Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026

Plans for the Frauenkirche as an "Imperial Chapel" commissioned by Charles IV date back to 1350; its consecration took place eight years later. The building stands on the site of a synagogue that had been demolished shortly before and is conceived as part of the expansive layout of a main market square. Its public function is revealed by the façade, designed as a showpiece that concentrates the building's full decorative and iconographic richness. Judging by an engraving by Boener, the gable—articulated with niches—originally featured sculptures.

The master builder is not documented in the records. It was likely Peter Parler from Schwäbisch Gmünd; not only the architectural sculpture but also the cubic volume of the building point to the Parlers' new sense of form—essentially a cube set on a square footprint. Nevertheless, the interior space is clearly oriented towards the east, an alignment reinforced by the depth of the choir and the projecting porch. It is worth noting, however, that the chapel at the Imperial Castle already exhibited this core square layout during the Romanesque period. The church’s function was the safekeeping and display of the imperial relics—the Imperial Regalia themselves were not moved to the Holy Spirit Hospital until the 15th century, under Sigismund.

Strikingly, this sacred building employs the secular form of the stepped gable—revealing an affinity with the Parlers' work at the Marienkirche in Mühlhausen, which also features a balcony!

(see Figure 7)

As a state building, the Frauenkirche bears the coats of arms of the Empire, the Electors, and the city of Rome—the latter representing the site of the Emperor's coronation (at that time).

Above the porch lies the so-called St. Michael’s Choir; with its polygonal shape, it functions as a western choir—an imperial feature derived from Aachen.

Prof. Dr. Pablo de la Riestra, June 2026