St. Stephen's Cathedral, Vienna

Romanesque Towers on the west front, with the Giant's Door

Standing at 136 meters (446 ft) tall and affectionately referred to by the city's inhabitants as "Steffl" (a diminutive form of "Stephen"), St. Stephen's Cathedral's massive south tower is its highest point and a dominant feature of the Vienna skyline. Its construction lasted 65 years, from 1368 to 1433. During the Siege of Vienna in 1529 and again during the Battle of Vienna in 1683, it served as the main observation and command post for the defence of the walled city, and it even contains an apartment for the watchmen who, until 1955, manned the tower at night and rang the bells if a fire was spotted in the city. At the tip of the tower stands the double-eagle imperial emblem with the Habsburg-Lorraine coat of arms on its chest, surmounted by a double-armed apostolic cross, which refers to Apostolic Majesty, the imperial style of kings of Hungary. This emblem replaced earlier crescent and the six-pointed star emblem. The original emblem, as well as a couple of later ones, today can be seen at the Vienna City Museum.[5]

The north tower was originally intended to mirror the south tower, but the design proved too ambitious, considering the era of Gothic cathedrals was nearing its end, and construction was halted in 1511. In 1578, the tower-stump was augmented with a Renaissance cap, nicknamed the "water tower top" by the Viennese. The tower now stands at 68 metres (223 ft) tall, roughly half the height of the south tower.

The main entrance to the church is named the Giant's Door, or Riesentor, possibly referring to the thighbone of a mammoth that hung over it for decades after being unearthed in 1443 while digging the foundations for the north tower, or else to the funnel shape of the door, from the Middle High German word risen, meaning 'sink or 'fall'.[6] The tympanum above the Giant's Door depicts Christ Pantocrator flanked by two winged angels, while on the left and right are the two Roman Towers, or Heidentürme, that each stand at approximately 65 metres (213 ft) tall. The name for the towers derives from the fact that they were constructed from the rubble of old structures built by the Romans (German Heiden meaning heathens or pagans) during their occupation of the area. Square at the base and octagonal above the roofline, the Heidentürme originally housed bells; those in the south tower were lost during World War II, but the north tower remains an operational bell tower. The Roman Towers, together with the Giant's Door, are the oldest parts of the church.

South tower and the shorter north tower, along with the roof tiles mosaic.

St. Stephen's Cathedral roof

Window on the Stephansdom roof

The glory of St. Stephen's Cathedral is its ornately patterned, richly coloured roof, 111 metres (364 ft) long, and covered by 230,000 glazed tiles. Above the choir on the south side of the building the tiles form a mosaic of the double-headed eagle that is symbolic of the empire ruled from Vienna by the Habsburg dynasty. On the north side, the coats of arms of the City of Vienna and of the Republic of Austria are depicted. In 1945, fire caused by World War II damage to nearby buildings leapt to the north tower of the cathedral and destroyed the wooden framework of the roof. Replicating the original bracing for so large a roof (it rises 38 metres above the floor) would have been cost-prohibitive, so over 600 metric tons of steel bracing were used instead. The roof is so steep that it is sufficiently cleaned by the rain alone and is seldom covered by snow.

Composer Ludwig van Beethoven discovered the totality of his deafness when he saw birds flying out of the bell tower as a result of the bells' tolling but could not hear the bells. St. Stephen's Cathedral has 22 bells in total. The largest is officially named for St. Mary, but usually called Pummerin ("Boomer") and hangs in the north tower. At 20,130 kilograms (44,380 lb), it is the largest in Austria and the second-largest swinging bell in Europe after the 23,500 kilograms (51,800 lb) Peter in Cologne Cathedral). Originally cast in 1711 from cannons captured from the Muslim invaders by bell founder Johann Achammer, it was recast (partly from its original metal) in 1951 after crashing onto the floor when its wooden cradle burned during the 1945 fire. The new bell has a diameter of 3.14 metres (10.3 ft) and was a gift from the province of Upper Austria. It sounds on only a few special occasions each year, including the arrival of the new year. Also in this tower are two (formerly three) older bells that are no longer used: Kleine Glocke ("small bell") (62 kilograms (137 lb)) cast around 1280; Speisglocke ("dinner bell") (240 kilograms (530 lb)) cast in 1746; and Zügenglocke ("processions bell") (65 kilograms (143 lb)) cast in 1830. However, the Kleine Glocke was restored at the Grassmayr foundry in Innsbruck in 2017 and rehung in the North Roman Tower.

"Christ with a toothache"

A peal of eleven electrically operated bells, cast in 1960, hangs in the soaring south tower. Replacements for other ancient bells also lost in the 1945 fire, they are used during Masses at the cathedral: four are used for an ordinary Mass; the quantity increases to as many as ten for a major holiday Mass; and the eleventh and largest is added when the Cardinal Archbishop of Vienna himself is present. From the largest to the smallest, they are named the St. Stephen (5,700 kilograms (12,600 lb)); St. Leopold (2,300 kilograms (5,100 lb)); St. Christopher (1,350 kilograms (2,980 lb)); St. Leonhard (950 kilograms (2,090 lb)); St. Josef (700 kilograms (1,500 lb)); St. Peter Canisius (400 kilograms (880 lb)); St. Pius X (280 kg); All Saints (200 kilograms (440 lb)); St. Clement Maria Hofbauer (120 kilograms (260 lb)); St. Michael (60 kilograms (130 lb)); and St. Tarsicius (35 kilograms (77 lb)). Also in this tallest tower are the Primglocke (recast in 1772), which rings on the quarter hour, and the Uhrschälle (cast in 1449), which rings on the hour.

The north Roman Tower contains six bells, four of which were cast in 1772, that ring for evening prayers and toll for funerals. They are working bells of the cathedral and their names usually recall their original uses: Feuerin ("fire alarm" but now used as a call to evening prayers) cast in 1879; Kantnerin (calling the cantors (musicians) to Mass); Feringerin (used for High Mass on Sundays); Bieringerin ("beer ringer" for last call at taverns); Poor Souls (the funeral bell); Churpötsch (donated by the local curia in honour of the Maria Pötsch icon in the cathedral), and Kleine Glocke (cast in 1280 and is the oldest bell in the cathedral).

The 1945 fire destroyed the bells that hung in the south Roman Tower.[7]

Capistran Chancel

During the Middle Ages, major cities had their own set of measures and the public availability of these standards allowed visiting merchants to comply with local regulations. The official Viennese ell length standards for verifying the measure of different types of cloth sold are embedded in the cathedral wall, to the left of the main entrance. The linen ell, also called Viennese yard, (89.6 centimetres (35.3 in)) and the drapery ell (77.6 centimetres (30.6 in)) length standards consist of two iron bars. According to Franz Twaroch, the ratio between the linen ell and the drapery ell is exactly ${\displaystyle {\sqrt {3}}/2}$.[8][9] The Viennese ells are mentioned for the first time in 1685 by the Canon Testarello della Massa in his book Beschreibung der ansehnlichen und berühmten St. Stephans-Domkirchen.[10]

Official Viennese linen ell and drapery ell length standards embedded in the cathedral wall

A memorial tablet (near location SJC on the Plan below) gives a detailed account of Wolfgang Amadeus Mozart's relationship with the cathedral, including the fact that he had been appointed an adjunct music director here shortly before his death. This was his parish church when he lived at the "Figaro House" and he was married here, two of his children were baptised here, and his funeral was held in the Chapel of the Cross (at location PES) inside.[11]

Adjacent to the catacomb entrance is the Capistran Chancel, the pulpit (now outdoors at location SJC) from which St. John Capistrano and Hungarian general John Hunyadi preached a crusade in 1456 to repel Muslim invasions of Christian Europe. (See: Siege of Belgrade).[12] The 18th century Baroque statue shows the Franciscan friar under an extravagant sunburst, trampling on a beaten Turk. This was the original cathedral's main pulpit inside until it was replaced by Niclaes Gerhaert van Leyden's pulpit in 1515.

A figure of Christ (at location CT) is known affectionately to the Viennese as "Christ with a toothache" (de:Zahnwehherrgott). At the southwest corner (location S) are various memorials from when the area outside the cathedral was a cemetery, as well as a recently restored 15th-century sundial on a flying buttress.

The main part of the church contains 18 altars, with more in the various chapels. The High Altar (HA) and the Wiener Neustadt Altar (German: Wiener Neustädter Altar) (WNA) are the most famous.

The first focal point of any visitor is the distant High Altar, built over seven years from 1641 to 1647 as part of the first refurbishment of the cathedral in the baroque style. The altar was built by Tobias Pock at the direction of Vienna's Bishop Philipp Friedrich Graf Breuner with marble from Poland, Styria and Tyrol. The High Altar represents the stoning of the church's patron St. Stephen. It is framed by figures of patron saints from the surrounding areas – Saints Leopold, Florian, Sebastian and Rochus – and surmounted with a statue of St. Mary which draws the beholder's eye to a glimpse of heaven where Christ waits for Stephen (the first martyr) to ascend from below.

Wiener Neustädter Altar

The Wiener Neustädter Altar at the head of the north nave was ordered in 1447 by Emperor Frederick III, whose tomb is located in the opposite direction. On the predella is his famous A.E.I.O.U. device. Frederick ordered it for the Cistercian Viktring Abbey (near Klagenfurt) where it remained until the abbey was closed in 1786 as part of Emperor Joseph II's anti-clerical reforms. It was then sent to the Cistercian monastery of St. Bernard of Clairvaux (founded by Emperor Frederick III) in the city of Wiener Neustadt, and finally sold in 1885 to St. Stephen's Cathedral when the Wiener Neustadt monastery was closed after merging with Heiligenkreuz Abbey.

The Wiener Neustädter Altar is composed of two triptychs, the upper being four times taller than the lower one. When the lower panels are opened, the Gothic grate of the former reliquary depot above the altar is revealed. On weekdays, the four panels are closed and display a drab painted scene involving 72 saints. On Sundays, the panels are opened showing gilded wooden figures depicting events in the life of the Virgin Mary. Restoration began on its 100th anniversary, in 1985 and took 20 years, 10 art restorers, 40,000 man-hours, and €1.3 million to complete, primarily because its large surface area of 100 square metres (1,100 sq ft).

Pötscher Madonna

The Maria Pötsch Icon (MP) is a Byzantine style icon of St. Mary with the child Jesus. The icon takes its name from the Hungarian Byzantine Catholic shrine of Máriapócs (pronounced Poach), from where it was transferred to Vienna. The picture shows the Virgin Mary pointing to the child (signifying "He is the way") and the child holding a three-stemmed rose (symbolizing the Holy Trinity) and wearing a prescient cross from his neck. The 50 x 70 cm icon was commissioned in 1676 from painter István Papp by László Csigri upon his release as a prisoner of war from the Turks who were invading Hungary at the time. As Csigri was unable to pay the 6-forint fee the icon was bought by Lőrinc Hurta who donated it to the church of Pócs.

After claims of two miraculous incidents in 1696 with the mother in the picture allegedly shedding real tears, Emperor Leopold I ordered it brought to St. Stephen's Cathedral, where it would be safe from the Muslim armies that still controlled much of Hungary. Upon its arrival after a triumphal five-month journey in 1697, Empress Eleonora Magdalena commissioned the splendid Rosa Mystica oklad and framework (now one of several) for it, and the Emperor personally ordered the icon placed near the High Altar in the front of the church, where it stood prominently from 1697 until 1945. Since then, it has been in a different framework, above an altar under a medieval stone baldachin near the southwest corner of the nave – where the many burning candles indicate the extent of its veneration, especially by Hungarians. Since its arrival the picture has not been seen weeping again but other miracles and answered prayers have been attributed to it, including Prince Eugene of Savoy's victory over the Turks at Zenta few weeks after the icon's installation in the Stephansdom.

The residents of Pócs wanted their holy miracle-working painting returned, but the emperor sent them a copy instead. Since then, the copy has been reported to weep real tears and work miracles, so the village changed its name from merely Pócs to Máriapócs and has become an important pilgrimage site.

Pulpit

The stone pulpit is a masterwork of late Gothic sculpture. Long attributed to Anton Pilgram, today Niclaes Gerhaert van Leyden is thought more likely to be the carver. So that the local language sermon could be better heard by the worshipers in the days before microphones and loudspeakers, the pulpit stands against a pillar out in the nave, instead of in the chancel at the front of the church.

The sides of the pulpit erupt like stylized petals from the stem supporting it. On those Gothic petals are relief portraits of the four original Doctors of the Church (St. Augustine of Hippo, St. Ambrose, St. Gregory the Great and St. Jerome), each of them in one of four different temperaments and in one of four different stages of life. The handrail of the stairway curving its way around the pillar from ground level to the pulpit has fantastic decorations of toads and lizards biting each other, symbolizing the fight of good against evil. At the top of the stairs, a stone puppy protects the preacher from intruders.

Beneath the stairs is one of the most beloved symbols of the cathedral: a stone self-portrait of the unknown sculptor gawking (German: gucken) out of a window (German: fenster) and thus famously known as the Fenstergucker. The chisel in the subject's hand, and the stonemason's signature mark on the shield above the window led to the speculation that it could be a self-portrait of the sculptor.

St. Catherine's Chapel

There are several formal chapels in St. Stephen's Cathedral:

• St. Catherine's Chapel, in the base of the south tower, is the baptismal chapel. The 14-sided baptismal font was completed in 1481, and its cover was formerly the soundboard above the famed pulpit in the main church. Its marble base shows the four Evangelists, while the niches of the basin feature the twelve apostles, Christ and St. Stephan.
• St. Barbara's Chapel, in the base of the north tower, is used for meditation and prayer.
• St. Eligius's Chapel, in the southeast corner, is open for prayer. The altar is dedicated to St. Valentine whose body (one of three, held by various churches) is in another chapel, upstairs.
• St. Bartholomew's Chapel, above St. Eligius' Chapel, has recently been restored.
• The Chapel of the Cross (PES), in the northeast corner, holds the burial place of Prince Eugene of Savoy in the vault containing 3 coffins and a heart urn, under a massive stone slab with iron rings. The funeral of Mozart occurred here on 6 December 1791. The beard on the crucified Christ above the altar is of real hair. The chapel is not open to the public.
• St. Valentine's Chapel, above the Chapel of the Cross, is the current depository of the hundreds of relics belonging to the Stephansdom, including a piece of the tablecloth from the Last Supper. A large chest holds the bones of St. Valentine that were moved here about a century ago, from what is now the Chapter House to the south of the High Altar.

Plan of St. Stephen's Cathedral basement

Since its earliest days, the cathedral has been surrounded by cemeteries dating back to Roman times, and has sheltered the bodies of nobles and commoners. It has always been an honour to be buried inside a church, close to the physical presence of the saints whose relics are preserved there. Those less honoured were buried near, but outside, the church.

Inside the cathedral are the tombs of Prince Eugene of Savoy (PES), commander of the Imperial forces during the War of the Spanish Succession in the Chapel of The Cross (northwest corner of the cathedral) and of Frederick III, Holy Roman Emperor (Fr3), under whose reign the Diocese of Vienna was canonically erected on 18 January 1469, in the Apostles' Choir (southeast corner of the cathedral).

Tomb of Emperor Frederick III

The construction of Emperor Frederick's tomb spanned over 45 years, starting 25 years before his death. The impressive sarcophagus is made of the unusually dense red marble-like stone found at the Adnet quarry. Carved by Niclaes Gerhaert van Leyden, the tomb lid shows Emperor Frederick in his coronation regalia surrounded by the coats of arms of all of his dominions. The body of the tomb has 240 statues and is a glory of medieval sculptural art.

When the charnel house and eight cemeteries abutting the cathedral's side and back walls closed due to an outbreak of bubonic plague in 1735, the bones within them were moved to the catacombs below the church. Burials directly in the catacombs occurred until 1783 when a new law forbade most burials within the city. The remains of over 11,000 persons are in the catacombs (which may be toured).

The basement of the cathedral also hosts the Bishops, Provosts and Ducal crypts. The most recent interment in the Bishop's crypt completed in 1952 under the south choir was that of 98-year-old Cardinal Franz König in 2004. Provosts of the cathedral are buried in another chamber. Other members of the cathedral chapter are now buried in a special section at the Zentralfriedhof.

Ducal Crypt

The Ducal Crypt located under the chancel holds 78 bronze containers with the bodies, hearts, or viscera of 72 members of the Habsburg dynasty. Before his death in 1365, Duke Rudolf IV ordered the crypt built for his remains in the new cathedral he commissioned. By 1754, the small rectangular chamber was overcrowded with 12 sarcophagi and 39 urns, so the area was expanded with an oval chamber added to the east end of the rectangular one. In 1956, the two chambers were renovated and their contents rearranged. The sarcophagi of Duke Rudolf IV and his wife were placed upon a pedestal and the 62 urns containing organs were moved from the two rows of shelves around the new chamber to cabinets in the original one.

St Stephen's Cathedral has an old organ tradition. The first organ is mentioned in 1334.[13][14] After the 1945 fire, Michael Kauffmann finished a large electric action pipe organ in 1960 with 125 stops and 4 manuals, financed with public donations.[15] In 1991, the Austrian firm of Rieger rebuilt the choir organ. It is a mechanical organ, with 56 voices and 4 manuals.[16]

The Kauffmann organ at the west end was only used for about 35 years before falling into disuse. In 2017-2020 the Austrian firm of Rieger rebuilt the west end (Riesenorgel) organ using the 1960 facade and some old pipework and this resulted in an organ of 5 manuals with 130 stops. [17] The choir organ has its own console but there is a separate console, built 2017-2020 and comprising 5 manuals with 185 stops, from which the Riesenorgel and choir organ can be played at the same time.[18] In addition to the Riesenorgel and choir organ the Cathedral also has 3 smaller instruments.[19]