St. Engelbert (Cologne)

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First modern church building in Cologne: St. Engelbert

St. Engelbert is a Catholic church in Cologne-Riehl . It was built from 1930 to 1932 according to a design by the architect Dominikus Böhm and is considered the first modern church building in Cologne and also one of the original buildings of modern church architecture .

history

Parish Patron

St. Engelbert, copper figure 1932

Around 1900 St. Engelbert, Archbishop Engelbert I of Cologne, was appointed parish patron, to whom no altar had been consecrated in Cologne until then. Engelbert, who has been venerated in Cologne since the early 17th century but was never canonically canonized, is also considered the founder of the medieval nunnery in Riehl.

Emergency church

Since the Riehl settlement quickly grew into a district at the end of the 19th century, the construction of an emergency church was planned. The manufacturer Wilhelm Hilgers made a plot of land available for this at the corner of Stammheimerstrasse and Pionierstrasse. The building was designed by the architect Heinrich Krings , who gave the church a traditional chapel shape. The foundation walls were bricked; the upper area, the arcades between the main and side aisles and the roof were constructed of timber framing. The emergency church was consecrated in 1897. However, in view of the growing local population, it quickly turned out to be too small. In 1929 Pastor Clemens Wirtz judged the shortage of space to be unbearable; the entire church square was full of churchgoers on Sundays who could not find a place in the church for mass. In 1932 - after the completion of the new building - the emergency church was profaned; the building burned down completely in 1944.

Building history

Star dome project with free-standing tower
“Most beautiful contrast”: the roof's silver lead and brick wall

Pastor Clemens Wirtz had been working towards the new church since 1921. Initially, efforts focused on building a neo-Romanesque church with around 2,150 seats at the back entrance of the Botanical Garden at the intersection of the streets Am Botanical Garden and Johannes-Müller-Strasse. In 1929, however, the Archdiocese of Cologne decided, in coordination with the City Planning Department, that the church should be in the middle of the district on the Riehler Gürtel.

It was not until January 1930 that the building could be put out to tender in a restricted competition among five Cologne architects. In an additional letter, the church council expressly requested designs with a domed structure and ultimately insisted on a central structure in the further course of the project selection. The community quickly decided on the architect Dominikus Böhm , who was already well-known in Cologne , and then decided in April 1930 on one of the central building designs further elaborated by Böhm with the title "Star dome project with free-standing tower."

The Vicariate General , who had been asked for approval, initially reacted skeptically and asked whether it was possible to “take away the strange from the building by softening the novelty”, since the design had something strange, more oriental than occidental. After a detailed building explanation by Böhm with reference to medieval models, the design was approved. In March 1931, the commissioned company Marx began construction on an empty plot of land on the Riehler Gürtel , which was mainly poured from pumice concrete. On June 6, 1932, the church was consecrated by Archbishop Karl Joseph Schulte .

The further expansion of the church was delayed - mainly due to a lack of money. The wooden floor was laid in 1935 and the heating installed in 1939. For a long time the church was covered with ruberoid cardboard; the metal roof planned by Böhm could only be realized in 1979. Since then, there has been the “most beautiful contrast” intended by the architect between the silvery lead and the brick cladding of the outer walls.

Substantial parts of the originally planned equipment were also not implemented. Figures of the evangelists were to be placed on the four consoles above the portal. In the interior it was planned to decorate the back wall of the choir with a fresco painting with a resurrection of the Lord . According to Dominikus Böhm, this is how the peculiar shape of the altar, which he himself designed from red Lahn marble, gets its meaning: "The grave slab has been removed, the holy grave opened."

Wartime and Reconstruction

Strongly colored glasses behind the organ front

During the Second World War , air raid shelters were set up in the parish rooms in the church plinth, in which up to 400 people sought refuge. From May 1941, the first incendiary and high-explosive bombs fell on the district; on April 21, 1944, the foundations of the rear wall of the choir were hit and torn open. In the house-to-house war on March 6, 1945, the church received three hits. The damage could be repaired quickly, so that St. Engelbert was one of the largest usable churches in Cologne in the first post-war years. Therefore, Riehl became the place where the Archbishop of Cologne, Joseph Cardinal Frings, at the New Year's Eve sermon in 1946, gave the people of Cologne in advance the absolution for vital clubbing , which then became popular in the German-speaking area as fringsen . It was later speculated that this important and popular occurrence also gave the modern St. Engelbert architectural style greater general acceptance.

In the 1950s, the church received significant furnishings that were designed according to Dominikus Böhm's ideas. In 1954 a large organ was installed in St. Engelbert, for which essential elements of the organ originally built in 1908 by EF Walcker for the Hamburg concert hall were used. In addition, Böhm was able to design the shape of the organ prospectus himself together with the organ builder . The seven large round windows in the main room, created in 1955 with cross ornamentation by Anton Wendling , follow the strongly colored glazing required by Böhm and thus contribute significantly to the lighting required by the architect.

Later redesign

The results of the Second Vatican Council led to a mass versus populum , which the pastor celebrates with a view to the congregation. This enabled Gottfried Böhm , the architect's son, to redesign the interior of St. Engelbert. The altar was moved towards the central room, but remained raised in the choir room; the devotional altars in the conches have been removed. Today the community uses a second, wooden altar, which was placed in front of the steps of the choir in the central room. This placement seems to come close to an early ideal of Dominikus Böhm: “One God, one (some) congregation, one room!” However, the raised altar undermines the architect's original idea when finding the space for St. Engelbert, by adding it and highlighting it with a large gesture of light Chancel to express the eccentric orientation towards Christ.

architecture

“The Strange”: The novelty in the St. Engelbert central building
Lighting in the choir

St. Engelbert is a circular central building that is built on a high base. This houses youth rooms, parish hall and library. The tower is separate from the main building ( campanile ) and houses the baptistery in the basement.

The basic shape of the church is formed by parabolic , high outer walls that are curved in the shape of a shield and form a circular shape with eight segments. To the northeast, a segment is drawn out as a rectangular choir, here too a parabolic wall forms the end. Due to the shape of the outer walls, it is not possible to differentiate between wall and ceiling. Starting from the shield-shaped outer walls, the metallic roof extends far down into the individual struts, which continue into the interior as ribs and form individual delimited areas there. The choir extension receives light through a wall-high side window, which is also parabolic, while the central building is deliberately in the dark and only receives daylight through the circular windows ( oculi ) attached to the parabolic tips .

concrete

The original interior design of the church building was only possible because the architect resorted to the modern material of reinforced concrete. Both the shape of the parabolic vault, tapering at a central point, as well as the slim shape of the 40 meter high campanile called for a concrete structure that was secured by reinforced concrete. Böhm used the new possibilities of the material here, although concrete and iron were not considered worthy of sacred architecture until the 1920s. St. Engelbert is a church that was almost entirely cast from pumice concrete. The supporting structure is visible in the interior as ribs. The enclosing walls are not load-bearing. But Böhm also had to take into account that there were still reservations about concrete as a building material. On the outside, the architect clad the walls with clinker bricks and the roof with a silvery lead covering , which creates a “beautiful contrast” in terms of color. Because of the resistance of the Vicariate General Böhm had to refrain from pouring the concrete floor. Overall, however, St. Engelbert became a "still unreached round church, which also demonstrated Germany's leading position in church building in terms of concrete technology."

One-room and central building

At the beginning of the 20th century, architecture developed the idea of ​​the one-room . This is understood to mean a space that is not divided by columns, pillars or additions - such as aisles - and whose inner shape can be read from the outer shape. The one-room was also discussed early in Catholic church architecture because it corresponds to the monotheistic principle that Dominikus Böhm put into the phrase: “ One room, one (some) community, one God!” A one-room does not necessarily have to be a central building. The hall-like Corpus Christi Church , which Rudolf Schwarz had built in Aachen in 1928, also corresponds to this principle. St. Engelbert, however, is regarded as "a - certainly bold and daring - step further on the way to a resolute training in one-room construction."

St. Engelbert was planned as a central building . To build one was apparently one of the binding wishes of the church council, although even Dominikus Böhm initially preferred the more common long building because of the size and shape of the property. There were historical examples of a central building in the Catholic Church, such as St. Gereon in Cologne. In fact, these centralizing buildings ran counter to the basic understanding of the Catholic liturgy of the time, in which the priest celebrated mass with his back to the congregation. Therefore, the altar had to stand on the back wall of a choir and not at the point where the architectural tension of a central building accumulates: in the middle of the room. Dominikus Böhm tried to overcome this problem by allowing the choir to grow out of the central room and emphasizing it with dramaturgically skilful lighting. In May 1930 he explained that “the sacrificial site, ie the choir, is attached to the main room like a large tabernacle and thus gives the main room its actual climax, the goal. Space is longing, the fulfillment of which is the place of sacrifice. ”The church architect Otto Bartning , who turned to Protestant theology and built the Church of the Resurrection in Essen as a round church in 1929 , rejected building solutions as useless, in which the architectural tension and the liturgical orientation fell apart. Then church building will be done in vain.

parabola

Star dome of St. Engelbert

The central building of St. Engelbert shows the parabola as the basic architectural motif in many variants . The seven shield walls that limit the central building are shaped as parabolas. In the interior, the choir shows a parabolic shape. In addition, the four load-bearing concrete ribs of the central room are curved parabolically. The window that illuminates the choir from the side and the conches in the choir also follow the parabolic shape. Dominikus Böhm explained this leitmotif in a letter accompanying the competition documents. The parable symbolizes "overcoming gravity", it symbolizes "the detachment from the earth". Hence, "the space as a whole shows the resurrection".

The parabola as a construction principle was only made possible at the beginning of the 20th century by the technical possibilities of reinforced concrete and was initially tested on utility buildings. For Böhm it was also a more modern variant of the Gothic pointed arch, which he had shown when designing the Christ the King's Church in Bischofsheim in 1926. In each case, however, the parabolic shape was ascribed a special mystical effect. “The parabolic effect has something mystical, gliding and mysterious about it. The irrational increases the sacred into the cultic. "

Light guidance

Dominikus Böhm is considered an architect who masterfully mastered mystification through light. He understood light "as a delicious building material for the sacred consecration of the room" and as "building material that is given to us directly by our Lord God." In fact, Böhm had also taken great care in St. Engelbert to enrich the spatial effect of the church with various lighting options . The entire spatial idea of ​​the central building was only perceptible through appropriate lighting: Böhm provided subdued light in the round main room because the room was supposed to symbolize the congregation's longing for redemption. In contrast, the choir was illuminated by strong side light. This gave him something radiant in the interior that made him symbolic as a place of redemption. It was therefore essential for Böhm that the round windows in the main room were darkly glazed. The height of the room should be intentionally lost in the dark. In addition, Böhm provided for festive lighting in the main room, in which the electrical lighting illuminates the interior of the vaulted caps, while the concrete ribs are dark. "In this case the vault appears as a large, brightly shining star."

reception

The almost central building was understood as a radical commitment to a religiousness that opens up to the new in form and program. The vernacular has found the name lemon squeezer for the unconventional architectural design of the church .

Furnishing

Dark round window: light guidance according to the intentions of D. Böhm

The close connection between architecture and artistic furnishings was important to the architect, but Böhm was only able to implement this concept in a few places in Riehl for financial reasons. Dominikus Böhm built the original altar, which was placed on the east side of the choir extension. Although the architect himself also submitted a design for the round windows in the side walls, these could only be designed by Anton Wendling from 1953 to 1955 .

The three entrance portals in copper were designed by Leonhard Karl in 1960, stylistically following the Mataré doors on the south portal of Cologne Cathedral . The main portal at St. Engelbert shows a blessing hand of God, a cross with a crown of thorns and Adam and Eve on the tree of knowledge. On the side portals, Karl modeled a portrait of Bishop Engelbert as well as a staff and miter as a sign of his archbishopric duties.

The mobile furnishings were designed by Hildegard Domizlaff between 1967 and 1974 : these include the Easter candlestick, the four altar candlesticks, the eternal light, the sacraments and the baptismal font made of Verona marble. On the rear wall of the choir, instead of the fresco painting planned by Böhm, there is a copy of the Gero cross from Cologne Cathedral .

organ

Walcker organ: From the Laeisz-Halle to Riehl

The organ in St. Engelbert has three manuals and 41 stops . This makes it one of the largest organs in Cologne. It was originally built in 1908 by the organ builder EF Walcker & Cie (Ludwigsburg) for the Laeisz-Halle , Hamburg's concert hall . After the Second World War, the instrument was used in the Thalia Theater (Wuppertal) for a few years .

In 1954 the organ was sold to Cologne and built in St. Engelbert by the organ builder Seifert (Kevelaer) behind a new organ front. In 2008, the organ was comprehensively revised by the organ builder Johannes Klais (Bonn), and in large parts it was restored to its historical condition from 1908. Since then it has had the sound of a German-romantic organ again. The instrument has 41 stops on three manuals and a pedal . The playing and stop actions are electric.

The swell is a special feature : It is divided into three parts, into sections A, B and C. The individual sections can be played in any combination on two manuals.

I main work C – a 3
1. Drone 16 ′
2. Principal 8th'
3. flute 8th'
4th Gemshorn 8th'
5. Viola di gamba 8th'
6th Octav 4 ′
7th Reed flute 4 ′
8th. Fifth 2 2 ⁄ 3  ′
9. Octav 2 ′
10. Mixture IV 2 ′
11. Cornet v 8th'
12. Trumpet 8th'
13. clarinet 8th'
Tremulant
II / III swell C – a 3
Section A.
14th Salizional 16 ′
15th Synthematophon 8th'
16. Echo gamba 8th'
17th Voix céleste 8th'
Tremulant
Section B.
18th Hollow flute 8th'
19th Fernhorn 8th'
20th Principal 4 ′
21st Mixture IV 1 1 ⁄ 3  ′
22nd bassoon 16 ′
23. horn 8th'
24. oboe 8th'
Tremulant
Section C
25th Covered 8th'
26th Quintatön 8th'
27. Slack dolce 4 ′
28. Salizet 4 ′
29 Piccolo 2 ′
20th Sesquialtera II 2 2 ⁄ 3  ′
Tremulant
Pedal C – f 1
31. double bass 16 ′
32. Sub bass 16 ′
33. Salizetbass 16 ′
34. Quintbass 10 2 ⁄ 3  ′
35. Octavbass 8th'
36. Flute bass 8th'
37. violoncello 8th'
38. Choral bass 4 ′
39. Bombardon 32 ′
40. Trombone bass 16 ′
41. Trumpet 8th'
  • Pairing :
    • Normal coupling: II / I, III / I, I / P
    • Swell coupling: A / II, B / II, C / II, A / III, B / III, C / III, A / P, B / P, C / P
    • Sub-octave coupling: II / I, III / I, II / II, II / P
    • Super octave coupling: II / I, III / I, II / II, III / P

Bells

In the campanile hangs a six-part bell that was cast by the Bell foundry Petit & Gebr. Edelbrock ( Gescher ) in 1960. All bells hang in the multi-storey steel bell cage on straight steel yokes, which are equipped with counter pendulums for structural reasons. It is one of the largest in the city of Cologne. The previous bell from 1931 fell victim to the Second World War, with the exception of the small bell . Their whereabouts are not known.

No. Surname Diameter
(mm) 		Weight
(kg) 		Nominal
(16th note) 		inscription
1 John 1731 3334 b 0 +8 Prepare the way of the Lord!
2 Three Kings 1428 1940 of 1 +9 Come let us worship!
3 Maria 1262 1308 it 1 +9 Praise my soul to the Lord!
4th Engelbert 1050 741 ges 1 +8 I loved justice
5 Clement 939 521 as 1 +8 Protect shepherd and flock!
6th Michael 798 321 b 1 +9 Defend us in battle!

Motif: Beuron chimes

literature

in alphabetical order by authors / editors

  • Manfred Becker-Huberti, Günter Menne: Cologne Churches, The Churches of the Catholic and Protestant Congregations in Cologne , Cologne 2004. S. 57f.
  • Daniel Buggert, Caroline Helmenstein: St. Engelbert in Cologne-Riehl - form and function . In: INSITU 2017/2. ISSN 1866-959X, pp. 283-296.
  • Markus Eckstein: Kulturpfade Köln, Nippes - Riehl - Bilderstöckchen - Nauenheim , Cologne 2010.
  • Dorothea Eimert: St. Engelbert in Cologne-Riehl , (Schnell Art Guide No. 1098), Munich / Zurich 1977.
  • Helmut Fußbroich: Architecture Guide Cologne. Sacred buildings after 1900. JP Bachem Verlag, Cologne 2005. ISBN 3-7616-1683-X
  • Falk Jaeger: Bauen in Deutschland, A guide through the architecture of the 20th century in the Federal Republic and in West Berlin , Stuttgart 1985, p. 212.
  • Peter Keller: St. Engelbert in Cologne-Riehl , (Rheinische Kunststätten issue 369), Cologne 1991.
  • Hiltrud Kier: Churches in Cologne. JP Bachem Verlag, Cologne 2000. ISBN 3-7616-1395-4 .
  • Stefan Klinkenberg, Daniel Buggert, Ines Dickmann, Uta Heinz, Ralf Zilligen: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020. ISBN 978-3-95976-256-4 .
  • Karl Peusquens: Cologne-Riehl. History of the suburb and the parish . Lethe-Druck, Cologne 1950.
  • Hugo Schnell: Church construction in the 20th century in Germany , Munich 1973.

Web links

Commons : St. Engelbert  - Collection of images, videos and audio files

Individual evidence

  1. ^ Peter Keller: St. Engelbert in Cologne Riehl, (Rheinische Kunststätten Heft 369), Cologne 1991, p. 3
  2. ^ Encyclopedia of Saints: Engelbert of Cologne
  3. ↑ Dorothea Eimert: Köln-Riehl - St. Engelbert, (Schnell Art Guide No. 1098), Munich Zurich 1977, p. 4. Karl Peusquens: Köln-Riehl, Geschichte des Vorortes und der Pfarrgemeinde, Cologne 1950, p. 64.
  4. ↑ Sabine Heuser-Hauck: The architect Heinrich Krings ( 1857-1925 ) , Bonn 2005, p. 210f
  5. ↑ Karl Peusquens: Köln-Riehl, history of the suburb and the parish, Cologne 1950, p 69, 91st
  6. ↑ Sabine Heuser-Hauck: The architect Heinrich Krings (1857-1925) , Bonn 2005, p. 211, Joachim Brokmeier: Köln-Riehl, Geschichte (n) aus dem Veedel , Erfurt 2013, p. 21.
  7. ↑ Acquisition of the first piece of land. Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 5
  8. ^ Stefan Klinkenberg et al .: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 12
  9. ^ Dominikus Böhm, Hans Peter Fischer, Karl Colombo, Bernard Rotterdam and Josef Fleckener. Stefan Klinkenberg et al .: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 15
  10. ↑ Gottfried Böhm quoted. after Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 6
  11. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 6ff
  12. ↑ Hiltrud Kier, Kirchen in Köln, Cologne 2000, p. 172
  13. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 6
  14. ↑ Karl Peusquens: Köln-Riehl, history of the suburb and the parish, Cologne 1950, p 70f
  15. ^ Dominikus Böhm: The Catholic Church of St. Engelbert, Cologne-Riehl; in: Karl Peusquens: Cologne-Riehl, history of the suburb and the parish, Cologne 1950, p. 96
  16. ^ Dominikus Böhm: The Catholic Church of St. Engelbert, Cologne-Riehl; in: Karl Peusquens: Cologne-Riehl, history of the suburb and the parish, Cologne 1950, p. 97
  17. ↑ Karl Peusquens, Cologne-Riehl, history of the suburb and the parish, Cologne 1950, p 45ff
  18. ^ Spiegel online: "Fringsen was not a carte blanche"
  19. ^ Hiltrud Kier: Cologne, Reclams City Guide Architect and Art, Stuttgart 2008, p. 267
  20. ^ Organ building Klais: Cologne-Riehl, St. Engelbert
  21. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 11f
  22. ↑ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 10. Dorothea Eimert: Cologne-Riehl, St. Engelbert, Schnell Kunstführer No. 1098, Munich Zurich 1977, p. 11
  23. ↑ Dominikus Böhm in a letter to Johannes van Acken , printed in: Ders .: Christozentrische Kirchenkunst. A draft for the liturgy. Gesamtkunstwerk, 2nd edition, Gladbeck 1923, p. 50.
  24. ↑ Strasse der Moderne: St. Engelbert
  25. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 8
  26. ^ Hugo Schnell: The Church of the 20th Century in Germany, Munich 1973, p. 50
  27. ^ Letter to Johannes van Acken from the 1920s, quoted in after Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 4
  28. ↑ G. Lampmann: Two Catholic Churches. Architect: Dominikus Böhm. in: Zentralblatt der Bauverwaltung 53, 1933, pp. 25–32, cited above. after Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 13
  29. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 6
  30. ↑ cit. From a letter of May 6, 1930, after Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 9
  31. ^ Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 9
  32. ↑ cit. after Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 10f
  33. ^ Robert Lill, director of the German Society for Christian Art, 1927 in an essay on the parabolic form in Christ the King. Quoted from Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 11
  34. ↑ after G. Stalling: Studien zu Dominikus Böhm, Bern Frankfurt, 1974; quoted from Peter Keller: St. Engelbert in Cologne-Riehl, Rheinische Kunststätten Heft 369, Cologne 1991, p. 12
  35. ↑ Gottfried Böhm: The Catholic Church of St. Engelbert, Cologne-Riehl, in: Karl Peusquens: Cologne-Riehl, History of the suburb and the parish, Cologne 1950, p. 97f
  36. ↑ Wolfgang Pehnt: Gärende neue Zeit, architecture of the 1920s between Bonn and Duisburg, in: Dynamics + Change, The Development of Cities on the Rhine 1910-2010 +, Exhibition Catalog Cologne 2010, p. 42
  37. ^ Stefan Klinkenberg et al: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 25
  38. ^ Stefan Klinkenberg et al: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 6f
  39. ↑ Strasse der Moderne - Churches in Germany: St.Engelbert, Cologne
  40. ^ Stefan Klinkenberg et al: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 10
  41. ↑ Monika Schmelzer: Sankt Engelbert, in: Manfred Becker-Huberti, Günter Menne: Kölner Kirchen, The churches of the Catholic and Protestant communities in Cologne, Cologne 2004, p. 58
  42. ^ Stefan Klinkenberg et al .: St. Engelbert in Cologne-Riehl and St. Bonifatius in Cologne-Nippes , Lindenberg i. Allgäu 2020, p. 11
  43. ^ Organ building Klais: Cologne-Riehl, St. Engelbert
  44. ^ Orgelbau Klais: Cologne Riehl, St. Engelbert - Disposition
  45. ↑ Gerhard Hoffs: Bell music of Catholic churches in Cologne , pp. 669–674, PDF ( Memento of the original from April 28, 2014 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. @1@ 2Template: Webachiv / IABot / www.glockenbuecherebk.de


Coordinates: 50 ° 57 ′ 55.9 ″  N , 6 ° 58 ′ 27.8 ″  E