Stained Glass Window (St. Maria Magdalena, Münnerstadt)

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Church window in the choir area .

The stained glass windows of the Roman Catholic St. Maria Magdalena Church in Münnerstadt in the Lower Franconian district of Bad Kissingen date from the 15th century.

history

In the period of the 14th and 15th centuries, when the glass windows were made, Münnerstadt developed a strong urban self-confidence due to increasing prosperity. This was due to factors such as the granting of city rights in 1385 (after a suppressed uprising against the city lords, the Bishop of Würzburg and the Count of Henneberg), which gave the city residents a certain say, as well as the location of the important transport link favored between Nuremberg and Erfurt .

After the uprising of 1385, the artisans of Münnerstadt gained importance to the detriment of the patriciate. On the other hand, the Teutonic Order, which in the 13th century built the St. Maria Magdalena Church, lost its trust with the people of Münnerstadt and in the second half of the 15th century had to give the council of the administration of the foundations for the care of the church Hand over city. Instead, the foundation's finances were administered by the mayor or caretaker appointed by the council.

During this time the citizens initiated the construction of a new church choir - probably also as an expression of the city's prosperity. The literature gives different information about the origins of the choir. Eva Ulrich and Hartmut Krohm name a period from 1428 to 1446, with which the choir would have been built after the windows were built (around 1415/20 to 1440). Julia and Christian Hecht, on the other hand, take the view that the construction of the choir, which began in 1400, must have been completed around 1420. As a result, the year 1446 affixed to the south tower refers to a point in time when the tower reached its present height a long time after the choir was built.

The production of the glass windows extends over the relatively long period from around 1415 to around 1440, because in the Middle Ages the creation of stained glass windows did not go back to orders from the parishes and dioceses concerned, but to foundations by private individuals. The windows were created in two or three groups.

After the Reformation , the glass windows were so exposed to decay that the Münnerstadt pastor could no longer hold a church service because of the penetrating wind, rain and snow. The background to this was that the Reformation attacked the indulgence system and the donations for maintaining the stained glass windows declined. The renovation of the church from 1605 to 1612, initiated by Prince-Bishop Julius Echter von Mespelbrunn , meant an even bigger intervention. During the Council of Trent , the faithful were to have a good view of what was happening at the altar. The measures almost led to the destruction of the windows. From the end of the 16th to the 19th century, the medieval stained glass windows were on the one hand out of date and on the other hand the light inlet restricted by the brightly painted stained glass windows was perceived as a nuisance.

As a result of the return to medieval art, which came about primarily through the completion of Cologne Cathedral , which was perceived as a national task , several repairs to the windows took place from the 19th century. The first restoration work took place from 1818 to 1820 as well as in 1833/34 and 1851. The scope of these restorations seems to have been limited, as authors such as Josef Gutenäcker and Nikolaus Reininger expressed their desire for further repairs in their reports on the restoration.

More extensive renovations and additions to missing panes took place from 1898 to 1899 under the direction of the Royal Conservatory General in Munich . The works were carried out by numerous important Munich glass painting companies such as Carl de Bouché (who restored the Apostle window and the then independent Katharinen window), the Franz Mayer'sche Hofkunstanstalt (Elisabeth window, Passion window) and the Royal Bavarian court glass painting Franz Xaver Zettler (Magdalene window, which at that time Pentecost windows distributed over two windows). In the course of this restoration, the interrelationships between the images were restored and the panes in almost all windows - except for the window in the choir head, which is covered by the high altar - were moved from top to bottom.

The windows were saved from destruction during World War II by expanding them . However, the original tracery is no longer preserved.

During the next restoration work (1952/53) an attempt was made to take back the windows that were moved in the 19th century. The passion window, the Kilians fragments, the Catherine window and the Magdalene window were affected by the relocation.

Further restoration work took place in the early 1970s. They were made by the Linnich company Dr. H. Oidtmann, workshops for glass painting according to the specifications of the specialist Dr. Gottfried Frenzel executed. The current arrangement of the glass windows goes back to this work.

In 1974, under the direction of Dr. Gottfried Frenzel carried out another restoration of the Elisabeth window. In 1979/80 the glass windows were carefully cleaned.

window

Since the corresponding documents or invoices from the time the windows were created are no longer available, the workshops from which the windows originate can no longer be determined with certainty. Despite the prosperity and importance in the Middle Ages, Münnerstadt was too small to house its own glass painting workshop.

The current arrangement of the windows goes back to the restoration work in the early 1970s. Although these come closest to the original arrangement of the windows from all restorations, they cannot completely reconstruct the original impression of the windows.

The windows depict the apostles, scenes from the Passion of Christ and the Miracle of Pentecost, as well as scenes from the life of St. Maria Magdalena , St. Catherine of Alexandria and St. Kilian . The windows consist of individual elements with the dimensions 85 cm by 45 cm. Please note that the scenes in the respective window are arranged from left to right and from bottom to top. Some architectural elements and fragments are arranged between the scenic representations.

When looking from the nave , the windows are arranged from left to right in the following order:

Depot window

The depot window

In the early 1970s, those glass elements that could not be assigned to any window during the various restoration work were housed in the depot window.

From before 1914 to around 1970 the apostle window was located at the current position of the depot window, which has now been moved to the window directly opposite.

In the bottom line there is a fragment, the depiction of a figure who is probably a donor (although it is unknown which window he donated), a depiction of the crucifixion of Christ and the depiction of two young men.

The depiction of the crucifixion with the squat figures and the background decorated with tendrils suggests an origin in the style of the Parler family around 1400. Since this disk was created before the choir was built in the Münnerstadt parish church, it could originally have come from another church.

The second line shows Peter in the Garden of Gethsemane , a fragment, a Christ enthroned (or God the Father, with a fragment of a coronation of Mary) and the kiss of Judas.

The third line consists of fragments.

Pentecost window

The Pentecost window was created around 1425/30 or around 1440. Like the Apostle window, the Pentecost window is designed in a soft style , which is expressed in the integration of beautifully drawn figures - see for example the wide-flowing robes of the figures in the Apostle window - in a large architectural structure. This effect comes into its own in the apostle window much better than in the Pentecost window, whose figures press each other because of their multitude.

The Pentecost window was probably made in the same workshop as the Apostle window. This is supported by the perspective architecture of both windows and the similarly designed facial features. The perspective arrangement of scenes across the entire width of the window is rarely found in Germany. In this way, the creation time of the Pentecost window could also be narrowed down, since the creation time of the apostle window can also be set to 1425/30 through the donor's coat of arms.

The same architectural plan was used for the manufacture of the Kilians window as for the Vitus window in the St. Vitus Church in Iphofen, which was made by the same workshop . The assumption made by Heinrich Ragaller that there was a glass painting workshop in Würzburg that created both the Münnerstadt Pentecost window and the Iphofener St Vitus window is plausible, but cannot be definitively proven. The Pentecost window was already in its current position during the extensive restoration of 1898, which has not changed since then.

The Pentecost window shows the appearance of the risen Christ before the apostles (first two lines), several angels (second and seventh lines) as well as the Pentecost event and the dove of the Holy Spirit (lines four to six).

Elisabeth window

Elisabeth window, detail of the funeral procession

The Elisabeth window was built around 1415/20 or around 1420. Of the original 56 panes of the window, only 34 are preserved today.

Of the stained glass windows in the church, the Elisabeth window is probably the only one whose position has never changed.

The Elisabeth window shows St. Barbara (fragment), the crucifixion (fragment), the crowning of thorns and St. Ursula (fragment). The remaining representations show scenes from the life of St. Elisabeth : In the fifth line the farewell to her husband, the Landgrave, the miracle of roses, an indefinable scene and the news of the death of her husband, in the eighth line Elisabeth at the gate of the Franciscan monastery, praying Franciscans and Elisabeth nursing the sick and in line ten until twelve the transfer of the bones of St. Elisabeth.

The Elisabeth window was created in the style of the Parler family. This is expressed in the Elisabeth window in short, squat figures and the joy of storytelling, which is expressed in the description of anecdotal details. The fact that the influence of the Parler decreased significantly after 1400 is an indication of the early dating of the Elisabeth window.

A foundation of the Elisabeth window by the Teutonic Order is considered likely. There are clear indications that St. Elisabeth, an important patroness of the Teutonic Order, received a stained glass window and that two priests of the Teutonic Order are conspicuously depicted during the transfer of the bones. In addition, the German order got into financial difficulties in the course of the 15th century, which - as a further indication of the year 1420 as the year of origin - a later foundation is unlikely.

The most likely donor is Commander Ulrich von Nürnberg, about whom too little is known to support this thesis.

A no longer existing inscription on the Elisabeth window shows that the restoration from 1899 was carried out by the Franz Mayer'schen Hofkunstanstalt. At the place of the old inscription in the representation of the rose miracle, an inscription with the years 1899 and 1952 was attached after the Second World War . Possibly the coat of arms of the Teutonic Order was originally located here.

Passion or Christ window

The Passion or Christ Window was created around 1420 and 1430 respectively.

From before 1914 to around 1970 there was a depot window at the current position of the Passion Window (not identical to the current depot window). From 1953, fragments of Kilians were added to the current position of the Passion Window, which were previously in the knight's chapel of the church. Around 1970 the Kilians fragments came into today's Kilians and Katharinen window.

The Passion Window itself was at the position of today's Apostle window from before 1914 to 1953, and from 1953 to around 1970 at the position of today's Kilians and Katharinen window. The Passion Window was moved to its current location around 1970; From a liturgical point of view (direct view from the high altar) it can be assumed that this was also the historically original positioning of the Passion Window.

The Passion Window is designed in a soft style . However, it differs from the other white-style windows in the less pronounced perspective structure of the architectural structures and the division into simultaneous images, i.e. the simultaneous representation of two scenes that actually did not take place at the same time.

The window shows the interrogation of Christ by Pontius Pilate as well as his flagellation (lines one and two), the crowning of thorns and the carrying of the cross (lines three and four), the crucifixion and burial (lines five and six), the resurrection and the Noli me tangere- Scene (lines seven and eight), angels making music (line 9) as well as angels with instruments of suffering, Mary as Mother of Sorrows and Christ as Man of Sorrows in line ten, with Mother of Sorrows and Man of Sorrows extending from line ten to line eleven.

The left panel of the window is almost entirely new. Many architectural panes such as the Mount of Olives scene, the capture of Jesus and the kiss of Judas are copies; there are probably only some original remains from the Judas kiss in the depot window. These copies gave the window its present size in the early 1970s.

Kilians and Catherine windows

The Kilians window and the Katharinen window were originally independent. Both windows were made around 1430 (possibly also 1450). Both windows have stylistic similarities such as the lively composition and a fundamentally similar image structure. These similarities suggest that both windows were created in the same workshop. There is also a stylistic relationship between the Kilians and Katharinen windows and the Maria Magdalenen windows.

From before 1914 to 1953 the Magdalene window and from 1953 to around 1970 the Passion window were located at the position of today's Kilians and Katharinen windows.

In the lower part of the window (the first four lines) there are representations of St. Kilian , while the remaining representations of the window (lines six to twelve) depict St. Show Katharina .

Kilian's window

The first two lines show the sermon and baptism of St. Klian, two fragments as well as Kilian's dream (first line) and on the other hand Duke Gosbert with Kilian's murderers (second line). Lines three and four show Duchess Gailana with Kilian's murderers and Kilian's martyrdom (fourth line) and house a fragment of St. Kolonat and Totnan (third line).

The scenes and architectural structure prove that the Kilians window was originally independent. In this form it was very likely housed in the choir, because on the one hand it was too large for the nave and on the other hand the choir was probably the appropriate location for Kilian, the saint of the diocese of Würzburg .

During the first decades of the 15th century and thus during the creation of the Kilian window, the worship of St. Kilian to a considerable extent. For example, from 1401 visitors to the Würzburg Cathedral received a complete indulgence on Kilian's Day (July 8) . It is possible that the glass painter of the Kiliansfenst was also based in Würzburg . After the illustrations for the around 840 about St. The tradition “ Passio minor ” written by Kilian, the Münnerstadt Kiliansfenster belong to the oldest surviving Kilians cycles.

When the Nuremberg sculptor Veit Stoss revised the Magdalene retable created by Tilman Riemenschneider and provided it with pictures of the Kilian scene, among other things, he was also inspired by the depiction of the Kilian window. This is expressed, for example, in the depiction of some figures and the depiction of entire scenes such as the scene of Kilian's murder.

Around 1914, the remains of the Kilians window were located near the knight's chapel of the church and during the restoration in 1953 they were placed in a depot window at the position of today's Passion window (not identical to today's depot window). Around 1970 the Kilians fragments came into today's Kilians and Katharinen window.

Catherine window

In lines six to seven are the flagellation and imprisonment of St. Katharina - from 1336 to 1498 next to St. Maria Magdalena co-patroness of the church - to see. Lines eight and nine show St. Katharina in conversation with Emperor Maxentius and the bike miracle. In lines eleven and twelve are the beheading and burial of St. Katharina depicted. The heads shown in the wheel wonder scene are the heads of pagans. Eva Ulrich and Hartmut Krohm called these heads the heads of the philosophers who were converted by Katharina. Julia and Christian Hecht counter this by stating that although the philosophers died a fire, their hair and clothes were undamaged; therefore it would be logical that the heads represented are heads of pagans.

Around 1900 the Catherine window was restored by Carl de Bouché.

From before 1914 to 1953, the Katharinen window was at the position of today's Maria Magdalena window and from 1953 to around 1970 at the position of today's Apostle window. Around 1970 it came to its present position together with the remains of the Kilians window. Of the panes that originally stretched across the entire choir window, only 16 have survived today; Most of these, in turn, have been heavily revised or completely redesigned.

Mary Magdalene Window

The Maria Magdalenen window was created around 1440 (possibly also after 1450). It shows a stylistic similarity to the Kilians and Katharinen window.

Around 1900 the Maria Magdalenen window was restored by the Royal Bavarian Court Glass Painting Franz Xaver Zettler. In contrast to the restoration work by Carl de Bouché, for example, Zettler's restorative revisions can also be recognized as such.

From before 1914 to 1953 the Katharinen window was at the position of today's Maria Magdalenen window.

From before 1914 to 1953, the Maria Magdalenen window itself was at the position of today's Kilians and Katharinen window and was moved to its current location in 1953.

The first line of the window shows the apostle Paul , the crucifixion scene, a donor figure and the fragment of St. Bishop. Lines three and four show Maria Magdalena, to whom the Münnerstadt parish church is consecrated, in the desert and her elevation into heaven by the angels. The burial of the saints can be seen in lines six and seven.

The identification of the founder figure shown in the first line is associated with uncertainties. The coat of arms shown in the disc in question resembles the coat of arms of the noble family Castell , but the arrangement of colors shown is opposite to the arrangement of colors on the real coat of arms. If it is the coat of arms of the Castell family, the founder of the window was probably Wilhelm II zu Castell , who held the county of Castell at the time in question. There were no other bearers of the name Castell in the period in question. The authors Julia and Christian Hecht, however, consider it unlikely that a noble count donated a glass window for a choir built by the citizens, and suspect a member of the Schott family belonging to the ministry (or Schotten, Schatt, Schott von Schottenstein) as the donor of the window, probably one of the brothers Heinrich, Engelhard and Wilhelm.

Apostle window

The apostle window was created around 1425 or around 1430. Like the Pentecost window, the apostle window is designed in a soft style , which is expressed in the integration of beautifully drawn figures - see, for example, the wide-flowing robes of the figures in the apostle window - in a large architectural structure. This effect comes into its own in the apostle window much better than in the Pentecost window, whose figures press each other because of their multitude.

The apostle window was probably made in the same workshop as the Pentecost window. This is supported by the perspective architecture of both windows and the similarly designed facial features. The perspective arrangement of scenes across the entire width of the window is rarely found in Germany.

Around 1900 the window of the apostles was restored by Carl de Bouché, as evidenced by an inscription below the depiction of the Evangelist John.

At the position of today's Apostle Window was the Passion Window from before 1914 to 1953 and the Catherine Window from 1953 to around 1970.

The apostle window itself was at the position of the current depot window from before 1914 to around 1970.

The first two lines of the window show the apostles John , Paul , Peter and James the Elder with the figure of a donor. In line three you can see fragments and angels with tools of passion and a donor's coat of arms. Lines four and five show the apostles Bartholomäus , Andrew , Philip and Matthew, and lines six and seven show an unidentified apostle, the apostles Judas Thaddaeus and possibly Simon Zelotes and another unidentified apostle with two swords.

In the latter, on the right edge of the picture, apostle with the two swords, the apostle Thomas was already suspected. Julia and Christian Hecht consider this assignment to be unlikely. According to their argumentation, in contrast to the unknown apostle, the apostle Thomas is usually represented at the apostle window with a square and a beard. Furthermore, a representation with two swords instead of just one sword is unusual.

A donor's coat of arms can be seen in two places of the apostle window. This coat of arms is the coat of arms of the Münnerstadt patrician family Kohlhausen (also called Kolhausen, Kohlhusen or Kolhusen; sometimes also with the predicate "von").

literature

  • Rainer Kahsnitz (Hrsg.): Mainfränkische Glasmalerei around 1420. Windows from the churches in Münnerstadt and Iphofen. Exhibition in the Germanisches Nationalmuseum Nürnberg December 7, 1974 to January 27, 1975 (=  colored windows from German churches of the Middle Ages . Volume 1 ). Nuremberg 1974.
  • Georg Dehio : Handbuch der Deutschen Kunstdenkmäler: Handbuch der Deutschen Kunstdenkmäler, Bavaria I: Franconia: The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia: BD I , Deutscher Kunstverlag Munich Berlin, 2nd, reviewed and supplemented edition, 1999, pp. 643-646
  • Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (=  Henneberg Museum Münnerstadt . Volume 4 ). Schnell and Steiner, Regensburg 2001, ISBN 3-7954-1456-3 .
  • Eva Ulrich, Hartmut Krohm: The Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition)

Web links

Commons : Stained Glass Windows (St. Maria Magdalena, Münnerstadt)  - Collection of images

Individual evidence

  1. ↑ Eva Ulrich, Hartmut Krohm: Die Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition), p. 3
  2. ↑ a b Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 15
  3. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 19
  4. ↑ a b c d e f g Georg Dehio : Handbuch der deutschen Kunstdenkmäler: Handbuch der Deutschen Kunstdenkmäler, Bavaria I: Franconia: The administrative districts of Upper Franconia, Middle Franconia and Lower Franconia: BD I , Deutscher Kunstverlag Munich Berlin, 2nd, revised and supplemented edition, 1999, p. 645
  5. ↑ a b Nikolaus Reininger: Münnerstadt and its immediate surroundings depicted according to the oldest archival news, especially in its church, religious and school conditions. With 40 documents and a lithographed floor plan of the parish church together with the 3 oldest city coats of arms , Würzburg, 1852, p. 91
  6. ^ Josef Gut (t) enäcker: The stained glass in the parish church of Münnerstadt , in: Archive of the Historical Association for Lower Franconia VII , Volume 2, p. 186
  7. ↑ Josef Gut (t) enäcker: The stained glass in the parish church of Münnerstadt , in: Archive of the Historical Association for Lower Franconia VII , Volume 2, p. 187
  8. ↑ a b c d e f g Heinrich Ragaller: The glass paintings of the 15th and 16th centuries in Mainfranken , Phil Diss., Würzburg, 1955, p. 2
  9. ↑ Eric Englert (Red.): 300 years of Augustinians in the parish Maria Magdalena in Münnerstadt , Festschrift for the anniversary, Münnerstadt, 1985, p. 49
  10. ↑ Heinrich Ragaller: The glass paintings from the 15th and 16th centuries in Franconia , Phil Diss, Würzburg, 1955, p.1.
  11. ↑ a b c d Rainer Kahsnitz (scientific Aust. Management): Mainfränkische Glasmalerei around 1420 . Windows from the churches in Münnerstadt and Iphofen , cat. Germanisches Nationalmuseum 1974/1975 (= colored windows from German churches of the Middle Ages 1), Nuremberg, 1974, p. 24
  12. ↑ a b c Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 19
  13. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 26
  14. ↑ Heinrich Ragaller: The glass paintings from the 15th and 16th centuries in Franconia , Phil Diss, Würzburg, 1955, page 8, Note 1..
  15. ↑ a b c d e f g h i Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 18
  16. ↑ a b c d e f g h i Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 70–73
  17. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 28–29
  18. ↑ a b c d e f Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 20
  19. ↑ a b c Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 28
  20. ^ A b c Eva Ulrich, Hartmut Krohm: Die Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition), p. 25
  21. ↑ a b Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 20 and 28
  22. ↑ a b Elisabeth Witzleben: Color miracles of German glass painting from the Middle Ages , Augsburg, 1965, p. 53
  23. ↑ a b c Heinrich Ragaller: The glass paintings of the 15th and 16th centuries in Mainfranken , Phil Diss., Würzburg, 1955, pp. 165–186
  24. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 29–33
  25. ↑ a b Rainer Kahsnitz (scientific Aust. Management): Mainfränkische Glasmalerei around 1420 . Windows from the churches in Münnerstadt and Iphofen , cat. Germanisches Nationalmuseum 1974/1975 (= colored windows from German churches of the Middle Ages 1), Nuremberg, 1974, p. 32
  26. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 19-20
  27. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 20 and 29
  28. ^ Ekhard Schöffler: The German order coming Münnerstadt. Studies on property, economic and personal history (= sources and study on the history of the Teutonic Order 45, plus Phil. Diss. Würzburg), Marburg, 1991, p. 302
  29. ^ Ekhard Schöffler: The German order coming Münnerstadt. Studies on property, economic and personal history (= sources and study on the history of the Teutonic Order 45, plus Phil. Diss. Würzburg), Marburg, 1991, p. 332
  30. ^ Rainer Kahsnitz (scientific Aust. Management): Mainfränkische Glasmalerei around 1420 . Windows from the churches in Münnerstadt and Iphofen , cat. Germanisches Nationalmuseum 1974/1975 (= colored windows from German churches of the Middle Ages 1), Nuremberg, 1974, p. 23 and p. 47, note 9
  31. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 33–36
  32. ↑ a b Heinrich Ragaller: The glass paintings from the 15th and 16th centuries in Franconia , Phil Diss, Würzburg, 1955, p. 20
  33. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 34
  34. ↑ Heinrich Ragaller: The glass paintings from the 15th and 16th centuries in Franconia , Phil Diss, Würzburg, 1955, p. 9
  35. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 33
  36. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 36–45
  37. ↑ a b c Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 42
  38. ^ A b Eva Ulrich, Hartmut Krohm: Die Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition), p. 28
  39. ^ Friedrich Merzbacher : On the legal history and folklore of the Würzburger Kiliansverehrung , in: Herbipolis Jubilans. 1200 years of the Diocese of Würzburg. Festschrift for the secular celebration of the collection of the Kilian's relics (= Würzburg Diocesan History Pages 14/15) , Würzburg 1952, p. 30
  40. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 37
  41. ^ The Riemenschneider altar in the parish church of St. Maria Magdalena Münnerstadt , Verlag Schnell & Steiner GmbH Regensburg, 5th revised edition: 2010, p. 24
  42. ^ A b Eva Ulrich, Hartmut Krohm: Die Magdalenenkirche in Münnerstadt , Karl Robert Langewiesche successor, Hans Köster Verlagsbuchhandlung KG, Königstein im Taunus, 2004 (5th edition), p. 38
  43. ^ A b Karl Gröber (arrangement): The art monuments of Lower Franconia and Aschaffenburg, Book X , City of Bad Kissingen and District Office Kissingen (= The art monuments of the Kingdom of Bavaria 3/10), Munich 1914, p. 164
  44. ^ Alfred Wendehorst: The archdeaconate Münnerstadt at the end of the Middle Ages , in: Würzburger Diözesangeschichtblätter 23 (1961) , p. 30
  45. ↑ a b Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 44, note 100
  46. ↑ Heinrich Ragaller: The glass paintings from the 15th and 16th centuries in Franconia , Phil Diss, Würzburg, 1955, pp 68-69.
  47. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 46–50
  48. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 46
  49. ↑ a b Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 47
  50. ↑ See the family tree of the Castell family in: Castell. Contributions to the culture and history of house and rule (= Neujahrsblätter 24) , Würzburg 1952
  51. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 47–48
  52. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 50–58
  53. ↑ Elisabeth von Witzleben: Color miracles of German glass painting from the Middle Ages . Augsburg, 1965, p. 96
  54. ^ Karl Gröber (arrangement): The art monuments of Lower Franconia and Aschaffenburg, Book X , City of Bad Kissingen and District Office Kissingen (= The art monuments of the Kingdom of Bavaria 3/10), Munich 1914, p. 165
  55. ↑ Elisabeth von Witzleben: Color miracles of German glass painting from the Middle Ages . Augsburg, 1965, p. 191, fig. 42
  56. ↑ a b c Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, p. 55
  57. ↑ Julia Hecht, Christian Hecht: Masterpieces of medieval glass painting in the parish church of St. Maria Magdalena in Münnerstadt (= Henneberg Museum Münnerstadt. Volume 4). Schnell and Steiner, Regensburg 2001, pp. 55–58