St. Apostles

This article covers the St. Aposteln Church in Cologne. For other churches dedicated to the apostles, see Church of the Apostles .

Cologne, St. Aposteln (east side)

View into the longship

Original steel engraving after William Tombleson

Parade of the Deutz cuirassiers in front of St. Aposteln, on April 21, 1900

St. Aposteln is a Roman Catholic church and one of the twelve large Romanesque churches in the city of Cologne . The three-aisled church is located in the city ​​center on Neumarkt between Hahnenstrasse and Mittelstrasse.

It is characterized by an elaborately designed three-icon system in which two flanking east towers are integrated. Opposite them is the west tower, which at around 67 meters is the third highest tower in Cologne's Romanesque churches. The cloverleaf-shaped choir is surmounted by a short octagonal crossing tower, which is crowned by a lantern . The transept of the nave is connected to the west tower by a short, barrel-vaulted yoke. Pope Paul VI On September 18, 1965, the Church raised the rank of Basilica minor with the Apostolic Letter Templis praeclaris .

history

Previous construction

Today's church building is not the first building at this point. As with other Romanesque churches in Cologne, the first church of St. Aposteln is said to have been built on the site of today's basilica as early as the end of the 9th century, but this is not guaranteed. What is certain is that a monastery was founded here in the 10th century . Its historically secured first Apostle Church was probably a relatively simple building.

That changed at the beginning of the 11th century: Either under Archbishop Heribert , who reigned from 999 to 1021, or afterwards under Archbishop Pilgrim (reign 1021-1036) - the opinions of historians differ here - a large new Salian building was built despite the not entirely certain attribution, is simply called "Pilgrim building".

This building was certainly directed to the west, so it had its choir with the main altar in the west, on the site of today's main tower. This is unusual in Christian churches: Most of the churches are east-facing, so they have their chancel, the choir, in the east - where the sun rises. With this western orientation, the Cologne Apostle Church of the 11th century, like other Cologne churches, referred to a great example, namely St. Peter's Church in Rome, which is still west-west today.

From this Salic pilgrim structure, which also determines the basic dimensions of today's church, there are still preserved: large parts of the outer walls of the nave, the western transept and parts of the central nave walls. However, the thin outer skin, the visible wall of these walls, has been renewed several times, so that only the core area of ​​these walls dates from the 11th century.

The basic principle of this epoch is a fixed system of measurements - starting from the crossing square - then a uniform design of the entire building and the polar juxtaposition of eastern and western components, i.e. a west choir and an east choir. "The strict connection to a fixed system of dimensions, the uniform design of an entire structure and the principle of grouping horizontal and vertical, multi-towered components [...] remained characteristic of German Romanesque architecture until the 13th century, until the French Gothic was adopted".

Salisch new building

Compared to the previous building, the Salian nave and transept of Aposteln has increased in size. These two components were later given stone vaults instead of the flat wooden ceilings around 1230.

In the 11th century, Aposteln was not yet part of the actual city area. The then still intact Roman city fortifications just passed St. Apostles. A new city ​​wall was not built until 1106 and finally, from 1180 until well into the 13th century, another one that encompassed a much larger area and some of the twelve city gates are still standing. At the same time as the new city wall, the Neumarkt was built from 1180 onwards as an additional trading center to the existing squares near the port on the Rhine.

At the end of the 12th century, St. Aposteln changed both in its structural form and in its orientation: There had been a change in the religious liturgy that no longer required a western choir, but was oriented towards the east. In addition, with the newly built Neumarkt, a large open space was created directly in front of the church, which made it advisable to turn the eastern part into the new display area, the dominant center of the church.

It is uncertain whether the reconstruction work on St. Aposteln from 1150 onwards should include the western and eastern parts from the outset. In any case, both parts harmonize, namely for a view from the east, i.e. from Neumarkt. It is therefore assumed that both renovation projects may be based on the planning of the same master builder, despite the distance of 50 years.

In St. Aposteln, a new west choir was built around 1150. The crypt of the old Salian west choir was filled in and a 67 m high west tower was built on top of it. This renovation seems to have been preceded by a fire. However, it is uncertain whether the intention to renovate was only triggered by the fire, because the whole of Cologne was gripped by a passion for construction at this time and it seems unlikely that apostles would have been ignored if there had been no fire.

West building

West tower

The new west tower is accompanied by two semicircular stair towers and it cannot be overlooked that such a combination echoes the old Carolingian motif of a westwork. Aposteln only hints at the idea of ​​a westwork in his new west choir, which was built from 1150, but is no longer one. In the 12th and 13th centuries, existing older westworks were often rebuilt and connected more closely to the main room.

Three-conch choir

Around 50 years later around the year 1200, again after a fire (1192), work began on the component to which the apostles owed its importance, the most mature and imposing three-conch choir (trikonchos) in Cologne and thus art history in general and at the same time one of the most fascinating architecture diagrams. Because of the post-war development, this statement can no longer be easily understood at a glance from Neumarkt.

In contrast to a floor plan as a Latin cross, in which a straight nave is crossed at right angles in the head area by a likewise straight transept, as in the case of St. Aposteln in the west, the three-conch choir has three apses of equal size on the sides of one (inscribed ) Squares set to each other in such a way that the floor plan has the shape of a clover leaf, which is why this solution is also known as the “clover leaf choir”. This results in a central building at the location of the choir in the east, i.e. a building with its own center and equivalent side parts.

Recent history

In 1802, in the course of secularization during the French era, the apostle monastery was abolished. It still lives on in the nearby Apostle Monastery. After the church, the third oldest Cologne grammar school, originally founded in this street in 1860, is named as grammar school at the Apostle Church . The church gradually fell into disrepair, had to be closed by the police in 1822 because of dilapidation and was restored shortly afterwards. Extensive renovations took place in the years 1871-1891.

After the war damage from 1942 to 1944, a first makeshift restoration was completed in 1957, before the careful restoration of the eastern section began in 1961, which was completed in 1975. The western crypt that was filled in had already been restored between 1955 and 1957. In the course of the reconstruction, the church received some contemporary fittings, e.g. B. on the south side an auditorium in the typical architecture of the 1950s, architect Johann Werner Starck († 1978), with a continuous ribbon of windows by Ludwig Gies . In the three-cone choir, Hermann Gottfried painted vaults from 1988 to 1993 .

Since 1981 the preservation of the church has been supported by the Friends of Roman Churches in Cologne . Since January 1, 2010 the church has been the parish church of the parish of St. Apostles, which has been expanded to include the disbanded parishes of St. Peter , St. Andrew , St. Kolumba , St. Martin and St. Maria in Kupfergasse .

On April 2, 2016, the ecumenical funeral service held in St. Aposteln for the deceased Federal Foreign Minister ret. D. Guido Westerwelle broadcast live on German television. The service was held by the prelates Martin Dutzmann and Karl Jüsten . Guests included the Federal President, the Federal Chancellor and the President of the Bundestag.

architecture

Exterior construction

St. Apostles around 1925

On the outer structure, the various towers are staggered in height and culminate in the crossing tower in the middle.

From a distance, from the other end of Neumarkt, the west tower appears to belong to the group of towers, and because of its height almost as if it were the center of the whole complex.

This creates a particularly ingenious staggering of towers, which does not converge in a straight increase in height in an all-dominating crossing tower, as in Groß St. Martin , but in a three-dimensional staggering over the side towers to the crossing tower and from there to the highest point, to the west tower behind this group .

The late Romanesque double shell

In any case, according to the unanimous professional opinion, the interior of the choir of St. Apostles represents the most balanced version of the late Romanesque double-shell structure of the wall. The basic problem for the builders on this point was to establish a correspondence between the external and internal structure of the walls, mainly because because the outer radius of the apse is of course larger than the inner one and the inner arch position had to be aligned with the windows that broke through the wall.

In St. Aposteln this contradiction is resolved harmoniously. The two storeys are equivalent and are in a balanced ratio compared to the total height of the cones. The number of niches is reduced to three.

The columns of the inner wall shell are skilfully integrated into a pillar, the three apses are connected to the crossing by so-called intermediate yokes, which vary the two-shell structure in a twin gallery on all sides, so that the entire central space repeats the sovereign breadth of the outer building .

Furnishing

Wall and ceiling design

Nothing has been preserved from the original wall and ceiling design.

In the 19th and early 20th centuries, a combination of mosaics and frescoes was used to create a Byzantine-style wall and ceiling design.

After the destruction in World War II , this design was rejected as out of date; it was not restored, but radically removed. As a small remainder, the mosaic The Good Shepherd , donated by the parish community for the golden jubilee of Pastor August Savels in 1910, is only preserved in the north arm of the west transept .

In the years between 1956 and 1975 the walls of the church were left completely white; only the ribs of the nave vault were given simple geometric stripes. The ashlar structures remained stone-visible . In 1975, brightly colored, geometric paintings were applied to the newly reconstructed crossing dome and its drum ; the designs came from Willy Weyres (domed vault) and Manfred Ott (drum with four windows). The lavishly designed new crossing altar with hanging candlestick crown and pavement based on a design by Sepp Hürten matched this .

Between 1988 and 1993 the vaults of the three conches and the interior of the crossing tower were painted by Hermann Gottfried with scenes from the Revelation of John . This painting, which has been reduced to a few colors and stylistically recognizable as a work of the 20th century, is controversial because, in the opinion of many critics, it contradicts the medieval church interior. The figurative image program ("Apocalypse") in the abstract formal language of an expressive-cubist style is based on a theological overall concept designed by Wilhelm Nyssen and the local pastor Karl Günter Peusquens.

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  Mosaic The Good Shepherd (1910)

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  Choir around 1925 in old Byzantine-looking painting

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  Today's painting

Works of art in the church

The painting by Johann Wilhelm Pottgießer , the "Martyrdom of St. Catherine" , belonging to an earlier baroque side altar has been preserved in the northern cone .

The sculptures of the so-called Fourteen Holy Helpers come from the Chapel of the Holy Helpers , which was demolished at the beginning of the 19th century . Restorations took place around 1898 (the color versions mainly come from this) and 1979 to 1983. The following table provides an overview (in the order in which they can be seen from left to right in St. Aposteln):

First aiders	Creation of the sculpture
St. Christopher	second half of the 16th century
St. Dionysius	second half of the 16th century
St. Erasmus	18th century
St. Eustachius	second half of the 16th century
St. Achatius	second half of the 16th century
St. Vitus	17th century
St. Georgius	End of the 16th century
St. Pantaleon	Late 17th century
St. Egidius	16th Century
St. Blaise	Late 18th century
St. Barbara	around 1500 (originally as a figure of Mary)
St. Catherine	Early 16th century
St. Margareta	Early 16th century
St. Cyriac	second half of the 16th century

A representation of Christ as a "man of pain " in wood was created around 1450 by Master Tilman .

Also noteworthy is the St. Mary's Altar, which is seen when entering the church through the southwest entrance. In a neo-Gothic retable (1910) from the Langenberg workshop in Goch, the central sculpture of the Madonna and Child (around 1500, Swabia) is situated. The twelve stylistically based half-sculptures, which are arranged to the right and left of the Madonna, were created in 1994 by Henrike and Dieter Franz.

In the center of the western crossing (former location: southern transept ) is the octagonal Romanesque baptismal font (made around 1200). The current lid was added in 1950.

The Pietà of St. Apostles probably dates from the 19th century.

The entrances to the crypt in the western part of the church are flanked by approx. 2.10 m high sculptures (wood with white frame) of the apostles Peter and Paul. These sculptures originally belonged to the baroque high altar in the Ostkonche, which was demolished in 1819, and date from 1761. Their creator is Johann Joseph Imhoff (the elder) (1739–1802). The large-format painting in the north aisle The Apostles by Cologne painter Gerd Mosbach was made in 2003 .

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  Martyrdom of St. Catherine , painting by Johann Wilhelm Pottgießer

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  Sculpture of the Holy Helper St. Christophorus

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  Sculptures of the four helpers of need St. Dionysius, St. Erasmus, St. Eustachius and St. Achatius

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  Sculptures of the four helpers of need St. Vitus, St. Georgius, St. Pantaleon and St. Egidius

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  Sculptures of the five helpers St. Blasius, St. Barbara, St. Katharina, St. Margareta and St. Cyriakus

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  Sculpture of Christ as the Man of Sorrows (around 1450)

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  Mary Altar

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  Madonna and Child in the Altar of Mary (around 1500)

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  Baptismal font (around 1200)

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  Pietà

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  Sculpture of the apostle Peter

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  Sculpture of the Apostle Paul

Church treasure

The greatest treasure of the church treasure is the Heribert Chalice from the 13th century. The figures of the twelve apostles are engraved on it.

The church treasury also includes the pen seal from the 12th century, a Gothic monstrance from 1409 and a wooden (more recently silver-covered) death crucifix with an ivory corpus from 1640.

Organs

St. Aposteln now has three organs . The smallest of these organs is a chest organ built in 2015 by organ builder Josef Classen from Geilenkirchen, which is located in the crypt. In the church itself there is a choir organ from 1989 (between the central nave and the south aisle) and the large main organ in the west choir from 1996.

In the 18th century, the Apostle Church housed a large organ by the renowned organ builder Balthasar König, which was probably built around 1738. In the middle of the 19th century the instrument was extensively restored by the organ builder Engelbert Maass.

At the end of the 19th century, the Swiss organ builder Friedrich Goll (Lucerne) was commissioned to build a new organ. The instrument was completed in 1892. The Goll organ had mechanical action and was equipped with Bark levers. It had 62 registers on three manuals and a pedal.

After the reconstruction of St. Aposteln, the organ building company Romanus Seifert (Kevelaer) built a new organ with 63 stops on four manuals and pedal. At the end of the 1980s, the community decided against restoring the Seifert organ and commissioned the organ building company Fischer & Krämer (Endingen) to build a new main organ and a choir organ. In 1995 the Seifert organ was dismantled, restored and installed in the parish church of St. Paul by the organ builder Siegfried Schulte (Kürten-Bechen) .

Choir organ

Choir organ of the St. Aposteln Basilica in Cologne

In 1989 the choir organ was completed. It is used to accompany the Gregorian chant during high mass and prayers of the hours, to accompany the choir and soloists, as a solo instrument at concerts and also to accompany the singing congregation. With a view to these diverse uses, the organ is horizontally rotatable. The slider chest instrument has 12 sounding stops on two manuals and a pedal. 7 registers of the main work stand on alternating loops , so that they can be made playable as registers of the breast work. The playing and stop actions are mechanical.

I Hauptwerk C – g 3 1. Principal 8th' 2. Covered 8th' 3. Octave 4 ′ 4th recorder 4 ′ 5. Nasard 2 2 ⁄ 3  ′ 6th Schwegel 2 ′ 7th Tierce 1 3 ⁄ 5  ′ 8th. Fifth 1 1 ⁄ 3  ′ 9. Mixture III-IV 0 2 ′ 10. Hautbois 8th'

II breastwork C – g 3 11. Gemshorn 8th' 12. Octave (No. 3) 4 ′ 13. recorder (No. 4) 00 4 ′ 14th Nasard (No. 5) 2 2 ⁄ 3  ′ 15th Schwegel (No. 6) 2 ′ 16. Tierce (No. 7) 1 3 ⁄ 5  ′ 17th Fifth (No. 8) 1 1 ⁄ 3  ′ 18th Hautbois (No. 10) 8th'

Pedal C – f 1 19th Sub bass 0 16 ′

• Coupling : II / I, I / P, II / P

Main organ

Main organ of the Basilica of St. Apostles Cologne

The main organ of the Basilica of St. Apostles dates from 1996 and was completed in 2006 by installing the three missing chamad registers . It is the third largest organ in Cologne after the Cologne Cathedral organ and the organ system in St. Peter and is one of the largest organs in the region. The instrument in the westwork of the basilica has 80 registers, which are distributed over four manuals (C-a '' ') and pedal (C-f'). The action mechanism is mechanical, the stop action mechanism and all normal couplings are electrical. In addition, the coupling II / I can be operated mechanically or electrically. Swell steps are available for the breastwork and the swellwork (here also for the back wall). After the previous composer system was destroyed by a lightning strike in June 2016, the organ received a new compositor system (Sinua) at the beginning of 2017, which, in addition to the conventional compositor functions, offers the possibility of freely programmable coupling and crescendos, key and register chains as well as an unlimited number of storage spaces . Organ works can be recorded using a MIDI recorder and played back at the push of a button from any position in the basilica using a remote control. Using their own RFID chip, different organists can log into the system and get the area assigned to the typesetter activated. The Chamadwerk, which was previously assigned to manual IV, can now optionally be assigned to each manual and pedal. In addition to the existing normal couplers, the organ was equipped with sub couplers.

I main work C – a 3 1. Principal 16 ′ 2. Bourdon 16 ′ 3. Principal 08th' 4th flute 08th' 5. Covered 08th' 6th Viol 08th' 7th Fifth 05 1 ⁄ 3  ′ 8th. Octave 04 ′ 9. Cane-covered 04 ′ 10. Tierce 03 1 ⁄ 5  ′ 11. Fifth 02 2 ⁄ 3  ′ 12. Octave 02 ′ 13. Night horn 02 ′ 14th Large Mixture V 02 ′ 15th Mixture III-IV 01' 16. Cornet V 08th' 17th Trumpet 16 ′ 18th Trumpet 08th' 19th Trumpet 04 ′ Tremulant

II Positive C – a 3 20th Praestant 08th' 21st Reed flute 08th' 22nd Gemshorn 08th' 23. Quintad 08th' 24. Octave 04 ′ 25th Playing flute 04 ′ 26th Schwegel 02 ′ 27. Fifth 01 1 ⁄ 3  ′ 28. Mixture IV 01 ⁄ 3 ′ 29 Sesquialter II 02 2 ⁄ 3  ′ 30th bassoon 16 ′ 31. Trumpet 08th' 32. Krummhorn 08th' Tremulant

III Swell C – a 3 33. Bourdon 16 ′ 34. Violon 16 ′ 35. Violin principal 08th' 36. Viola da gamba 08th' 37. Voix Celeste 08th' 38. Bourdon 08th' 39. Flûte Harmonique 08th' 40. Octave 04 ′ 41. Flûte Traversière 04 ′ 42. viola 04 ′ 43. Nazard 02 2 ⁄ 3  ′ 44. Flageolet 02 ′ 45. Tierce 01 3 ⁄ 5  ′ 46. Septième 01 1 ⁄ 7  ′ 47. Sifflet 01' 48. Fittings program IV – VII 02 2 ⁄ 3  ′ 49. Basson 16 ′ 50. Trumpet Harmonique 08th' 51. Clarinet 08th' 52. Hautbois 08th' 53. Clairon Harmonique 04 ′ Tremulant

IV breastwork C – a 3 54. Wood-covered 08th' 55. Salizional 08th' 56. Principal 04 ′ 57. Pointed cover 04 ′ 58. Octave 02 ′ 59. third 01 3 ⁄ 5  ′ 60. Larigot 01 1 ⁄ 3  ′ 61. Scharff II – III 02 ⁄ 3 ′ 62. Voix Humaine 08th' Tremulant Chamadwerk C – a 3 63. Chamade 16 ′ 64. Chamade 08th' 65. Chamade 04 ′

Pedals C – f 1 66. Pedestal 32 ′ 67. Principal 16 ′ 68. Sub bass 16 ′ 69. Bourdon 16 ′ 70. Violon 16 ′

(Continuation) 71. Octave 08th' 72. Pointed flute 08th' 73. cello 08th' 74. Choral bass 04 ′ 75. flute 04 ′

(Continuation) 76. Back set IV 02 2 ⁄ 3  ′ 77. Bombard 32 ′ 78. trombone 16 ′ 79. Basson 16 ′ 80. Trumpet 08th'

• Pairing :
  • Normal coupling: II / I, III / I, IV / I, III / II, IV / II, IV / III, I / P, II / P, III / P, IV / P
  • Sub-octave coupling: II / I, III / I, IV / I, III / II, IV / II, IV / III,
• Playing aids : programmable register crescendos and couplers, optionally coupler II / I mechanical or electrical, key and registercuffs, setting system (Sinua), MIDI.

Chest organ

Since 2015, the St. Aposteln Basilica has had a chest organ built by organ builder Josef Classen, which accompanies the parish singing in the crypt and can be used for chamber music performances. It can also be used as a continuo instrument in the basilica.

The organ has four registers on a manual (and attached pedal): Bordun 8 ′, Principal 4 ′, Flute 4 ′, Octave 2 ′

• Playing aids : attached pedal

Bells

Big bell John Paul II from 2005

Full bells of the Basilica of St. Apostles

The number of bells now includes seven bells .

At the beginning of the 16th century the church had two separate bells. It was a total of four bells, which were cast in 1507 by the master bell founder Johann von Andernach. The three big bells with the names Salvator , Ave Maria and Felix formed the chimes and were hung in the west tower. The small Adauctus bell served as a separate parish bell and hung in the roof turret over the crossing. At the church services of the canons and the parish, their own bells were rung separately.

With the secularization and abolition of the monastery in 1802, all bells became the property of the parish. The small parish bell was handed over to the parish of St. Amandus in Rheinkassel, where it has been in use ever since. According to the taste of the time, it did not harmonize with the monastery bells.

In 1927 the ringing was supplemented by two bells with the names Görres and Franziskus , which were cast by the bell foundry Petit & Gebr. Edelbrock from Gescher. In 1938 the Marienglocke was re- cast from the material of the old bell. All bells, including the three younger orchestras, escaped the bell expropriation during World War II .

In 1983, a small bell, the Joseph Bell , was cast for the southern choir flank tower in Gescher . It serves as a death bell for the parish. On the occasion of the 20th World Youth Day in August 2005, the bell foundry Petit & Gebr. Edelbrock cast the largest bell to date for St. Apostles. The bell popularly known as the World Youth Day Bell was built by Pope Benedict XVI. solemnly inaugurated and bears the name John Paul II. Besides the St. Peter's Bell and the Pretiosa of the cathedral , as well as the Angel Bell of St. Kunibert, it is one of the largest bells in the city. The six-part main bell in the west tower received a new wooden bell chair, wooden yokes and an electric beer system.

No.	Surname		Casting year	Foundry, casting location	Ø (mm, approx.)	Mass (kg, approx.)	Percussive ( HT - 1 / 16 )	Inscription (from lat.)
1	John Paul II		2005	Petit & Gebr. Edelbrock, Gescher	2,180	6,700	g 0 −7	I praise you God, you Lord I confess, in the glorious choir of the apostles. Pope Benedict XVI consecrated me on August 20, 2005 on the occasion of the 20th World Youth Days in Cologne. My name is John Paul II in memory of the servant of God who went home on April 2nd of the same year.
2	Gorres		1927	Petit & Gebr. Edelbrock, Gescher	1,800	3,800	b 0 −2	Only one wisdom has known history since all times: God is the foundation. In him there is unity, around him there is the motley diversity. Let us praise the glorious men, the ancestors of our race. In memory of Joseph von Görres of the parish church of St. Aposteln donated by the Cologne Görreshaus in 1927.
3	Salvator		1509	Johann von Andernach	1,590	2,700	of 1 +7	Salvator dicor celebres fastos et claro divas resono aere per aera laudes atque necem Christi recolentes convoco clerum. (My name is savior - I announce the festive days - with a clear brazen tone I sing the praises of God through the air and call the clergy together to celebrate Christ's death.)
4th	Ave Maria		1938	Petit & Gebr. Edelbrock, Gescher	1,300	1,300	it 1 −4	Ave Maria dicor divine nuntia laudis tempestas fulmen me resonante fugit. (My name is Ave Maria - I am the announcer of the times of God's praise - when I ring the bell, lightning flees.)
5	Felix		1507	Johann von Andernach	1,120	0.860	f 1 −1	Felix apellor dulci fugo daemonia cantu atque choro vigiles modulando conjugo mentes. (My name is Felix - I drive away evil spirits with a lovely song - through my singing I bring the hearts ready to watch to the choir.)
6th	Francis		1927	Petit & Gebr. Edelbrock, Gescher	1,080	0.750	ges 1 +4	Love is the fulfillment of the law. Founder: Nikolaus Grün.
7th	Joseph		1983	Petit & Gebr. Edelbrock, Gescher	0.450	0.055	b 2 −1	Ioseph VoCor - MorientibVs auXilium fero - DefVnctos CompLoro - resVrreCtIonem proClamo (My name is Joseph - I help the dying - I mourn the dead - I herald the resurrection.)

Individual evidence

1. ↑ Paul VI .: Litt. Apost. Templis praeclaris , in: AAS 59 (1967), n.5 , p. 326s.
2. ↑ Ernst Adam: Pre-Romanesque and Romanesque. Frankfurt 1968, p. 17.
3. ^ Homepage of the community
4. ↑ Special broadcast Farewell to Guido Westerwelle on: ardmediathek.de, accessed on March 2, 2016  ( page no longer available , search in web archives )
5. ↑ gemeinden.erzbistum-koeln.de
6. ↑ romanische-kirchen-koeln.de
7. ↑ ^{a b c} gemeinden.erzbistum-koeln.de
8. ↑ Bühren 2008, pp. 615–616.
9. ↑ gemeinden.erzbistum-koeln.de
10. ↑ romanische-kirchen-koeln.de
11. ↑ Information on the Goll organ (PDF; 363 kB)
12. ↑ Proof at http://www.orgelsite.nl/
13. ↑ Information on the choir organ on the municipality's website
14. ↑ St. Aposteln Cologne - Music. In: gemeinden.erzbistum-koeln.de. Retrieved January 10, 2017 . 
15. ↑ St. Aposteln Cologne - Music. In: gemeinden.erzbistum-koeln.de. Retrieved January 10, 2017 . 
16. ↑ The Adauctus bell has the strike note a ¹ +2.
17. ^ Gerhard Hoffs: Glockenmusik der Katholischen Kirchen in Köln , p. 92.
18. ↑ Information about the bells
19. ↑ Video recording of the peal on youtube

literature

• Hiltrud Kier : The Romanesque churches in Cologne: Guide to history and furnishings. Second edition. JP Bachem, Cologne 2014, ISBN 978-3-7616-2842-3 , pp. 42-57.
• Jürgen Kaiser (text) and Florian Monheim (photos): The large Romanesque churches in Cologne. Greven Verlag, Cologne 2013, ISBN 978-3-7743-0615-8 , pp. 38–49.
• Ralf van Bühren : Art and Church in the 20th Century. The reception of the Second Vatican Council ( Council History , Series B: Investigations). Verlag Ferdinand Schöningh, Paderborn 2008, ISBN 978-3-506-76388-4 .
• Sabine Czymmek: The Cologne Romanesque churches, treasure art. Vol. 1 (Colonia Romanica, yearbook of the Friends of the Roman Churches Cologne e.V., Vol. XXII, 2007). Cologne 2008, ISBN 978-3-7743-0421-5 , pp. 75-122.
• Ulrich Krings, Otmar Schwab: Cologne: The Romanesque churches. Destruction and restoration (city traces - monuments in Cologne, vol. 2). JP Bachem, Cologne 2007, ISBN 978-3-7616-1964-3 .
• Annerose Berners: St. Apostles in Cologne. Investigations into the history of a medieval collegiate monastery up to the 15th century. 2 vols., Diss. Bonn 2004.
• Gottfried Stracke: Cologne: St. Aposteln (city tracks - monuments in Cologne, vol. 19). JP Bachem, Cologne 1992, ISBN 3-7616-1035-1 .
• Jörg Poettgen: The late Gothic chimes of St. Apostles. An unknown work by the Cologne master Johan van Andernach. In: Colonia Romanica II. 1987, pp. 16-32.
• Norbert Nussbaum: St. Apostles in Cologne. Neuss 1985, ISBN 3-88094-491-1 .

Web links

Commons : St. Aposteln (Cologne)  - Collection of images, videos and audio files

Wikisource: Die Baukunst, 11th issue  - sources and full texts

• Homepage of St. Aposteln in Cologne
• Digitized archive holdings on St. Apostles in the digital historical archive in Cologne
• Romanesque churches in Cologne: St. Aposteln. In: Web presence Förderverein Romanische Kirchen Köln . Retrieved July 4, 2019 . 

Coordinates: 50 ° 56 ′ 11.9 ″  N , 6 ° 56 ′ 42 ″  E