e. After
her death, the countess became St. Genofeva, and is the patroness of the
parish church of St. Genevieve, which is a lofty structure with four
towers which rise high above the surrounding buildings in a fashion
which would be truly imposing were the church less overornamented in all
its parts.

[Illustration: GENERAL VIEW _of ANDERNACH_]

The actual foundation of the church dates from Carlovingian times, and a
tenth-century church is visibly incorporated into the present fabric,
but in the main the present structure is of the thirteenth century.

The facade, as is the case with most of the Romano-Byzantine churches on
the Rhine, is flanked by two fine towers, showing some slight traces of
the incoming ogival style.

Flanking the apside are two other towers, somewhat heavier and
thoroughly Romanesque in motive.

The southern doorway is surrounded by a series of remarkably elaborate
and excellent sculptures, showing delicate foliage, birds, and human
figures disposed after the best manner of the Romanesque. The northern
doorway is decorated in a similar manner, with an elaborate grouping of
two angels and the paschal lamb in the tympanum. To the right of this
portal is a curious coloured bas-relief set in the wall. It represents
the death of the Virgin, and dates from the early sixteenth century.

The interior is divided into three naves by two ranges of pillars,
square and very short. The arcades between the aisles and the nave are
rounded, but the vaulting is ogival.

The second range of pillars forms an arcade quite similar to the lower
one, but the pillars are of black marble. A modern balustrade, which has
been added, is frightful in its contrast with the more ancient
constructive details.

Above all are six windows on a side, which in plan and proportions
resemble those of the side aisles.

The choir is in effect a cul-de-four, and is lighted by five windows
placed rather high up. Below are a series of niches, in which are placed
modern statues, about as bad as can be imagined, even in these
degenerate architectural times.

The gallery behind the second tier of columns is known as the
_mannshaus_, being intended for the male portion of the congregation,
the women sitting below.

The pulpit came from the old abbey of Laach.

On the left of the grand nave is the tomb of a knight of Lahnstein, who
died in 1541.

There is another legend connected with Andernach which may well be
recounted here.