Stained Glass Marvels Of Cologne Cathedral

The Cologne Cathedral is a Gothic masterpiece and a source of great pride for the people of Cologne. It is renowned for its stunning stained glass windows, which span centuries, from 1248 to the late 1800s. The exact number of stained glass windows is unknown, but the cathedral houses over 20,000 square feet of stained glass, making it one of the largest collections in the world. The windows depict both religious and secular scenes, with vibrant colours and intricate designs that create a magical atmosphere within the cathedral.

One notable window is the Cologne Cathedral Window in the south transept, designed by German artist Gerhard Richter. It consists of 11,263 glass squares in 72 colours, arranged randomly with some corrections by Richter to prevent the formation of specific images. This window replaced a window destroyed in World War II and was inaugurated in 2007.

The history of the cathedral's stained glass windows

The Cologne Cathedral is a Gothic masterpiece and has been part of the city of Cologne for almost 800 years. Construction began in 1248 and wasn't fully completed until 1880. The cathedral houses a vast collection of stained glass windows, some original and some added later. Many of the windows were damaged during World War II and have since been reconstructed or replaced.

The original windows of the cathedral were decorated with secular and Christian rulers, made by the Royal Stained Glass Institute in Berlin-Charlottenburg and donated by the Kingdom of Prussia. These windows were destroyed in World War II and replaced in 1948 by simple ornamental glazing by Wilhelm Teuwen. The bright, colourless light caused by the new windows was perceived as disturbing. In 2003, the cathedral chapter decided to have the window renewed, and in 2006, Cologne artist Gerhard Richter was commissioned to create a new design. The new window, located in the south transept, was inaugurated on 25 August 2007. It features 11,263 glass squares in 72 colours arranged randomly, with some selected in response to the architectural context.

Among the original windows made for the cathedral are those in the choir chapels, a large cycle of kings in the clerestory, and several in the north nave aisle. The original glass, notably from the triforium and choir chapels, was removed in the 18th century during a redecoration programme that replaced coloured windows with white glass. The five windows of the original south aisle of the nave were also removed at an unknown date.

The oldest glass in the cathedral can be found in the axial chapel of the Three Kings, which is also the earliest preserved 'Bible window' in Germany. Another important 'Bible window' is located in the St Stephen Chapel, reflecting the influence of French court painting. The most important of the later windows have been associated with well-known Cologne artists such as the Master of St Veronica, the Master of the Holy Kinship, and Bartholomäus Bruyn the elder.

The comprehensive iconographic program of the windows has been interpreted as representing the History of Salvation, with themes representing three periods of history: ante legem, sub lege, and sub gratia. The period ante legem is represented by Christ's genealogy in the kings of the clerestory windows, while the period sub lege depicts scenes from Christ's life in the axial chapel of the choir. The period sub gratia is shown in the other choir chapels, portraying scenes from the lives of saints.

The design and construction of the windows

The Cologne Cathedral is a Gothic masterpiece that has been part of the city of Cologne for almost 800 years. Construction began in 1248 and was only finished in 1880, with reconstruction still taking place to this day. The cathedral houses numerous stained glass windows, with many of them added later as construction came to an end. Unfortunately, many of the windows were also damaged during World War II and had to undergo reconstruction.

The stained glass windows of the Cologne Cathedral showcase a rich blend of artistic styles and historical narratives. Among the original windows designed for the cathedral are those in the choir chapels, the clerestory with its large cycle of kings, and the north nave aisle. The clerestory windows, featuring a cycle of kings, represent the genealogy of Christ, with the prominence of the Adoration of the Magi scene underscoring the cathedral's significance as the cathedral of the Three Kings.

The original decor of the cathedral included colourful stained glass, notably in the triforium and choir chapels. However, during a redecoration program in the 18th century, these coloured windows were replaced with white glass. The five windows of the original south aisle of the nave were also removed, and their current whereabouts are unknown.

With the 19th-century revival of interest in Gothic art, the cathedral's glazing incorporated medieval glass from secularised Cologne churches, mainly in the north transept and sacristy. This medieval glass bore the influence of French court painting. The most important of these later windows have been attributed to renowned Cologne artists, including the Master of St Veronica, the Master of the Holy Kinship, and Bartholomäus Bruyn the Elder.

The comprehensive iconographic program of these windows has been interpreted by Rode as representing the History of Salvation. This interpretation is divided into three periods of history: ante legem, sub lege, and sub gratia. The ante legem period is depicted in the clerestory windows through Christ's genealogy, represented by the kings. The sub lege period is illustrated in the axial chapel of the choir through scenes from Christ's life. Lastly, the sub gratia period is portrayed in the other choir chapels, depicting scenes from the lives of saints.

The two 'Bible windows' are of particular importance, with the oldest glass in the cathedral found in the axial chapel of the Three Kings. This window is also the earliest preserved 'Bible window' in Germany. The second 'Bible window', originally from a Dominican church, is now located in the St Stephen Chapel.

In 2003, the cathedral chapter decided to renew the south transept window, which had been destroyed in World War II. The abstract design by Gerhard Richter, a renowned Cologne artist, was selected. Richter's design utilised 11,263 glass squares in 72 colours, arranged randomly with some selections made in response to the architectural context. The window, fabricated by Derix Glasstudios, was inaugurated in 2007 and sparked both celebration and criticism for its abstract execution.

The artists behind the windows

The Cologne Cathedral is adorned with a plethora of stained glass windows, ranging from the original medieval windows to those added later during the cathedral's long construction period. Unfortunately, many of the original windows were lost during the 18th century when they were replaced with white glass as part of a redecoration programme. Further losses occurred during World War II, when windows were destroyed and later replaced with simple ornamental glazing.

The most important of the later windows are associated with well-known Cologne artists such as the Master of St Veronica, the Master of the Holy Kinship, the Master of St Severin, Bartholomäus Bruyn the Elder, and the school of Stefan Lochner. It is widely believed that the designs of these windows were created by a single artist and then executed by others, possibly including some of the famous Cologne painters of the time.

The south transept of the cathedral features a modern stained glass window designed by Cologne artist Gerhard Richter. Unveiled in 2007, the window consists of approximately 11,263 to 11,500 squares of glass in 72 colours, arranged randomly with some selected in response to the architectural context. The abstract design was based on Richter's 1974 painting "4096 Farben", and it was fabricated by Derix Glasstudios.

The original windows of the Cologne Cathedral featured secular and Christian rulers and were made by the Royal Stained Glass Institute in Berlin-Charlottenburg, donated by the Kingdom of Prussia. Sadly, these windows were destroyed during World War II, along with many other stained glass masterpieces.

The windows' religious significance

The Cologne Cathedral is renowned for its stunning stained glass windows, with over 20,000 square feet of stained glass comprising one of the largest collections in the world. The windows were created over the centuries, from 1248 to the late 1800s, and depict both religious and secular scenes. The colours and designs create a magical, mesmerising atmosphere in the cathedral, adding a layer of beauty and symbolism to the building.

The religious significance of the windows is profound and multi-faceted. The earliest preserved 'Bible window' in Germany, for example, is located in the axial chapel of the Three Kings. This window is the oldest glass in the cathedral, dating back to the burial of Archbishop Konrad von Hochstaden in the axial chapel in 1261 or shortly after. The window depicts Christ's ancestors as kings, with a prominent scene of the Adoration of the Magi, reflecting the importance of Cologne Cathedral as the cathedral of the Three Kings.

Another important religious window is the St. Peter and the Tree of Jesse Window, created in 1509. St. Peter is the patron saint of the cathedral, and the window depicts scenes from his life, including his death sentence by Nero and crucifixion. The Tree of Jesse, meanwhile, shows Christ's royal ancestry, with King David, son of Jesse and ancestor of Jesus, depicted in the upper left.

The Nativity Window, created in 1507, is another significant religious work. It depicts Mary, Joseph, and Baby Jesus being visited by angels and shepherds, as well as Moses and the Burning Bush. The Coronation Window, also from 1509, shows the Holy Trinity and Mary in heaven, as well as Michael the Archangel or St. George slaying Satan.

The Lamentation Window, installed in 1847 to commemorate the 600th anniversary of the cathedral, is also noteworthy. It depicts Jesus being removed from the cross, with the Holy Communion and the Four Evangelists shown in detail. The Adoration of the Magi Window, from 1846, is another tribute to the Three Kings, with depictions of Adam and Eve, the Annunciation, and Mary Immaculate.

The religious significance of the windows extends beyond the individual scenes they depict. The comprehensive iconographic program has been interpreted as representing the History of Salvation, with themes representing three periods of history: ante legem, sub lege, and sub gratia. The ante legem period is represented by Christ's genealogy in the kings of the clerestory windows, while the sub lege period is depicted in the axial chapel of the choir in scenes from Christ's life. The sub gratia period is illustrated in the other choir chapels, showing scenes from the lives of saints.

The windows' reception and criticism

The Cologne Cathedral is adorned with a plethora of stained glass windows, including the Johannes Klein Window, the St. Peter and the Tree of Jesse Window, the Nativity Window, the Coronation Window, the St. Stephen Window, the Pentecost Window, the Lamentation Window, the Adoration of the Magi Window, the St. John the Baptist Window, and the Life of Christ Window. The majority of the windows were created between the 15th and 19th centuries, with 95% of the glass being original.

The stained glass windows of the Cologne Cathedral have been both celebrated and criticised for their artistic and religious qualities. The abstract design of the cathedral's windows, particularly the large south transept window designed by Gerhard Richter and inaugurated in 2007, has sparked varying responses.

The reception of the windows has been mixed. On the one hand, some have appreciated the beauty and artistry of the windows, while others have criticised their departure from traditional religious imagery. The windows have been described as a "symphony of light" by some, while others have found them too modern or abstract for a religious setting.

One of the most prominent critics of the windows has been Cologne Cardinal Joachim Meisner, who was quoted as saying, "The window would be better suited to a mosque or another house of prayer. If we're going to have a new window, it should be one that reflects our faith. Not just any." Meisner's criticism highlights a tension between traditional religious expectations and modern artistic expressions.

However, it is important to note that Meisner's viewpoint was not universally shared within the Church. The provost Norbert Feldhoff offered a different interpretation, stating that the window "does not represent anything religious" but rather "invites silence, it creates a light shimmering with colours, it animates, inspirits, calls for meditation and creates a flair that opens for the religious." Feldhoff's perspective highlights how the windows can be appreciated as an abstract, meditative element that enhances the religious experience without depicting specific religious figures or scenes.

Additionally, the windows have been praised for their technical mastery and innovative use of colour and light. The artist pastor of the Cologne diocese, Josef Sauerborn, described the windows as "a symphony of light in which all the colours of the cathedral ring out." The windows' ability to capture and reflect light has been recognised as a unique artistic achievement, creating a dynamic and ever-changing visual experience within the cathedral.

Furthermore, the windows have also been recognised for their historical significance. Many of the windows were damaged or destroyed during World War II and have since been meticulously reconstructed, preserving the rich history and craftsmanship of the cathedral. The restoration process has been a labour of love for many artisans and donors, ensuring that the windows continue to inspire future generations.

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