Würzburg, Part IV— The Cathedral 1945 - 2008

…And then 1945.

On the night of 16 March 1945 226 Lancaster Bombers of the RAF reduced this magnificent house of God to rubble in 17 minutes. The medieval city center was engulfed in a firestorm which killed 5000 people in as much time. 90% of the city smoldered in ruins. Fortunately, some artwork was preserved— the bell of 1257 which was moved into the crypt, St. Kilian’s Book of Gospels which he brought from Ireland nearly 1300 years before (housed in the University Library) etc. Proportionately, Würzburg was more completely destroyed than Dresden to the east.

In another sickening twist of fate a month later…much of the state and ecclesiastical archives were moved for safekeeping to the castle at Wässerndorf (next to Seinsheim) in the country. Among other things, prosperous segments of the Diocese of Würzburg had kept exquisite and thorough sacramental records dating back to the beginning of the 16^th century— exceptionally rare considering the Council of Trent did not mandate this practice until decades later that century. Following the death of an American officer USAF P-47 Thunderbolts firebombed the area and ground troops torched the castle on 5 April 1945. The building burned for days and most records were lost.

In the winter of 1946 most of the remaining sections of the Kiliansdom collapsed. Over the next two decades countless Trümmerfrauen (‘Rubble-women’) carefully rebuilt and replicated much of the historical city.

There were three reconstruction proposals for the cathedral. The winning bid was taken in 1960 and the building was completed in 1967 incorporating what it could of the previous structure. A splendid historically-informed organ by Klais arrived in the gallery in 1969.

The choir was set up as the presbytery, and the cathedra relocated in the apse. The remaining stucco was preserved and renovated, while the flat nave ceiling received modern painting by Fritz Nagel. A bulk of the responsibility and decision making for this courageous and pioneering design came from Bishop Julius Döpfner and builder Hans Schädel. And, finally…the main altar was relocated to the crossing!

As mentioned above, one bell survived WWII— the Lobdeburg bell of 1257. The others melted. In 1965 eleven new bells were cast by Schilling of Heidelberg. The largest bell at nine tons is aptly inscribed: “JESV CHRISTE - SALVATOR MVNDI VENI CVM PACE - ANNO DOMINI MCMLXV” (Jesus Christ - Savior of the world, come in peace - In the year of our Lord 1965). Since 2000 the bells have been controlled by a computerized system.

The last couple decades have seen some additional work: in 1987 Hubert Elsässer added paintings depicting the history of the Faith in Franconia and in 2006 a new bright exterior painting brought the exterior closer to its original color. The cathedral is today a unique mix of Romanesque, Baroque, and Modern elements.

2008 saw the 160^th anniversary of the German Bishop’s Conference which first met in Würzburg in 1848 and quite appropriately reconvened there this year. On Monday 12 February more than 70 cardinals, archbishops, and bishops came together for Mass with Karl Cardinal Lehmann in the Kiliansdom. The outgoing Cardinal Chairman offered high praise for the diocese: "Wurzburg is a good place and a home for the Church in our country."

Also this spring eight new bells from the Rudolf Perner foundry of Passau were added, brining the total to 20. The Kiliansdom presently has the largest peal in Germany. It was dedicated on 22 May, this year. Check out this video: http://www.youtube.com/watch?v=eveLP_-_KIA

Würzburg, Part III— The Cathedral 743 - 1945

Würzburg’s Kiliansdom stands as a lesson in stone— just leave buildings alone, even if you don’t like them. Architectural styles come and go and one often becomes the whipping-boy of the next. In the end, however, a building is a representation of its era. There is no timeless style. Architecture is temporal; it exists in time because it is physical. Having an intact structure as a humanistic record (if not a theological one as well) is far better than well-intended ‘wreck-o-vations’ or just plain out smoldering wrecks. This seems hard for some people to grasp in the US— we have had the luxury of stability and the good fortune of a relatively small span of Western heritage to preserve (a few hundred years on the coasts/southwest and much less for the rest of us). Our complicit lethargy engenders foolish quibbling. A brief turn about Dresden, London, Coventry, etc. anytime in the last 60 years will get one’s priorities in order! http://www.dom-wuerzburg.de/

Bishop Burkhard established the first provisional Cathedral of Würzburg at the preexisting Marienburg Church in 743. The first purpose-built cathedral followed four decades later. Bishop Berowelf (episcop. 769 - 800) dedicated the new Cathedral of Christus Salvator in the presence of Charlemagne in 788. The bones of the three city patrons, martyred 100 years before and venerated since papal approval in 752 (when they were found buried in a stable), were moved to the new church.

This Frankish structure was renowned for its size, much like Köln later. Sadly, on 5 June 855 a lightning strike burned down most of the building and a storm three days later caused the remaining walls to collapse. Bishop Arn (855 - 892) built a third cathedral which burned again in 918. This time the fire destroyed numerous liturgical artifacts and documents. Between 855 and 1045 this Carolingian church was redesigned several times.

Under Bishop Bruno (1034 - 1045) the cathedral was redone in 1040 using older parts. Inspired by the work at the Speyer Cathedral the expansion plans included a pair of towers flanking the choir, a reconstruction of the transept, and the building of a larger nave with square twin-towers in the west front as well as a triangular pediment between. Bruno died as a result of an accident at a dinner party during the time of the construction on the choir. He was later canonized.

The crypt was consecrated simultaneous with Bruno’s burial by Bardo, Archbishop of Mainz on 16 June 1045. Bruno's successor Adalbero continued construction until completion 1075. Due to its external dimensions and superb architectural quality the new Cathedral of St. Kilian was one of the most impressive monuments of the time. This Bruno-Adalbero cathedral retained mere fragments of the older church— two of the capitals from the portals were removed to the crypt.

Bishop Embricho (1127 - 1146) charged master builder Enzelin in 1133 to "restore and beautify" the cathedral— especially the roof which was "almost in ruins" (always a problem in big buildings)! Besides the restoration work he extended the west towers and transformed the choir adding vaulted spans which were still preserved under the 18th Century stucco.

Bishop Gottfried von Spitzenberg (1186 - 1190) had three altars built in 1188. Each served a different purpose and effected liturgical segregation. During the high Mass with choir they used main altar; during parish level celebrations they used their own altar. This practice persisted for centuries!

In 1225 Bishop Hermann von Lobdeburg (1225 - 1254) remodeled the eastern section— notably completing a central dome. By 1250 Würzburg’s Cathedral took its final shape.

At 105 meters this building was the fourth largest Romanesque structure in Germany; a masterpiece of Salian architecture.

If the Kiliansdom represented the Romanesque well then it was high time for Gothic! In 1500 the aisles were transformed with rib vaulting with elaborate caps. The middle pediment between the towers of the western front was heightened and crowned in 1507 with a dainty clock.

During the Counter-Reformation in 1610 the city council commissioned Michael Kern to build an elaborate pulpit on southern side of the nave. Under Prince-Bishop Johann Gottfried von Aschhausen (1617 – 1623) the rood screen was removed in 1619.

Then came the Baroque craze in 1701! Previous renovations were nothing compared to this. Prince-Bishop Johann Philipp von Greiffenclau (1699 – 1718) approved several proposals from the Milan-born plasterer and architect Pietro Magno. Michael Rieß and Johann Balthasar engaged numerous renowned artists and craftsmen to the task. They moved the choir from the crossing to the east end and crowned the altar with a wide and rich golden baldachin. The picture is a 1731 proposal by J.L. von Hildebrand. Good Lord!

Between 1879 and 1883 Friedrich Friedreich oversaw a Neo-Romanesque overhaul of the façade, focusing on the gable, pediment, and portals. The photo here comes from a postcard of 1904.