Propsteikirche St. Peter and Andreas
The provost church of St. Petrus and Andreas is a Roman Catholic church in Brilon in the Sauerland region and belongs to the Archdiocese of Paderborn . The main church of 1925 to provost parish collected in Brilon is the Apostles Simon Peter and Andrew ordained . Construction began shortly after the city of Brilon was founded between 1220 and 1250. The late Romanesque hall church with three bays has a transept and a two-bay, just closed choir , both of which were built in the 14th century. The mighty early Gothic west tower was built after the nave was completed. Due to the slightly elevated position of the church, it can be seen from afar. Seen from the market square, the church and the historic town hall in front of it form an ensemble that is a landmark of Brilon.
History of the church
The Georgskirche was a first church around the year 1000 before the later city fortifications of Brilon in the later desolate place Altenbrilon . This church was excluded from the transfer of ownership of Altenbrilons to the Archdiocese of Magdeburg in 973 ; it belonged to the diocese of Cologne . Cologne clergy came to the Sauerland after a mission from Charlemagne and created a wide-meshed network of original parishes there. These were followed by the parent parishes, which in turn founded subsidiary churches. The parent parish Altenbrilon went back to the original parish Velmede , from which first the apostle Andreas and then the apostle Peter were taken over as patrons . Archbishop Engelbert transferred the parish rights of the Altenbrilon church to the new place when the town of Brilon was founded in 1220.
Construction of the church began around the same time as the city was founded. Details of the building history are not documented; the church was combined in several epochs from the choir area, nave and tower to form a uniform appearance. The different shapes of the portals compared to the windows in the transept and in the choir make this clear. A three-aisled and three-bay hall church with a rectangular choir and a small west tower in the late Romanesque style was created. The construction of the mighty tower in the early Gothic style began around 1250, and with its large sandstone blocks it clearly differs from the other parts of the building. The consecration of the church and two altars attested to on June 4, 1276 by the Cologne auxiliary bishop and titular bishop of Curon, Edmund, may have been a new consecration after major construction work. The subject of the consecration was an older east end and the hall longhouse. In the first half of the 14th century, the church was expanded to the east with a transept and a two-bay choir . Around 1350 the building in its present form and size should have been completed.
Several renovations and redesigns took place in later centuries. In the Middle Ages, the focus was initially on the construction of altars and their endowment . Two drawings from 1577, which are only very small, document the appearance of the church. To stabilize it, an arch with a pillar was built in between the tower and the nave in 1655 and a strong support pillar was inserted in each of the northern and southern corners. At the same time, the supporting pillars were erected on the walls outside.
An extensive renovation is documented for 1682. A large part of the interior was renewed between 1770 and 1776. According to the records of the building manager Plate from 1833, “the interior of the parish church on the floor of the nave and the choir in its current shape and location was established in 1772 ... The wooden seating in the choir was done in 1808 at the instigation of the Darmstadt government. During this time the altars of the church were partly moved and partly rebuilt. ”At the time, the church was with the“ high altar in hon. S. Petri et Andree ”, the altar“ S. Jacobi, Felicis et Audacti ”, the altar“ S. Catharinae ”and the altar“ S. Matthaei et omnium Sanctorum ”. The building was extensively restored and redesigned in a neo-Gothic style from 1875 to 1880 according to the specifications of the diocese master builder Güldenpfennig. The windows in the second yoke were replaced by a three-lane tracery window and a staircase to the new tower entrance was created outside. The redesign of the altar area was based on designs by the Cologne architect Langenberg, who also designed the new choir stalls. In 1899 the north portal received a new door and the floor a new covering.
A new sacristy was added to the east wall of the north transept from 1910 to 1911, and the connection between the tower and nave was redesigned in 1920. Pointed arches were drawn into the upper floor and basket arches from Rabitz were drawn into the lower floor .
The last major renovation outside and on the roof took place from 1967 to 1970 under the direction of the architect H. Stiegemann. The sacristy received an extension, the heating system was renewed and the west portal, which was bricked up in 1920, was reopened. The room in which the sacristy used to be and which had served as a storage room was redesigned as a prayer room. The warrior memorial in the tower has been removed. The gallery in front of the upper tower floor with the organ was dismantled, as was the pulpit and the figures of saints on the walls of the central nave. The thick plaster was removed from the walls; remains of the original painting from 1276 were uncovered. A fragmentary drawing of a seated figure emerged on the southern wall template. During excavations in the area of the crossing , remains of the original choir were discovered. After the installation of heating ducts, the floor was covered with new tiles and the interior furnishings were adapted to the specifications of the Second Vatican Council. The high altar was retained, the new ceremonial altar was built from simple neo-Gothic fragments and the organ was installed in the south transept. The Lady Chapel has been renovated. The spatial effectiveness of the building must be maintained by the arrangement of the LWL . In the case of new buildings or renovations, the visual connections are of particular importance and must be ensured.
Some information about the high altar from 1655 can still be found in the parish archive. The mayor and the city council of Brilon as well as the pastor signed a contract with the Paderborn sculptor Th. Gröninger, a grandson of the Paderborn cathedral sculptor Heinrich Gröninger , on the construction of an altar on September 21, 1655 . Of this 13-meter-high altar, which reaches below the vault, only the strong plastic relief of the central picture, which was renovated in 1972, has been preserved. It consists of two 78 centimeters wide and 185 centimeters high softwood planks and shows the birth of Christ. The crib, the beginning of which can still be seen, and the figures of Mary and Joseph no longer exist. From 1658 to 1659, the minorite brother Andreas illuminated the altar. Next to the relief stands a 185 centimeter high oak figure of Saint Paul from around 1880 on a wooden plinth. Only 60 years after the creation of the Gröninger altar, a new high altar was purchased with a donation from the electoral judge Matthäus Hörynk, which existed until 1880. Together with four side altars, including two corner altars, which presumably stood diagonally on the triumphal arch in front of the three-quarter columns, it was removed on the instructions of the strictly medieval cathedral builder Güldenpfennig due to lack of taste . The same happened to the choir stalls, the pulpit and the communion bench. An altar of St. James was mentioned in a deed of donation from 1488 as " neist den orgelen in der howet kerken " (near the organ in the high church). The location of this altar, which generated most of the income, is unknown. A rood screen is mentioned in a visitation report from 1750 : “Cancelli… cum Altari graduali… in meditullio ecclesiae” (of barriers and a step altar in the middle). The parishioners were prevented from seeing the high altar by the high barriers. Usually such rood screens were only found in collegiate and cathedral churches. There is documentary evidence that until the beginning of the 19th century choral service was common in the Brilon parish church, as in a collegiate church. The rood screen has not been preserved.
architecture
The three-aisled hall church in late Romanesque style is closed in the east by a Gothic transept and a two-bay rectangular choir with a sacristy attached to the north. To the west is the mighty 63 meter high Gothic tower with its baroque dome. The church building has a total length of 67 meters; the nave is 23 meters wide.
Choir room
The nave is bordered by the groin-vaulted chancel by a wide-span triumphal arch decorated with tendril ornaments . The antique glass choir window consists of six parts with a total of 54 fields. The glazing of the choir window shows the coronation of Mary in bright colors in the middle, next to it the church patrons St. Peter and St. Andrew, outside St. Liborius (with peacock) and St. Joseph (with child).
Longhouse
The three bays of the nave are supported by powerful rectangular sandstone pillars with semicircular templates. The Attic bases are decorated with corner leaves and animal feet and the capitals of the half-columns are decorated with leaf bulbs and human heads. The groin vaults are pointed arched. A keystone with four human and four animal heads closes the vault of the east yoke in the central nave. The walls are structured by ogival tracery windows and buttresses. The floor rises from east to west by about 50 centimeters.
The tower portal in the west wall is deeply staggered ogival jambs divided rich. Above is a stair-like roof with a triangular gable and rosettes . A small console, presumably for a free figure, is attached under the gable. An eight-sided, blind rose window is embedded above the portal. The north portal with a cloverleaf arch under a round arch archivolt faces the market square. The columns in the stepped reveal continue in the round arch as bulges with profiled shaft rings. The deeply grooved outer edge of the arch is decorated with males and leaf buds. The simple round arched south portal is stepped twice in the reveal. There are two arched windows above. Another entrance near the small door in the west yoke was bricked up in 1730.
tower
The well- fortified and representative tower was built from around 1250 instead of a predecessor. It is square with a floor plan of 15 × 15 meters. The lower tower hall is accessible via a few steps through the 3.3 m thick outer wall. From there it goes up to the upper tower hall, called the council chamber , because the magistrate met there in the Middle Ages. Documents were probably also kept here. In the event of enemy raids, it served as a retreat. On the floor above there is a wooden hut where the clock tower used to be. Both the lower and the upper tower hall have groin vaults that rest on central pillars. In the brick part of the tower there are three more floors. Fires on the tower and its crown can be proven for the years 1560, 1755, 1810 and 1857; the current spire is not original. The tower is equipped with a high baroque spire crowned in wood construction. The four corners have dwarf towers with a slender tip. One of them was converted into a guard room, a so-called Wichhäuschen . The 63 meter high tower offers a good view of the Brilon plateau . During a winter thunderstorm on February 25, 1810, lightning struck the top of the church tower and set it on fire. When renewing the spire, the installation of a lightning rod was considered, which was installed after another lightning strike on March 3, 1811 in the summer of the same year. The damaged structure was renovated between 1964 and 1966. Inside the tower, the gallery with the defective organ was removed, the basket arch removed and the west portal reopened. The tower thus has a direct connection to the nave, and the council chamber is visible from the inside.
Furnishing
Choir room
The neo-Gothic high altar made of sandstone replaced the baroque one in 1880. The tower consists of several turrets and figures. In the central niche there is a Gothic crucifix from the 14th century. The sepulcrum contains relics of Saints Fulgens and Basilissa. The steel tabernacle has bronze doors that are decorated with enameled angel symbols. During the renovation in 1969/1970, the Koch company from Geseke made the people's altar from existing neo-Gothic parts to match the high altar. It is 97 centimeters high, 190 centimeters wide and 89 centimeters deep. The sandstone ambo, also by Koch from Geseke, has a top made of oak wood.
The late Gothic sacrament niche in the north corner of the choir from 1450 was used to store the consecrated hosts. The round arch above shows the adoration of the Magi in high relief , above the star of Bethlehem and on the left and right the coats of arms of the Cologne monastery and the city of Arnsberg. It is noticeable that Josef is missing. The apostle Paul stands on the right and the apostle Peter on the left.
In the triumphal arch of the choir hangs a late Gothic triumphal cross from the beginning of the 16th century. It is four meters high and three meters wide, has a larger-than-life body and ends in four-passports with the symbols of the evangelists . The four winged beings man, lion, bull and eagle go back to the writings of the prophet Ezekiel, to which John refers in Revelation . There is talk of the throne of God and four living beings. The first looked like a lion, the second a bull, the third looked like a human being, the fourth like a flying eagle. The feet of the corpus are placed one on top of the other according to the taste of the times and fastened with a nail.
In the choir room there are 48 centimeter high figures of the evangelists with their attributes made of sandstone on oak consoles. They come from the former pulpit, which was dismantled during renovation work. On the right and left of the altar are figures of saints: Hubertus with hat, feather and hunting horn, Anna with the baby Jesus, Paul with sword and book, Antonius as a hermit, Bartholomew, John the Baptist with a lamb, Agatha with a charcoal vessel and tongs, Rochus with a dog and Plague boil.
The 420 centimeter long oak choir stalls with carved cheeks on the long sides of the choir room were made by a Brilon carpenter at the end of the 19th century based on designs by the architect Langenberg. Misericordia are attached to the foldable seats . The seats are equipped with knee benches. Next to the entrance to the sacristy is an oak sideboard 83 centimeters high, 95 centimeters wide and 70 centimeters deep . The bronze sacristy bell hangs on a wrought-iron device .
Nave and transept
A neo-Gothic triptych made of oak is located in a niche on the east wall of the north transept. It is about 300 inches high, 265 inches wide and 94 inches deep. The picture in the middle shows the crucifixion scene against the background of Brilon city motifs with the tower of the provost church, the former hospital and the town hall. Eight carved reliefs represent the story of redemption. The altar was built by Anton Becker from Wiedenbrück. The pictures on the back of the two wings were created by a Regensburg artist.
In the south transept there is a Volto Santo cross, the so-called Wilgefortis cross , made of limewood. It is 175 centimeters high and 150 centimeters wide, dates from the 12th century and was remodeled in later times. The cross arms end as round disks. The body of the clothed crucified Christ is only nailed to the hands, the feet are free. The body hovers in front of the cross, the head is raised. A groove on the head is likely from a previous metal crown. It is probably a representation of Christ. A 185 centimeter high carved figure nearby shows Anthony of Padua with the baby Jesus.
In the north wall of the eastern nave yoke there is a pointed arched Gothic holy grave niche with a height of 115 centimeters, a width of 150 and a depth of 50 centimeters. The Gothic gable is decorated with a finial and crabs . Four meter high pinnacles rise from the ground to the side. In the niche there is a painful Mother of God, probably from the 20th century.
The baptismal font is on the left side of the ship in front of the first pillar. The marble basin is 114 centimeters high, the 78 centimeter high lid was made of oak in the 19th century; it is reminiscent of a neo-Romanesque tower. The base is octagonal.
Four oak confessionals are built into the walls; the historical facades were preserved and were given lockable doors. They are equipped with antique glass and were renovated in 1970 by the Hillekenbach company in Brilon.
The five meter long oak pews date from around 1840. They have been rebuilt so that it is possible to sit and kneel comfortably. They were restored in 1970. The 100 centimeter high and 84 centimeter wide painted stations of the cross by Paul Plontke date from 1954. The first station hangs on the wall of the south aisle, the last in front of the holy grave niche.
During renovations in 1952, a fresco depicting Christophorus from the 14th century was uncovered above the Wilgefortis figure . It is 3.36 meters high and 1.19 meters wide. In 1970, during renovation work in the niche of the south transept, paintings from the Martyrdom of Catherine were discovered, exposed and transferred to St. Mary's Church in order to create space for the new organ. Medieval paintings were found on the nave crossing arch; a medieval fragment was uncovered on the tower arch of the nave. The depiction of a carpenter at work (possibly Josef ) is on the arch of the tower.
sacristy
The Romanesque copper-gilded Pankratius cross made of oak wood with engravings was made between 1100 and 1130, comes from the area around the Helmarshausen workshop and is kept in the vault of the church. The front with a surrounding decoration of asterisks in square fields is recessed. An angel carries a lily scepter over the crucified Christ with a knot in the center . The crucifix resembles the Cappenberg Christ ; the crucified Christ's arms are spread out and slightly bent, his head is bowed with his eyes closed. Above this is the Latin inscription IHC NAZARENVS REX IVDEORUM . The reverse, edged with a band of engraved leaf rosettes, shows the Agnus Dei ; the background chasing is extensive. The arms of the cross are decorated with symbols of the evangelists, angels, St. Pancras and inscriptions.
The oak sacristy cross with a mannerist body dates from the beginning of the 17th century. It is 80 inches high and 75 inches wide. The delicate body is crowned with a crown made of natural thorns, which may have been added at a later time. The arms of the cross bear symbols of the evangelists.
The gilded silver vessel was made in the 15th century. A rectangular box decorated with buttresses, pinnacles and finials with a Gothic roof is at the foot. The engraved image on the side shows Christ with a crowned woman kneeling before him. On the opposite side is written in Gothic minuscule : ifmor9 fr iohes de siberch qfessor claissac . This is interpreted in Latin as Clauditur oleum infirmorum Frater Johannes von Silberch (includes the oil for the sick, Brother Johannes von Silberch, confessor of the Poor Clares). The roof of the box can be opened. A host box is soldered onto the inside , an oil jug is removable.
The origin of the 51 centimeter high ciborium made of gold-plated silver is unknown. The inscription from 1896 names a pastor Josef Brockhaus as the founder. The magnificent baroque sun monstrance is 66 centimeters high and set with pearls and precious stones. The sight glass is framed by six angel heads in enamel . The inscription reads: Ecce panis angelorum (“See the bread of the angels”). The gothic monstrance made of gold-plated 800 silver is 68 centimeters high and adorned with six silver figures on the sides. At the top there is a little Madonna. Several other measuring goblets complete the inventory.
The sacristy houses a large number of other sacred objects from different epochs, such as choir cloaks, chasubles , dalmatics and a velum .
Tower hall
During the renovation in 1970, six grave slabs were placed on the walls of the lower tower hall and four in the upper tower hall. They are the remainder of a large number of epitaphs from the cemetery that surrounded the church and which has not been documented since 1807. The grave slabs were stored in the tower hall and most of them were scrapped in 1943. At the instigation of Richard Unkraut, a descendant of Everhard Jodokus Kannegießer , the ten plates were preserved. One of them was intended for the former mayor Johann Heinrich Kannegießer , another for Albert Gerling .
Lauda Sion devotional chapel
The former sacristy behind the present organ served as a storage room until the church was renovated from 1967 to 1970 and was converted into a devotional chapel (Marienkapelle) and furnished accordingly. It has seats and a device for burning sacrificial candles . In the center is the so-called Marienaltar, the old altar from the former chapel of the Maria-Hilf Hospital. It is neo-Gothic and dates from around 1900. You can see reliefs from the story of redemption. Another part of the chapel is a picture of Perpetual Help with a gold-plated and richly decorated frame.
organ
The original organ stood on a gallery supported by wooden pillars in the west bay of the central nave. In 1920 she was moved to the tower.
In 1970 the organ building company Anton Feith built the current organ of the provost church and placed it in the eastern end of the south aisle. The slider chests -instrument has 40 registers on three manuals and pedal . The key action is mechanical, the key action electrically.
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P
Bells
Six bells hang in the belfry of the tower :
| No. | Surname | Casting year | Foundry, casting location | Diameter (mm, approx.) |
Mass (kg, approx.) |
Chime | comment |
|---|---|---|---|---|---|---|---|
| 1 | Fire bell | 1947 | Humpert bell foundry , Brilon | 1,770 | 3,100 | b 0 | Replacement for the fire bell that was melted down in World War II. Inscription: LAUDATE DOMINUM IN SANCTIS EIUS LAUDATE EUM IN SONO TUBAE LAUDATE EUM IN PSALTERIO ET CITHARA LAUDATE EUM IN TYMPANO ET CHORO |
| 2 | Death knell | 1946 | Humpert bell foundry, Brilon | 1,400 | 1,520 | d 1 | Replacement for the bell that was lost in World War II. Inscription: I SOUND THE LIVING AND THE DEAD, BOTH THE RICH AND THE POOR . |
| 3 | Citizen Bell | 1946 | Humpert bell foundry, Brilon | 1,180 | 900 | f 1 | Between November 11th and April 30th it will ring in the evenings from 8:55 p.m. to 9:00 p.m. With this so-called "snow peal" the way to Brilon should be shown to the lost. Inscription: TU ES PETRUS ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM ET PORTAE INFERI NON PRAEVALEBUNT ADVERSUS EAM! ALBERTUS JUNKER ME FUDIT. AD 1946 . |
| 4th | - | 18th century | 900 | 450 | g 1 | Inscription: SIT LAVS PLENA SIT SONORA SIT IVCVNDA SIT DECORA TONI IVBILATIO AD.MDG | |
| 5 | - | 1665 | 680 | 150 | c 2 | Inscription: VERBUM DOMINI MANET IN AETERNUM MDCLXV | |
| I. | Old citizen bell | 1583 | Rochus Nelman | 1,040 | 850 | at e 1 | This bell is no longer rung in order to avoid damage. Gothic minus inscription: is gadt met uns wal kan neither us ut dem fuir ich flot rochus nelman mi godt anno domini mdlxxxiii .
The clock sounds on the bell today and the 3 × 3 chime for the daily angelus chiming. |
The five bells No. 1 to 5 will ring at the festive ring. In the roof turret of the provost church there are still two small angelus bells that are currently (as of 2014) not rung due to damage to the bell structure.
Propstei
In order to structure the large Archdiocese of Paderborn and to strengthen diocesan awareness, Bishop Caspar Klein asked the Pope to raise the parish church to the status of a provost church . By decree of December 14, 1925, Pope Pius XI followed. this wish. Bishop Caspar stated in a letter accompanying the Pope's decree: “At the same time, I determine that the respective owner of the parish church of the intended provost church is entitled to bear the title of provost and the corresponding insignia from now on . These consist in the usual costume of a provost and in a cross made of white enamel with the image of St. Apostles Peter and Andrew and on the reverse the image of St. Liborius. The cross is to be worn on a black silk ribbon. "
| Surname | Term of office | Remarks | photo |
|---|---|---|---|
| Josef Brockhoff | 1926-1932 | First acting provost |
 |
| Franz Meyer | 1932-1957 | Propst-Meyer-Strasse was named after him | |
| Anton Dünnebacke | 1957-1974 | ||
| Heinrich Prior | 1975-1999 | ||
| Karl-Heinz Wiesemann | 1999-2002 | Later bishop of Speyer |
 |
| Stefan Wigger | 2002-2009 | ||
| Reinhard Richter | Since 2009 |
church Square
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The church square is one of the highest elevations in the Brilon core city and was therefore the ideal location for the fortified church. The walled churchyard is a former burial place. Behind the modern wrought-iron gate on the north side is a cross with a body made of cast iron , south of the church, on a grooved sandstone plinth . A small shield with the name 1773 was placed under the feet of the crucified Christ. There are prayer sayings on the stone base. The Latin note on the front of the stone pedestal reads as follows: "Mayor Joseph Ludwig Ulrich erected this cross for God and his crucified Son with pious intentions."
A neo-Gothic saint's house made of green sandstone was built in the middle of the 19th century. In the niche there is a 73 centimeter high figure made of softwood, a work from the 17th century depicting Saint Anne . In her right hand she holds an open page from the Book of Proverbs. The godly woman will receive praise . On her left side sits the daughter Maria . The figure shows traces of the old version. The base bears the Latin inscription (translated): In honor of the holy mother Anna, restored in 1870 through donations from pious benefactors, who may be given eternal life. Praise be to the venerable Anna and the Blessed Virgin Mary!
The Golgotha cross stands on a lawn on the north side of the church. It is a monumental representation of the Calvary and serves as a reminder of the faith renewal. The cross was made in 1991 by Bernhard Kleinhans from Sendenhorst.
Somewhat apart between the tower and the south portal is the memorial for the fallen and missing of both world wars . In 1960, after a council decision, a competition was announced among artists born and living in Brilon as well as five outside participants. Eight drafts were received and the contract was awarded to Wilhelm Hanebal from Büderich (Meerbusch) . This draft was considered by the judges to be the most mature. The second and third places were shared by the sculptors Suberg from Elleringhausen and Kirchner from Münster. The memorial made of diabase was erected on November 9, 1961. It stands on a base plate and is 2.60 m high. An inscription (“Die Toten admon”) and two staggered crosses are carved on the plate.
literature
- Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon . Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 .
- Paul Michels, Nikolaus Rodenkirchen: District of Brilon . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 (historical introduction: Franz Herberhold).
- Ursula Quednau, Christoph Bellot: Westphalia . Ed .: Dehio-Vereinigung (= Handbook of German Art Monuments . North Rhine-Westphalia II). 2nd, revised edition. Deutscher Kunstverlag, Munich 2011, ISBN 978-3-422-03114-2 .
- Propsteipfarramt Brilon (Ed.): Propsteikirche Brilon . 4th, unchanged edition. Brilon 1999, p. 6 (printed by Hecker).
Web links
Individual evidence
- ^ A b City of Brilon (ed.): 750 years of the city of Brilon, 1220–1970 . Brilon 1970, DNB 730507378 , p. 123 (Editor: Magnus Müller).
- ^ Propsteipfarramt Brilon (Ed.): Propsteikirche Brilon. 4th, unchanged edition. Brilon 1999, p. 3 (printed by Hecker).
- ^ LWL office for landscape and building culture in Westphalia (ed.): Cultural landscape specialist contribution to the regional plan for the Arnsberg region. October 2010, p. 195 ( lwl.org [PDF; 7.5 MB ; accessed on November 13, 2012] Subsection Upper Area Dortmund - Eastern Part - (District of Soest and Hochsauerlandkreis)). lwl.org ( Memento of the original dated November 4, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ City of Brilon (ed.): 750 years of the city of Brilon, 1220–1970 . Brilon 1970, DNB 730507378 , p. 9-10 (Editor: Magnus Müller).
- ^ City of Brilon (ed.): 750 years of the city of Brilon, 1220–1970 . Brilon 1970, DNB 730507378 , p. 20 (Editor: Magnus Müller).
- ↑ a b c Ursula Quednau (arrangement): Dehio-Handbuch der Deutschen Kunstdenkmäler, North Rhine-Westphalia. Volume II: Westphalia. Deutscher Kunstverlag, Berlin / Munich 2011, ISBN 978-3-422-03114-2 , p. 194.
- ^ A b Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon . Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 , pp. 35-36 .
- ^ Propsteipfarramt Brilon (Ed.): Propsteikirche Brilon . 3. Edition. 1988.
- ↑ Info on the KuLaReg ( Memento from November 4, 2013 in the Internet Archive ) (PDF, 7.13 MB) accessed on November 15, 2012.
- ^ Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 161–162 (historical introduction: Franz Herberhold).
- ^ Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 157–158 (historical introduction: Franz Herberhold).
- ^ A b Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 155–156 (historical introduction: Franz Herberhold).
- ↑ a b c Propsteipfarramt Brilon (Ed.): Propsteikirche Brilon . 4th, unchanged edition. Brilon 1999, p. 6 (printed by Hecker).
- ^ Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 154 (historical introduction: Franz Herberhold).
- ^ Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon. Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 , p. 66.
- ↑ Magdalena Padberg in 'Three Kings' God's hand leads ... - into the beautiful Sauerland! Arnsberger Heimatbund e. V. City history series of publications on the city of Arnsberg, 20, 1994, ISBN 3-928394-12-6 , p. 89.
- ^ Joachim Merz: Briloner Heimatbuch . Ed .: Briloner Heimatbund, working group for local history and publications. tape VII , ZDB -ID 1106076-1 , p. 99-100 .
- ^ Joachim Merz: Briloner Heimatbuch . Ed .: Briloner Heimatbund, working group for local history and publications. tape VII , ZDB -ID 1106076-1 , p. 101 .
- ↑ a b c Ursula Quednau, Christoph Bellot: Westphalia . Ed .: Dehio-Vereinigung (= Handbook of German Art Monuments . North Rhine-Westphalia II). 2nd, revised edition. Deutscher Kunstverlag, Munich 2011, ISBN 978-3-422-03114-2 , p. 195 .
- ^ Propsteipfarramt Brilon (Ed.): Propsteikirche Brilon . 4th, unchanged edition. Brilon 1999, p. 10 (printed by Hecker).
- ^ Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 158 (historical introduction: Franz Herberhold).
- ^ Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon. Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 , p. 67.
- ^ City of Brilon (ed.): 750 years of the city of Brilon, 1220–1970 . Brilon 1970, DNB 730507378 , p. 101 (Editor: Magnus Müller).
- ^ A b Propsteipfarramt Brilon (ed.): Propsteikirche Brilon . 4th, unchanged edition. Brilon 1999, p. 12 (printed by Hecker).
- ^ A b Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon. Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 , p. 88.
- ^ Volker Gedaschke, Heinrich Hülsbusch: Propsteikirche St. Petrus and Andreas in Brilon. Podszun Verlag, Brilon 2011, ISBN 978-3-86133-623-5 , pp. 83-87.
- ↑ Transfer of the company from Eggert to Feith
- ↑ St. Peter and Andrew. Presentation of the provost church. Brilon Pastoral Association, accessed on November 13, 2012 .
- ^ Raimund Haas: Catholic life and parishes in the area of the old Duchy of Westphalia from the reorganization in the 19th century to the reorganization in the 21st century. In: Harm Klueting (Ed.): The Duchy of Westphalia, Vol. 2.2. Münster 2012, p. 879.
- ^ Paul Michels, Nikolaus Rodenkirchen: Brilon district . Ed .: Wilhelm Rave (= architectural and art monuments of Westphalia . 45th volume). Aschendorffsche Verlagsbuchhandlung, Münster 1952, DNB 453372236 , p. 171 (historical introduction: Franz Herberhold).
Coordinates: 51 ° 23 '39.7 " N , 8 ° 34' 3.2" E