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[[Charlemagne]] began the construction of the Palatine Chapel around 792, along with the building of the rest of the palace structures.<ref name=Conant>{{harvnb|Conant|1994|p=47}}</ref> It was consecrated in 805 by [[Pope Leo III]] in honour of the [[Virgin Mary]]. The building is a centrally planned, domed chapel. The east end had a square apse, and was originally flanked by two basilican structures, now lost but known through [[archaeology]]. The chapel was entered through a monumental atrium, to the west. The plan and decoration of the building combines elements of [[Classical architecture|Classical]], [[Byzantine architecture|Byzantine]] and [[Pre-Romanesque art and architecture|Pre-Romanesque]], and opulent materials as the expression of a new royal house, ruled by [[Charlemagne]].<ref>Odo von Metz (German architect, active 795-804). ''Palatine Chapel of Charlemagne''. 792-805. ''JSTOR'', <nowiki>https://jstor.org/stable/community.23508527</nowiki>. Accessed 17 Aug. 2024.</ref>
[[Charlemagne]] began the construction of the Palatine Chapel around 792, along with the building of the rest of the palace structures.<ref name=Conant>{{harvnb|Conant|1994|p=47}}</ref> It was consecrated in 805 by [[Pope Leo III]] in honour of the [[Virgin Mary]]. The building is a centrally planned, domed chapel. The east end had a square apse, and was originally flanked by two basilican structures, now lost but known through [[archaeology]]. The chapel was entered through a monumental atrium, to the west. The plan and decoration of the building combines elements of [[Classical architecture|Classical]], [[Byzantine architecture|Byzantine]] and [[Pre-Romanesque art and architecture|Pre-Romanesque]], and opulent materials as the expression of a new royal house, ruled by [[Charlemagne]].<ref>Odo von Metz (German architect, active 795-804). ''Palatine Chapel of Charlemagne''. 792-805. ''JSTOR'', <nowiki>https://jstor.org/stable/community.23508527</nowiki>. Accessed 17 Aug. 2024.</ref>


The architect responsible, [[Odo of Metz]], is named in a tenth-century inscription around the dome: ''Insignem hanc dignitatis aulam Karolus caesar magnus instituit; egregius Odo magister explevit, Metensi fotus in urbe quiescit''. Nothing more is known of him. The building he designed has a simple exterior and a complex interior, with a double shell octagonal dome resting on heavy piers, a two-story elevation, and elaborate [[revetment]]<ref>{{harvnb|Gould|2013}}</ref> and decoration.
The architect responsible, [[Odo of Metz]], is named in a tenth century inscription around the dome: ''Insignem hanc dignitatis aulam Karolus caesar magnus instituit; egregius Odo magister explevit, Metensi fotus in urbe quiescit''. Nothing more is known of him. The building he designed has a simple exterior and a complex interior, with a double shell octagonal dome resting on heavy piers, a two-story elevation, and elaborate [[revetment]]<ref>{{harvnb|Gould|2013}}</ref> and decoration.


In 936 [[Otto I]], the first [[Holy Roman Emperor]] of the [[Ottonian dynasty]], took advantage of the chapel's close association with Charlemagne and held his coronation as [[Kingdom of Germany|King of Germany]] there. Holy Roman Emperors continued to be crowned in the Palatine Chapel until 1531.<ref name=jeep /> In 1000, in what was most likely a symbolic exhibition, [[Otto III]] placed the tomb of Charlemagne in the chapel and paid homage to his remains.<ref name=Garrison>{{harvnb|Garrison|2012|pp=62–63}}</ref> The original tomb was probably a sepulchral niche, afterwards known as the "Karlsmemorie", but destroyed in 1788.<ref>{{harvnb|Bayer|2014}}</ref>
In 936 [[Otto I]], the first [[Holy Roman Emperor]] of the [[Ottonian dynasty]], took advantage of the chapel's close association with Charlemagne and held his coronation as [[Kingdom of Germany|King of Germany]] there. Holy Roman Emperors continued to be crowned in the Palatine Chapel until 1531.<ref name=jeep /> In 1000, in what was most likely a symbolic exhibition, [[Otto III]] placed the tomb of Charlemagne in the chapel and paid homage to his remains.<ref name=Garrison>{{harvnb|Garrison|2012|pp=62–63}}</ref> The original tomb was probably a sepulchral niche, afterwards known as the "Karlsmemorie", but destroyed in 1788.<ref>{{harvnb|Bayer|2014}}</ref>
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[[Image:AachenChapelDB.svg|thumb|left|Floor plan of [[Aachen Cathedral]] with Charlemagne's palace chapel highlighted in the center]]
[[Image:AachenChapelDB.svg|thumb|left|Floor plan of [[Aachen Cathedral]] with Charlemagne's palace chapel highlighted in the center]]


There is a sixteen-sided [[ambulatory]] with a gallery overhead encircling the central octagonal dome. The plan and decoration owe much to the sixth-century [[Basilica of San Vitale]], [[Ravenna]]. Indeed, Charlemagne visited Ravenna three times, the first in 787. In that year he wrote to [[Pope Hadrian I]] and requested "mosaic, marbles, and other materials from floors and walls" in Rome and Ravenna, for his palace.
There is a sixteen-sided [[ambulatory]] with a gallery overhead encircling the central octagonal dome. The plan and decoration owe much to the sixth-century [[Basilica of San Vitale]], [[Ravenna]]. Indeed, Charlemagne visited Ravenna three times, the first in 787. In that year he wrote to [[Pope Hadrian I]] and requested "mosaic, marbles, and other materials from floors and walls" in Rome and Ravenna, for his palace.{{cn|date=October 2025}}


The construction, including [[barrel vault|barrel]] and [[groin vault]]s and an octagonal [[cloister-vault]] in the dome, reflects late [[Roman architecture|Roman]], or [[Pre-Romanesque]], practices rather than the [[Byzantine architecture|Byzantine techniques]] employed at [[Basilica of San Vitale|San Vitale]], and its plan simplifies the complex geometry of the [[Ravenna]] building. Multi-coloured marble veneer is used to create a sumptuous interior. The chapel makes use of ancient [[spolia]], conceivably from Ravenna ([[Einhard]] claimed they were from [[Rome]] and Ravenna), as well as newly carved materials. The bronze decoration is of extraordinarily high quality, especially the doors with lions heads and the interior railings, with their [[Corinthian order]] columns and [[Acanthus (ornament)|acanthus]] scrolls.
The construction, including [[barrel vault|barrel]] and [[groin vault]]s and an octagonal [[cloister-vault]] in the dome, reflects late [[Roman architecture|Roman]], or [[Pre-Romanesque]], practices rather than the [[Byzantine architecture|Byzantine techniques]] employed at [[Basilica of San Vitale|San Vitale]], and its plan simplifies the complex geometry of the [[Ravenna]] building. Multi-coloured marble veneer is used to create a sumptuous interior. The chapel makes use of ancient [[spolia]], conceivably from Ravenna ([[Einhard]] claimed they were from [[Rome]] and Ravenna), as well as newly carved materials. The bronze decoration is of extraordinarily high quality, especially the doors with lions heads and the interior railings, with their [[Corinthian order]] columns and [[Acanthus (ornament)|acanthus]] scrolls.
Line 28: Line 28:
The dome was decorated originally with a fresco, and later with mosaic. In the [[Baroque]] period, it was replaced by [[stucco]]. The original mosaic was reproduced in the 19th century with the same [[iconography]] as the original. It depicts the [[twenty-four elders]] of the [[Apocalypse]] bearing crowns and standing around the base of the dome. Above the main altar, and facing the royal throne, is an image of [[Christ in Majesty]].<ref name=McClendon>{{harvnb|McClendon|2005}}{{page needed|date=May 2015}}</ref> The upper gallery of the chapel was the royal space, with a special throne area for the king, then emperor, which let onto the liturgical space of the church and onto the atrium outside as well.
The dome was decorated originally with a fresco, and later with mosaic. In the [[Baroque]] period, it was replaced by [[stucco]]. The original mosaic was reproduced in the 19th century with the same [[iconography]] as the original. It depicts the [[twenty-four elders]] of the [[Apocalypse]] bearing crowns and standing around the base of the dome. Above the main altar, and facing the royal throne, is an image of [[Christ in Majesty]].<ref name=McClendon>{{harvnb|McClendon|2005}}{{page needed|date=May 2015}}</ref> The upper gallery of the chapel was the royal space, with a special throne area for the king, then emperor, which let onto the liturgical space of the church and onto the atrium outside as well.


The inscription above the ground floor archer reads: "CUM LAPIDES VIVI PACIS CONPAGE LIGANTUR INQUE PARES NUMEROS OMNIA CONVENIENT CLARET OPUS DOMINI, TOTAM QUI CONSTRUIT AULAM EFFECTUSQUE PIIS DAT STUDIIS HOMINUM QUORUM PERFECTUI DECORIS STRUCTURA MANEBIT SI PERFECTA AUCTOR PROTEGAT ATQUE REGAT SIC DEUS HOC TUTUM STABILI FUNDAMINE TEMPLUM QUOD PRINCEPS CAROLUS CONDIDIT ESSE VELIT".<ref>{{Cite book |url=https://www.worldcat.org/oclc/160076176 |title=Deutsche Königspfalzen = Beiträge zu ihrer historischen und archäologischen Erforschung / 8 Places of power. |date=2007 |publisher=Vandenhoeck & Ruprecht |others=Lutz Fenske, Caspar Ehlers, Max-Planck-Institut für Geschichte |isbn=978-3-525-35600-5 |location=Göttingen |oclc=160076176}}</ref>
The inscription above the ground floor archer reads: "CUM LAPIDES VIVI PACIS CONPAGE LIGANTUR INQUE PARES NUMEROS OMNIA CONVENIENT CLARET OPUS DOMINI, TOTAM QUI CONSTRUIT AULAM EFFECTUSQUE PIIS DAT STUDIIS HOMINUM QUORUM PERFECTUI DECORIS STRUCTURA MANEBIT SI PERFECTA AUCTOR PROTEGAT ATQUE REGAT SIC DEUS HOC TUTUM STABILI FUNDAMINE TEMPLUM QUOD PRINCEPS CAROLUS CONDIDIT ESSE VELIT".<ref>{{Cite book |title=Deutsche Königspfalzen = Beiträge zu ihrer historischen und archäologischen Erforschung / 8 Places of power. |date=2007 |publisher=Vandenhoeck & Ruprecht |others=Lutz Fenske, Caspar Ehlers, Max-Planck-Institut für Geschichte |isbn=978-3-525-35600-5 |location=Göttingen |oclc=160076176}}</ref>


The main entrance is dominated by a [[westwork]] comprising the western facade including the entrance [[Vestibule (Architecture)|vestibule]], rooms at one or more levels above, and one or more towers. These overlook the atrium of the church. The addition of a westwork to churches is one of the Carolingian contributions to [[History of architecture|Western architectural traditions]].
The main entrance is dominated by a [[westwork]] comprising the western facade including the entrance [[Vestibule (Architecture)|vestibule]], rooms at one or more levels above, and one or more towers. These overlook the atrium of the church. The addition of a westwork to churches is one of the Carolingian contributions to [[History of architecture|Western architectural traditions]].
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==Gallery==
==Gallery==
<gallery>
<gallery>
File:20140822 aachen108.JPG|seating arrangements on individual oak chairs
File:Aachen, Pfalzkapelle 20140822 108.jpg|Seating arrangements on individual oak chairs
File:Aachen Cathedral interior.jpg|view up the [[nave]]
File:Aachen Cathedral interior.jpg|View up the [[nave]]
File:Aachen, Innenarchitekturbeispiel der Pfalzkapelle.jpg|detail of marble-clad pillar
File:Aachen, Innenarchitekturbeispiel der Pfalzkapelle.jpg|Detail of marble-clad pillar
File:Aachen Pavement cosmatesque 24092016 1.jpg|detail of inlaid floor
File:Aachen Pavement cosmatesque 24092016 1.jpg|Detail of inlaid floor
File:AC Dom Alabasterleuchter 1.jpg|lights and details of [[Capital (architecture)|chapiter]]
File:AC Dom Alabasterleuchter 1.jpg|Lights and details of [[Capital (architecture)|chapiter]]
File:AC Dom Adlerpult 2.jpg|[[lectern]] bookrest in the form of an eagle
File:AC Dom Adlerpult 2.jpg|[[Lectern]] bookrest in the form of an eagle
File:Duomo di aachen, leggio 02.jpg|side view of lectern eagle
File:Duomo di aachen, leggio 02.jpg|Side view of lectern eagle
File:Duomo di aachen, leggio 01.jpg|front 3/4 view of lectern eagle
File:Duomo di aachen, leggio 01.jpg|Front 3/4 view of lectern eagle
File:Duomo di aachen, badalone del coro, con aquila, xv secolo.jpg|choirmaster [[badalone]] in form of eagle
File:Duomo di aachen, badalone del coro, con aquila, xv secolo.jpg|Choirmaster [[badalone]] in form of eagle
File:Duomo di aachen, porta bronzea 02.jpg|bronze-clad central doors
File:Duomo di aachen, porta bronzea 02.jpg|Bronze-clad central doors
File:Duomo di aachen, porta bronzea 01.jpg|bronze-clad crypt door
File:Duomo di aachen, porta bronzea 01.jpg|Bronze-clad crypt door
File:Duomo di aachen, specchiatura marmorea.jpg|marble-clad column
File:Duomo di aachen, specchiatura marmorea.jpg|Marble-clad column
File:Gedenktafel Domwache.jpg|World War II memorial plaque
File:Gedenktafel Domwache.jpg|World War II memorial plaque
File:Hochmünsterorgel.jpg|Pipe organ
File:Hochmünsterorgel.jpg|Pipe organ
File:Marble wall - Palatine Chapel - Aachen - Germany 2017.jpg|Marble wall
File:Marble wall - Palatine Chapel - Aachen - Germany 2017.jpg|Marble wall
File:Duomo di aachen, grate carolinge dei matronei, 08.jpg|metalwork grate
File:Duomo di aachen, grate carolinge dei matronei, 08.jpg|Metalwork grate
File:Aachen - Aachener DOM (12) -.jpg|main altar
File:Aachen - Aachener DOM (12) -.jpg|Main altar
File:AachenerDomBarbarossaleuchterAnker 1692a.jpg|Mounting for the Barbarossa Chandelier
File:AachenerDomBarbarossaleuchterAnker 1692a.jpg|Mounting for the Barbarossa Chandelier
File:AC Dom Barbarossaleuchter 2.jpg|Wheel chandelier attributed to [[Frederick Barbarossa]], night view from above
File:AC Dom Barbarossaleuchter 2.jpg|Wheel chandelier attributed to [[Frederick Barbarossa]], night view from above
File:Aachener Dom Barbarossaleuchter 2014.jpg|Wheel chandelier, daylight from below
File:Aachener Dom Barbarossaleuchter 2014.jpg|Wheel chandelier, daylight from below
File:Franz Bock, Das Heiligtum zu Aachen, Seite 30.jpg|artistic drawing of wheel chandelier
File:Franz Bock, Das Heiligtum zu Aachen, Seite 30.jpg|Artistic drawing of wheel chandelier
</gallery>
</gallery>


Line 62: Line 62:
* [[Aachen penny of Charlemagne]]
* [[Aachen penny of Charlemagne]]
* [[Carolingian architecture]]
* [[Carolingian architecture]]
* [[History of medieval Arabic and Western European domes]]
* [[History of early medieval Arabic and Western European domes]]
* [[Symbolism of domes]]
* [[Symbolism of domes]]


Line 69: Line 69:


==References==
==References==
* {{cite book |first=Clemens M. M. |last=Bayer |year=2014 |chapter=Das Grab Karls des Grossen |editor-first=Frank |editor-last=Pohle |title=Karl der Grosse: Orte der Macht: Essays |publisher=Sandstein Verlag |place=Dresden |ISBN=978-3-95498-092-5 |pages=382–91 |language=de}}
* {{cite book |first=Clemens M. M. |last=Bayer |year=2014 |chapter=Das Grab Karls des Grossen |editor-first=Frank |editor-last=Pohle |title=Karl der Grosse: Orte der Macht: Essays |publisher=Sandstein Verlag |place=Dresden |isbn=978-3-95498-092-5 |pages=382–91 |language=de}}
* {{cite book | last = Conant | first = Kenneth J. | title = Carolingian and Romanesque Architecture | edition = 4th | publisher = Yale University Press | location = New Haven, CT | year = 1994 | isbn = 0-3000-5298-7 | orig-year = 1959 | lccn = 78149801 | url=https://archive.org/details/carolingianroman00cona | url-access = registration }}
* {{cite book | last = Conant | first = Kenneth J. | title = Carolingian and Romanesque Architecture | edition = 4th | publisher = Yale University Press | location = New Haven, CT | year = 1994 | isbn = 0-3000-5298-7 | orig-year = 1959 | lccn = 78149801 | url=https://archive.org/details/carolingianroman00cona | url-access = registration }}
* {{cite book | last = Garrison | first = Eliza | title = Ottonian Imperial Art and Portraiture: The Artistic Patronage of Otto III and Henry II | year = 2012 | publisher = Ashgate | isbn = 978-0-7546-6968-5 | lccn = 2011013779 | location = Farnham, UK }}
* {{cite book | last = Garrison | first = Eliza | title = Ottonian Imperial Art and Portraiture: The Artistic Patronage of Otto III and Henry II | year = 2012 | publisher = Ashgate | isbn = 978-0-7546-6968-5 | lccn = 2011013779 | location = Farnham, UK }}
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[[Category:9th-century churches in Germany]]
[[Category:9th-century churches in Germany]]
[[Category:Carolingian architecture]]
[[Category:Carolingian architecture]]
[[Category:Roman Catholic churches in North Rhine-Westphalia]]
[[Category:Roman Catholic church buildings in North Rhine-Westphalia]]
[[Category:Buildings and structures in Aachen]]
[[Category:Buildings and structures in Aachen]]
[[Category:Roman Catholic chapels in Germany]]
[[Category:Catholic chapels in Germany]]
[[Category:Octagonal churches]]
[[Category:Octagonal churches]]
[[Category:Church buildings with domes]]
[[Category:Church buildings with domes]]
Line 96: Line 96:
[[Category:Religious buildings and structures completed in the 800s]]
[[Category:Religious buildings and structures completed in the 800s]]
[[Category:Articles containing video clips]]
[[Category:Articles containing video clips]]
[[Category:Octagonal buildings in Germany]]


[[he:הקתדרלה של אאכן#הקפלה הפלטינית]]
[[he:הקתדרלה של אאכן#הקפלה הפלטינית]]

Latest revision as of 08:10, 1 January 2026

Template:Short description

File:Aachener Dom Oktogon.jpg
Exterior view
File:Aix dom int vue cote.jpg
Interior view

The Palatine Chapel in Aachen is an early medieval chapel and remaining component of Charlemagne's Palace of Aachen in what is now Germany. Although the palace itself no longer exists, the chapel was preserved and now forms the central part of Aachen Cathedral. It is Aachen's major landmark and a central monument of the Carolingian Renaissance. The chapel held the remains of Charlemagne. Later it was appropriated by the Ottonians and coronations were held there from 936 to 1531.[1]

As part of Aachen Cathedral, the chapel is designated as a UNESCO World Heritage Site.[2]

History

File:Aachener Dom BW 2016-07-09 13-53-18.jpg
Throne of Charlemagne in the palace chapel
File:Sonnenuntergang Dom.jpg
Sunset view of the Palatine Chapel

Charlemagne began the construction of the Palatine Chapel around 792, along with the building of the rest of the palace structures.[3] It was consecrated in 805 by Pope Leo III in honour of the Virgin Mary. The building is a centrally planned, domed chapel. The east end had a square apse, and was originally flanked by two basilican structures, now lost but known through archaeology. The chapel was entered through a monumental atrium, to the west. The plan and decoration of the building combines elements of Classical, Byzantine and Pre-Romanesque, and opulent materials as the expression of a new royal house, ruled by Charlemagne.[4]

The architect responsible, Odo of Metz, is named in a tenth century inscription around the dome: Insignem hanc dignitatis aulam Karolus caesar magnus instituit; egregius Odo magister explevit, Metensi fotus in urbe quiescit. Nothing more is known of him. The building he designed has a simple exterior and a complex interior, with a double shell octagonal dome resting on heavy piers, a two-story elevation, and elaborate revetment[5] and decoration.

In 936 Otto I, the first Holy Roman Emperor of the Ottonian dynasty, took advantage of the chapel's close association with Charlemagne and held his coronation as King of Germany there. Holy Roman Emperors continued to be crowned in the Palatine Chapel until 1531.[1] In 1000, in what was most likely a symbolic exhibition, Otto III placed the tomb of Charlemagne in the chapel and paid homage to his remains.[6] The original tomb was probably a sepulchral niche, afterwards known as the "Karlsmemorie", but destroyed in 1788.[7]

Structure

File:AachenerDom 1716a.jpg
Sunlit dome of the Palatine Chapel at noonday
File:AC Dom Fenster Nordseite Oktogon.jpg
Detail of barred window of Palatine Chapel (exterior view)
File:AachenChapelDB.svg
Floor plan of Aachen Cathedral with Charlemagne's palace chapel highlighted in the center

There is a sixteen-sided ambulatory with a gallery overhead encircling the central octagonal dome. The plan and decoration owe much to the sixth-century Basilica of San Vitale, Ravenna. Indeed, Charlemagne visited Ravenna three times, the first in 787. In that year he wrote to Pope Hadrian I and requested "mosaic, marbles, and other materials from floors and walls" in Rome and Ravenna, for his palace.Script error: No such module "Unsubst".

The construction, including barrel and groin vaults and an octagonal cloister-vault in the dome, reflects late Roman, or Pre-Romanesque, practices rather than the Byzantine techniques employed at San Vitale, and its plan simplifies the complex geometry of the Ravenna building. Multi-coloured marble veneer is used to create a sumptuous interior. The chapel makes use of ancient spolia, conceivably from Ravenna (Einhard claimed they were from Rome and Ravenna), as well as newly carved materials. The bronze decoration is of extraordinarily high quality, especially the doors with lions heads and the interior railings, with their Corinthian order columns and acanthus scrolls.

File:Die Aachener Kaiserpfalz (CC BY-SA 4.0).webm
The Aachen Royal complex (English subtitles)

The dome was decorated originally with a fresco, and later with mosaic. In the Baroque period, it was replaced by stucco. The original mosaic was reproduced in the 19th century with the same iconography as the original. It depicts the twenty-four elders of the Apocalypse bearing crowns and standing around the base of the dome. Above the main altar, and facing the royal throne, is an image of Christ in Majesty.[8] The upper gallery of the chapel was the royal space, with a special throne area for the king, then emperor, which let onto the liturgical space of the church and onto the atrium outside as well.

The inscription above the ground floor archer reads: "CUM LAPIDES VIVI PACIS CONPAGE LIGANTUR INQUE PARES NUMEROS OMNIA CONVENIENT CLARET OPUS DOMINI, TOTAM QUI CONSTRUIT AULAM EFFECTUSQUE PIIS DAT STUDIIS HOMINUM QUORUM PERFECTUI DECORIS STRUCTURA MANEBIT SI PERFECTA AUCTOR PROTEGAT ATQUE REGAT SIC DEUS HOC TUTUM STABILI FUNDAMINE TEMPLUM QUOD PRINCEPS CAROLUS CONDIDIT ESSE VELIT".[9]

The main entrance is dominated by a westwork comprising the western facade including the entrance vestibule, rooms at one or more levels above, and one or more towers. These overlook the atrium of the church. The addition of a westwork to churches is one of the Carolingian contributions to Western architectural traditions.

The bronze doors symbolize the Carolingian Renaissance in metalwork, on a scale not seen since the Roman Empire.[10]

Gallery

See also

Footnotes

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  1. ↑ a b Script error: No such module "Footnotes".
  2. ↑ Script error: No such module "Footnotes".
  3. ↑ Script error: No such module "Footnotes".
  4. ↑ Odo von Metz (German architect, active 795-804). Palatine Chapel of Charlemagne. 792-805. JSTOR, https://jstor.org/stable/community.23508527. Accessed 17 Aug. 2024.
  5. ↑ Script error: No such module "Footnotes".
  6. ↑ Script error: No such module "Footnotes".
  7. ↑ Script error: No such module "Footnotes".
  8. ↑ Script error: No such module "Footnotes".Script error: No such module "Unsubst".
  9. ↑ Script error: No such module "citation/CS1".
  10. ↑ The Grove Encyclopedia of Medieval Art and Architecture. Edited by: Colum P. Hourihane. "Carolingian metalwork" OUP 2013

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References

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External links

Template:Sister project

Template:Authority control Script error: No such module "Coordinates".

he:הקתדרלה של אאכן#הקפלה הפלטינית

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