St. Ursus Cathedral
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St. Ursus Cathedral
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| Basic data | ||||
| Place: | Solothurn | |||
| Canton: | Solothurn | |||
| Country: | Switzerland | |||
| Altitude : | 441 m | |||
| Coordinates: 47 ° 12 '30.3 " N , 7 ° 32' 22.7" E ; CH1903: six hundred and seven thousand six hundred and fifty-three / 228 614 | ||||
| Use: | Roman Catholic Church | |||
| Accessibility: | Observation tower open to the public | |||
| Tower data | ||||
| Construction time : | 1769 | |||
| Total height : | 66.00 m | |||
| Viewing platform: | 50.00 m | |||
| Position map | ||||
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The St. Ursenkathedrale (also St. Urs und Viktor Cathedral ) is the cathedral of the Roman Catholic diocese of Basel in the city of Solothurn , Switzerland .
The early classical church building, consecrated to the martyrs Ursus and Victor , was begun in 1762 by Gaetano Matteo Pisoni from Ascona and completed in 1773 by his nephew Paolo Antonio Pisoni on a plot of land where two previous buildings had probably stood since the early Middle Ages . The interior is decorated with stucco by Francesco Pozzi .
The extensive cathedral treasures include the Hornbach sacramentary , a statue of the Virgin Mary and a manuscript that was created around 983 in the Reichenau monastery .
The 66 meter high onion dome was inhabited by a tower guard for a long time . There is a drawing by Peter Thumb from 1708, which indicates that a second, also unrealized tower was under discussion for the previous collegiate church.
The church of St. Urs and Viktor has been the minster of St. Ursenstift since the Middle Ages and, in its current design, became the episcopal church of the bishopric of Basel, which had moved to Solothurn in 1828 .
history
The history of the church goes back to the 9th century. The St. Ursus monastery is then mentioned for the first time: When the Lothar Empire was divided on August 8, 870, the Monasterium Sancti Ursi in Soloduro Ludwig the German was awarded. According to a founding legend, the construction of the church is said to have been initiated in the 10th century. According to this, 17 new Thebae graves are said to have been found near St. Peter. This find is said to have induced Queen Berta - wife of Rudolf II - to make a rich donation for a new church building. The construction itself should begin under her son Konrad the peaceable and under her grandson, the king Rudolf III. , have been completed. This legend can only be found in medieval year books . The same applies to the transfer of the Ursus relic assumed for 1019 , which is no longer verifiable today.
The dating of the predecessor church (s) of the St. Ursus Cathedral is difficult because only really tangible building dates are available for the nineties of the 13th century. The church of St. Peter, which was also initially outside the city wall at that time (or from today's perspective, the chapel) is older, its construction is estimated to be between the 5th and 6th centuries. The St. Peterskirche is probably made from a grave complex or similar. have arisen. But even St. Peter was first documented in 1303. The church (or chapel) of St. Stephan, which is no longer preserved today, is located within the city on the first city wall and is dated older than St. Ursen. It was even located in the area of the former Roman fort. It is therefore assumed that St. Stephan was the oldest real church in Solothurn, as its location was in the nucleus of the city of Solothurn. Graves from the 7th century could also be found in it. But there is also the problem with St. Stephan that it was first mentioned in a document in 1045/1046. There are therefore three churches or church locations in Solothurn that must be older than their documentary mention.
History of the Solothurn Minster
The first tangible construction date for the Solothurn Minster relates to 1294, where major renovations took place, which were completed with the altar consecrations in 1293 and 1298. In 1893, this document led Johann Rudolf Rahn to argue that it was a new building. Hans Rudolf Sennhauser was able to refute this statement in 1990 by examining the plans made by Franz Joseph Derendinger before the demolition in 1762. It struck him that the shape of the crypt cannot be reconciled with a year of construction in 1294. A two-part crypt with double pillars was only built into similar churches in the 11th century, later only one-part crypts can be found. This means that at least the crypt must have been built before or at the latest around 1100, with the greatest probability in the course of the 11th century and thus at least 200 years earlier. A predecessor church in the Romanesque architectural style cannot be excluded, but also cannot be proven beyond doubt.
The double tower at that time was probably damaged in the earthquake of October 18, 1356 , but there are no reliable sources for this. In any case, it is the usual explanation for the new construction of the minster tower. With the Wendelstein , as the tower built in 1360 was called, a Gothic one-tower west facade was created at the same time .
The choir was rebuilt in 1544, and the crypt was also re-covered. The old floor plan of the choir was probably retained. The nave was rebuilt and widened in 1644. The sacristy was enlarged in 1664.
The church was in a poor structural condition in the 18th century. After a visit in October 1759, the Bishop of Lausanne , Joseph-Nicolas de Montenach , decided that a new church should be built. The Lucerne master builder Jakob Singer (1718–1788) visited the church on July 27, 1760 and on September 11, 1760 submitted plans for a new Rococo building. The tower and choir of the old church were to be retained. The building commission did not seem to like this, because several months later the architect Erasmus Ritter (1726–1805) was commissioned to work out a new proposal. He presented his project to the building commission on December 15, 1760. They were plans for a classicist church, which, after being revised twice, received the approval of the relevant people on June 3, 1761. The project was not implemented by Ritter, but by the two Pisoni from Ascona.
In 1762, parts of the church began to be demolished. The Wendelstein collapsed on March 25, 1762. This meant that you had to rethink the whole project and ended up with a completely new building. One was only bound to the conditions of the property and no more existing components. This made it possible, among other things, to change the orientation of the church.
Building history of St. Ursus Cathedral
Initially, it was planned to rebuild only the nave, keeping the choir and tower. The building commission had two plans by Singer and Ritter when Pozzi arrived in Solothurn from Arlesheim . He quickly realized that a large part of the councilors and citizens did not agree with the two plans. He agreed to check Ritter's drawings and cost calculations and, in addition, to draft a new crack free of charge. Ritter had already submitted his revised project at the time in which he had incorporated the objections of the building commission. Pozzi's draft also contained many good ideas, so that the building commission, which remained on Singer's side, asked him to revise his work again. He did this by merging his design and that of Pozzi into a single project. On December 2, 1761, Singer's third construction plan resulted in the approval of the building from the council and the citizens. On February 3, 1762, Jakob Singer and his brother Johann Anton presented the finalized plans. The demolition work on the cathedral began on February 8th. But everything changed at the Annunciation , because on March 25, 1762, when the high mass was just finished, the "Wendelstein" collapsed at half past ten. It is probably only thanks to the fact that it was at this time and on a public holiday that there were no deaths.
It was now clear that Singer's plan could no longer be easily implemented and that the entire project had to be redrawn. Now the people who wanted to have the choir rebuilt prevailed. Therefore, Ritter and Singer were once again commissioned to design a new church with a new choir. Like the old design, the new one should only have one tower. Construction work began and the foundation stone was laid on August 28, 1762. However, the construction work had a bad star from the start. Because not everyone liked the architectural style chosen by Ritter. It was decided to have the building project checked by another experienced builder after all. The request for a senior expert was also turned to the St. Gallen abbot Cölestin II, who had the collegiate church of St. Gallen built at that time . He could not help as requested, but was responsible for the fact that the Solothurns noticed Francesco Pozzi . Because Pozzi was once the protégé of Giovanni Gaspare Bagnato , on whose design the collegiate church of St. Gallen goes back. It was therefore decided to bring Pozzi to Solothurn. In the meantime, up to his arrival, a "Mr. Pizoni von Lugarus" had reported to the city and agreed to look into the matter on site, as he was passing through. Gaetano Matteo Pisoni arrived on April 18, 1762 and was immediately invited to take part in the investigation of the dispute. Because in the meantime the reports of the Solothurn masters were available. The reports showed deviations from the plan and some construction defects. Pozzi's report of April 19 was not exactly positive either. This was also expressed in the fact that he was of the opinion that some things had to be demolished and rebuilt, which, however, could be done without major costs. When Pisoni received his “Exam on Hr. Singer's previous thesis, he listed 24 points. In it he not only discussed Singer's mistakes, but also explained that these were often at the expense of the architect Ritter. Seen in this way, the church building was thoroughly stuck.
Ultimately, Pisoni was able to prevail with his suggestion of a real reorientation. This comprised the following three points:
- The church axis should be modified and, as far as possible, brought into line with the main street.
- The roof had to be set up “en toit coupé”.
- The tower should be built on the long side and not as part of the main front.
As a result, there were a few arguments. Eventually, however, Pisoni replaced the architect Ritter. He then had his nephew come to Solothurn to help him with the construction. With a resolution of May 18, 1762, the council gave Gaetano Matteo Pisoni and his nephew Paolo Antonio Pisoni the direction and supervision of the construction of the church. When the plans were presented to the council ahead of schedule on June 8th, the latter was so impressed that they were not only ratified, but even renounced to send them to an academy for review. The construction of today's cathedral could finally begin - even if the foundation stone still had to be secretly moved because it was now in the wrong place.
The stone capitals for the main facade were delivered in the summer of 1767. They were made by the sculptor Jean-Jacques Perrette. At the same time the roof structure could also be erected.
The keystone of the vaulted ceiling in the choir was laid on July 6, 1768. The vaulted ceiling of the main nave was completed in mid-August. At the end of August 1768, only the vaults of the side aisles and the dome were not yet completed. The roof structure for the main and side aisles was completed in 1768 before the onset of winter.
On August 11, 1769, the last stone of the tower was added. The roof of the tower was erected on August 26, 1769, and the topping-out ceremony was held the following day. The gilded tower knob was put on on September 26, 1769, and the iron cross and the weathercock on the following day. On May 9, 1770, the shell of the dome was also completed. The 26-pointed star was placed on the dome on August 14, 1770. In 1770 the staircase designed by Paolo Antonio Pisoni was built.
In August 1768 Francesco Pozzi reappeared to inspect progress and to keep the promise made by the council in 1763. The contract for the production of the stucco work and the high altar was approved on September 11, 1768. Shortly afterwards, Pozzi left again, he returned to Solothurn at the beginning of April 1769 with his son Carlo Luca Pozzi and ten journeymen to start work. The three ceiling paintings in the choir and the side aisles were made by Gottfried Bernhard Göz between July and September 1769, while the three ceiling paintings in the main nave were made by Domenico Pozzi, also a son of Francesco Pozzi.
On October 14, 1770, the council decided to dismiss the two Pisoni because the architects were no longer needed and money could be saved. This ran counter to the concluded contract, as the church was not yet completed at the time. While Gaetano Matteo Pisoni never returned to Solothurn, his nephew Paolo Antonio Pisoni took over the management of the church again in May 1772 after a one-year break.
The stucco work was finished by the end of July 1771 so that the Pozzis could say goodbye with their troops. The halo in the choir was subsequently stuccoed in 1789/1790 by Carlo Lucca Pozzi based on a drawing by Paolo Antonio Pisoni. With this work, the construction and furnishing of the St. Ursenkirche were completed.
The cathedral is considered to be the most important building ever to be built with the Solothurn stone, a limestone from the Solothurn Jura . The interior, with its simple shapes, is particularly classicistic, while the tower and facade are still built in the Baroque art style.
History after completion of St. Ursus Cathedral
In 1828 the previous collegiate and parish church was elevated to a cathedral (bishop's church) due to the relocation of the diocese of Basel to Solothurn.
During the earthquake of August 11, 1853, there were several cracks in the cathedral. This damage was not finally repaired until 1917. A comprehensive renovation was carried out in 1916/1917. A heating system was also installed. Excavations were also carried out in connection with the installation of the heating system.
In January 2011, the cathedral, especially the free-standing altar in the choir, but also its larger area, was badly damaged by an arson attack. There was property damage of 3.5 million francs. The cathedral was extensively renovated and remained closed until the end of September 2012. In September 2011, the perpetrator was sentenced to an unconditional imprisonment of 14 months for, among other things, arson, and was admitted to a closed psychiatric forensic clinic for mental disorders.
Building description
The building stands on a raised and artificially extended terrace in the old town of Solothurn.
The cathedral is designed as a cross basilica . It has one front and three full yokes in the nave. The choir as well as the two transepts are semicircular. In the elevated crossing there is a circular drum with a dome and a lantern.
The west facade is also the main facade of the cathedral. It has two floors and the ground floor is divided into three parts. The middle part protrudes one pillar. In front is a monumental flight of steps, which with its two fountains forms the eastern end of the main street (Marktgasse) of Solothurn. It has three times 11 steps, the bottom 11 being narrower to provide the necessary space for the two fountains at the side. This was done because the forecourt slopes down towards the Aare and because a central fountain would have required two unequal side stairs.
tower
The cathedral has had only one tower since the beginning, which stands at the northeast corner of the cathedral.
The completed tower was designed from the start to carry a bell cage for the entire peal. This one-tower variant was also required by the city when planning the church. A second tower was proposed in a variant by Pisoni, and there are also drawings of it. The foundation for a second, lighter tower was carried out, but the tower itself was never erected. This often leads to the assumption that the tower was not built for structural reasons. The reason, however, was of a financial nature, because the city council was not prepared to pay the additional cost of 13,000 guilders for the second tower. The sacristy was built in its place .
Main facade
The main facade has three reliefs by Johann Baptist Babel . Above the main portal, the delivery of the keys by the Savior to Peter is shown. The right shows the refusal to sacrifice to idols by Saints Urs and Viktor, the left shows their beheading on the Aare bridge. The gilded inscription can be read on the entablature above that separates the floors: «DEO EXERCITUUM IN SS. MIL. URSO VICTORE ET SOC. REST. SPQS ON. MDCCLXIX ». In English: "FOR THE GOD OF THE ARMY IN THE HOLY LEGIONAIRS URS, VICTOR AND COMPANIONS REBUILT BY THE COUNCIL AND THE PEOPLE OF SOLOTHURN IN 1769"
Furnishing
The interior of the church is clearly characterized by the classical style. The stucco works primarily serve a purpose by emphasizing and accentuating the load-bearing and framing parts. The decorative figurative jewelry common in the Rococo, such as B. putting, was used very cautiously. The iconography takes up the ancient Roman soldier of the church patrons Urs and Viktor. The iconographic program was designed by the Stiftskantor Hermann.
The arson attack in 2011 made it necessary to redesign the choir room. To this end, the artist Judith Albert designed the L'ultima cena (“The Last Supper”) project together with Gery Hofer and Brauen Wälchli Architects, Lausanne . The centerpiece of the extensive redesign is the altar made of Carrara marble . The table folds reproduced in stone are based on Leonardo da Vinci's famous depiction of the Last Supper and the tradition of celebrating the Eucharist on a white covered altar.
Altars
The St. Ursus Cathedral has eleven altars made of different types of marble .
High altar
The high altar in the choir was designed by Francesco Pozzi and designed by Gaetano Matteo Pisoni and consists of sixteen types of marble. He has no altarpiece , but hanging over it in the apse a stucco - halo with a cross in the middle. The halo dates from 1789/1790 and was created by Carlo Luca Pozzi . On the middle bench sit a stuck angel on the left and right. The relic bust is placed on the upper bench at high feasts.
Side and transept altars
The side and transept altars all have a wood-framed retable with pictures, which are mainly from foreign artists. The frames were created by Franz and Jeremias Schlapp, who came from Vorarlberg . The figures of saints are more recent (1921) and were made by August Weckbecker from Munich.
Examples of altars: The cross altar (1772) from the south side has an altar table in the shape of a sarcophagus made of marble and was created by Johann Friedrich Funk. The main picture is by Josef Esperlin and shows the crucifixion of Jesus. The picture above is by Niklaus Guibal and shows «Moses with the brazen serpent».
The Christmas altar in the south aisle has an altarpiece by Niklaus Guinal and shows Jesus in the manger as well as Mary and Joseph. The altar table is made of different colored marble and was carved by Johann Friedrich Funk.
The sacrament altar (1774) by Domenico Corvi (1721–1803) from Rome has an image of the Eucharist .
pulpit
The monumental pulpit made of different colored marbles comes from Jean-François Doret from Vevey , based on plans by Paolo Antonio Pisoni (1772).
Ceiling painting
The ceiling painting in the choir shows Duke Leopold I handing over the banner to the provost of St. Ursenstift.
The ceiling painting in the south transept shows the queen in front of the opened sarcophagus of Severiana.
The ceiling painting in the north aisle depicts Christian veneration of the Thebaic graves in late antique Solothurn.
Organs
A new organ was ordered from Viktor Ferdinand Bosshard (1699–1772) in Baar as early as 1763 . It was delivered on April 24, 1772 by his son Karl Josef Maria Bosshard (1736–1795), as his father had died that year. The choir organ was also ordered from Bosshard on September 29, 1772. The original brochures for the main and choir organs are still preserved. The organ front in the south transept is silent. Organ concerts are held regularly in summer, also in the neighboring Jesuit Church and in the Reformed City Church of Solothurn .
Main organ
Today's main organ is a work by Orgelbau Kuhn from 1942. During the 1975 revision, the original pipes in the prospectus were retained, but most of the rest were replaced. The slider chest instrument has 55 registers on four manuals and a pedal . The playing and stop actions are electric.
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- Coupling : II / I, III / I, III / II, IV / I, IV / III, I / P, II / P, III / P, IV / P
Choir organ
The choir organ was built in 1773 by the organ builder Carl Joseph Maria Bossart, and overhauled in 1972 by Metzler Orgelbau . Today the slider chest instrument comprises twelve stops on one manual. The pedal is attached and has no register of its own.
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Bells
A ring of eleven bells hangs in the tower . Ten of them come from one piece in the Baroque period.
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No. |
Surname | Casting year | Giesser, casting location |
Weight in kg (quintals / pound) |
Nominal 1923 |
Patronage (1793) | Remarks |
| 1 | Big bell also fear and storm bell |
1766 | Brothers Jost and Joseph Kaiser; train |
4075 (81/50) | as 0 | Maria, St. Urs | |
| 2 | Big sermon bell | 2764 (55/28) | b 0 | Viktor, Matthäus, Markus, Lukas Johannes | |||
| 3 | Small sermon bell and hour bell | 1767 | 1942 (38/84) | c 1 | Gregory, Ambrosius, Augustine, Hieronymus | ||
| 4th | Weekly blessing presence or St. Anne's bell | 1559 (31/19) | of the 1st | Anna, Joseph, Mauritius | |||
| 5 | English greeting and change bell | 1054 (21/9) | it 1 | Maria, Gabriel | |||
| 6th | Rosary bell | 756 (15/13) | f 1 | Mary of St. rosary | |||
| 7th | Final and children's teaching bell | 527 (10/55) | g 1 | Michael, Barbara | |||
| 8th | Sebastian and donation bell | 1768 | 436 (8/73) | as 1 | Sebastian, Martin, Elisabeth | ||
| 9 | The big vesper bell | 212 (4/24) | c 2 | Urs, Viktor | |||
| 10 | Small vesper bell | ? (2/42) | ( it 2 ) | Mary, John the Baptist | Cast in 1901 | ||
| 10a | Small vesper bell | 1901 | Gebr. Rüetschi, Aarau | 121 (?) | it 2 | ||
| 11 | Measuring bell | 1768 | Brothers Jost and Joseph Kaiser; train |
51 (1/3) | as 2 | The most holy altar sacrament |
Only three bells survived the collapse of the Wendelstein undamaged. Making a new bell was therefore inevitable. Among them are the two little vesper bells of the pen, one of which was only cast in 1760. This bell was transferred to the newly built St. Katharinen Church and was still preserved in 1928. The other seems to have been donated to the Bettlach Church, but was no longer verifiable as early as 1928.
It was decided to have eleven bells cast. In order to be able to distribute the costs better, it was initially decided to have only two bells cast per year. But the plan was quickly deviated from. In 1766 the two largest bells were cast, whereby the first casting of the largest bell failed and had to be repeated by the Kaiser brothers. In 1767, the third and fourth bells were cast as planned, and at the urging of the citizens, bells five to seven were cast in the same year. In 1768 the last four bells were cast. The ringing comprised the following tone sequence in 1768: A - B - c sharp - d - f sharp - g sharp - a - c sharp '' - e '' - a ''
Since the church had not yet been consecrated, the 11 bells were quietly consecrated on August 28, 1770 by Provost Leonz Sury. Then they began to be pulled up. On September 1st the last big bell was raised. The actual test ringing took place on September 8, 1770. According to the ringing order of October 31, 1770, eleven combinations were planned. The bells were only officially consecrated and anointed on the ecclesiastical patrons on the occasion of the visitation on October 4, 1793.
The new cast from 1901 is the 10th bell, the second smallest or "small versper bell".
When the company H. Rüetschi checked the bells in 1923, it emerged that the originally specified pitch of the nine largest bells was actually half a tone lower. Four bells that were out of tune due to use were also found (the two smallest and two of the middle ones). In 2014 the bell was restored.
Viewing platform
The platform can be climbed from Easter to All Saints' Day in good weather and offers a good view over the old town and the Aare . 249 steps lead to the platform at a height of 50 meters.
Inner viewing platform
Outer viewing platform
Stairs to the viewing platform
literature
- Georg Carlen: St. Ursen Cathedral, Solothurn. ( Swiss Art Guide , Volume 528). Ed. Society for Swiss Art History GSK. Bern 1993, ISBN 3-85782-528-6 .
- F. Schwendimann: St. Ursen / Cathedral of the diocese of Basel and parish church of Solothurn. Union, Solothurn 1928.
- P. Urban Winistörfer: The cathedral to Solothurn. Published as New Year's Paper 1856 by the Solothurn Art Association. Printed by B. Schwendimann, Solothurn 1856. digitalsiat
- Hans Rudolf Sennhauser : St. Ursen - St. Stephan - St. Peter / The churches of Solothurn in the Middle Ages. Chapter in: Solothurn Contributions to the development of the city in the Middle Ages. ID Volume 9, Verlag der Fachvereine at Swiss Universities and Techniques, Zurich 1990, ISBN 3-7281-1613-0 .
- Johanna Strübin: Solothurn, St. Ursen Cathedral, the marbles on the altars and pulpit. In: Archeology and Monument Preservation in the Canton of Solothurn. 18, Solothurn 2013, pp. 130–144.
- Mane Hering-Mitgau: Treasure of the St. Ursen Cathedral in Solothurn. ( Swiss Art Guide, No. 753, Series 76). Ed. Society for Swiss Art History GSK. Bern 2004, ISBN 978-3-85782-753-2 .
- The interior restoration of the Cathedral of St. Urs and Viktor in Solothurn in 2011/12. Edited by the Office for Monument Preservation and Archeology (et al.). Contributions to archeology and preservation of monuments in the canton of Solothurn, No. 2. Office for preservation of monuments and archeology, Solothurn 2013.
Web links
- Cathedral of St. Urs and Viktor on the website of the Diocese of Basel
- Organ concerts in Solothurn
Individual evidence
- ↑ Sennhauser. P. 130 ff.
- ↑ Sennhauser. P. 168 ff.
- ↑ Author of The Medieval Art Monuments of the Canton Solothurn. Zurich 1893.
- ↑ Sennhauser. P. 96/98.
- ↑ Statement in: Aftershocks - A History of the Earthquakes in Switzerland. P. 47
- ↑ Sennhauser. P. 102.
- ↑ a b c d e Georg Carlen: St. Ursen Cathedral, Solothurn. Society for Swiss Art History GSK. Bern 1993, ISBN 3-85782-528-6 .
- ↑ Schwendimann. P. 118.
- ↑ Schwendimann. Pp. 118-119.
- ↑ Schwendimann. Pp. 129-130.
- ↑ Schwendimann. P. 136.
- ↑ Schwendimann. Pp. 120-123.
- ↑ Schwendimann. P. 125.
- ↑ Brochure for a fundraising collection for the interior renovation of the cathedral after the arson attack in 2011, ed. from the association prokathedrale-so.ch
- ↑ ibid
- ↑ Schwendimann. P. 400.
- ^ Swiss Radio DRS : Arson attack on St. Ursus Cathedral. Ring seen on January 4th, 2011
- ↑ Completion of the interior renovation and redesign of the choir room. On the website of the Diocese of Basel ( Memento from January 16, 2013 in the web archive archive.today )
- ↑ Cathedral arsonist is admitted to psychiatry. In: Tages-Anzeiger of September 28, 2011, accessed on September 30, 2012.
- ↑ Schwendimann. P. 106.
- ^ Judith Albert, Ueli Brauen, Gery Hofer, Doris Wälchli: L'ultima cena . In: Office for the Preservation of Monuments and Archeology (Ed.): The interior restoration of the St. Urs and Viktor Cathedral in Solothurn 2011/12 . Contributions to archeology and monument preservation in the canton of Solothurn, No. 2 . Solothurn 2013, p. 119 .
- ^ Paul Bissegger: Une dynastie d'artisans vaudois: les marbriers Doret (prédécesseurs de la marbrerie Rossier à Vevey). In: Revue suisse d'art et d'archéologie. 1980/2, pp. 97-122.
- ^ Organ music in Solothurn: www.orgelkonzertesolothurn.com. Retrieved February 6, 2018 .
- ↑ Cathedral Art Guide, p. 31.
- ↑ Description and photos on the Orgelbau Kuhn AG website, accessed on July 12, 2012.
- ↑ Information on the choir organ
- ↑ Cathedral Art Guide, p. 31
- ↑ Karl Walter: Bell customer. Pustet, Regensburg et al. 1913, p. 645.
- ↑ Schwendimann pp. 147-150
- ↑ Schwendimann p. 154
- ↑ The bells of St. Ursen are ringing like they did before. In: Solothurner Zeitung (online), from September 30, 2014
