Strasbourg Cathedral

The Belfry

The belfry, which houses 10 bells on 16 is located above the gallery of the apostles. It was not on the original plan. It was designed and built by master builders of Fribourg and Claus Michael Lohr between 1365 and 1383.

Only the west face of the belfry is decorated, the iconography of the theme is "Judgement Day". Between the gables openings Christ is shown seated, a sword pointing to his mouth. Below him two characters. (Maybe the prophets Ezekiel and Isaiah.) Framing openings, four statues with a man's head, eagle, bull and lion (The zoomorphic) account according to some, evangelists, according to others, "Alive" described by Ezekiel and Isaiah in the Old Testament and St. John in "The Apocalypse".

In the gables, the Virgin Mary and St John intercede for the resurrected that we see out of the coffins along the gables. At Christ's right, elected to his left, the reprobate. Two angels hold the symbols of the Passion, the cross, crown of thorns, the spear and the three nails. Four dead in the wake angels blowing trumpets. At the top of the gable to the left of Christ, a demon in hell carries a reprobate to his right, a character takes a politician to Paradise.

Interior

Stained Glass on the blessing of the Virgin.

Inside the cathedral , typically Gothic , has a dcor rich and varied. The interior is dark compared to most cathedrals French , as Reims or Chartres. Contrary to common belief, the nave of the cathedral has with its 63 meters long, one of the longest naves in France, but the very small size of the chorus lead to a lack of proportionality in all ^{The nave}

The nave was built on three floors and contains a rich collection of stained glass. In the collateral north, they represent different Emperors of the Holy Roman Empire and are dated ^thirteenth century. In the south side, the windows of the ^fourteenth century can admire scenes from the life of the Virgin Mary and Christ. The windows of the clerestory are the ancestors of Christ according to the genealogy given by Luke in his gospel. To the south, the second character in the first window of the fourth bay is Judah (patriarch). The great rose window is itself purely ornamental !
A note: "the strongest man in the cathedral." This is a small statue placed at the base of a pillar of the nave (left row by entering through the main door), representing a man trying to support the pillar. This man therefore supports the cathedral, which makes it more sturdy.

The north transept

The north arm of the transept , like the south arm, is divided into four bays by a square central pillar. The central pillar of the north arm is cylindrical. The vaults of warheads of the oldest in the cathedral are very curved, which resemble each of the four spans of domes. The height reached twenty-six meters.

The sculpture of the Mount of Olives

It can be seen in the left side is the old niche Romanesque quite majestic, the altar St. Lawrence. Its capitals are decorated with animal fantasy. This niche is now home to the baptismal font , made in 1453 by the architect of the cathedral at the time, Jodoque Dotzinger. They are carved in a very thorough and is a masterpiece of flamboyant art. For some reason, they are not octagonal as elsewhere, but heptagonal.

Opposite, on the west side, that is to say against the wall of the apse of the current chapel Saint-Laurent , is a monumental sculpture of the Mount of Olives. This is controlled by 1498 by Nicolas Roeder for the cemetery of St. Thomas Church , before being transferred to the cathedral in 1667. The old chapel of Saint-Laurent (1495-1505) is due to Jacques Landshut overlooking the northern gate above which.

The south transept

Pillar of Angels

The man of the balustrade

Two particularly notable are located in the south arm of the transept. The pillar of the Angels , built circa 1230 , is the central pillar of the hall and carries twelve sculptures of great beauty: the first row represents the four evangelists , topped by angels playing the horn. The top group includes the Christ , seated, surrounded by angels carrying instruments of the Passion.

In this room, it should be noted the statue of a man leaning on a railing. The legend tells that it is an architect of the competitor who built the pillar of angels , architectural feat of the time. He would have never claimed that a single pillar could support such a large vault and wait to see it all collapse.

The crypt

The crypt to discover the oldest part of the cathedral , built in the ^eleventh century in a beautiful Romanesque style. Conducted a few years before that of the Abbey of Our Lady of Jumiges ( 1.04 thousand - 1066 ), she already has a very ambitious and original, the size and shape data with chapels radiating. At Robert's death in 1037 , the eastern parts are probably finished. This crypt offered a wide walkway of 4.6 meters wide and, moreover, the type confessio hall-crypt did not exist and was created only later, with no communication with the ambulatory.

The Romanesque crypt of the eleventh ^century

The crypt is composed of three naves separated by pillars Phillips and columns alternate (the first two spans only oriental show this alternation). Here too, the vault is in the cradle and the columns are crowned by capitals rather archaic two capitals have at the four corners of the basket , the animals deformed ( lions or devils ), the other two are composed of stems intertwined looping spiral and symmetrical. It ends on the east by a wall in Chamber , which includes the small sanctuary , four niches and two blocked openings today.

Under a frieze composed of sheets of vines and stylized bunches of grapes , the apparatus of the walls is covered with a size - Decorative edges of fish and diamonds - which proves that this goes far eastern part XI ^century , because it is found in the oldest churches of Alsace , to Altenstadt and Surbourg. Then in the ^twelfth century , we built two rows of columns including decorative shapes are extremely modest, with capitals cubic leading the crypt to the nave.

The vault of bones ends on the west by a pontil to the Italian. Both stairs are modern side. Between them lies the vault - modern - the bishops of Strasbourg. Already after the fire of 1150 , the walls of the eastern transept had been redone.

Chorus

The choir

The choir novel , which is the altar is raised because it is situated above the crypt. It is decorated with frescoes dating from the ^nineteenth century. Like the vault of the throne of Neuschwanstein Castle , that of the chorus recalls the Byzantine art. It is decorated in the center of a stained glass modern, representing the Holy Virgin , which is dedicated to the cathedral. One finds in this window , donated by Council of Europe , the twelve stars of the European flag on blue background color of the Virgin Mary. In the cross North, a beautiful set carved and polychrome , from the early ^sixteenth century and worthy of serious restoration , is the Mount of Olives.

The choir is furnished fifteen stalls in oak , dating from 1692. Works of carpenters and Claude Claude Bourdy Bergerat, and the sculptor Peter Petri, they are classified historical monument since 13 February 2004 , as an object.

Since the last quarter of 2004 , the choir was reorganized decision of ^Mgr Joseph Dor , archbishop , so that it conforms to the aspirations of the liturgical Vatican II. The railings of stone of the great staircase is removed to allow greater communion between visual clergy and faithful. To improve visibility , a gently sloping gradient of three percent, is made from the bottom of the choir from the altar of the ^eighteenth century , to the top of the stairs. New furniture liturgical in marble of Carcassonne , is installed, the cathedra and a new altar. The new choir was solemnly inaugurated on 21 November 2004 by ^Bishop Gold , surrounded by Cardinal Jean-Marie Lustiger , archbishop of Paris and Cardinal Karl Lehmann , bishop of Mainz , in the presence of Prime Minister Jean-Pierre Raffarin.

The pulpit

The pulpit is an example of Gothic in the extreme. Fifty statues adorn it, addressing many issues such as evangelists , the Crucifixion or Santa Barbara. The small sculpture of a dog is out on the stairs , reminiscent of the habit of a preacher to come accompanied by his dog.

In times of equinox when the sun shines, a Green flash illuminates the Christ who is carved. At the solstice of winter , a white beam produced on the Christ the same effect. These rays were discovered by Maurice Rosart and studied in terms of astronomical Louis Tschaen. For Andr Heck, director of the Astronomical Observatory of Strasbourg, the "green flash" has no special meaning: the glass from which it comes is recent (1875) and the radius itself appeared only recently, without probably accidentally after a repair . Since September 2009, the Cathedral parish organizes visits and presentation of the green flash in public. For the occasion the entrance to the cathedral is left free and open to all.

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  Overview of the pulpit

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  The green flash on the stone canopy which overhangs the Christ at 11:38 AM on the day of spring, at 12:24 PM on the day of the fall.

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  The white beam on the stone canopy which overhangs the Christ at 12:16 PM on the day of winter.

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  Crucifixion of the pulpit

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  As the Isenheim altarpiece, Christ is shown here bifrons.

Click on a thumbnail to enlarge

Organs

Grand Organ

The large organ in bird's nest

The great organ of the cathedral , though ornate, is small. Unlike most organs in the gallery , down the cathedral , it is in the nave , in swallow's nest , hung on a wall inside, as in the cathedrals of Chartres and Metz.

In 1716 , Andr Silbermann , then at the height of his art, places one of his finest instruments in the cathedral , with three keyboards , thirty-nine books and approximately 2200 pipes. After some modifications during the ^nineteenth century and following the damage of war suffered by the cathedral in 1870 , the organ was rebuilt by the German Heinrich Koulen, in 1897. This restoration is called a "massacre" by the experts of the time. The organ Silbermann is totally lost on this occasion and the reputation of Koulen totally ruined. In 1935 , the factor Strasbourg Edmond Alexander Roethinger rebuilt the organ in a more French.

This organ remained until 1981 , when he was rebuilt by Alfred Kern , from the work of Michel Chapuis. This is his last job and also one of his greatest masterpieces. The organ now has three keyboards for forty-seven games and is recognized as a very good instrument. The pendant of the buffet of 1385 is re-used, and nearly 250 pipes of the organ Silbermann of 1716 and the buffet of Frederick Krebs, dating from 1491.

At the bottom of the organ , Samson is accompanied by a lion. Nearby, an articulated, curiosity of the organ Silbermann , the Rohraff were manipulated by the organist , to keep the crowd awake during long sermons , and especially the cursing preacher. It is said that the preacher of the prestigious Cathedral , Jean Geiler Kaysersberg - whose bones rested a while under the chair - one lost his temper, jealous of the attention received the rude puppets.

The current composition of the organ is:

The instrument has the following accessories: pulldown Grand Orgue, Positif Dos coupler, coupler Story, coupling Story / Grand Orgue and Positif / Grand Orgue. It is equipped with a mechanical action suspended. Diapason A 440 Hz, equal temperament.

Choir organ

The organ of chorus for its date of 1878 and is the work of Joseph Merklin, organ builder in Paris , while competitor Cavaille-Coll. It is an instrument with three keyboards , built to supplement the great organ Silbermann , then dying. It is housed in a buffet of home Klem, two fronts.

Organ of the crypt

The organ of the crypt , the work of Gaston Kern, was inaugurated on 5 April 1998. The buffet in oak , has three flat-sided in semicircular arc to agree with the Romanesque style of the crypt. There is no clear-channel and the top of the pipe to watch is apparent, with each time a drawing pyramid.

Organists

Currently, the organ of the Cathedral Organists are bound by the co-owners include:

• Great Organ: Pascal Reber , Damien Simon and Marc Baumann
• Choir Organ: Dominic Debes (also Choirmaster of the Cathedral) and Yvonne Monceau.

Astronomical Clock

Built during the ^sixteenth century , the astronomical clock , a masterpiece of the Renaissance , is considered at the time as part of the seven wonders of Germany. The legend claims that the magistrate , worried that the builder can build a similar work elsewhere, it would have punctured the eye . Of PLC are activated daily at 12:30. Every quarter of an hour, there are 4 stages of life: the first fifteen minutes is the child who goes around the clock, the second quarter of an hour is a young man who is the tower and the third quarter of an hour is the man who is mature and turn into the last quarter of an hour is the old man who announced his death and the arrival of the child.

Towers

The original plan of the facade, designed by Erwin von Steinbach , only had two floors and two towers. It is up to his death in 1318, the plans were changed.

Originally, the two towers were the same size (66 m) and beyond the facade between them, such as those of Notre-Dame de Paris - image (at the time, the front of the Strasbourg Cathedral had a silhouette similar to that of Paris and was even smaller than three meters) before the space between the towers will be filled by setting up the Belfry ( image ). Only after this filling that we built the tower on the north tower (34 m + 66 m = 100 m), and the arrow on it (42 m + 34 m + 66 m = 142 m - a href = "http://pagesperso-orange.fr/esprit.escalier/images/medium_cathedrale_strasbourg.jpg" class = "external text" rel = "nofollow"> image ^Arrow

The boom of the North Tower

Completed in 1439 , the spire of the north tower rises 142 meters above the ground, and it is the highest boom built in the Middle Ages that has survived to this day. The cathedral of Strasbourg is one of the few great cathedrals of France , whose turn has an arrow , typical of the architecture Germanic.

Five other buildings have temporarily exceeded the height of the cathedral of Strasbourg (besides, of course, the pyramid of Cheops , which was originally higher):

• in France , the arrow of the central tower of the cathedral of Saint-Pierre de Beauvais , built in 1569 , rises 153 meters for four years before collapsing under its own weight in 1573.
• in England , the former St. Paul's Cathedral in London proudly displays an arrow on its central tower of 150 meters, completed in 1240 , and is destroyed by lightning in 1561.
• in England , the cathedral of Lincoln has a central tower surmounted by an arrow rising to a height of 160 meters, completed in 1311 but was overturned by a wind violent in 1549.
• in Germany , the church spire, St. Mary's in Stralsund , completed in 1478 , reached the height of 150 meters. It is destroyed by lightning in 1647.
• in Estonia , the arrow of the St. Olaf Church in Tallinn , completed in 1519 , reached the height of 158 meters. It is destroyed by lightning in 1625.

To preserve the arrow of lightning , The Barber of Theodosius Tinan studying and advocating in 1780 the establishment of a lightning rod on the spire of the cathedral ; Benjamin Franklin supported this study in his report to the Academy of Sciences on topic , but lightning will be installed in 1835.

With its spire, the Cathedral of Notre-Dame de Strasbourg remained the tallest building in the world until 1874 , the date of completion of the arrow of the St. Nicolas Church in Hamburg , measuring 147 meters. Since the ^nineteenth century , the arrows of cathedrals in Germany of Ulm and Cologne exceed it, with respective heights of 161 meters and 157 meters. The arrow of Notre-Dame de Rouen , completed in 1876 , reached the 151 meters.

The tower octagonal is designed by the contractor Ulrich Ensinger, who also designed one of the Ulm cathedral , so that these two buildings are very similar. Jean Hltz of Cologne became head of the shipyard in 1419. It completely changes the project of the arrow, instead of building boom provided by quite simple Ulrich Ensinger, he built a boom very complex, where each of the eight edges is a series of six small stairs to screw hex , followed by four other stairs , and finally by the basket and the cross.

Recall that in 1262 , the city of Strasbourg revolts against his prince-bishop and stands as republic. Directing the work going on so the bishop to the municipality. It was she who ordered the construction of the west. And so, unlike other towers of churches or arrows that show the power of the local church, the spire of Strasbourg has always demonstrated the power of the Republic of Strasbourg.

The bells of the cathedral

One of the treasures of the cathedral is closed to the public. This is the sumptuous tone of bells , one of the largest in France , considered by many experts campanologues as one of the most perfect in Europe. The great bell (called German Totenglocke, the bell of the dead ) is cast in 1427 by Master Hans GREMPA of Strasbourg. Weighing nearly 180 quintals Germanic (about 9000 kilograms) and a diameter of 2.20 m, the ringing bell in the flat 2 and is classified a historical monument since 30 December 1982 as an object.

Between 1975 and 1977 , seven new bells were cast by the foundry of Heidelberg on the indications of Canon John syringe , the expert campanologue the Diocese of Strasbourg, ultra heavy in profiles match the profile of the great bell .

Granted perfectly, both among themselves and with the great drone , new bells ringing in Bb 2, 3 D flat, E flat 3, F 3, 3-flat, B flat 3 and c 4. In 1987 , a new bell, cast in Karlsruhe , is installed in the belfry , ringing in G flat 3. In 1993 , a small bell-flat 4, also cast in Karlsruhe , is mounted in the tower window , soon joined by a bell Eb 4, pouring in Karlsruhe 2004. The bell Eb 3 was cracked in spring 2006 and was consolidated at Strasbourg the same year.

The Belfry is home to yet another bell stolen, the Torglocke today called Zehnerglock (bell ten hours). Cast in 1786 by Matthew Edel, weighing 2,450 kg for a diameter of 1.58 m, morning and evening she rang the opening and closing of the gates and the curfew. Today, this tradition is perpetuated daily at twenty-two hours. It should not be confused with the use of Grselhorn , horn (musical instrument) sounded every evening from the top of the cathedral until 1790 , inviting Jews to leave the city in which they were forbidden remain after the closing doors .

Apart from this extraordinary set of bells stolen from the cathedral bells also has four purposes of clock placed in the octagon tower, cast in 1595 , 1692 and 1787.

The "bell for France" (bells Lab 2 - 3 Db - Eb 3 - F 3 - Lab 3) of the Notre-Dame de Strasbourg, is a masterpiece of art bell, "a bunch of sounds "fruit of the work of Canon John syringe , (1922-2009), campanologue the Diocese of Strasbourg .

Appearance of the cathedral

The Cathedral of night.

Illuminations of the cathedral

The cathedral of Strasbourg is known, often represented by an illuminated light yellow on the sandstone walls of dark, makes a beautiful color of gold or golden orange.

From July to August, every evening, representations of sound and light illuminate the facade of the cathedral west, putting the details of the architectural value - not to be confused with the play of light and sound of the Petite France, the Covered Bridges and Barrage Vauban.

Walls

The walls , made of sandstone of the Vosges , are pink or brown. But the pollution is also a cause of its current color. The sandstone (known in German Sandstein, which means stone of sand ) is not washable and non-destructively.

The wall inside the front of the court is not informed, despite his rosette - one of the cathedral - not insignificant in size.

Statues

The tempter and Foolish Virgins (sculpture of the main gate).

The statues that adorn the present cathedral are almost all copies. The most original is preserved in the Museum de l'Oeuvre Notre-Dame , located on the forecourt. Others are kept inside the Vauban dam , behind gates.

The statues the most famous are the foolish virgins - tempted by the devil taking the form of a handsome young man shows his true appearance behind him (he is devoured by snakes and toads) - and the Last Judgement.

Features

Flying buttresses

• The buttresses are limited (there is only the front) are all isolated by walls, at least in comparison and contrast to those of Notre-Dame de Paris.
• The court is fairly narrow compared to the usual square of the great cathedrals of France.
• The cathedral is relatively short compared to other great cathedrals of France. *
• The cathedral is relatively dark compared to other cathedrals of France. *

Related Stories

Stilts

A legend tells that the building rests on huge piles of oak sinking into the waters of a lake underground rderait on which a boat without a courier but we still hear the sound of oars. The entrance would be located underground, according to legend , in the basement of a house opposite the cathedral. It would have been walled up several centuries ago.

At the insistence of the bishop Wernher who wanted the cathedral to be built to the exact spot where the first Christians had prayed, it was actually built on pilings driven into the ground water and filled the ground as loamy and was not moving suitable for construction. These foundations are unique in the world, were not completed until 1028, year of death of the bishop, thirteen years after the commencement of work.

During works to control the Rhine by the engineer Tula Baden in the nineteenth ^century, the level of the water table fell. The piles began to rot and the north tower began to collapse. In 1906 he took the lift to inject concrete in its foundations.

Wind

Another legend explains the origin of the wind blowing around the cathedral. Formerly, the Devil flew over the ground, straddling the wind. And he saw his portrait carved on the cathedral , under the guise of the Tempter, wooing the foolish virgins ( Matthew 25, 1-13). He is depicted as a young man whose seductive back opens: we see out of toads and snakes , but none of naive young girls whom it is addressed not to notice. Very flattered and curious, he entered the cathedral to see if other sculptures representing the inside.

Held prisoner in the holy place, the Devil could not come out. The wind still waiting on the court today and screams of impatience on the square of the cathedral. The Devil was furious that the airflow at the back of the church , at the height of the pillar of the angels.

The Cathedral of Strasbourg as a symbol

The Oath of Kufra of Colonel Leclerc and his men in December 1940 was "not disarm until our colors, our beautiful colors float on the Strasbourg Cathedral. "

Strasbourg is considered a German city by the Pan-Germans , his release could only be done once the Nazis weakened sufficiently so that all France was liberated.

On 23 November 1944, Maurice Lebrun spahi of ¹ RMSM the ^2nd Armored Division of General Leclerc, went so hoist the French flag at the top of the cathedral as soon as the liberation of Strasbourg was the point where the leading edge French gained access to the cathedral .

A simple curiosity. The image of the Strasbourg cathedral was used as a symbol for everyday objects. In the late nineteenth century, a stationer named Strasbourg I. Riki became produce a feather as a symbol with the facade of the cathedral. Research shows that pen was made by the house Heintze & Blanckertz of Berlin or Soennecken of Bonn.

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  The pen "Strasbourg Mnster-Feder"

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  Cathedral on the pen

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  Cathedral on the pen

Notes

Bibliography

• (En) Dictionary of churches in France, Belgium, Luxembourg, Suisse (Tome VA), Robert Laffont, Paris (France), 1969, p. 163, 166.
• (En) Collombet Francis, the most beautiful cathedrals in France, Slection du Readers Digest, Paris (France), ISBN 2-7098-0888-9 , 1997, p. 158-163.
• (En) Denizeau Gerard Visual History of the Monuments of France, Larousse, Paris (France), ISBN 2-03-505201-7 , 2003, p. 109.
• (En) Mgr Joseph Dor, eds. Strasbourg. The grace of a cathedral, The Blue Cloud, Strasbourg, 2007, 512 p. ( ISBN 978-2-7165-0716-5 )
• (En) Yves Gallet, "The nave of the cathedral of Strasbourg, its date and its place in Gothic architecture radiant," Bulletin of the Friends of the Cathedral of Strasbourg, Vol. XXV: Centennial Bulletin, 2002, p 49-82.
• (In) Bruno Godart, "Influence of Foundation Settlement On The Behaviour of Strasbourg Cathedral, France, Structural Engineering International, November 2001, n. 4 v.11.
• (De) Erwin Heinle, Trme aller Zeiten - go Kulturen ⁽³ rd edition), Deutsche Verlags-Anstalt, Stuttgart (Germany), ISBN 3-421-02931-8 , 1997, p. 146.
• (De) Reinhard Liess, Goethe vor dem Strassburger Mnster, Seemann, Leipzig (Germany) 1985
• (De) Reinhard Liess und Kpke Andrea Zur ehemaligen Inschrift Erwin-von 1277 an der Westfassade Straburger of Mnster, in: Zeitschrift fr die Geschichte des OBERRHEIN Volume 137, 1989, p. 105-173 (Germany)
• (De) Reinhard Liess, Die Fassade Straburger of Mnster im Licht. Vergessene Wirklichkeit eine Bau-und Mittelalterlicher Bildhauerkunst, in: Festschrift Lorenz Dittmann, hrsg. Hans-Caspar Graf von v. Ua Bodmer, Peter Lang Verlag, Frankfurt am Main (Germany) 1994, p. 223-255. ISBN 3-631-46269-7.
• (De) Reinhard Liess, Zur Entwurfseinheit der Portale der Strassburger Westfassade. Skulptur und Architektur, in: Bulletin of the Strasbourg Cathedral ^No. XXIV, Strasbourg (France) 2000, p. 23-120
• (En) Laurent Miguet, "Chemistry to the rescue of the Strasbourg Cathedral," in The Monitor of Public Works and Building, September 12, 2003, ^No. 5207.
• (En) Nohlen Marie-Jose, "Accounts of the Oeuvre Notre-Dame de Strasbourg", in The Records of Archaeology , November 1980, ^No. 47.
• (En) Pardoux P., "The Cathedral of Strasbourg," in Works, September 1987, ^No. 624.
• (En) Roland Recht, the builders of Gothic cathedrals, museums Editions of the city of Strasbourg, Strasbourg (France), ISBN 2-901833-01-2 , 1989.
• (En) Rosart Maurice, "A cathedral is revealed", Editions du Rhin / The Blue Cloud / DNA, Strasbourg, February 2004, ISBN 2-7165-0622-1.
• (En) Rosart Maurice Articles published in the journal Advanced Materials. ^No. 206,209,214,222.
• (En) Tschaen Louis, Various articles published in the journal Advanced Materials: ^No. 211,215,217,227,230,250,263 and Bulletin of the Strasbourg Cathedral: No. XVII, XVIII.
• (En) Van den Bossche B. Strasbourg. The cathedral, Zodiac Publishing, ISBN 2-7369-0232-7 , 1997.

References

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