Saint Edward (1003 - 1066). King And Confessor. Feast Day 13 October.

Roman Text and Illustrations from Wikipedia - the free encyclopaedia.

Italic Text from The Saint Andrew Daily Missal.

Saint Edward.
King and Confessor.
Feast Day 13 October.

Semi-Double.

White Vestments.

Saint Edward the Confessor.

Date: 13th-Century.

Source: http://molcat1.bl.uk/IllImages/

Kslides%5Cmid/K066/K066609.jpg

Author: Anonymous.

(Wikimedia Commons)

Edward, called "The Confessor", was a grand-son of Saint Edward, King and Martyr.

When he was raised to the Throne of England, "it was seen," says a historian, "what can be done by a King, who is the true father of his Subjects. All those who approached him endeavoured to regulate their lives according to his. Neither ambition, nor the love of riches, nor any of the passions which are unfortunately so common among Courtiers, were known at his Court."

He was everywhere called the father of the orphans and of the poor, and he was never happier than when he could distribute alms (Epistle). He always granted, what was requested of him, in the name of Saint John the Evangelist.

He died in 1066.

Mass: Os justi.

A sealed Writ of Edward the Confessor,

issued in favour of Westminster Abbey.

This File: 16 April 2007.

User: Canley.

(Wikipedia)

The following Text is from Wikipedia - the free encyclopaedia.

Edward the Confessor (1003-1066), son of Æthelred the Unready and Emma of Normandy, was one of the last Anglo-Saxon Kings of England and is usually regarded as the last King of the House of Wessex, ruling from 1042 to 1066.

Edward has traditionally been seen as unworldly and pious, and his Reign is notable for the disintegration of Royal power in England and the advance in power of the Godwin family.

Edward's seal: SIGILLVM EADWARDI ANGLORVM BASILEI

(Seal of Edward. Crowned King of the English).

First Great Seal of Edward the Confessor.

Date: 1915.

Source: http://www.gutenberg.org/files/28157/28157-h/images/img049.jpg

Author: HISTORY OF ENGLAND by SAMUEL R. GARDINER.

(Wikimedia Commons)

Edward succeeded Cnut the Great's son, Harthacnut, restoring the Rule of the House of Wessex after the period of Danish Rule since Cnut conquered England in 1016. When Edward died in 1066, he was succeeded by Harold Godwinson, who was defeated and killed in the same year by the Normans, under William the Conqueror, at the Battle of Hastings.

Edward is called Confessor, the name for someone believed to have lived a Saintly life, but who was not a Martyr, in Latin S. Eduardus Confessor rex Anglorum, as opposed to S. Eduardus Martyr rex Anglorum. He was Canonised in 1161 by Pope Alexander III, and is Commemorated on 13 October by both the Church of England and the Roman Catholic Church in England and Wales.

Saint Edward was one of the national Saints of England, until King Edward III adopted Saint George as Patron Saint, in about 1350.

English: Bayeux Tapestry. Scene 1:

King Edward the Confessor and Harold Godwinson at Winchester.

Français: Tapisserie de Bayeux. Scène 1:

le roi Édouard le Confesseur reçoit son beau-frère

Harold Godwinson dans son palais de Winchester

et lui confie une mission.

Photo: 7 March 2013.

Source: Own work.

Author: Myrabella.

(Wikimedia Commons)

Alma Redemptoris Mater (Loving Mother Of Our Saviour). Diego Ortiz. 16th-Century Maestro Di Capella, Chapel Royal Of Naples.

The Virgin of the Lilies

(La Vierge au lys).

Date: 1899.

Source: PaintingHere.com

Author: William-Adolphe Bouguereau (1825–1905).

(Wikimedia Commons)

Alma Redemptoris Mater,

by Diego Ortiz.

Performed by Cantar Lontano.

Director: Marco Mencoboni.

Available on YouTube at

http://youtu.be/iVT9sxyr2I0.

The following Text is from Wikipedia - the free encyclopaedia.

Alma Redemptoris Mater (English: Loving Mother of Our Saviour) is a Marian Hymn,

written in Latin hexameter, and one of four Seasonal Liturgical Marian Antiphons

sung at the end of the Office of Compline (the other three Antiphons being

Ave Regina Cælorum, Regina Caeli and Salve Regina).

Hermannus Contractus (also called Herman the Cripple, 1013–1054) is said to have

authored the Hymn, based on the writings of Saints Fulgentius, Epiphanius and

Irenaeus of Lyon. Alma Redemptoris Mater is mentioned in "The Prioress's Tale",

one of Geoffrey Chaucer's Canterbury Tales. Formerly, it was recited at Compline only

from the First Sunday in Advent until the Feast of the Purification (2 February)

Diego Ortiz (1510 – 1570) was a Spanish composer and musicologist, in service to the

Spanish Viceroy of Naples, and, later, to Philip II of Spain. Ortiz published influential

treatises on both instrumental and vocal performance.

Portrait of Diego Ortiz

from the Title Page of his

"Trattado de Glosas" (1553).

This File 19 June 2009.

User: Capmo.

(Wikimedia Commons)

Beata Es Virgo (Blessed Is The Virgin). Diego Ortiz, 16th-Century Maestro Di Capella Of The Chapel Royal Of Naples.

The Annunciation.

Artist: Paolo de Matteis.

Date: 1712.

Current location: Saint Louis Art Museum,

Missouri, United States of America.

Source/Photographer: Saint Louis Art Museum official site.

(Wikimedia Commons)

Portrait of Diego Ortiz

from the Title Page of his

"Trattado de Glosas" (1553).

This File 19 June 2009.

User: Capmo.

(Wikimedia Commons)

Diego Ortiz (1510 – 1570) was a Spanish composer and musicologist, in service to the Spanish Viceroy of Naples, and, later, to Philip II of Spain. Ortiz published influential treatises on both instrumental and vocal performance.

The following YouTube rendition, of Beata es Virgo, is taken from Vespers,

for all Feasts of The Blessed Virgin Mary, in Naples in 1565.

The Versicle, Deus in aduitorium, is followed by

the Antiphon, Ave Maria,

then Psalm 109, Dixit Dominus,

then the Motet, Beata es Virgo.

Beata es Virgo,

by Diego Ortiz.

Available on YouTube at

http://youtu.be/7O2WGAQBkAo.

Requiescat In Pace. Richard Collins, R. I. P.

Thank You and Credit to

LINEN ON THE HEDGEROW

NOTICE, HERE

Feast Of The Maternity Of The Blessed Virgin Mary. Feast Day 11 October.

Feast of The Maternity of The Blessed Virgin Mary.

Feast Day 11 October.

Double of the Second-Class.

White Vestments.

Text is from Wikipedia - the free encyclopaedia,

unless otherwise stated.

Feast of The Maternity of The Blessed Virgin Mary.

Illustration: Copyright Brunelmar/Ghent/Belgium,

Used With Permission.

The Solemnity of Mary, The Holy Mother of God is a Feast Day of The Blessed Virgin Mary under the aspect of her Motherhood of Jesus Christ, whom Christians see as the Word, God the Son.

Christians of Byzantine Rite and of both West and East Syrian Rites celebrate Mary as Mother of God on 26 December and the Coptic Church does so on 16 January.

The Feast is a Celebration of Mary's Motherhood of Jesus. The English Title "Mother of God" is a translation of the Latin Title Dei Genetrix, which means "She Who Generated God", as the corresponding Greek Title Θεοτόκος (Theotokos) means "She Who Gave Birth to God". This Title was dogmatically adopted at The First Council of Ephesus, in 431 A.D., as a way to assert that Jesus is God, and that his Mother can therefore be called Mother of God. The Title that the Feast celebrates is, thus, not only Mariological, but also Christological.

Ave Maris Stella (Hail, Star of the Sea)
is the Hymn at Vespers for the
Feast of The Maternity of The Blessed Virgin Mary.

Available on YouTube

at

http://youtu.be/TacNIbmDZ4s

The Second Vatican Council stated: "Clearly, from earliest times, The Blessed Virgin is honoured under the Title of Mother of God." and, at an early stage, the Church in Rome celebrated on 1 January a Feast that it called The Anniversary (Natale) of The Mother of God. When this was overshadowed by the Feasts of The Annunciation and The Assumption, adopted from Constantinople at the start of the 7th-Century, 1 January began to be celebrated simply as the Octave Day of Christmas, the "eighth day", on which, according to Luke 2:21, The Child was Circumcised and given the name Jesus.

In the 13th- or 14th-Century, 1 January began to be Celebrated in Rome, as already in Spain and Gaul, as the Feast of the Circumcision of The Lord and The Octave of The Nativity, while still oriented towards Mary and Christmas, with many Prayers, Antiphons and Responsories glorifying The Maternity of Mary. Pope Saint John XXIII's 1960 Rubrical and Calendrical revision removed the mention of The Circumcision of Jesus and called 1 January, simply, The Octave of The Nativity.

The Feast of "The Maternity of The Blessed Virgin Mary" was established in Portugal, in 1914, for Celebration on 11 October, and was extended to the entire Catholic Church by Pope Pius XI in 1931. The 1969 revision of the Liturgical Year and the Calendar states: "1 January, The Octave Day of The Nativity of The Lord, is The Solemnity of Mary, The Holy Mother of God, and also the Commemoration of the conferral of The Most Holy Name of Jesus." It removed the 11 October Feast, even for Portugal, stating: "The Maternity of The Blessed Virgin Mary is Celebrated on 1 January in The Solemnity of Mary, The Mother of God." (The 11 October Feast is now celebrated only by some Traditionalist Catholic individuals and groups.)

Ave Maris Stella (Hail, Star of the Sea)
is the Hymn at Vespers for the
Feast of The Maternity of The Blessed Virgin Mary.

Available on YouTube at
http://youtu.be/NOipola4doE

In his Apostolic Letter, Marialis Cultus, Pope Paul VI explained: "This Celebration is meant to Commemorate the part played by Mary in this Mystery of Salvation. It is meant also to exalt the singular dignity which this Mystery brings to The "Holy Mother . . . through whom we were found worthy to receive The Author of Life."

Roman Catholic Mariology is the systematic study of the person of The Blessed Virgin Mary and of her place in the economy of Salvation, within the Theology of The Catholic Church.

In the Catholic perspective, Mary has a precise place in the plan of Salvation and a special place within Tradition and Devotion. She is seen as having a singular dignity, and receives a higher level of Veneration than all other Saints. Roman Catholic Mariology thus studies not only her life, but also the Veneration of her in daily life, Prayer, Hymns, art (where she has been a favourite topic), music, and architecture in modern and ancient Christianity throughout the ages.

Image: ST. MARY CATHOLIC CHURCH OF DES PLAINES

The four Dogmas, of Perpetual Virginity, Mother of God, Immaculate Conception and Assumption, form the basis of Mariology. However, a number of other Catholic Doctrines about The Virgin Mary have been developed by reference to Sacred Scripture, Theological Reasoning and Church Tradition.

The development of Mariology is on-going and, since the beginnings, it has continued to be shaped by Theological analyses, writings of Saints, and Papal statements, e.g. while two Marian Dogmas are ancient, the other two were defined in the 19th- and 20th-Centuries; and Papal teachings on Mary have continued to appear in recent times.

Dies Irae. Gregorian Chant Sequence In The Requiem Mass.

Attributed to Hans Memling (1440-1494).

"Last Judgement Triptych" (central panel) in Muzeum Narodowe, Gdansk, Poland. http://www.wga.hu/preview/m/memling/1early3/02last2.jpg

Date: 16 June 2006 (Original Upload Date).

Source: Web Gallery of Art.

Author: Original uploader was Stroika at en.wikipedia

(Wikimedia Commons)

"Dies Irae" (Day of Wrath) is a Latin Hymn attributed to, either, Thomas of Celano, of the Franciscan Order (1200 – 1265), or to Latino Malabranca Orsini († 1294), Lector at the Dominican Studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas' Angelicum in Rome. 

The Hymn dates from at least the 13th-Century, though it is possible that it is much older, with some sources ascribing its origin to Saint Gregory the Great († 604 A.D.), Saint Bernard of Clairvaux (1090-1153), or Saint Bonaventure (1221-1274).

It is a Mediaeval Latin poem, characterised by its accentual stress and its rhymed lines. The metre is trochaic. The poem describes the Day of Judgment, the Last Trumpet summoning Souls before the Throne of God, where the Saved will be Delivered and the Unsaved Cast into Eternal Flames.

The Hymn is best known from its use as a Sequence in the Roman Catholic Requiem Mass (Mass for the Dead or Funeral Mass). An English version is found in various Anglican Communion Service Books.

Dies Irae.

Gregorian Chant.

Available on YouTube at

http://youtu.be/Dlr90NLDp-0.

Weekly Traditional Latin Masses In Kent. Maidstone, Ashford, Tenterden, Headcorn.

The current hiatus at Blackfen, Kent, England, where the new Parish Priest has banned the Celebration of Traditional Latin Masses, on the grounds that "they are DIVISIVE", encourages Zephyrinus to publicise the Traditional Latin Masses which

ARE CELEBRATED in Kent on a REGULAR WEEKLY BASIS ON SUNDAYS.

In addition, Traditional Latin Masses are Celebrated during the Week,

on Feast Days and Holy Days of Obligation.

There is a vibrant and happy group who attend these Masses and meet, after Mass,

for a lovely Lunch in various hostelries and locations.

Do come and join them. You will all be most welcome.

Besides Glorifying God in an edifying, Holy and Traditional manner,

you will see the wonderful Kent countryside changing throughout the Seasons,

which, in itself, Glorifies God.

              

MAIDSTONE, KENT.

CHURCH OF SAINT FRANCIS.

Photo: © Copyright Chris Whippet

and licensed for reuse under this

Creative Commons Licence.

Traditional Latin Masses are Celebrated at the

Church of Saint Francis,

126, Week Street, Maidstone, Kent ME14 1RH,

(next to Maidstone East Railway Station)

at 1230 hrs,

on the FIRST SUNDAY OF EVERY MONTH.

ASHFORD, KENT.

CHURCH OF SAINT SIMON  STOCK.

Photo: WIKIMAPIA

  Traditional Latin Masses are Celebrated at the

Church of Saint Simon Stock,

Brookfield Road, Ashford, Kent TN23 4EU,

at 1215 hrs,

on the SECOND SUNDAY OF EVERY MONTH.

TENTERDEN, KENT.

CHURCH OF SAINT ANDREW.

Photo: SAINT ANDREW'S

CATHOLIC CHURCH,

TENTERDEN

Traditional Latin Masses are Celebrated at the

Church of Saint Andrew,

47, Ashford Road, Tenterden, Kent TN30 6LL,

at 1230 hrs,

on the THIRD SUNDAY OF EVERY MONTH.

HEADCORN, KENT.

CHURCH OF SAINT THOMAS OF CANTERBURY.

Photo © Copyright David Anstiss

and licensed for reuse

under this Creative Commons Licence.

Traditional Latin Masses are Celebrated at the

Church of Saint Thomas of Canterbury,

Becket Court, 15, Station Road, Headcorn, Kent TN27 9SB,

(next to Headcorn Railway Station)

at 1200 hrs,

on the FOURTH SUNDAY OF EVERY MONTH.

WHEN THERE IS A FIFTH SUNDAY IN THE MONTH,

THE TRADITIONAL LATIN MASS IS CELEBRATED AT

ASHFORD, KENT.

CHURCH OF SAINT SIMON  STOCK.

Photo: WIKIMAPIA

  Traditional Latin Masses are Celebrated at the

Church of Saint Simon Stock,

Brookfield Road, Ashford, Kent TN23 4EU,

at 1215 hrs,

on the FIFTH SUNDAY OF EVERY MONTH.

Cathedral Of Our Lady Of Strasbourg. Cathédrale Notre-Dame De Strasbourg. Liebfrauenmünster Zu Straßburg.

Illustrations and Captions from Wikipedia - the free encyclopaedia,

unless otherwise stated.

Deutsch: Bild aufgenommen in Straßburg. Tympanon

der Westfassade des Straßburger Münsters.

English: The Great West Door and Tympanum,

Strasbourg Cathedral of Our Lady, France.

Photo: 20 December 2010.

Source: Own work.

Author: DerHexer, Wikimedia Commons.

Attribution: “DerHexer, Wikimedia Commons, CC-by-sa 4.0”

(Wikimedia Commons)

English: Rose Window of Strasbourg Cathedral.

Deutsch: Fenster über dem Hauptportal des Straßburger Münsters.

Photo: 5 August 2010.

Source: Own work.

Author: H005.

(Wikimedia Commons)

English: Strasbourg Cathedral's Stained-Glass Window in the North Side of the Nave.

Figures are: Charles Martel; Charlemagne; Pepin the Small; Louis the Pious.

Français: Alsace, Bas-Rhin, Strasbourg, Cathédrale Notre-Dame, Bas-côté nord, Vitraux

(1210-1270), Charles Martel; Charlemagne; Pépin le Bref; Louis le Pieux.

Photo: 2011.

Source: Own work.

Author: Rh-67.

(Wikimedia Commons)

Available (in U.K.) from

CENACLE CATHOLIC BOOKS

Available (in U.S.A.) from

ST. BONAVENTURE PUBLICATIONS

Cathedral Of Our Lady Of Strasbourg. Cathédrale Notre-Dame De Strasbourg. Liebfrauenmünster Zu Straßburg.

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Strasbourg Cathedral,

Alsace, France.

Photo: 8 February 2014.

Source: Own work.

Author: Diliff.

"Photo by DAVID ILIFF.

License: CC-BY-SA 3.0"

(Wikimedia Commons)

The Nave,

Strasbourg Cathedral,

Alsace, France.

Photo: 8 February 2014.

Source: Own work.

Author: Diliff.

"Photo by DAVID ILIFF.

License: CC-BY-SA 3.0"

(Wikimedia Commons)

Strasbourg Cathedral, or the Cathedral of Our Lady of Strasbourg (French: Cathédrale Notre-Dame de Strasbourg, German: Liebfrauenmünster zu Straßburg), also known as Strasbourg Minster, is a Roman Catholic Cathedral in Strasbourg, Alsace, France.

Although considerable parts of it are still in Romanesque architecture, it is widely considered to be among the finest examples of High-, or Late-, Gothic architecture. Erwin von Steinbach is credited for major contributions from 1277 to his death in 1318.

At 142 metres (466 feet), it was the world's tallest building from 1647 to 1874 (227 years), when it was surpassed by Saint. Nikolai's Church, Hamburg, Germany. Today, it is the sixth-tallest Church in the world and the highest still-standing structure built entirely in The Middle Ages.

English: Statues on the Right of The Great West Door, Strasbourg Cathedral.

Français: Statues de l'ébrasement droit de la porte centrale du portail occidental

de la cathédrale de Strasbourg.

Photo: 27 December 2008.

Source: Own work.

Author: Coyau.

Attribution: Coyau / Wikimedia Commons / CC-BY-SA-3.0.

(Wikimedia Commons)

Described by Victor Hugo as a "gigantic and delicate marvel", and by Goethe as a "sublimely towering, wide-spreading Tree of God", the Cathedral is visible far across the Plains of Alsace and can be seen from as far off as the Vosges Mountains or the Black Forest on the other side of the Rhine. Sandstone, from the Vosges, used in construction, gives the Cathedral its characteristic pink hue.

The site of Strasbourg Cathedral was used for several successive Religious buildings, starting from the Argentoratum period (when a Roman Sanctuary occupied the site) up to the building that is there today.

It is known that a Cathedral was erected by Bishop Saint Arbogast, of the Strasbourg Diocese, at the end of the 7th-Century, on the base of a temple dedicated to The Virgin Mary, but nothing remains of it today. Strasbourg's previous Cathedral, remains of which, dating back to the Late-4th-Century or Early-5th-Century, were unearthed in 1948 and 1956, was situated at the site of the current Église Saint-Étienne.

English: West façade of the Cathedral Notre-Dame de Strasbourg.

Français: Façade ouest de la cathédrale Notre-Dame de Strasbourg.

Photo: 20 August 2005.

Source: Own work.

Author: Neuceu.

(Wikimedia Commons)

In the 8th-Century, the first Cathedral was replaced by a more important building that would be completed under the Reign of Charlemagne. Bishop Remigius von Straßburg (also known as Rémi) wished to be buried in the Crypt, according to his Will, dated 778 A.D. It was certainly in this building that the Oaths of Strasbourg were pronounced in 842 A.D. Excavations carried out, recently, reveal that this Carolingian Cathedral had three Naves and three Apses. A poem described this Cathedral decorated with gold and precious stones by Bishop Ratho (also Ratald or Rathold). The Basilica caught fire on multiple occasions, in 873 A.D., 1002, and 1007.

English: Chandelier and Stained-Glass Windows,

Our Lady of Strasbourg Cathedral,

Strasbourg, France.

Français: Chandelier du collatéral sud,

Notre Dame, Strasbourg, France.

Photo: 8 March 2011.

Source: notre dame (7)

Author: Anca Pandrea from Bucharest, Romania.

(Wikimedia Commons)

In 1015, Bishop Werner von Habsburg laid the first stone of a new Cathedral on the ruins of the Carolingian Basilica. He then constructed a Cathedral in the Romanesque Style of architecture. That Cathedral burned to the ground in 1176, because, at that time, the Naves were covered with a wooden framework.

After that disaster, Bishop Heinrich von Hasenburg decided to construct a new Cathedral, to be more beautiful than that of Basel, which was just being finished. Construction of the new Cathedral began on the Foundations of the preceding structure, and did not end until Centuries later. Werner's Cathedral's Crypt, which had not burned, was kept, and expanded Westwards.

Flying Buttresses on the South Side

of Strasbourg Cathedral.

Photo: September 2007.

Source: Own work.

Author: Jonathan M.

(Wikimedia Commons)

The construction began with the Quire (Choir) and the North Transept in a Romanesque Style, reminiscent of, and actually inspired by, the Imperial Cathedrals in its monumental size and height. But, in 1225, a team coming from Chartres revolutionised the construction by suggesting a Gothic Style.

The parts of the Nave that had already been begun, in Romanesque Style, were torn down and, in order to find money to finish the Nave, the Chapter resorted to Indulgences in 1253. The money was kept by the Œuvre Notre-Dame (Editor: The Strasbourg Museum), which also hired architects and stone workers. The influence of the Chartres Masters was also felt in the sculptures and statues; the "Pillar of Angels" (Pilier des anges), a representation of The Last Judgment on a Pillar in the Southern Transept, facing the Astronomical Clock, owes to their expressive style.

Like the City of Strasbourg, the Cathedral connects German and French cultural influences, while the Eastern structures, e.g. the Choir and South Portal, still have very Romanesque features, with more emphasis placed on walls than on windows.

English: "The Marriage Feast at Cana" Tapestry in the Nave of Strasbourg Cathedral.

Français: Tapisserie "Les noces de Cana" dans la nef de la cathédrale de Strasbourg.

Photo: 5 December 2009.

Source: Own work.

Author: Tangopaso.

(Wikimedia Commons)

Above all, the famous West Front, decorated with thousands of figures, is a masterpiece of the Gothic era. The Tower is one of the first to rely substantially on craftsmanship, with the final appearance being one with a high degree of linearity captured in stone. While previous façades were certainly drawn prior to construction, Strasbourg has one of the earliest façades whose construction is inconceivable without prior drawing.

Strasbourg Cathedral and Cologne Cathedral together represent some of the earliest uses of architectural drawing. The work of Professor Robert O. Bork, of the University of Iowa, suggests that the design of the Strasbourg façade, while seeming almost random in its complexity, can be constructed using a series of rotated octagons.

The North Tower, completed in 1439, was the world's tallest building from 1647 (when the Spire of Saint Mary's Church, Stralsund, Germany, burnt down) until 1874, (when the Tower of Saint Nikolai's Church in Hamburg, Germany, was completed). The planned South Tower was never built and, as a result, with its characteristic asymmetrical form, Strasbourg Cathedral is now the premier landmark of Alsace. One can see thirty kilometers from the Observation Level, which provides a view of the Rhine Banks, from the Vosges all the way to The Black Forest. The Octagonal Tower is the combined work of architects Ulrich Ensingen (Shaft) and Johannes Hültz of Cologne (top). Ensingen worked on the Cathedral from 1399 to 1419, and Hültz from 1419 to 1439.

Strasbourg Cathedral's

Astronomical Clock.

Photo: 8 February 2014.

Source: Own work.

Author: Diliff.

"Photo by DAVID ILIFF.

License: CC-BY-SA 3.0"

(Wikimedia Commons)

In 1505, architect Jakob von Landshut and sculptor Hans von Aachen finished re-building the Saint-Lawrence Portal (Portail Saint-Laurent), outside the Northern Transept, in a markedly Post-Gothic, Early-Renaissance Style. As with the other Portals of the Cathedral, most of the statues now to be seen in situ are copies, the originals having been moved to the Musée de l’Œuvre Notre-Dame.

In the Late Middle Ages, the City of Strasbourg had managed to liberate itself from the domination of the Bishop and to rise to the status of Free Imperial City. The outgoing 15th-Century was marked by the Sermons of Johann Geiler von Kaisersberg and by the emerging Protestant Reformation, represented in Strasbourg by figures such as John Calvin, Martin Bucer and Jacob Sturm von Sturmeck.

In 1524, the City Council assigned the Cathedral to the Protestant faith, while the building suffered some damage from iconoclastic assaults. In 1539, the world's first documented Christmas Tree was set up inside the Münster. After the annexation of the City by Louis XIV of France, on 30 September 1681, and a Mass celebrated in the Cathedral on 23 October 1681 in the presence of the King and Prince-Bishop, Franz Egon of Fürstenberg, the Cathedral was returned to the Catholics and its inside re-designed according to the Catholic Liturgy of the Counter-Reformation.

The Cathedral of Notre Dame, Strasbourg,

turned into a "Temple of Reason"

during the French Revolution.

This File: 23 January 2006.

User: Tablar.

(Wikimedia Commons)

In 1682, the Choir Screen (built in 1252) was broken out to expand the Quire (Choir) towards the Nave. Remains of the Choir Screen are displayed in the Musée de l’Œuvre Notre-Dame and in The Cloisters. The Main, or High, Altar, a major work of Early-Renaissance sculpture, was also demolished that year. Fragments can be seen in the Musée de l’Œuvre Notre-Dame.

A round, Baroque Sacristy, of modest proportions, was added North-East of the Northern Transept, in 1744, by the City's Chief Architect, Joseph Massol, according to Plans by Robert de Cotte. Between 1772 and 1778, architect Jean-Laurent Goetz surrounded the Cathedral with a Gallery, in Early-Gothic-Revival Syle, in order to re-organise the merchants' shops that used to settle around the building (and would do so until 1843).

In April 1794, the Enragés, who ruled the City, started planning to tear the Spire down, on the grounds that it hurt the principle of equality. The Tower was saved, however, when, in May of the same year, citizens of Strasbourg crowned it with a giant tin Phrygian Cap, of the kind the Enragés themselves wore. This artifact was later kept in the historical collections of the City, until they were all destroyed in a massive fire in August 1870.

Engraving depicting the inside of

Strasbourg Cathedral in 1617.

Published by Isaak Brun.

Source: http://www.metmuseum.org/Collections/search-the-collections/

90023273?rpp=60&pg=1&gallerynos=690&ft=*&pos=57

(Wikimedia Commons)

During the Siege of Strasbourg, the Cathedral was hit by Prussian artillery and the metal Cross, on the Spire, was bent. The Crossing Dome's's roof was pierced and it was subsequently reconstructed in a grander, Romanesque Revival Style by The Notre-Dame Workshop's long-time Chief Architect, Gustave Klotz.

During World War II, Strasbourg's Cathedral was seen as a symbol for both warring parties. Adolf Hitler, who visited it on 28 June 1940, intended to transform the Church into a "National Sanctuary of the German People" or into a Monument to The Unknown Soldier, on 1 March 1941, General Leclerc, of France, made the "Vow of Kufra" (Serment de Koufra), stating he would "rest the weapons only when our beautiful Colours fly again on Strasbourg's Cathedral". During that same war, the Stained-Glass was removed, in seventy-four Cases, from the Cathedral and stored in a Salt Mine, near Heilbronn, Germany. After the war, it was returned to the Cathedral by the Monuments, Fine Arts and Archives Section of the United States Military.

English: The Tempter courting The Foolish Virgins

(sculpture in the South Aisle Portal of the West Façade).

Français: Strasbourg, portail sud de la cathédrale. Le tentateur (il tient la pomme

de la tentation, son dos est dévoré par des crapauds et des reptiles) et les vierges

folles (elles tiennent les lampes retournées, serrent fermées les tables de la loi).

Photo: 12 November 2010.

Source: Own work.

Author: Coyau.

Attribution: Coyau / Wikimedia Commons / CC-BY-SA-3.0.

(Wikimedia Commons)

The Cathedral was hit by British and American bombs during air raids on Strasbourg's Centre, on 11 August 1944, which also heavily damaged the Palais Rohan and the Sainte-Madeleine Church. In 1956, the Council of Europe donated the famous Choir Window, by Max Ingrand, the "Strasbourg Madonna" (see also Flag of Europe Biblical interpretation). The last War Damages were only repaired in the Early-1990s.

In October 1988, when the City was commemorating 2,000 years of the Founding of Argentoratum, Pope Saint John Paul II visited and Celebrated Mass in the Cathedral. This event was also an occasion to celebrate the Franco-Germany Reconciliation.

In 2000, an Al-Qaeda plot to bomb the adjacent Christmas Market was prevented by French and German Police.

Deutsch: Bild aufgenommen in Straßburg.

Rosenfenster im Straßburger Münster.

English: Picture taken in Strasbourg Cathedral.

The Rose Window, Notre-Dame de Strasbourg.

Photo: 20 December 2010.

Source: Own work.

Author: DerHexer, Wikimedia Commons.

Attribution: “DerHexer, Wikimedia Commons, CC-by-sa 4.0”.

(Wikimedia Commons)

Strasbourg Cathedral's Rose Window

and the Organ.

Photo: 22 December 2011.

Source: Cathédrale Notre-Dame.

Author: Alexandre Prévot from Nancy, France

(Wikimedia Commons)