifixion, statues of the Virgin and St. John;
the panels themselves are ornamented with figures of John Baptist,
SS. James apostle, Lawrence and Stephen. Tomb of archbishop Adolph
of Schauenburg (f 1556) in marble; the portrait is exquisitely worked, the
reliefs are in rococco style.
b. St. Michael's Chapel: Tomb of archbishop Walram of Jiilich
(j- 1349). The three windows of this chapel, presented by the Society of
St. Clements, were made in the workshops of P. Grass and contain the
figures of SS. Catharine, Bruno, Ursula, Gereon, Clements, Barbara and
Pantaleon.
c. St. Agnes' Chapel: Sarcophagus of St. Irmegard, countess of
Ziitphen (f 1100); the statues in the gothic housings are missing.
The 3 painted glass windows of the 14th century have been restored
by P. Grass; they contain representations of the Colognese saints Anno
and Severin, Agnes and Cunibert, Gereon and Maurice.
In this chapel also we have the most important art treasure be¬
longing to Cologne — the famous Doinbild — the adoration of the Magi,
painted 1426 by Stephen Lochner. * It is an altar-piece with two wings
or doors 9 ft. 3 in. high and 8 ft. ZlU in. broad. On the outside of the doors
the Annunciation of the Virgin is represented; on the inside, the centre¬
piece represents the adoration of the Magi and on the wings are the
tutelar saints of the town; to the left St. Ursula with her companions,
to the right St. Gereon with his followers. In the picture of the Annun¬
ciation, the Virgin is represented kneeling at a faldstool in her chamber,
receiving the message from an angel dressed in an ecclesiastical vestment.
In this picture, the loving beatitude of the Virgin more especially rivets
our attention. In the centrepiece (page 71) the majestic Queen of Heaven,
seated on a throne, holds in her lap the infant Jesus, whilst her features,
are lit up with divine joy; the child stretches forth its little hand, in the
* Capital photographs of the Dombild can be obtained for the price
of 4, 6, and 9 Marks of Messrs. J. & W. Boisseree, Hochstrasse 14«,
Cologne.
— 71 —
The "Dombild" at Cologne.
attitude of benediction, towards the eldest of the Magi, whose features
are remarkably full of expression whilst his hands are folded in adoration.
The second of the Magi, on the other side, is presenting a golden vase;
whilst the third, an Ethiopian, stands behind him holding a similar
vessel. On both sides of this centre group are ranged the armed fol¬
lowers of the Magi with banners and weapons. Very small cherubs with
dark blue wings support the curtain behind the Virgin, or flutter around
her. St. Ursula accompanied by her bridegroom and two bishops, together
with her band of pious virgins, who suffered martyrdom with her near
Cologne, by their charming modesty and evidently joyous expression put
us much more in mind of a bridal train, than of that procession of
the Magi to which they seem to belong. St. Gereon, in golden armour
decorated with the sign of the cross, and bearing the flag of the crusa¬
ders in his hand, seems to form a continuation of the following of the
Magi on the other side.
The ideal and poetic composition of the entire picture, the freedom
of design combined with the natural positions occupied by the figures,
the solemnity, gentleness and repose which meets our eye, as well as the
harmony and warmth of the colouring, give this picture its great value.
Originally it belonged to the town and was hung in the chapel of the
Town Hall; during the storms of the revolution it was hidden away from
— 72 —
the French. In the year
1810 it was unreservedly
presented to the cathedral
chapter and from that
time it has occupied its
present position. A claim
made by the town, for its
restoration to them, was
rejected, in all instances
by the courts of appeal,
under the Statute of Limi¬
tations.
d. Chapel of the Magi:
Opposite, at the back of
the choir we see the highly
decorated monument of
archbishop Theodor of
Mors (f 1463). In front of
the chapel repose the
remains of the archbishops
and electors of the House
of Bavaria: Joseph Cle¬
ments (f 1723), Clements
Augustus (f 1761). In the
middle of the chapel
under a slab of slate lie
buried the intestines and
heart of the unfortunate
French queen, Marie de
Medicis; her body rests
in the royal vault at St.
Denis. The marble erection
Left hand panel of the Donihild. in this chapel, put up by
archbishop Max Heinrieh,
is in the rococco style and was executed in the year 1660. Until 1864 it
contained the shrine holding the relics of the Magi, which since then
has been preserved in the compartment of the north arm of the transept
next to the Sacristy. (See pages 77—80).
At the back part of the chapel there is a small altar with a gilt
bronze relief 3'A ft high 1 ft broad, representing the adoration of the
Magi presented by James of Croy, prince & bishop of Cambray (f 1506).
The painted glass in the windows of this chapel belong to the
oldest in the cathedral; they contain scenes from the Old Testament,
and from the life of the Saviour, the adoration of the Magi, and the
figures of SS. Peter and Maternus.
e. St. John's Chapel: Sarcophagus of Conrad von Hochstaden, arch¬
bishop and founder of the cathedral. His effigy, cast in brass, 7 ft 10V2
inches long, rests upon a black marble slab with the inscription — Con-
radus de Hochstaden — The figure was much defaced by the French;
but in 1847 it was artistically restored by Inspector Miller of the Royal
Brass Foundry in Munich. The body of the sarcophagus is 4 ft high 9 ft
long and 3V2 ft broad. The sides are ornamented with carvings by
— 73 —
sculptor Mohr. The south
side contains in the end
compartments supporters
with the arms of the
counts of Hochstaden (left)
and of the archbishopric
of Cologne (right). The
seven figures in the
middle, (taken from left
to right) are; 1. Cardinal
Pietro Capoccio, 2. Bishop
Henry of Luttieh, 3. Count
Dieterich of Cleves, 4.
King William of Holland,
5. Henry Duke of Bra¬
bant, G. Count Adolplms
VII of Berg, 7. Albertus
Magnus. The figures on
the head end refer to the
building of the cathedral;
the foot end is embellish¬
ed with 3 fancy statues.
The north side of the
sarcophagus has not.
as yet, been furnished
with figures.
The altar of this chapel
— the so called Clara-altar^
which was brought from
the church of St. Clara
and was saved from the
recklessness of the French
through the solicitude of Right panel of the Honibild.
Messrs. F. Wallraf and
S. Boisseree, being by them subsequently made over to the cathedral — is
worthy of attention as being a work of sculptor William. It is a shrine altar
with two side shrines containing within, above, 12-scenes from the passion,
below, 12 from the life of the Virgin and the youth of Christ; on the
door, by which the tabernacle in the centre is closed, a priest performing
the Mass is represented. The exterior of the wings is also painted, but
on canvas.
Under a large plate of glass in a carved oak frame the original
elevation-drawing of the two west towers is preserved; this was acci¬
dentally discovered in the loft of an inn at Darmstadt 1814.
The lower portions of the windows are ancient and have been
restored by P. Grass; the upper portions are modern by L. Schmidt.
f. St. Materials' Chapel: Monument to archbishop Philipp of Heins-
berg (f 1191). He is said to have been the builder of the ancient walls
around the town. The frieze, ornamented with battlements, towers and
gates, is symbolical of this saying.
Opposite to the altar is a frame in which, under glass, is preserved
the plan and elevation of the north tower of the west fa9ade, found in
Paris 1810.
— 74 —
g. St. Engelbert's Chapel: On the north west wall is a memorial
tablet, in renaissance style carved in black marble and alabaster, to
Count and Archbishop Anton of Schlauenburg (f 1558). The scene of
the resurrection in the upper part, although in the formal style of that
period, is very artistically treated. The mosaic-like glass window, made
by L. Schmidt, is a present from Mr. & Mrs. Diissel.
Well worthy of notice is the altar, ornamented with splendid car¬
vings of the 14lh century. It contains, in the centre panel, represen¬
tations from the life and passion of our Lord; under the middle panel
the heads of the twelve apostles with the head of Christ in the centre.
The side panels contain scenes from the life and maityrdom of St.
George.
We now quit the chapels and enter the northern aisle
of The Choir. Between the entrance of the choir and the
entrance to the sacristy, stands the tomb of archbishop
Engelbert III (f 1368) Count of the Mark. On the lid of
the sarcophagus reposes the full length figure of the prelate
with staff and mitre. The figures — of which only some are
left — in the gothic, arched panels on the sides and ends
of the sarcophagus, are remarkable for their anatomical
accuracy.
The cross altar on the east wall, which terminates the
chapel of St. Engelbert, was erected 1683, by Henry
of Mering, prebendary of the cathedral. The crucifix is
said to have belonged to the old building; its form denotes
great antiquity.
Before going into the Sacristy, Treasury and the
new Consistory and Record room of the Chapter, let us
first visit
The Clioir; this is separated from the surrounding portion of the
apse by 14 pillars on which, on consoles decorated with foliage, the
statues of Christ, the Virgin Mary and the twelve apostles stand. These
figures are a masterpiece of the School of Sculptors in Cologne at the
commencement of the 14th century, and have lately been restored to all
their beauty of colouring. Above these statues are placed richly deco¬
rated housings, ornamented with angels playing on musical instruments.
The figures of angels which are seen hovering in the spandrils
between the gallery and the arches, are a present of King Frederick
William IV and were painted in fresco by Mr. Steinle. Unfortunately
these frescoes do not harmonise with the solemnity and simplicity of the
architecture.
The High altar, dates from last century; it is executed in the
renaissance style, and is therefore a complete contrast to the entire
— 75 —
building. * On the left of the altar is the throne of the archbishop,
opposite to it is the seat of the officiating priest. Worthy of notice are
the 96 magnificent choir stalls of the 14th century, all ornamented, on the
knobs of the backs and the panels below the seats, with spirited and at
the same time well executed carvings. The Walls of the choir behind
these seats are hung with tapestries, worked under the direction of Mes-
dames Martens, by a society of Colognese ladies under the presidency of
Mrs. Konig, after the designs of Mr. Ramboux. In the lower part they
contain figures of saints under gothic baldacliinos; whilst the upper
portion represents the Nicene creed in a series of pictures on the right
and left hand side of the choir.
Under a memorial slab of copper in the pavement of the choir, is
the sepulchre of archbishop Frederick Augustus Spiegel of Desenberg
(born 1764 died 1835). He was the first archbishop who, after the French
occupation, during which the cathedra had been transferred from Cologne
to Aix-la-chapelle, resumed his seat in Cologne.
Under another slab close to the altar the cardinal archbishop, John
of Geissel (b. 15th February 1796, d. 8th September 1864), lies buried.
We now return by the same door as we entered the
choir and proceed to visit.
The Sacristy, the entrance to which is by the side
of the cross altar which we have already mentioned.
In its present form, after the portion projecting be¬
yond the transept had been pulled down, it was completed
in the year 1869. The building contains the sacristy proper,
the treasury, the consistory and record room and the
library.
At the entrance to the sacristy we come upon the more
than life-sized, marble bust ** of Archbishop Clements
Augustus of Droste-Vischering (b. Jan. 1773, d. 19. Oct.
1845). He was famous for his conflict with the Prussian
Government, in consequence of which he was, on 20th Nov¬
ember 1837, conveyed as prisoner to the fortress of
Miriden. His persistency and energy gave a mighty
impulse to the re-awakening of catholic life in Germany.
The ambry, or place for reserving the sacrament, is worth
notice, it is one of the most perfect pieces of sculpture
in the whole building; also the 6 windows with splendid
* Tenders having been called for, a number of various designs have
been sent in for a new high altar, throne, sedilia, pulpit, and litany
table, which are all to match the style of the architecture.
** This bust is now in the Treasury.
— 76 —
painted glass dating from the 16th century. Among the
vestments, which are all laid up in cupboards, of which
the panels are ornamented with interesting carvings, the
most remarkable is the suit of Archbishop Clements
Augustus of Bavaria known by the appellation of the
Clementine suit. It was made in Lyons and cost (besides the
value of the material) £ 9,300 in wages for embroidery.
It was worn for the first time on the occasion of the
coronation as Emperor of Charles VII at Frankfort and
on account of the weight of gold embrodery, the cope
alone weighs 87 lbs, is only worn on specially solemn
occasions.
The Consistory, adjacent to the sacristy, contains
an altar of which the tablet was consecrated by Albertus
Magnus. The reredos is of elegantly carved oak. The
wall-cupboards, of which the panels are decorated with the
carved arms of former prelates belonging to the cathedral,
were made by Mr. R. Moert, and the rest of the furniture
by Mr. Otto Mengelberg, both of Cologne. On the walls
hang the portraits of the following archbishops, Maximilian
Francis archduke of Austria, Ferdinand Augustus count
of Spiegel, and John of Geissel.
The Library which until the year 1866 was in Darm¬
stadt is rich in manuscripts of the time of Charlemagne;
at the conclusion of the peace, 1866, it was again restored
to the cathedral. * It is at present housed in the Record
room in splendid oaken cupboards, made by Bros. Klein,
carvers in Cologne.
The Treasury** contained at one time large quantities
of valuables, and, to judge from records that still exist, the
works of art here collected were such as could only be
found in a limited number of places, favoured by peculiar
* For further particulars, see Mr. Frenken's work "das Schicksal
der Werthgegenstande des Kolner Doms" Cologne 1868 and Jaffe & Wat-
tenbach, "ecclesise Colon, codices manuscripti." Berlin 1874.
** A more full and particular description, with illustrations, of the
treasury of the cathedral (to which we are indebted for part of what
follows) will be found in Dr. F. Bock's: "Der Kunst- und Reliquienschatz
des Kolner Doms." Cologne 1870.
— 77 —
circumstances; several valuable specimens from every period
of goldsmith's work for the church were to be found in the
well filled cupboards. Some highly ancient works in the
romanesque style, fanciful and varied creations of the
transition period, master pieces of the gothic style in its
development, full glory and decadence, and finally the
renaissance style, in its various phases until it degenerated
into the rococco, were all represented, and, in their diversity,
formed an instructive record of the changes in taste and
art which had taken place in past generations. Unfortunately
no reliable inventory can be found of the treasures collected
here in mediaeval times. The most ancient catalogue,
known to exist, is dated 1645 and may be found in
Gelenius' work "De Magnitudine Colonise." A somewhat
later inventory was compiled in the year 1671, by the then
custodian Peter Schonemann. From this catalogue we find
that only a very small portion of the treasures has been
preserved until now. Franken tells us that on three
several occasions, after they had been taken across the
Rhine to avoid falling into the hands of the French troops
of occupation, in 1794, 1802, 1803, they suffered irreparable
losses. A large portion of the treasures and works of art
were sold in Prague, by the authority of the cathedral
chapter, for fear they should fall into the hands of the
Partition Committee then sitting in Darmstadt. Another
portion, from the golden monstrance and the artistic reli-
quiaries, to the very nails of the broken up altar-plates,
from the golden crowns and large silver cressets of the
shrine of the Magi, to the smallest ring of the famous
diamond star, was bodily melted down and coined at the
mint of Darmstadt. The small amount of the original
treasure which found its way back to Cologne is nevertheless
so important, both as regards the value of the material
and in respect of its artistic worth, that it cannot be
equalled by any collection. It contains the following
articles:
1. Shrine of the Magi, Length 6 ft, breadth 373 ft, height 43A ft,
XIII century. It contains the remains of the Magi and in the upper
— 78 —
portion those of SS. Felix, Nabor and Gregory of Spoleto. Only the heads
of the Magi can be exposed to view.
It is said that the relics of the Magi were buried in Constantinople
by St. Helena, the mother of the emperor Constantine. Thence they were
brought in the year 324 to Milan. Here they remained until 1162, when
Milan was taken by storm and overthrown by the emperor Frederick
Barbarossa, who seized the
relics and presented them to
his friend and ally, Reinald of
Dassel archbishop of Cologne.
On the 23rd July 1164, Reinald
with his precious charge en¬
tered Cologne and was re¬
ceived by the people with great
rejoicing. A magnificent shrine,
for the purpose of enclosing
these relics, was soon manu¬
factured and they have been
preserved in it to the present
time. The shrine is one of the
most important specimens of
mediaeval goldsmith's work;
in the whole of western Eu¬
rope nothing of that date is to
be found which can be com¬
pared to the magnificence of
conception and artistic exe¬
cution displayed in this reli¬
quary. It exhibits the pure
romanesque style in its design,
Head end of the Shrine of the Magi. an<^> with but slight modifi¬
cations, is a perfect model of
a Roman Basilica of which the ends terminate perpendicularly. Over
the side compartments which are furnished with sloping desk-like covers,
the central compartment towers on high and is finished off with a
saddle-back roof. The head end of the shrine contains the greatest
amount, in every way, of decoration. The architecturally divided surfaces
of this end are enriched with a number of artistic repoussee figures, with
carved precious stones — both from classic Rome, as well as belonging
to the middle ages — and with a quantity of chased, enamelled, and
filigree ornamentation. The lower portion contains in the middle compart¬
ment a repoussee figure of the Virgin carrying the infant Jesus, whose
face, and right hand raised in the act of blessing, are turned towards
the 3 wise men from the East, seen in the triarched side compartment.
The fourth person standing behind the group represents the German
Emperor Otto IV, who, when the shrine was being prepared, caused
this end to be made at his own personal expense. On the other side of
the centre niche we see the baptism of Jesus in the river Jordan.
Above these scenes and abutting on the sloping covers of the side
compartments is a moveable panel, which, on being taken away, exposes
to view the skulls of the Magi.
— 79 —
The upper portion of the head end represents the Redeemer seated
on a throne, with his right hand raised and holding the Book of Life
in his left. He is surrounded hy angels who carry the instruments of
the passion.
On the foot end of the shrine, the scenes represented on the opposite
end are continued. In the centre niche is the statue of the prophet
The sides of this gold
Foot end of the Shrine of the Magi. basilica are divided into arched
panels of which the arches
rest 011 double, richly enameled, columns with cubiform capitals. In the
lower compartments we find on each side 6 Silver gilt, repoussee, figures
of the prophets and in the upper compartments the same number of the
apostles. In explanation of the scenes and figures, the upright fillets of
the sides and ends of the shrine and the architraves of the panels are
furnished with enamelled inscriptions, requiring no further description.
Like many other glorious art productions of the middle ages, this work
of a grand epoch has suffered greatly, owing to the absence of taste and
the vicissitudes of turbulent times. The shrine was most injured at the
period of the French revolution. When the treasures of the cathedral were
carried across the Rhine, the reliquary was divided into three parts and
removed, first to the abbey of Wedinghausen, afterwards to Frankfort.
When the separated portions were brought back, they were found to have
sustained a good deal of damage and unfortunately the period at which
the restoration was undertaken, was not conducive to a correct carrying
out of the idea. In putting the pieces together, the shrine was shortened
by a whole panel and by this alteration not only was confusion created
in the harmony of the proportions between the various parts, but also in
the connection and arrangement of the decorative figures and the enamelled
Jeremiah, the herald of the
passion of Christ; on the left
the scourging of Christ, on
the right the crucifixion is
represented. Over these scenes
is the figure of archbishop
Reinald of Dassel, who brought
the relics from Milan to Co¬
logne. The upper compartment
shews the heavenly reward
being bestowed upon the
martyrs Felix and Nabor,
whose bodies rest in this
portion of the shrine. They
were soldiers who, in the
persecution under the emperor
Maximian, were put to death
by the sword on account of
their faith in Christ; their
remains were brought from
Milan to Cologne on the
same occasion as those of the
Magi.
— 80 —
inscriptions. The surfaces of the cover which were formerly embellished
with splendid bas reliefs of scenes taken from the life and passion of our
Side view of the Shrine of the Magi.
Lord, were painted over in the most incongruous manner with scenes
from the Old Testament, from the lives of the Magi and the history of
their relics, a style of ornamentation utterly out of harmony — as regards
composition and technical execution — with the nature of the object.
In the year 1820 the shrine was subjected to violent injury, in that
on 18th October a thief got himself locked into the cathedral when it
was being closed in the evening and during the night effected his pur¬
pose, escaping when the building was opened in the morning. Although
a portion of the plunder was found in a field near Melaten, the shrine
nevertheless lost about 100 precious stones; however, notwithstanding
all these misadventures, it still possesses 1540 jewels, gems and cameos.
The carved stones belong, for the most part, to classic antiquity and
throughout may be regarded as masterpieces of the lapidary's art. Formerly
the"shrine stood in the chapel of the Virgin; later on, up to 1864, in the
chapel of the Magi. It is to be hoped that the present generation will
see this splendid relic of mediteyal art thoroughly and correctly restored
and placed in a more fitting site than it now occupies.
2. Romanesque crucifix of gilt copper; XII century. Length lfBL in.
Breadth I6V4 in. The special ornament of this altar-crucifix consists in the
large plates of gold, bearing the figure of the Saviour in coloured enamel
and 4 other scenes. The plates of enamel and filigree, which decorate
the upper and lower portion, as well as the arms of the cross, are taken
from those plates of enamel which were found to be superfluous when the
shrine of the Magi, on being put together, was shortened.
3. Precentors baton, ornamented with a splendid top, representing
the adoration of the Magi.
— 81 —
4. Upper portion of St. Peter's staff. Entire length I2V4 in. the
ivory knob at the top "/a inch. This relic is not remarkable for its ar¬
tistic or intrinsic value, but for a tradition attached to it. The legend
runs, that this ivory knob was attached to the staff of St. Peter, who is
reputed to have handed it to St. Valerius. By the miraculous power
inherent in this staff, St. Maternus the first bishop of Cologne is said to
have been raised to life, 40 days after death.
5. Archiepiscopal crook, in silver gilt, with a good deal of trans¬
parent enamel; XIV century. This crook belongs to the best gotliic
period, and, besides its pure architectural form, displays an inconceivable
amount of beautiful and artistic enamel. As regards its aesthetic value, in
regard to form and conception, there can be only one opinion. The whole
is so full pf harmony and pleasing effect and the details are so perfect,
that even an unpractised eye at once recognises in it a masterpiece of
mediaeval goldsmith's work.
6. Grand monstrance, in silver gilt; XIV century. Height 33"2 in.
Breadth of foot ll3/* in. Breadth of top 83h in. Amongst the not very
numerous similar works of the goldsmith, it would be difficult to match
this. Grave and measured in its composition, full of harmony in its
proportions of size and detail, this monstrance exhibits a well considered
plan, delicately organised development and perfect execution. It is
supposed to be the work of Colognese goldsmiths and was presented to
the cathedral by Mrs. Mertens-Schaafliausen, who had picked it up at the
shop of a dealer in virtuos in Cologne.
7. Simple gothic chalice, in silver gilt; XV century. Of all the
chalices belonging to the cathedral, this is the only one which outlived
the French occupation.
8. Reliquary-Crucifix, in silver gilt, with double arms; XV century.
Height 14 in. Breadth of the lower cross beam 51k in. The quaterings, in
which the cross beams terminate, contain the symbols of the four evange¬
lists. To the head piece is attached a figure of the Queen of heaven,
whilst between the lower cross arms the crucified figure of our Saviour
is placed.
9. Bust of St. Gregory of Spoleto, in wrought silver; XV century.
Height 173 8 in. Breadth 15 in. Weight of silver 16 lbs. The bust con¬
tained formerly the relics of priest Gregory, who, during the persecution
under Diocletian and Maximian, in the year 303, was condemned to suffer
martyrdom at Spoleto. His remains, which repose now in the shrine of
the Magi, came, at the instigation of the emperor Otto the Great, into
the possession of archbishop Bruno, brother of the Emperor. (953—956.)
Besides this reliquary bust, the treasury formerly possessed three
other similar ones with which, on festival occasions, the high altar used
to be decorated.
10. Various larger and smaller reliquaries.
11. Ceremonial sword, in silver gilt; XV century. This sword, which
used to be carried, together with other insignia, before the archbishops
and electors of Cologne as a symbol of their power over life and death,
is, irrespective of its artistic workmanship, in so far worthy of notice
as it is the only relic which reminds us of the temporal power of the arch¬
bishops of Cologne; which power disappeared with the fall of the
Germanic Empire.
— 82 —
■*
12. Osculum pacis, in pure gold; XVI century. Height B'/is in.
Breadth 3 Vis in. Thickness 3/« in. Weight 1 lb 2 oz. Amongst all the
similar works of the height of the renaissance period, which are pre¬
served in German cathedrals, this one probably occupies the place of first
importance. In external form it resembles the altar tabernacles of that
period; the centre is filled with a splendid picture in enamel, after
Diirer's style, representing the crucifixion. The front is ornamented with
10 pearls of large size and beauty (each being on an average worth
£ 45). Besides containing 5 rubies in antique settings, the front surface
is studded with a number of diamonds. A particularly splendid sapphire
worth at least £ 150 is set on the socle of the osculum. The reverse is
also splendidly wrought and contains, besides an elegant handle of
entwined foliage, held by two genii, the many coloured coat of arms of
the donor, cardinal Albrecht of Brandenburg, archbishop of Mayence.
18. A Monstrance, in silver gilt. Weight 6'/-i lbs; made in Augs¬
burg. It is set with a number of jewels, more especially rubies. The
luna is formed entirely of diamonds; on it hangs a crucifix thickly studded
with diamonds, a present from the baroness of Fiirstenberg; but the
most costly ornament of this monstrance, is a necklace of the most
valuable turquoises, amethysts and saphires, originally belonging to the
silver Madonna, weighing 90 lbs, presented by Archbishop Gero (f 976)
to the cathedral. This latter figure, like so many other of the valuables,
has disappeared.
14. A golden flower with splendid enamel work and decorated
with many jewels, belonging to the same figure, was presented by Arch¬
bishop Maximilian Henry 1658.
15. A monstrance in wrought gold; XVII century. Height 19'/2 in.
Breadth 8lA in. Diameter of the foot 10 in. Weight IDA lb. Although its
form is in the rococco style, this vessel is, in its way, a unique specimen
of which the cathedral may be proud. It was a present from archbishop
Maximilian Henry, and in respect to the value of the material of which
it is constructed and the gems with which it is studded, nothing equal
to it can be found in all Europe. Count Fiirstenberg, who was at the
time dean of the chapter, added to this magnificent present, the diadem
supported on four pillars, which likewise glistens with gold and jewels
and is a worthy appanage to the gift of the prelate.
This monstrance is only used on high festivals. On account of its
incredible value, the magistrate of the town, when the city was inde¬
pendent, had to deposit a security for its safety whilst being carried in
procession on the festival of Corpus Christi.
16. Shrine of St. Engelbert, of wrought silver; XVII century.
Length 3 ft 10'A in. Height 5 ft 4 in. Breadth 16','2 in. This reliquary
was made in Cologne 1633—35 by Conrad Duisberg. It is of solid silver, for
the most part gilt. Weight 167 lbs. It may be looked upon as a happy
piece of good fortune that this shrine, probably the last of such a size
that was made in Cologne, has remained uninjured. It consists of two
principal parts, viz, the body and the cover, which serves as a bed on
which the chased and gilt figure of the saint reposes. The head end is
enriched with the figures of our Saviour, St. Peter and his scholar St.
Maternus, who was the first bishop of Cologne. Each of the sides bears
five figures of celebrated bishops of Cologne in chronological order, i. e.
— 83 —
St Severin, St. Evergislus, St. Cunibert, St. Agilolphus, St. Hildeger,
St. Hildebold, St. Bruno, St. Gero, St. Heribert, St. Anno; moreover the
broad spaces between these figures are filled in with repoussee represent¬
ations of scenes out of the life of St. Engelbert.
The foot end represents the chief patrons of the cathedral — the
Magi — in the act of bringing presents to the Saviour. At the corners
are wrought figures of the four evangelists. The moulding, running round
the four sides of the cover, is enriched with eight bas reliefs of miraculous
cures which have taken place, in the course of time, at the tomb of the
saint.
17. Large crucifix with a splendid ivory figure of Christ. Presented
by the late vicar J. H. Filz.
18. Ten ivory tablets. 6 in. high, 4l/a in. broad, contain scenes
from the passion. The pious artist and priest Melchior, carved these
with great skill and patience during a period extending over 30 years
(1703-1733).
19. Archiepiscopal cross and brilliant ring, presented to the
incumbent of the cathedral in the year 1826, by King Frederick William III
Both these jewels, which are studded with a number of diamonds and
emeralds, are valued at about £ 2,400 they are worn by the archbishop
when officiating in his pontifical capacity.
20. Monstrance, silver gilt, weighing about 17 lbs, richly set with
jewels. Presented by Pope Pius IX, on the occasion of the 6th centenary
of the cathedral, 1848.
21. Bust of St. Sebastian in wrought silver. This reliquary contains
part of the skull of St. Sebastian. It was made by Franz Wttsten to order
of the brotherhood of St. Sebastian.
22. Silver hammer and trowel used by King Frederick William IY
on 4th September 1842, when laying the first stone for the continuation
of the building operations.
Ascent of the Cathedral.
The visitor, who is desirous of obtaining something like
a correct impression of the vastness of the building, will not
fail to make the ascent; for it is absolutely necessary to
have made the tour of the galleries before being able to
grasp the immensity of the proportions of the structure, or
the wonderful harmony and congruity of the different parts
amongst themselves. Every one therefore, whether profes¬
sional man or mere visitor, is strongly recommended to
ascend to the outside galleries and the towers. By means
of a winding staircase, situate in the corner pier of the
south door, after mounting 101 steps, we arrive at the
gallery over the doorway, 55 yds long, 21/* ft broad, and
after mounting 36 more steps we reach the 3 ft broad
— 84 —
gallery running round the whole building, protected by an
elegant, reticulated parapet. From this point we gaze in¬
to the forest of pinnacles and of boldly arched buttresses.
We have also here an opportunity of admiring the imagin¬
ative power expressed in the forms of monsters and
mythical creatures composing the gargoyles, in the delicate
and varied foliage running round the pinnacles and gables,
in the flowers decorating the string courses and the colossal
figures embellishing the finials of the buttresses. It is
"architectural music", rising heavenwards from these life-like
masses of stone. A sti*oll amongst this forest of pillars
conveys to our mind the hidden meaning of those popular
legends, which ascribe the design of the building to super¬
natural powers.
The outside gallery corresponds with one inside, from
which the interior of the cathedral may be seen.
Mounting 98 more steps, of the same winding staircase,
we arrive at the upper gallery running \round the building
at the eaves of the roof; 1600 ft long. Here we gain some
idea of the enormous size of several details which from
below look so delicate. The roof is surmounted by a gilt
combing 472 ft high and the cross on the furthest apex
of the choir is 27 ft high, weighing 13 ewt 3 qrs. 14 lbs.!
A peep down into the interior of the choir, which is
obtained through an opening in the vaulting reached by
entering a door in the gallery leading thereto, furnishes a
sight never to be forgotten.
We now arrive at the iron tower surmounting the
intersection of nave and transept and rising 158 ft above
— 85 -
the ridge of the roof. According to the plans furnished by
Sulpiz Boisserde, it was designed in stone, Even the design
made by Zwirner was more pleasing in shape, as it de¬
veloped from a square to an octagonal form; whereas the
present structure rises at once, as an octagon, out of the
roof. A dread, lest the 4 piers of the transept should not
be sufficiently strong to carry the enormous weight of a stone
tower, led to the adoption of a lighter construction of iron
94 steps in 4 sets lead to the open gallery of this centre
tower, whence an incomparable view is obtained. We have
the entire building at our feet, rising out of the massive
form of the Latin cross, gradually fining away to the most
elaborate and delicate details and finishing off with the
everblessed symbol.
Coming back on to the roof and thence proceeding by
the gallery to the western towers, we again ascend, by means
of a w.inding staircase in one of the corner piers, to the
finishing string course of the octagon at the foot of the
stone spire. Here our ascent must cease, for although a
ladder of copper does lead, over the spire and through the
foliage of the finial, right up to the knob at the top, visitors
are not allowed to mount it, as it is only intended for the
purpose of enabling the officials from time to time to examine
this portion of the building. Where we now stand however,
at the point where the spires commence, we obtain another
magnificent view of the glorious building with its forest of
flying buttresses, pinnacles and gabled canopies; besides
which the landscape opened before us is worthy of notice.
The view over the town and country, over the rivers
and fields, the sea of houses belonging to the city of
Cologne mingled with church spires and towers, the far
stretching suburbs with gardens and places of amusement,
meets our gaze; a fertile plain dotted with villages and
hamlets lies, like a map in relief, spread out before us,
through which the mighty Rhine flows like a stream of
silver hemmed in by the hills beyond, and the seven
mountains, which form the back ground to the whole
panorama, loom spectre-like and misty on the horizon.
— 86 —
Either in ascending, or descending, it is worth
while to inspect the large apartments, like halls in some
grand castle, which form the different stages of the North
tower. The third story of the south tower has since 1876
held the belfry with the entire Peal of Bells.
The peal of five bells composes the gamut F. G A. B. C. and
consists of the following: the Emperor bell (Kaiserglocke), C, cast 1875
weighs 27 tons — Pretiosa, G, cast 1448, weighs lib's tons — Speciosa, A,
cast 1449, weighs 6V4 tons — bell of the Magi, H, recast 1880, weighs 33/i
tons — St. Ursula's bell, F. cast 1862, weighs 2% tons.
The Emperor bell is larger and heavier than any other bell in
Europe. It was successfully cast by Andreas Ilamm in Frankenthal,
after three abortive attempts.
The dimensions and approximate weight of the Emperor bell, are
as follows: the perpendicular height is 14% ft; the diameter at bottom
tl'/j ft, the circumference 35% ft. The bell is suspended by means of
a screw to which the hammer is also attached. This screw weighs '/2ton;
the hammer, or tongue, is 10 ft 10 in long and weighs 16 cwt. The metal
is 10% in. thick at the mouth and 4 in. thick above. The casting required
the metal of 22 large cannon, captured from the French in the Franco-
Prussian war, together with about 5 more tons of tin; the entire bell
weighs rather more than 27 tons, so that it is heavier than the bell of
Toulouse weighing 25% tons. The bell of St. Stephen's tower at Vienna,
cast in 1711 from Turkish cannon, weighs 18% tons, Big Ben at West¬
minster weighs 14 tons, that at Erfurt, 1497, 14 tons, that at Notre Dame
Paris weighs 123/4 tons, Breslau, 1508, weighs 11 tons, York, 1845, weighs
103/4, St. Peter's, 8 tons, Oxford, 1680, weighs 7%, St. Pauls, 1709, weighs
5% tons.
The six arms which form the crown of the Emperor bell are en¬
riched with angels' heads and where they are connected with the bell
itself they take the shape of lion's claws. Immediately below the crown
the following inscription, in three lines, appears:
„Guilelmus, augustissimus imperator Germanorum, rex Borussorum
pie memor coelestis auxilii accepti in gerendo felicissime conficiendoque
nuperrimo belio Gallico, instaurato imperio Germanico bellica tormenta
captiva aeris quinquaginta millia pondo jussit conflari in campanam
suspendendam in hac admirandae structurae aede exaediftcationi tandem
proxima.
Cui victoriosissimi principis pientissimae voluntati obsecuta societas
perficiendo huie templo metropolitan© constituta F. C. Pio P. IX. Pontifice
Romano Paulo Melchers Archiep. Coloniensi a. D. MDOCCLXXIV."
(William, the august Emperor of Germany and King of Prussia, in
pious memory of divine help received in carrying on and most happily
terminating the latest war with France, on the German empire being
restored commanded the captured cannon, weighing 50,000 lbs, to be cast
into a bell, which should be hung in this wonderful building, at last near
its completion as a House of God.
Agreeably to this most pious desire of the victorious prince, the
society founded for the completion of this temple had the bell made.
— 87 —
Pius IX being the Roman Pope, Paul Melchers being the archbishop of
Cologne, A D. 1874).
Over the figure of St. Peter runs the following inscription:
„Voce mea coeli populo dum nuntio sortes
Sursum corda volant aemula voce sua.
Patronus qui voce mea templi atria pandis,
Janitor et coeli limina pande simul."
(When as messenger my voice the people calls,
Their souls ascend, their voices emulous do rise.
Oh patron, who at my appeal dost ope' this temple's halls,
Fling wide, celestial janitor, the threshold of the skies.)
On the side opposite to that bearing the figure of the "Prince of
Apostles" is the German escutcheon, with the appropriate verse:
Die Kaiserglocke lieiss ich I'm called the Emp'ror' bell.
Des Kaiser's Ehre preis ich The Emp'ror's praise I tell.
Auf heil'ger Warte steh' ich On holy guard I stand
Dem Deutschen Reich erfleh' ich And for German land,
Dass Fried und Welir Beseech that God may please
Ihm Gott bescheer! To grant it peace and ease.
In the first inscription the archiepiscopal arms may also be traced,
and the mottoes are surrounded with garlands of gothic arabesque, which
have come out well in the casting. The form of the bell is rendered
also less naked by projecting parallel rings of metal cast on to it.
Epilogue.
Before leaving the cathedral, where we have been
wandering about, both within and without during the whole
of the day, let us return once more, as the light wanes,
into those majestic aisles so as to enjoy in reflective solitude
that impression of solemn grandeur which this vast edifice
makes upon the human mind. The sun's last ray is shining
through the painted windows of the clerestory, the rows of
pillars stand out like figures in some Eastern romance.
The sombre twilight is provocative of contemplation; this
is the hour when one's soul feels drawn hither to worship
in silence. The thud of the last hammer thrown down by
the workmen is heard without, the bang of a closing door
resounds among the mighty columns and is echoed from the
choir. You are alone in a forest of stone. Stand still and
listen. The silence becomes impressive. If here you cannot
feel the presence of God, you have never known what it
is to draw near to Him. Examine closely those pious
thoughts worked out in stone. Faith conceived the design
_ 88 -
for this house of God and a stern confidence, seeming to
defy the very elements, undertook the erection of it.
Around, behold grandeur linked with child-like love, hand
in hand with playful innocence and sweetly pensive
grace. From the summits of these petrified trees there buds
a variegated spring of life; flowers are produced by the
inherent power of those monstrous stems, whose arched
branches support the roof of this earthly temple, and where
the boughs interlace, at the summit of the arches, a many
coloured heavenly ray comes in to dispel the gloom. The
light which enters from without pales more and more; but
the child-like feeling of security increases, the sense of
God!s protecting care becomes more vivid. The believer
knows of no night even when darkness surrounds him.
Mark well the gradations in this temple. The sanctuary
is small and narrow; but few men lead a perfectly pure
life. The choir is larger; it is the resort of those who
practise self-denial. Larger and broader still is the nave;
here room must be found for the mass of the people to
congregate. Look up now to those lofty vaults. Human
vision cannot pierce the darkness of that immeasurable
height, the senses cannot aid you further; close your eyes and
let the ear alone attempt to catch those celestial voices,
which ought to reach you here.
Thus, oh mortal man! thus, in perfect silence, in wrapt
attention, thou mayest be able to experience the feeling
of a soul which holds commune with its Maker!
Date Due