German Military Cemetery

Sandweiler, Luxembourg

In Sandweiler are buried 10,913 German soldiers who died in the fierce battles of the winter of 1944 and in the spring of 1945 in the Luxembourg-Belgian and the Luxembourg-German border regions. The cemetery was the first after the Second World War that the Volksbund Deutsche Gräberfürsorge (National Association for Tending German War Graves) was able to set up outside of Germany.

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User Reviews

Allen Barrett (2 years ago)
In many ways I found this more moving than the nearby American cemetery. It was still stark, still rows of markers, still a place for somber reflection. What it did not have was the bravado of the american cemetery, which,I suppose, goes with being on the wrong side.
Carlos Villalobos (3 years ago)
German war cemetery. Minutes away from the American war cemetery. Greaves are engraved with 4 individuals. Recommend seeing both cemeteries. Eye opening difference.
Kevin Koehler (4 years ago)
If you are at the American Cemetery in Luxembourg then go here also it is only down the road not even a mile. This is also a somber place to visit and reflect on some of the consequences of war. This is a consolidated cemetery of German Soldiers from World War Two with battles that were in the Luxembourg and Belgium area. As with many wars there are Soldiers here that are Unknown and these rest in double graves.
mike marra (5 years ago)
A place of peace and reflection.
Caley McCormick (5 years ago)
A beautiful and sad place and a stark contrast to the American cemetery down the street. Both are must sees for anyone traveling in the area.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

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The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.