St. Patrokli Cathedral (Soest)

from Wikipedia, the free encyclopedia
Patrokli Cathedral
South entrance

The St. Patrokli Cathedral in Soest is a Catholic church of great architectural and historical importance. He is considered the epitome of Romanesque in Westphalia . It was the church of the canons of St. Patrokli, which was built in the 10th century and existed until it was abolished in 1812. Since 1823 the cathedral has been the parish church of the parish of St. Patrokli assigned to the diocese of Paderborn . In 1859 he was raised to the status of provost church (ecclesia praeposita).

Monastery history

For church and power political reasons Soest did not become a bishopric ; but it was the ecclesiastical center of the Archbishops of Cologne in Westphalia , a secondary residence and the second capital of Kurköln . In the area of ​​the later Duchy of Westphalia , after Christianization , canonicals in particular were founded by the regional nobility. This included the pens in Meschede , Geseke and Oedingen .

In Soest, on the other hand, Archbishop Brun of Cologne (son of King Heinrich I and brother Otto I ) started out. The bones of Saint Patroclus had been given to Archbishop Brun when he was at the French court on diplomatic matters. From Troyes he took the relics with him to Cologne, left them there for only four years and then brought them to Soest in 954. They arrived there on December 9, 962 and, as the first relics of the city, were received with jubilation by the population and the clergy. The report “De translatione sancti Patrocli martyris” provides information on this.

This report and the bishop's will show that he intended to found a monastery in Soest. In his will he left 100 pounds of silver, liturgical implements and vestments for the project in 965 . The plans were carried out under Archbishop Folcmar .

The first canons probably came from St. Andreas in Cologne. Its statutes probably also served as a model for the new monastery in Soest. The possession of the monastery was increased by the Archbishops of Cologne and, to a lesser extent, by other donors. At first, however, it was a rather small chapter. This was enlarged at the time of Archbishop Anno II. He donated four more prebends. This doubled the number of canons. Rainald von Dassel probably consecrated the collegiate church on July 8, 1166.

The chapter could assert the right of free choice of provost . However, since 1221 the provosts were only allowed to come from the Cologne cathedral chapter . With the office of provost, the function of the collator of the parishes in the city and the surrounding area was connected from 1257 . He was also the dean of the Soest rural dean's office. The provosts subsequently tried to oust the Cologne cathedral provost from his position as archdeacon. This finally succeeded by the 15th century. The monastery formed its own immunity district and had a school for training clergy.

For centuries the Patroklistift was the most powerful and richest monastery in the entire Duchy of Westphalia; At times the monastery was under up to 54 parishes. The provosts of the patrol monastery, who at least in the first centuries largely came from the nobility, were canons in Cologne for large parts of the Middle Ages and each one of the four grand archdeacons and sometimes also officials of the Archdiocese of Cologne. The provost of the collegiate monastery St. Patrokli stayed in Soest only about once or twice a year - to hold a spiritual court. The rest of the time he was represented by the dean , who was responsible for the administration of the patroclist monastery. During the Soest feud in 1444, conflicts arose between the city of Soest and the monastery, as the latter continued to support the Cologne archbishops. The monastery has resisted the Reformation since 1531. After the canons refused to convert to the new doctrine, they left town. Part of the Patroclidome became Protestant. In 1548 the dean Johannes Gropper reintroduced Catholic teaching. The canons returned. From then until the abolition in 1812, they were entitled to the eastern part of the cathedral. The last provost of the cathedral in the old sense was Friedrich Clemens von Ledebur-Wicheln , who later became Bishop of Paderborn , from 1804 to 1811 .

building

Apse from 1954 based on a high medieval model

The building impresses with its enormous green sandstone masses, but above all with the approximately 80-meter-high monumental tower ("Westphalian Tower") flanked by four small corner towers, which experts often call the most beautiful Romanesque tower in Germany, and the spacious, graceful vestibule , a kind of westwork with a loggia-like superstructure. This used to have access from today's Domplatz via two flights of stairs and, according to Hermann Rothert , could have replaced a town hall that did not yet exist around 1200 (“Ratslaube”). It was not until the time of Bishop Heinrich II (1217–1234) that the citizens decided to create their own house. The tower remained in municipal ownership until the beginning of the 19th century and served as the municipal armory (today: Dommuseum). Parts of the military treasure in the form of crossbow bolts from the armory can be viewed today in the Osthofentor Museum.

The painting of the main apse with a modified Christ Pantocrator motif was designed by the painter Peter Hecker in 1954 after the "oldest and most extensive" apse painting that had survived in Westphalia was destroyed in the Second World War. Together with the Romanesque windows, there was initially an image program. Over time, the paintings were covered and damaged parts of the windows were replaced. From 1699 a large baroque altar covered windows and (painted over) paintings. In 1851 Wilhelm Lübke discovered the picture program, which was then "refreshed". The master glazier Joseph Osterrath created three new windows from 11 of the 14 original fields from the time before 1166 that were still preserved in various windows of the church. Together with the Wurzel-Jesse window, these windows represent a unique collection of Romanesque stained glass.

The church, originally a basilica consecrated to St. Stephen , is said to have had two towers, which soon fell victim to a conflagration. You can still see hints of these towers.

Building history

middle Ages

crypt
Central nave

Building I was completed before 1000 with the associated westwork. In the first half of the 11th century the westwork was rebuilt after a fire; the knight Walther, brother of Archbishop Anno II of Cologne, was buried in the crypt in 1075 . In the course of a further renovation phase (Building III), the vaulted aisles with the St. Andrew's Chapel on the north aisle were built. The transept arms were raised, the westwork rebuilt and a side crypt and sacristy added to the southern transept arm. A cloister was built on the south transept. The altar was consecrated on July 11, 1118 by Archbishop Friedrich von Schwarzenburg. The consecration of the Stephanus chapel took place in 1149. In a further construction phase (Building IV) the construction of a large hall crypt, the new construction of the apse and a vaulted choir bay were carried out. Furthermore, the Marienchörchen, Paradise and the east cloister were built. The central nave and the transept arms received vaults and the entire interior a colored version . This construction phase was completed with the inauguration by Archbishop Rainald von Dassel. The western parts were rebuilt from the last quarter of the 12th century to the 13th century. The old westwork became optically part of the central nave through the removal of the intermediate supports and the partition wall and the new vaulting of the last one and a half bays. Master Sigefrid von Soest made the silver-gilded Patroclus shrine from 1313 to 1330.

Modern times

The crypt was blown up in 1817. In an air raid in 1944, the north wall of the westwork and the vault were badly damaged. During air raids in 1945 the organ was destroyed, the apse was destroyed and the spire and vault were badly damaged. Reconstruction began with the laying of the foundation stone in 1949; by 1954 a new high altar was erected, the vaults and the apse were repainted. The south cloister and the east and south wings have been renovated. The Soest painter Hans Kaiser created windows for the westwork and the side crypt.

Furnishing

High choir with main altar

The high choir is decorated with colorful wall and ceiling paintings. It is dominated by a very large red double cross. The simple main altar was set up between the stairs to the high choir. Below is the Patroclus Shrine from 1871 with the remains of Saint Patroclus.

The altar cross dates from around the year 1400. The cross is 2.12 m high; it is carved on the front and painted on the back. On the square ends of the cross beams there are pictorial representations of the evangelists in front. The painting by the painter Conrad von Soest on the reverse, in reddish colors, shows the crucified Christ.

Patroclus Shrine

Sigefridus: Patroclus Shrine, Soest, around 1311
19th century Patroclus shrine

The monastery had a Patroclus shrine, which was created between 1311 and 1330 by the goldsmith Master Sigefridus . After the canons' monastery was dissolved in the course of secularization at the beginning of the 19th century, not only the property of the monastery but also valuable inventory were gradually sold. The Patroclus shrine from the 14th century was sold to the Prussian Mint in 1841 for 3,012 thalers in order to have urgently needed repairs carried out in Soest. In Berlin the shrine was kept in the Prussian Sculpture Collection. In 1945 it was lost in the fire in the Friedrichshain bunker in Berlin . Of the 16 silver figures that adorned the shrine, at least eight are considered permanently lost.

After the valuable shrine was sold, the bones of St. Patrocus rested in a simple wooden box in the high altar. In 1871, families from Soest donated the smaller, partly gilded brass shrine that exists today, in which the bones and the wooden box are located. The shrine was made by the goldsmith Johann Leggen (Paderborn) and restored in 1991. It is located under the main altar and is carried in a solemn procession through the cathedral on the Sunday after the patronage festival (January 21).

Rex in Gloria

Rex in Gloria was a painting created around 1200. The image was the dominant focal point in the church, it was 5.30 meters high and 3.90 meters wide. Christ sits on a golden throne. The right hand is blessing, the left is holding a book. It reads in Roman capitals : SI DILIGITIS ME MANDATA MEA SERVATE (If you love me, keep my commandments). The art-historically significant work was destroyed in an air raid on March 7, 1945.

Statue of the Patroclus

Original of the Patroclus statue, today in the LWL Museum for Art and Culture, Münster

A statue of Patroclus is placed on a column between the arches of the organ loft on the west side. He poses with armor, eagle shield of the empire and drawn sword as the protector of the monastery and the city. Patroclus of Troyes was beheaded under Emperor Valerian 275 for refusing to sacrifice to the Roman gods. He is venerated as a martyr in the Catholic Church .

Marienchor

Romanesque wall paintings from the second half of the 12th century can be seen in the Marienchor. They were probably installed for the consecration by Rainald von Dassel. In the half-dome the enthroned Mother of God with the baby Jesus is depicted, to the side of it the three wise men and the grandparents of Jesus, Anna and Joachim , as well as the archangel Gabriel. The root Jesse window was originally installed in the main window.

In the 16th century, the wall paintings were whitewashed with a lime sludge. In the middle of the 19th century, the lime sludge was removed, the plaster was replaced and the original paintings were painted over in the 19th century style. In 1935, these overpaintings were largely removed and the paintings that had become visible again were retouched and the color added. From 1953 war-related damage was repaired; the paintings were restored for the last time in 2005.

Three of the windows date from 2005. They were designed by Hubert Spierling .

Views

  • St. Patrokli
    chancel (apse)

  • St. Patrokli
    side chapel

  • Mary Altar

Westphalian crib

The Westphalian nativity scene is set up between the pillars of the westwork every year at Christmas time. It takes up an area of ​​around 60 m² and shows half-timbered houses, fountains, a stream and a landscaped landscape.

  • Soest PatrokliKrippe 2005 1.jpg
  • Soest PatrokliKrippe 2005 3.jpg
  • Soest PatrokliKrippe 2005 4.jpg
  • Soest Patrokli Nativity 2005 7.jpg

organ

View of the organ (choral works I and II)

The organ in the west wing of the Patrokli's Cathedral was founded in 1967 by the organ builder Anton Feith (Paderborn) behind a free brochure pipes built and a as part of the cathedral restoration in the years 1976-1977 Bombard - work and a pedestal 32 'extends. In 2005 the instrument was thoroughly cleaned. The organ has 68 registers five Manual stations and pedal , which extends from a viermanualigen game table briefly play out. With the exception of the registers of the swell and the trumpeteria (slider chests), the pipes stand on cone chests . The actions are electric. The two choir works are to the left and right above the arcades of the west entrance, with a view of the altar; the other works are on the north side gallery in the westwork.

I Hauptwerk C – g 3
01. Principal 16 ′
02. Principal 08th'
03. Metal flute 08th'
04th Gemshorn 08th'
05. Far octave 04 ′
06th recorder 04 ′
07th Pr. Fifth 2 2 ⁄ 3  ′
08th. Schwiegel 02 ′
09. Flat flute 02 ′
10. Mixture V-VI 0 1 1 ⁄ 3  ′
11. Cornett III
12. Bombard 16 ′
13. Trumpet 08th'
14th Clairon 04 ′
II Choral Work No. 1 C – g 3
15th Drone 16 ′
16. Principal 08th'
17th Wooden flute 08th'
18th octave 04 ′
19th Flute 04 ′
20th Nasat 2 2 ⁄ 3  ′
21st Violin principal 0 02 ′
22nd Mixture III-V 1 1 ⁄ 3  ′
23. Rauschpfeife III 02 ′
24. Bright trumpet 08th'
25th Schalmey 04 ′
III Swell C – g 3
26th Praestant 08th'
27. Quintad 08th'
28. Lovely Gedackt 0 08th'
29 Beat 08th'
30th Principal 04 ′
31. Coupling flute 04 ′
32. Chamois fifth 2 2 ⁄ 3  ′
33. Oktavlein 02 ′
34. recorder 02 ′
35. Third flute 1 3 ⁄ 5  ′
36. Sif flute 01'
37. Mixture IV 02 ⁄ 3 ′
38. Hellzymbel III 01 ⁄ 2 ′
39. Dulcian 16 ′
40. English horn 08th'
41. zinc 04 ′
Tremulant
IV Choral Work No. 2 C – g 3
42. Italian principal 0 08th'
43. Salicional 08th'
44. Pointed flute 04 ′
45. Praestant 04 ′
46. Reed flute 04 ′
47. octave 02 ′
48. Night horn 02 ′
49. Super-fifth 1 1 ⁄ 3  ′
50. Scharff IV 01'
51. Rankett 16 ′
52. Krummhorn 08th'
Tremulant

IV Trumpeteria C – g 3
53. Trompeta magna 000 16 ′0
54. Trompeta real 08th'
55. Clairon brilliant 04 ′
Pedals C – f 1
56. Pedestal 32 ′
57. Principal 16 ′
58. Sub-bass 16 ′
59. Soft bass 16 ′
60. octave 08th'
61. Flute 08th'
62. Chorale bass 04 ′
63. Forest flute 02 ′
64. Back set IV 2 2 ⁄ 3  ′
65. Contrabassoon 32 ′
66. trombone 16 ′
67. Trumpet 08th'
68. Fiddling shelf 0 04 ′
  • Couple:
    • Normal coupling: II / I, III / I, IV / I, III / II, IV / II, IV / III, I / P, II / P, III / P, IV / P
    • Super octave coupling: II / P, IV / P

The numbering does not correspond to the arrangement on the gaming table.

Bells

Small English bell , late 12th century.
Storm bell , 13th century
The bell from 1577 has the slender shape of its predecessor.

The ringing of the St. Patrokli Cathedral in Soest consists of eleven bells , all but the smallest one hanging in the approximately 80-meter-high west tower. The chime has one of the largest historical collections of bells in the country. The oldest bells are the two English bells from the 12th and 13th centuries; they have been the chimes of homage in the city for centuries. Two other bells of the 13th century, the tocsin and the (first since 1991 so-called) Stephen bell , are from the hand of the master Hermann of Lemgo . In 1469 Johannes von Dortmund created the sonorous Marien bell , which was the deepest voice in the ring for centuries. In 1577 a smaller bell from foundry Rochus Nelman followed. Its shape, which was unusually tall and slender for the time of casting, suggests a previous bell from the 12th or 13th century. What is remarkable is the very precise coordination of the historical bells with one another, which is to be assessed as a coincidence, since the foundrymen at that time did not pay special attention to any discrepancies that might arise with other bells; Medieval chime orders mainly provided for the solo use of each individual bell. The bells were given their fixed ringing functions because of their characteristic sound or because of their special inscription, which they provided for ringing on the respective named occasions. According to the traditional chime of the 15th century, the full chiming of all bells that existed at that time only sounded on very rare occasions. Two more bells from 1633 (patrician bell ) and 1720 (citizen shoemaker's bell) as well as a small bell from the Middle Ages were destroyed in the First World War.

In the course of secularization , the ensemble was separated and distributed over the towers of different churches: the Nelman bell was placed in the Holy Cross Church and the Stephen bell in St. Albertus Magnus. The bells remaining in the cathedral were supplemented after the Second World War by three large cast steel bells cast in octave rib V7 from the Bochum Association in the striking tones g 0 , b 0 and c 1 . For the first time in its eventful history, you should continue the peal into the pitch.

Later the desire arose to win back the old bells that had been sold and to supplement them with contemporary and more dignified bells made of bronze; this was done on the one hand with regard to modern musical ideas as well as from a monument conservation point of view; The Patrokli bell and Bürger-Schuster-Glocke took over the names of their respective predecessors from 1633 and 1720 respectively. The Patrokli bell is one of the most successful modern bells in Westphalia and beyond. The neat coordination of the existing historical bells with one another made it easier to select the tonal addition to the new bells. The Carl Borromaeus bell was the only cast steel bell that was kept and integrated into the ringing, as it is a musically appealing instrument despite its alloy . In the course of the renovation, all bells received new clappers and extremely heavy wooden yokes. After all, for a few years now the smallest bell in the roof turret above the crossing has been ringing as a transformation bell , which replaces the choir bell of the 13th / 14th century, which was destroyed in 1918 . Century. The All Saints' Day Bell , cast in 1993, cracked in 2015. It was replaced by a new bell on September 17, 2015.

The Soest cathedral bell is one of the most historically and sonically outstanding bell ensembles in Germany and beyond.

No.
  		Surname
  		Casting year
  		Caster
  		Diameter
(mm) 		Mass
(kg) 		Percussive
( HT - 1 / 16 ) 		material
 
01 Patrol bell 1991 Hans August Mark 2,050 5,840 as 0 −6 bronze
02 Carl Borromaeus bell (death knell) 1953 Bochum Association 1,901 2,442 b 0 −7 Cast steel
03 All Saints Day Bell 2015 Royal Eijsbouts (Asten / NL) 1,550 2,460 of the 1 −4 bronze
04th Marienbell 1469 Johannes of Dortmund 1,398 1,820 it 1 −6
05 Storm bell 13th century Hermann of Lemgo 1,385 2,100 f 1 −4
06th Citizen cobbler bell ( angelus bell ) 1991 Hans August Mark 1,209 1,280 ges 1 −5
07th (Stephen Bell) 13th century anonymous (Hermann von Lemgo) 1,000 0.765 b 1 −5
08th (God bell) 1577 Rochus Nelman 0.757 0.310 it 2 −7
09 Big English bell 13th century anonymous 0.587 0.170 as 2 +3
10 Little English bell 12th century anonymous 0.490 0.106 b 2 −1
11 Transformation bell 1991 Hans August Mark 0.456 00.75 c 3 ± 0

Cathedral Museum

The cathedral museum is located in the tower hall in the westwork. It is accessed via a staircase on the south side. The cathedral treasure is exhibited here.

  • The Wurzel-Jesse window was originally built into the Marienchörchen; it is a document from earlier stained glass and is exhibited as the most valuable treasure in a separate room.
  • The bust of St. Patroclus dates from 1499.
  • The eagle's desk is a 15th century work; however, the foot is from a later time.
  • The reliefs from the 17th century on the subjects of the birth of Jesus, the three wise men, the murder of Herod and three scenes depicting Jesus in the temple come from the former Dominican monastery in Soest.
  • A door from 1699 has been preserved from a high altar dismantled in 1817.
  • Mass vestments from different times are displayed in showcases. The fabric of the choir mantle with coat of arms from 1720 to 1730 was woven in France. A chasuble from the 18th century and a dalmatic from the second half of the 17th century complete the inventory. There is also a chasuble, the fabric of which was woven in France between 1760 and 1770, and a choir mantle from 1742, the fabric of which was made in Persia.
  • Sketches and a model of the tower structure are exhibited on one wall. The different building eras are marked by different colors, whereby the oldest part with the representation of the state of 1190 is kept red. This information is supplemented by exhibited fragments of architectural parts dating back to the 12th century.
  • Old glass paintings are shown in a showcase; These are the depictions of St. Meinolfus accompanied by a clergyman from around 1483, the crucifixion of Christ, a work from the third quarter of the 13th century, and a depiction of St. Goar, who is shown with a spiritual donor , from around 1480. The stained glass with St. Patroclus was created in the third quarter of the 13th century; The window with the Soest coat of arms is probably the oldest preserved representation of the same.
  • Ernst Majonica (1920–1997), member of the Bundestag in Soest, bequeathed some religious parts and oil paintings to the Patrokli community, which found their place in the museum. The Last Judgment was made in northern Italy in 1872; Eberhard Viegener painted the cross in 1943, the Adoration of the Kings was made in the Augsburg area in the 16th century and the Ecce homo in the 17th century. Johann Bendedikt Veit painted the Ascension of Christ in 1774 ; the shell picture showing the flight to Egypt was made in Naples in the 18th century. A page with the offering in the temple comes from a French book of hours from 1870 ; the bronze cross from Russia was cast in the 18th century; the brass icon was made in the 18th century. A metal stand cross, which was created in Byzantium around 1100, is to be emphasized. The majonica collection is supplemented by a lead plaque with the death of Mary , icon fragments and a silver crown from around 1770.

literature

  • Louis Grodecki : St. Patrokli in Soest . In: Romanesque stained glass . Verlag W. Kohlhammer, Stuttgart 1977, ISBN 3-17-004433-8 , pp. 161-166.
  • Eberhard Linnhoff: St. Patrokli, Nikolai Chapel and Cathedral Museum in Soest. Langewiesche, Königstein im Taunus 1984, ISBN 3-7845-5100-9 .
  • Hubertus Schwartz : Soest in his monuments. Second volume: Romanesque churches (=  Soester Scientific Contributions, Volume 15). 2nd unchanged edition. Westfälische Verlagsbuchhandlung Mocker & Jahn, Soest 1978, ISBN 3-87902-029-9 , pp. 9-87.
  • Hans J. Sperling: Soest St. Patrokli. History and art. Schnell & Steiner, Regensburg 2012, ISBN 978-3-7954-2557-9 .

Web links

Commons : St. Patrokli-Dom, Soest  - collection of images, videos and audio files

Individual evidence

  1. ↑ The cathedral. Pastoralverbund Soest, accessed on January 4, 2016 .
  2. ↑ St. Patrocli 954-1976. Edited by St. Patrokli-Propsteigemeinde Soest, Dietrich Coelde Verlag, Werl 1976, p. 82.
  3. ^ Edeltraud Klueting: The monastery landscape of the Duchy of Westphalia in the High Middle Ages. In: Harm Klueting (Hrsg.): Das Herzogtum Westfalen, Volume 1: The Cologne Duchy of Westphalia from the beginnings of Cologne rule in southern Westphalia to secularization in 1803 . Münster 2009, ISBN 978-3-402-12827-5 , pp. 70 f.
  4. ^ A b c Peter Ruhnau: building history, building description, equipment, organs and bells . In: Hans J. Sperling (Ed.): Soest. St. Patrokli. History and art . Regensburg 2012, p. 37–84, here p. 50 .
  5. ^ Pastoralverbund Soest: Das Kollegiatstift
  6. ^ Hermann Rothert: The Westwork of St. Patrokli in Soest: A contribution to the early history of the German town hall and at the same time a gift to the millennium of the Patroklimünster. In: Westfälische Zeitschrift 103/104, 1954, pp. 13-29. The western building was used as a council chamber in the Soest daughter church of St. Petrus and Andreas in Brilon .
  7. ↑ Hilde Claussen: Romanesque wall painting in Soest. New finds and restoration work . In: Gerhard Köhn (ed.): Soest. City - territory - empire. Festschrift for the 100th anniversary of the Association for History and Homeland Care Soest. Soest 1981, pp. 643-668, here pp. 644-645.
  8. ↑ Ulf-Dietrich Korn: The older glass paintings . In: Hans J. Sperling (Ed.): Soest St. Patrokli. History and art . Regensburg 2012, p. 85-92 .
  9. ↑ St. Patrokli 954-1976. Ed. St. Patrokli-Propsteigemeinde Soest, Dietrich Coelde Verlag, Werl 1976, pp. 82, 83.
  10. ↑ Kreiter info
  11. ↑ To the altar cross on the website of the Pastoral Association (as of April 7, 2018)
  12. ↑ See also the information on the website of the Pastoral Association.
  13. ↑ To today's shrine on the website of the Pastoral Association (as of April 7, 2018)
  14. ↑ St. Patrokli 954-1976. Ed. St. Patrokli-Propsteigemeinde Soest, Dietrich Coelde Verlag, Werl 1976, p. 17.
  15. ^ Statue in Soest , private homepage
  16. ↑ Ulf-Dietrich Korn: On the history and character of the cathedral museum . In: Hans J. Sperling (Ed.): Soest St. Patrokli. History and art . Regensburg 2012, p. 119-154, here 130-134 .
  17. ↑ Annette Werntze: The modern new glazing after the destruction of the Second World War . In: Hans J. Sperling (Ed.): Soest St. Patrokli. History and art . Regensburg 2012, p. 93-118, here 112-118 .
  18. ↑ More detailed description of the Marian Choir on the website of the Pastoral Association (as of April 7, 2018)
  19. ↑ Westphalian nativity scene
  20. ↑ Organ of the Patrokli-Dom on the website of Stefan Madrzak (seen on April 7, 2018)
  21. ↑ a b c d e Claus Peter: The German bell landscapes. Westphalia. Deutscher Kunstverlag, Munich 1989, ISBN 3-422-06048-0 , pp. 44–46.
  22. ↑ The new All Saints Day Bell is in place. Soester Anzeiger, September 17, 2015.
  23. ↑ Cathedral Museum
  24. ↑ a b c d Cathedral Museum, tour, room 1

Coordinates: 51 ° 34 ′ 17.5 ″  N , 8 ° 6 ′ 29 ″  E