The "Paradise" (F, German: Paradies) is a two-story forehall or narthex (originally three stories) on the south side of the west transept.
It measures 5.83 metres from north to south and 14.92 metres from east to west.
On account of the remains of masonry in the transept it is assumed that the narthex of the Ottonian Cathedral was in the same location.

The Paradise was originally open to the south, since it was used for the Sendgericht and the Hofgericht courts which the Sachsenspiegel required to be held under an open sky.
Court cases were moved to the City Hall after its construction in 1395 and the south wall of the paradise must have been closed up some time after this.

Inside the Paradise, there is a 69-centimetre-high (27 in) beveled edge running around all four walls.
A 21-centimetre-high (8.3 in) frieze of vine tendrils runs around the walls 2.04 metres above the ground.
This frieze is decorated with small sculptures of people and animals.
The oldest of these is probably the winding dragon at the north end of the east wall.
At the east end of the north wall are three sculptures and a corner pillar decorated with ten identical palmettes.
Under the window of the east wall are depictions of the seasonal work of each month of the year.
on the west part of the north wall, King David is depicted with his musicians; the pillar in the northwest corner of the room shows a rabbit hunt and a grape harvest.
Below the window on the west side, was a hexameter concerning Mary Magdalen until the renovation of the cathedral in 1880, when it was replaced by small figures of the builders and stonemasons.
At this time it was not unusual for unworked stones to be installed in walls and slowly elaborated into a frieze over a long period of time.

Above the frieze are more-than-life-size stone statues of the twelve apostles, with saints and donors.
The current form of these is not the original arrangement.
For example, two figures were moved from next to the east window to the right side of the portal in the north wall and a niche in the east wall was filled with a statue of John the Baptist, originally from Metelen.
The space between the two doors of the portal in the north wall is decorated with a statue of Jesus Christ as Salvator Mundi.
The original composition of the statuary is not clear because of the destruction carried out by the Baptists, but it is believed that they reflected a unified plan.
Because of their age – the figures were created in the 13th century – not all of them can be clearly identified, since the identification of figures using attributes only became the norm in the Late Gothic period (14th-15th century).

The installation of the figures in niches in the walls has inspired the idea that a different layout was originally intended.
The basis of this idea is the fact that the figures are taller than the capitals of the hall's main columns and small columns separating the individual figures are divided at what would have been half their height if they had been the same height as the main columns.
Thus the composition's plan was probably altered during construction and the height of the statues increased in order to make them more prominent.
The "Paradise" (F, German: Paradies) is a two-story forehall or narthex (originally three stories) on the south side of the west transept. It measures 5.83 metres from north to south and 14.92 metres from east to west. On account of the remains of masonry in the transept it is assumed that the narthex of the Ottonian Cathedral was in the same location.
The Paradise was originally open to the south, since it was used for the Sendgericht and the Hofgericht courts which the Sachsenspiegel required to be held under an open sky. Court cases were moved to the City Hall after its construction in 1395 and the south wall of the paradise must have been closed up some time after this.
Inside the Paradise, there is a 69-centimetre-high (27 in) beveled edge running around all four walls. A 21-centimetre-high (8.3 in) frieze of vine tendrils runs around the walls 2.04 metres above the ground. This frieze is decorated with small sculptures of people and animals. The oldest of these is probably the winding dragon at the north end of the east wall. At the east end of the north wall are three sculptures and a corner pillar decorated with ten identical palmettes. Under the window of the east wall are depictions of the seasonal work of each month of the year. on the west part of the north wall, King David is depicted with his musicians; the pillar in the northwest corner of the room shows a rabbit hunt and a grape harvest. Below the window on the west side, was a hexameter concerning Mary Magdalen until the renovation of the cathedral in 1880, when it was replaced by small figures of the builders and stonemasons. At this time it was not unusual for unworked stones to be installed in walls and slowly elaborated into a frieze over a long period of time.
Above the frieze are more-than-life-size stone statues of the twelve apostles, with saints and donors. The current form of these is not the original arrangement. For example, two figures were moved from next to the east window to the right side of the portal in the north wall and a niche in the east wall was filled with a statue of John the Baptist, originally from Metelen. The space between the two doors of the portal in the north wall is decorated with a statue of Jesus Christ as Salvator Mundi. The original composition of the statuary is not clear because of the destruction carried out by the Baptists, but it is believed that they reflected a unified plan. Because of their age – the figures were created in the 13th century – not all of them can be clearly identified, since the identification of figures using attributes only became the norm in the Late Gothic period (14th-15th century).
The installation of the figures in niches in the walls has inspired the idea that a different layout was originally intended. The basis of this idea is the fact that the figures are taller than the capitals of the hall's main columns and small columns separating the individual figures are divided at what would have been half their height if they had been the same height as the main columns. Thus the composition's plan was probably altered during construction and the height of the statues increased in order to make them more prominent.
Münster Cathedral