Assumption of Mary (Andernach)

West facade

View to the altar

Look back to the organ

Choir with fresco by Georg Kau; View from the pulpit

The Roman Catholic parish church Maria Himmelfahrt in Andernach , a mighty gallery basilica with four towers, west building and choir, is located on the western edge of the city in direct proximity to the city wall and thus also on the west side of the Antunnacum fort , which was located there in Roman times the later settlement emerged.

designation

The Marienkirche was always the town church and the bishop's cathedral at the same time and can therefore rightly call itself “Mariendom” , one of the popular names used in Andernach, alongside the common name “Liebfrauenkirche”, which has often been questioned. But the Archbishop of Trier was also a pastor in his own church in Andernach.

history

prehistory

Northeast tower (right)

Carolingian graves under the current church show that it is an earlier foundation. Little is known about the appearance of this church and the successor building from the early 12th century, from which the free-standing north-east tower (bell tower) has been preserved.

The previous building (St. Michael), built in 1194 by Emperor Heinrich VI. The Archbishop of Trier, Johann I, who was the first bishop of Trier to also bear the title of Elector , was given in 1198 as a result of a dispute between Otto IV. , who had been proclaimed king in Andernach in 1197, and Philip the Staufer , who conquered Andernach and pillaged, a victim of the flames. The church building of the old town church was largely destroyed except for the free-standing bell tower.

Construction period

On the site of the burned down church, whose free-standing bell tower was integrated into the new church building as the north-east tower and the oldest part of the building, the Archbishop and Elector of Trier Johann I had today's St. Mary's Church rebuilt as a three-aisled gallery basilica in the Rhenish transitional style until around 1220 . Whether Johann I used the destruction of the old church to show his newly won power as a church teacher in Andernach in Cologne has not been proven. It is possible that by the time the previous building was destroyed in 1198, the new building was already in progress, so that the fire only briefly interrupted the construction work.

The shape of the south-east tower seems to indicate that when the new church was built at the end of the 12th century, consideration was given to a lower, i.e. older, nave, before the nave and the westwork with both west towers were then rebuilt. The old west building probably only had single-storey towers and an open hall on the ground floor. Around 1220, the height of the southeast tower was adjusted to the older northeast tower on the other side of the choir . The two western towers, originally planned to be lower, were also given their current height at that time. The completion of the new church is to be expected around 1250. Still, the church was probably consecrated in 1220.

The actual building history seems to have ended with the completion of the late Romanesque cathedral church, but documents show that construction work lasted for a long time.

Restorations

Despite its very uniform appearance, the Liebfrauenkirche reveals the various construction phases in which it was built on closer inspection. The partial and complete restorations of the cathedral, which have been carried out since the Middle Ages up to the present day, can be seen (through different wall techniques and stone processing).

As early as the late 13th to early 14th centuries, some vaulted areas collapsed . The reason for this is the poor building site on which the church stands. The west building showed strong cracks, as a result of the measures carried out at the time, the vaults and the west facade were repaired. The large rose window was also replaced by a Gothic pointed arch window. In addition, the west towers received additional anchorages for stabilization. Sources report further restorations in the centuries that followed.

In 1722 the condition of the church was described as ruinous. After long deliberations, the Electorate of Trier court architect Johann Georg Seitz, father of the master builder Johannes Seiz , finally drew up an expert report to repair the damage in 1739, which also considered the removal of the towers and the removal of the collapsed aisles for cost reasons. The commitment of Andernach's citizens saved “their cathedral” from being “dismantled” into a torso with partial demolition of the west towers and removal of the side aisles, so that it is now in full size. In the years 1740 to 1742, the restoration of the damaged church sections was consistently pursued, especially the rebuilding of the collapsed aisles.

Extensive restoration work took place in the late 19th century. They began in 1877 at the apse choir and the sections that were only provisionally repaired from 1740 to 1742, as well as the reconstruction (Romanesque demolition) of the richly designed west facade in 1893/1894 with the inclusion of the large rose window , which is one of the most beautiful examples of Cologne-Rhenish architecture from the beginning of the 13th century. In 1899, the restoration work was completed with the interior painting. The state that is visible today corresponds roughly to that of the middle of the 13th century.

In 1960 a second major complete restoration was started. As in 1877, the reason for this was weathering . On the exterior, work such as stone replacement, stone conservation, securing and roofing work was necessary. The extent of the damage required a complete renewal of the outer skin, for example on the north-west tower. In 1978 the external work could be completed. From 1987 to 1991, concrete beams and cross anchors were embedded in the vaults of the nave and the side galleries for stabilization.

Nowadays, the Förderverein Mariendom Andernach e. V. from.

Recent history

Assumption of Mary, aerial photo 2014

In connection with the reconstruction of the parsonage right next to the church, the remains of a Roman bathing facility from the 4th century were discovered in 2006. They were integrated into the building and opened to the public in 2009. Part of the bathing facility can be viewed through a glass dome in front of the parish hall.

In 2013/2014, the entire Domplatz with its connection to the rectory and the cathedral playground was redesigned. The city of Andernach bore the costs for the expansion of the mainly public square. The cathedral square was inaugurated on the patron saint of the Assumption Day 2014 (August 15). In the celebration, the preacher mentioned “the redesign of a post-war landscape of ruins into a suitable cathedral square.” The cathedral needs space to breathe, and the cathedral now has space to breathe.

In 2018, extensive work began on the redesign, refurbishment and renovation, which should be completed by the 800th anniversary of the consecration in 2020. The baptismal font was implemented as the first measure in March 2018. In the now vacant, former baptistery, a Marienkapelle was built over the course of the summer. From now on this is the prayer room in the cathedral. The chapel was inaugurated on the Assumption Day.

architecture

Except for the older north-east tower and the side aisles, which were renovated in the 18th century, the Mariendom is uniformly late Romanesque. In the light it is 49.70 meters long and 19.70 meters wide. The width of the central nave is 8.15 meters, the height of the central nave 17 meters and that of the side aisles 5.80 meters. The towers of the west facade are 54.90 meters high, the north-east and south-east towers each 40.80 meters.

Westwork

The westwork of the cathedral consists of a two-tower facade that towered over the historic city wall in the Middle Ages . The west building, which is in front of the three naves of the nave like a transept, has three floors. These are separated from each other by horizontal cornices. The wall surfaces are symmetrically structured by blind arcades , some of which frame arched windows. The double arcades on the outside of the third floor create the impression that the towers are independent. The three-storey middle section of the facade with a large round window on the upper storey is closed off by a gable.

Investigations have shown that the westwork was built in the second construction period (after 1198). The old west building probably only had single-storey towers and an open entrance hall. Today's west portal was built later. The various forms of detail show that the towers and their diamond roofs were only built after 1220. Until the major restoration in the late 19th century, the west facade contained a pointed arched tracery window from the 14th century instead of the round arched window and pointed arches above the portals, which were removed again due to structural and structural problems, so that the previous design was similar to that from the 13th century should be.

Longhouse

The nave consists of three double bays and has a simple structure. The wall surfaces are divided by arched windows and pilaster strips . In the eastern part, the nave has a side portal to the north and south.

While the walls of the main nave and the areas around the portals still have regular ashlar masonry from the early 13th century, the walls of the side aisles have been made of rubble stone since the restoration in the 18th century . The cloverleaf windows characteristic of the Romanesque can also be found on the portal sections .

Eastern parts

The eastern parts of the Mariendom consist of the different towers that flank the choir , the choir with its apse and the Gothic sacristy . Although the towers have the same height and the same pyramid roofs , they differ in terms of the number of floors, structure and masonry. The floor plan also shows that the older north tower is not in line with the building and is thicker than its counterpart on the south side. The clever integration of the north tower in the younger building covers the differences so much that the east section also appears uniform. The semicircular apse, which is characterized by a particularly rich design, arches in front of the choir bay, which is clamped between the two east towers . Above the base and a storey structured by pilaster strips and a round arched frieze, the window storey follows with a presented architecture of arches and columns . A panel frieze and the dwarf gallery with rhythmic columns form the upper end . A rich cornice arches above it. A steep triangular gable with five niches rises above the roof of the apse, two of which contained windows and the others were painted.

Portals

South portal

Capitals on the south portal (2018)

Everywhere on the building there are abstract or vegetable representations of the heyday of Hohenstaufen architecture. The masonry heads on the northeast tower date from an older time. On the portals, however, there are figurative representations from the environment of the Laacher Samson master.

West portal

The west portal, which was renewed during the reconstruction of the west facade in the late 19th century, still has the old, filigree capital friezes in the fighting zone . They show a kneeling man in tendril loops on the left and a lion's head on the right. In 1882 three fragments of a representation of the Last Judgment were found under the floor of the cathedral , which probably belonged to the inner portal and are kept in the Rheinisches Landesmuseum in Bonn .

North portal

The otherwise very simple north portal is also noticeable with its artistic capitals in the combat zone. These show grape-eating birds on the left, eagles at the corners and two figures with falcons on the right.

South portal

In contrast to the simple north portal, the south portal is artfully designed. The triangular lintel above the door shows the remains of a painted crucifixion group and two angels hold the Lamb of God in the semicircular relief of the tympanum . The capitals show animals in tendril loops on the right and human figures on the left.

Painting

After extensive restoration at the end of the 19th century, the interior was painted uniformly in a floral-ornamental style. However, there are still some works outside of this standard version. A heavily weathered depiction of the crucified Christ in the warrior chapel on the southern gallery dates from the 13th century . From the first half of the 14th century , another multi-figure crucifixion group has been preserved on the spandrel above the northern gallery. The monumental depictions of the Mother of God in a halo with a child and St. Christopher on the west wall under the gallery were probably not made until after 1500 . In 1929 three monumental paintings were created in the choir to glorify the church patroness by Georg Kau : Mary, Queen of the Dawn (left), Coronation of Mary (apse) and Mary, Queen of Peace (right).

Furnishing

Since the parish church was the only and largest Catholic town church for a long time, it has a rich artistic interior that has been created from the time of construction to modern times.

Altars

High altar of the Virgin Mary

The high altar was created in the years 1620–1622 by the Koblenz sculptor Peter Kern and shows Dutch influence. It includes six alabaster reliefs showing, from top to bottom, the Coronation of Mary , the Visitation of the Virgin , the Nativity , the Adoration of the Magi , the Annunciation and the Presentation of Jesus in the Temple . The high altar is on the east wall of the north aisle. The high altar also includes 13 other small figures. They show the apostles and Jesus Christ, but are now in the warrior chapel above the sacristy on the southern gallery. There you can also see the impressive Anna herself from the second half of the 15th century.

Imperial Altar

The imperial altar was in 1475 by Emperor Friedrich III. Donated as thanks that the Andernacher supported him and the Archbishop of Cologne in the Burgundian War (1474–1477).

window

Choir window

The six windows in the choir apse were created in 1948 in the United South German Workshops for Mosaic and Glass Painting in Solln near Munich. They show from left to right St. Peter , the Archangel Michael (2nd patron of the church), the Holy Virgin Mary (1st patroness of the church and the city), St. George and St. Paul .

Windows in the aisles

The eight windows in the two side aisles show abstractly designed motifs from the Lauretanian litany with motifs of devotion to Mary and the invocations of the Mother of God. They were created in 1962 by Reinhard Heß from Trier. From west to east in the north aisle, the following invocations are shown: "You ivory tower", "Mary, Queen of the Rosary", "You morning star / sea star" and "Mary, queen of the virgins". In the south aisle, the windows show “You mystery of the Mother of Christ”, “Maria you Queen of Heaven”, “Maria, you Queen of Peace” and “You spiritual vessel”. The same artist also created the modern, glazed, triple arched arcade above the choir arch with the motif of the Trinity. This window is not on the outside wall, but on the wall between the nave and the roof stalls of the choir.

Graves

Tomb of Daniel Schilling von Lahnstein

Tomb of the mayor Daniel Schilling von Lahnstein

On the west wall of the central nave is the wall grave of the Andernach mayor Daniel Schilling von Lahnstein (1470–1541), who was married to Margarethe von Kottenheim (1478–1525). The Renaissance grave from 1541 shows framed by two to an indicated and the input representing the death gate, pilasters , decorated with plants work and foliated capitals, praying to from head to toe armored something Andernacher forward flexed famous knight. Above and below you can see the ancestral coats of arms of the knight: above von Lahnstein and von der Leyen , below von Schoenburg and von Eltz . Between the two upper coats of arms is the grave inscription: Anno Dni 1541 Uff Den 28. Julii Has died Der Erenvest Daniel Schilling von Lansten Den Got GSA (In the year of the Lord 1541 the honorable Daniel Schilling von Lahnstein died on July 28th, the god gracious be. Amen.). During his tenure, Andernach obtained imperial immediacy for a short time (1537–1540).

Consumable

The so-called Zehresgräbchen is located in the basement of the southwest tower and is probably the oldest monument in the cathedral's furnishings. This came in 1807 from the dissolved St. Thomas Abbey at the gates of the city. This Romanesque sarcophagus is the final resting place of the Augustinian monk Isenbert, who was the spiritual advisor to the first master of this monastery - Texwindis - in the 12th century and who died in 1190. Already during his lifetime he was worshiped for miracles and after his death he was canonized by the people. In popular belief one hoped for his assistance in case of consumption or "emaciation" of the children. These were then placed on the grave and devotions were held for nine days, with the aim of recovery or redemption through a gracious death. Because of this role in "emaciation" this grave is popularly referred to as "Zehresgräbchen"

Entombment group

The entombment group from 1525 in the north aisle shows the representation usual in the late Gothic in the Rhineland: Nicodemus and Joseph of Arimathäa place the body of Christ in a sarcophagus decorated with Gothic fascia . Behind it are the life-size figures of St. John and the mourning women: Mary , the mother of Jesus, Mary from Magdala, Mary Cleophae and the disciple Salome . The original name of the entombment is "Lamentation of Christ", but is usually only called the Holy Sepulcher.

Hungarian cross

The Hungarian cross is an old forked cross . It reached Andernach in the 14th century and was brought along by Hungarian pilgrims who were on their way to Cologne . It was created at the beginning of the 14th century and is one of the plague crosses . It shows the battered body of Christ, as it was depicted in the Gothic , hanging on a three-part cross. This cross is almost identical to the forked cross in the Church of St. Maria in the Capitol in Cologne.

Heavenly Jerusalem

chandelier

The chandelier above the altar represents the heavenly Jerusalem (Revelation 21). The bronze casting by the sculptor Ulrich Henn was made in 1994. The four larger of the twelve towers are aligned parallel to the altar plate. In the middle of the city above the center of the altar is a lamb with the resurrection cross as a symbol of Christ. The angels on the towers invite you to walk through the open gates. The walls, an openwork rose ornament, are symbols for the words "adorned like a bride for the groom".

“Just as the Revelation of John was a book of Christian hopes for the oppressed and persecuted communities of Asia Minor, this work is intended to visualize the future given by God for the world and man in the personal and general afflictions of our time. The vision of the future should give courage, consolation and hope for the present, ”said the artist.

pulpit

The baroque oak pulpit was built in the last third of the 17th century. It is considered to be an excellent handicraft carving from the Baroque era. It came to Andernach at the beginning of the 19th century in the course of secularization from the Maria Laach monastery and is attached to a pillar on the north side of the nave. The stairway to the pulpit shows rich carvings with flowers and tendril motifs. The pulpit is decorated with chest reliefs of Jesus Christ , Saint Benedict , Peter and Paul and the symbols of the four evangelists (human, eagle, bull and lion head). The protruding sound cover of the pulpit shows the eye of God in the middle . It is so heavy that it is connected to the pillar by a free iron hook so that it does not break off.

Communion bench

The communion bench made of oak, which also came from the Maria Laach monastery to Andernach at the beginning of the 19th century in the course of secularization, was removed in 2002/2003. The only remaining part is placed in front of the sacrament altar on the east wall of the south aisle and in front of the gospel altar (high altar of the Virgin Mary) on the east wall of the north aisle.

Baptismal font

Baptismal font on the old square in the former baptistery

The font consists of Stenzelberger latite . Six small column shafts made of black polished basalt lava carry the basin. A decorative leaf frieze runs around the cup. The baptismal font is the only workpiece from the Andernach building works from the time the church was built at the beginning of the 13th century. A historicized lid was added in the 19th century. Since then, the baptismal font has stood in the chapel of the northwest tower. When the redesign of the interior of the cathedral began, it was moved to the central nave in March 2018. There it now stands in the first yoke and also serves as a holy water font when entering the church. To do this, the cover was removed.

Lady Chapel

The former baptistery was in the basement of the northwest tower. After the baptismal font was moved to the first yoke of the central nave in March 2018, a new Lady Chapel was built in the tower chapel there in the course of the same year. The white paintwork was renewed in the entire room, a gate from the art forge in Maria-Laach was installed and finally, after several months of restoration, the statue of the Virgin was moved to the former pedestal of the baptismal font. The new chapel was inaugurated on the feast of the Assumption of Mary in 2018 and now serves as a personal prayer room.

In a tuff relief from 1524 with an arched end on the back wall, the death of Mary and above the Holy Trinity and the soul of Mary are depicted. In the final arch is the inscription: Sic it adesse sine tempore virgula Jesse (This is how the rice from Jesse enters into eternal existence). The family tree of Jesus leads from Jesse , the father of King David, to Joseph and Mary. This relief is the only artist's representation of the Assumption of Mary. In addition, there is a statue of St. Anthony with Antonius donation on the south wall at the staircase to the gallery .

Mary as Queen of Heaven

Mary, Queen of Heaven

The larger than life figure of Maria as Queen of Heaven was part of the elaborate organ prospectus from the Minorite Church . The entire organ was moved to the Mariendom in the course of secularization. It was rebuilt on the gallery above the entrance hall and the statue of Mary was removed from it. She initially stood on a pedestal on the left choir pillar, supplemented by a statue of St. Joseph on the right choir pillar, until the statue of the Virgin Mary was placed on a pedestal next to the steps to the choir. Then she stood on a pedestal opposite the pulpit. Since summer 2018 it has been the center of the new Marienkapelle in the north-west tower. The original version of the statue of the Virgin Mary from the 18th century shows Mary with the boy Jesus, who stabbed the snake with his cross staff, which coiled around the crescent moon, which refers to the title Mary of Victory .

organ

View of the organ

The organ is in the middle gallery above the entrance hall in the westwork. It was built in 1752 by the organ builder Christian Ludwig König for the former Franciscan church and in 1805 came to the Mariendom in the course of secularization . From 1939 to 1949 it was renovated by Klais . The disposition is as follows:

I positive C-g ³
1.	Lovely Gedackt	8th'
2.	Viol flute	8th'
3.	Praestant	4 ′
4th	flute	4 ′
5.	Octave	4 ′
6th	Forest flute	2 ′
7th	Nasard	1 ¹ ⁄ ₃  ′
8th.	Sesquialter II
9.	Scharff III – IV
10.	Krummhorn	8th'

II Hauptwerk C – g ³
11.	Drone	16 ′
12.	Principal	8th'
13.	Hollow flute	8th'
14th	Quintad	8th'
15th	Salicional	8th'
16.	Octave	4 ′
17th	flute	4 ′
18th	Fifth	2 ² ⁄ ₃  ′
19th	Super octave	2 ′
20th	Pointed flute	2 '
21st	Cornett IV (from d ')
22nd	Mixture IV
23.	Trumpet	8th'

III Swell C – g ³
24.	Wooden flute	8th'
25th	Gemshorn	8th'
26th	Principal	4 ′
27.	recorder	4 ′
28.	Nasar	2 ² ⁄ ₃  ′
29	Transverse flutes	2 ′
30th	Rauschpfeiffe II
31.	Third symbols IV
32.	Dulcian	16 ′
33.	Schalmey	4 '
	Tremulant

Pedal C – g ¹
34.	Pedestal	32 ′
35.	Principal	16 ′
36.	Sub bass	16 ′
37.	Subtle bass	16 ′
38.	Octave bass	8th'
39.	Dacked bass	8th'
40.	Choral bass	4 ′
41.	Night horn	2 '
42.	Back set IV
43.	trombone	16 '
44.	Bass trumpet	8th'
45.	Clarine	4 '

Pairing : II-I, I-II, III-I, III-II, Sub I-III, Sub III-I, I-Ped, II-Ped, III-Ped
Playing aids : 2 free combinations, 1 free pedal combination, hand registers can be switched to combinations, generaltutti, roller, tongues off.
The calcareous step is still fully functional.

Bells

In the north-east tower with the clock tower hangs the peal of seven bells , including three valuable medieval bells . The sound of the 1356 cast, weighing around 1950 kilograms, is the heaviest of the peals.

No.	Name / dedication	Casting year	Foundry, casting location	Diameter (mm)	Mass (kg)	Percussive ( HT -¹ /₁₆ )	Inscriptions
1	-	1639	Antonius Paris & Claudius Lamiral	1,454	≈1,850	of ¹ -8	+ IOHAN CASPAR V AND ZV DER LEIEN CHVRF TRIER AMPTMAN ZVE MVNSTER ANNA MARG GV BVNGARD FZ LEYEN + + BERTRAM V METTERNICH ZV SCHWEPPENBURG AMPT Z ANDERNACH * IOST WOLFF V MOLLENDORF * BALTHASAR SOHLEN * IOANNES DANIELIS + + HENRICVS RANDERAT XX IOANN LVDWICH STROE THE RIGHT DOCTORS CHVRF COL RATH SCHVLTHEIS VND SCHEFFEN ZV ANDERNACH 1639 + + ADOLF REVTTER + + AVITA FIDE + ( By the faith of the forefathers ) + FCZCHIB + ( Ferdinand, Elector of Cologne, Duke in Bavaria )
2	Gloriosa	around 1300	unknown	1.311	≈ 1,610	f ¹ +2	+ RECTOR CELI NOS EXAVDI TV DIGNRE NOS SALVARE ALPHA ET OMEGA NOS ADIVVA * GLOSA + ( Lord of Heaven, hear us, want to save us, Alpha and Omega, help us! Festival bell ) + O REX GLORIE VENI CVM PACE * H VV O + ( O King of Glory, come with peace. The honored Mr. Henricus has died )
3	Servatius	1356	Nicolaus of Basel	1,322	≈1,950	ges ¹ +7	+ ANNO DNI MILLESIMO CCC LVI IN CRASTINO STI LVCE EWANGE FVDIT ME MAGER NICOLAVS BASILENS + ( In the year of the Lord 1356 on the day before St. Luke the Evangelist (October 17th), Master Nikolaus von Basel poured me out )
4th	-	around 1300	unknown (presumably like Eq. 2)	1,029	≈700	as ¹ +13	+ SNS DEVS + SNS FORTIS + SNS IMMORTALIS + MISERERE NOBIS + ( + Holy God, Holy Strong, Holy Immortal, have mercy on us + ) (Singing on Good Friday)
5	Johannes and Helena	1999	Eifeler bell foundry Mark	918	509	b ¹ +7	+ I CALL JOHANNES AND HELENE FOR THE GLORY OF GOD I RING FOR THE DAILY PRAYER I CALL + + THEA ROCHERT DONATED ME HANS AUGUST MARK GOSS ME A 1999 D +
6th	Trinity	1999	Eifeler bell foundry Mark	771	336	of ² +7	+ HOLY TRINITY UNDIVIDED UNITY + + KATHARINA RUDOLF PETER DONATED BY THEA ROCHERT A 1999 D +
7th	Maria and Michael	1999	Eifeler bell foundry Mark	702	255	it ² +7	+ MARIA QUEEN OF PEACE HL. MICHAEL, YOU ARE WITH US + + GIVEN BY THEA ROCHERT A 1999 D +

Architectural importance

The Maria Himmelfahrt parish church in Andernach, with the churches from Maria Laach, Boppard , Bacharach and Koblenz, is one of the most important sacred buildings in the southern Rhineland. The Andernacher Bauhütte was completely influenced by the artistic landscape of the Electorate of Cologne and Lower Rhine. Trier building elements are missing despite the client, the Archbishop of Trier. At the same time, there are architectural relationships with northern France.

The west facade became the model for the " Immerather Dom ", the parish church of St. Lambertus in Immerath , since 1972 a district of Erkelenz . It was built in the neo-Romanesque style according to the design of the Cologne architect Erasmus Schüller from 1888 to 1891 and demolished on January 8 and 9, 2018 because of the approaching brown coal mine .

Individual evidence

↑ Andernach. In: rheinreise.de. Retrieved August 30, 2014
↑ Annika Graf: Wellness facility from antiquity uncovered. In: Rhein-Zeitung online . November 28, 2006.
↑ ^a ^b The art monuments of the Mayen district. Verlag von L. Schwann, Düsseldorf 1941, unaltered reprint from 1983, ISBN 3-590-32143-1 .
↑ Helmut Weinand: Illustrated cathedral guide through the Catholic Church Maria Himmelfahrt in Andernach. Görres-Druckerei und Verlag, Koblenz 3rd edition 2012.
↑ https://www.rhein-zeitung.de/region/lokales/mayen_artikel,-immerather-dom-nach-andernacher-vorbild-erbaut-der-mariendom-verliert-sein-pendant-_arid,1755845.html

Web links

Commons : Liebfrauenkirche Andernach - Collection of images, videos and audio files

Website of the parish community Andernach
Tower recording with single bells and full bells of the Catholic parish church Maria Himmelfahrt in Andernach
Friends of the Mariendom Andernach e. V.
The parish church of Mariendom. ( Memento of March 4, 2016 in the Internet Archive ) In: Catholic Parish Community Andernach (PDF; 341 kB)

50.439557 7.396497Coordinates: 50 ° 26 '22.4 " N , 7 ° 23' 47.4" E

[1] Andernach. In: rheinreise.de. Retrieved August 30, 2014

[2] Annika Graf: Wellness facility from antiquity uncovered. In: Rhein-Zeitung online . November 28, 2006.

[Kunstdenkmäler-3] The art monuments of the Mayen district. Verlag von L. Schwann, Düsseldorf 1941, unaltered reprint from 1983, ISBN 3-590-32143-1 .

[4] Helmut Weinand: Illustrated cathedral guide through the Catholic Church Maria Himmelfahrt in Andernach. Görres-Druckerei und Verlag, Koblenz 3rd edition 2012.

[5] ttps://www.rhein-zeitung.de/region/lokales/mayen_artikel,-immerather-dom-nach-andernacher-vorbild-erbaut-der-mariendom-verliert-sein-pendant-_arid,1755845.html