Monastery Church (Münsterschwarzach)
The monastery church (also Albert-Boßlet-Kirche , Christ-Erlöser-Kirche ) in Münsterschwarzach is today's church of the Benedictine monastery . It was built in 1935 and was built by Albert Boßlet .
Building history
Prehistory (until around 1841)
A women's monastery already existed in the area of today's Münsterschwarzach in the late 8th century. In 783 the nuns of the monastery built the first Carolingian monastery church, which was subordinated to Saints Dionysius, Martin of Tours and the founder of the order Benedict. A few decades after the consecration, however, the nuns left the premises and settled in Neumünster in Zurich .
In the year 877 monks from the nearby Steigerwald reached the Main and repopulated the empty buildings. Around 880 they began building a new church, as the liturgical requirements had changed in the meantime. Previously, a free-standing campanile next to the church was used as a bell tower, it has now been replaced by a crossing tower. It was not until the 11th century that the new rulers of the abbey, the bishops of Würzburg, forced the monks to build a new church in the Romanesque style .
The new church was consecrated in 1023. Under the abbot Egbert , who was later to be beatified, extensive changes were made until 1066. The result was a three-aisled pillar basilica with a large monk's crypt below the choir. In 1152 there were further innovations: A magnificent sarcophagus for the monastery founders Megingaud and his wife Imma now stood in the center of the nave. It served as a memorial.
After destruction, parts of the church had to be rebuilt in the 14th century. Previously, in 1230, two bell towers had been added to the existing building. The church now presented itself in the Gothic style . At the beginning of the 17th century it was planned to make the monastery church Baroque, but the Thirty Years' War thwarted all new acquisitions. The renovation of the interior only began under Abbot Augustin Voit . At this point in time, a complete rebuilding of the monastery church was not yet planned.
These plans changed in 1718: Abbot Januarius Schwab now pushed for a new construction of the church building in the Baroque style. After negotiating with Joseph Greissing , the construction work began under his successor, the young Balthasar Neumann . In 1727 the foundation stone for the new church was laid. The church was consecrated on September 8, 1743.
The interior of the Neumann Church was designed by the most famous painters of the time. Thus creating Giovanni Battista Tiepolo the side altarpiece of the " Adoration of the Magi ". With the secularization of 1803, the Münsterschwarzach Abbey was abolished and, after lengthy negotiations, the monastery was left to decay. In 1837 the northern church tower had collapsed, and by 1841 only piles of stones were left of the church.
Resettlement and building planning (until 1935)
In 1901 the Mission Benedictines of St. Ottilien settled their first daughter monastery in Ludwigsbad near Wipfeld in Lower Franconia . Shortly after the founding and construction of a church in St. Ludwig , the problem of the supply of agricultural goods arose for the monks. The location on the Main limited the monastic property around the new settlement and they began to look for alternative quarters.
They found what they were looking for in Münsterschwarzach, about 25 kilometers away. On July 31, 1913, the Mission Benedictines acquired the site of the former abbey as a so-called Ökonomiehof, and some monks from St. Ludwig settled the area. Just one year later, the monks built a new abbey on the farm and relocated their monastery to the old location on the Schwarzach . On April 14, 1914, Münsterschwarzach was repopulated with the solemn entry of the monks.
The convent buildings of the old monastery were slowly being rebuilt, interrupted by the effects of inflation at the end of the 1920s. Meanwhile, the monks came together for worship in two emergency churches on the abbey grounds. A first draft for a new church came from Brother Adalbert Modler and was dated July 3, 1926. The convent member planned to build a three-aisled wall pillar basilica with an indicated transept.
For the immediate following period, however, the project to build a new church remained only an idea, until 1931 only a design by Franz Blaser, who was also a member of the convent , has survived. It was not until April 27, 1931 that the abbey set up a church building commission , which, consisting of four fratres , was supposed to implement the plans. Again several internal drafts followed, including one by Adalbert Modler. On August 10, 1932, the commission was restructured and new, preliminary construction programs drawn up.
In the years 1932 to 1934, several internal documents were published in the monastery, which had the exact procedure for the design of the construction phase. It was quickly decided that the new church should take place through an artist competition, a so-called idea giving . During this time, more and more monks from the convent sent their own ideas to the building commission, so that Melber was able to identify a total of 16 convent-internal designs.
After unsolicited applications from various architects had been received since 1931 , including the one submitted by Albert Boßlet in July 1932, the tender competition began in the early summer of 1934. A total of ten architects applied and submitted their plans for the construction of a church by September 1934. The Munich architect Albert Boßlet, who was favored in advance, emerged from the competition.
Albert Boßlet's church building (until 1938)
After the contract with the architect had been signed in 1935, concrete plans for a church began. Similar to the previous building by Balthasar Neumann, the Boßlet Church should also be equipped with two front towers. The Munich architect designed two rectangular facade towers and a low presbytery in the east of the complex. However, the convention advocated a four-tower system, so that a design was also implemented for this. Abbot Plazidus Vogel , however, soon tended towards the solution with two towers and this first version was submitted for approval.
In March 1935, the planned church building was rejected by the Bavarian Ministry of Culture. The reason was that the massive building did not fit into its surroundings. Again Bosslet began to draw further designs. Now the four-tower variant prevailed, although it was initially drawn with two octagonal facade towers. In January 1936, the architect then presented the final model of the church.
Construction work on the building had already started in June 1935 and had been handed over to the Würzburg construction company Meixner. The procurement of the building materials had been in full swing since March 1934. Work began on the location of the north arm of the transept, on July 2, 1935, the foundations for the future east tower were excavated and the aisle walls on the north side were erected by July 16. The foundation stone for the church was laid on July 28, 1935.
In mid-October 1935, the north transept arm was completely completed, and by the end of the month the two east towers were already 16 m high. In December 1936 the construction work was stopped for the time being due to the weather, only to be resumed in January 1936 with the concreting of the eaves . At the beginning of April 1936, the first construction phase was completed with the completion of the eastern pair of towers and the celebration of the topping-out ceremony for the roof trusses .
Now the monastery church has been completed in a second construction phase. The concrete slab was pulled in over the foundation walls in April 1936, and the height of the tall nave walls was completed in July. After the towers on the west side were also completed by the beginning of August, only the chapel in the north of the western facade was completed. On August 29, 1936, the monks celebrated the topping-out ceremony for their new church: the shell of the church was completed.
In 1937, work began on the interior of the church. In July 1937, the seating for church services was completed for the visitors. The western gallery was built by the end of the year and at the beginning of 1938 the installation of the organ and the erection of the altar stones began. With a solemn consecration , the church was handed over to its destination on September 11, 1938 by the Würzburg bishop Matthias Ehrenfried .
Changes to the building (until today)
The first changes to the church were made in the mid-sixties. The Second Vatican Council had adopted far-reaching changes to the celebration of the liturgy, which should also be visible in the church itself. In 1965 the monastery workshops built a new people's altar and a new lectern. The design of the new furnishing elements was taken over in the churches in the area, slightly changed.
A comprehensive interior renovation of the entire monastery church followed in 1987. In 1988 the fiftieth anniversary of the consecration day was approaching and the monks wanted to present their church in a new way. From May 1987 the monastery-owned companies worked on the renovation of the rooms, and the sculptor Hubert Elsässer from Gröbenzell was hired to create new liturgical furnishings . On December 20, 1987, the new high altar was consecrated by Bishop Paul-Werner Scheele . The Bavarian State Office for the Preservation of Monuments classifies the church building as a monument under the monument number D-6-75-165-28.
description
Today the church presents itself as a three-aisled four-tower complex. A transept is completely missing. The building is geosted and is just closing on the choir side . There is a large vestibule to the west. The nave has eight bays and makes the church appear as a mixed type between a basilica , based on a medieval model, and a baroque pillar church. The length of the church is 88 m, the width 31 m, the height 26 m, while the east towers measure 52 m and the west towers 38 m.
West facade
The west facade is characterized by the two large, square towers. The area of the church is entered through a wide flight of stairs . Three large arched portals form the entrance to the monastery church. The facade is lit through a large round window, which, however, is the only light source at this point. It is filled by a Greek cross. The middle structure of the facade protrudes and thus forms edges that frame the portal zone.
Further structuring elements are merely the four, semi-sculptural figures of the four evangelists, which can be found below the window. They were represented with their symbolic beings and are therefore easy to identify. They were created by Valentin Kraus , who himself was part of the monastery community as a lay brother. The two-winged portals come from the workshops of the abbey and were created in 1938.
The building symbolizes the continuity of the settlement with heraldic symbols above the portals. The coat of arms of the abbey can be seen in the center, in the north the coat of arms of the re-founder Abbot Plazidus Vogel was attached, the lying deer looking to the right refers to its origin in the Bavarian town of Rehau . To the south is the coat of arms of Burkhard Utz from nearby Sommerach , whose origin is represented by the grapes.
Long sides and east facade
The north side of the monastery church, the only one free-standing and not surrounded by monastery buildings, forms the front of the long sides. To the north of the facade there is also the attached, so-called oratory of the monks. Ten, evenly spaced ox eyes in the Untergaden structure the page. Above it rise nine upper clad windows , which were designed as arched windows. The south side largely corresponds to its northern counterpart, instead of the additions to the oratory, the convent tracts connect to the building here.
Simultaneously the west facade also closes off the east facade. Again, the two rectangular towers are dividing elements on this page. A small balcony on the east tower repeats an element of the west facade. To the south, however, there is a tower with four clocks , which is the only one without bells. Again, only a large round window clears the east facade.
Interior design
After entering the church you will find yourself in the so-called porch. It is hardly exposed to light and forms a kind of passage to the rooms on the ground floor. In this way you can reach the Chapel of the Dead in the south, in the north you enter the staircase through which the western gallery can be entered. Three further portals, which were equipped with glass doors, form the transition to the nave of the monastery church.
The nave of the church is flat-roofed and its interior corresponds to the building type of the basilica. Seven arcades divide the wall surface. The sides of the side aisles form eight ancillary rooms, of which only the middle six are intended as side chapels . The other two offsides form the transition to other parts of the monastery. In the east there is the crypt as a lower church.
The monk choir is barrel vaulted and is located in the east of the nave. A large arch leads over to this component. Three arched wall recesses on each side accommodate the large organ works. The presbytery can be found further east . In the south it has the gallery for sick members of the community, while three arched positions reveal the adjoining parts of the lay brothers.
Furnishing
High altar
The idea of the high altar goes back unchanged to an idea of the architect Albert Boßlet. Since the architect drew a first draft in 1936, the monastery workshops under the direction of Maurus Kraus were able to start work on the new high altar just a few months later. Between 1936 and 1938 work was carried out on the monumental construction of the high altar before it was installed in the monastery church in 1938.
The figure of the crucified one forms the center of the altar. The body of the three-dimensional sculpture is 3.8 m high and was created from four blocks of Kirchheim marble. The representation corresponds to the type of the triumphant Christ, it stands on a τ-shaped bar. Medallions with Old Testament representations can be found in the wall niches next to the figure. A gold-plated and silver-plated tabernacle was placed in front of the figure of Christ.
In the course of the interior renovation in 1987, the old high altar was removed in order to take into account the innovations of the Council of 1965. The new altar was created by Hubert Elsässer and was designed like a rock. Central symbols of faith were worked in the middle of each page: three loaves of bread, a bunch of grapes, a sacrificed lamb and the lamb of God on the book with seven seals. The old tabernacle altar was placed on the north side of the choir arch.
Side altars
The side altars in the side oratorios in the nave come from very different creative periods. Interrupted by the outbreak of World War II , the furnishing of the side chapels dragged on for over 50 years. There are a total of twelve side altar reliefs in the oratorios. The substructures of the side altars were created by the monastery workshop between 1936 and 1938.
Maurus Kraus group of works
Münsterschwarzach's brother Maurus Kraus initially created the designs for the altars in the far east and the two side chapels to the west in the south. They were created from 1940 to 1947 and can be described as a group of works, although a four-year hiatus was triggered by the Second World War. All altars that were created after Maurus Kraus are made of light-colored Treuchtlinger marble .
The first completed altar was the representation of the order's founder Benedict of Nursia in 1940 . A frontal representation of the saint with a beard and nimbus decorates the altar. In his left hand Benedict is holding a book, while the right one is raised in a gesture of blessing. In April 1941, the construction of the Gregorian altar in the third eastern side chapel on the south side was completed. First the lay brother Nikanor Schießl began work on the work, after his early death Hans Weber from Würzburg completed the work.
After the National Socialist monastery tower, work on the side altar reliefs was suspended for a long time. It was not until May 1947 that the southern counterpart of the Benedict Altar was completed. It was consecrated to St. Scholastica , sister of the monastery founder. The sculpture was created by Fried Heuler from Würzburg . The Bonifatiuskapelle, west of the Scholastika, was also filled in 1947. Bonifaz Nüdling completed the work of his predecessor Maurus Kraus.
Work group Bonifaz Nüdling and Otto Sonnleitner
After the work that emerged from the drafts of Maurus Kraus, it took a few years again until his successor as head of the monastery workshops, Bonifaz Nüdling, completed the side altars of the church. The side altars were made between 1950 and 1961. From 1959 onwards, Nüdling increasingly called in the sculptor Otto Sonnleitner , who also completed the last work of this group in 1961.
First, the Maurus - Placidus -Altar was set up in the oratory to the west of the Benedict Altar. Nüdling had created the group of sculptures in 1950 together with his brother Friedgar Baumgärtner. A scene from the dialogues of Pope Gregory the Great is shown: Saint Maurus saves the young Placidus from drowning because God gave him the ability to walk on water.
The Johannes Chapel with the relief of John the Baptist was not completed by Nüdling until the end of June 1955. It connects to the west of the Maurus Placidus Chapel and was decorated with a sculpture of the Baptist. The chapel to the west is dedicated to the famous saints of the Würzburg diocese . The Würzburg bishop Adalbero , the monastery savior Egbert and the holy Makarius of Würzburg can be recognized in a sculpture that goes back to a joint work by Nüdling with Otto Sonnleitner .
The altar opposite is again a joint work by Nüdling and Sonnleitner. It is dedicated to the bishops Burkard (from Würzburg) and Willibald (from Eichstätt). Saint Martin of Tours is also venerated here. In September 1961 the last relief of this furnishing phase came into the church. Otto Sonnleitner created the depiction of the diocese patrons Kilian , Kolonat and Totnan in the fifth chapel on the south side.
Group of works by Lore Friedrich-Gronau
As the last group of works, Lore Friedrich-Gronau from Görlitz in Lower Silesia created the remaining altar reliefs in the western nave from 1981. It completed its work in 1982 and thus completed the furnishings of the monastery church. Friedrich-Gronau created high reliefs with stone cast plates. The fifth chapel on the north side shows the saints Walburga von Heidenheim , Thekla von Kitzingen and Lioba von Tauberbischofsheim and thus women who worked in the diocese of Würzburg.
The sixth, north side chapel, completed at the beginning of 1982, is dedicated to the missionaries. The bishops Liudger , the apostle of Friesland, Ansgar , missionary in Scandinavia, and St. Anselm of Canterbury are depicted. A relief with three other women was created to the south. The mystic Gertrud von Helfta can be seen on the left, while Mechthild von Hackeborn is shown on the right . In the middle is Hildegard von Bingen .
Epitaphs
On the way to the crypt is the high grave of the founder abbot Plazidus Vogel. The abbot died in exile in the monastery of the Redeemer Sisters in Lülsfeld , as the National Socialists had temporarily closed the abbey. It was only after the Second World War that the prelate's remains could be reburied. For this purpose Fried Heuler from Würzburg created a large reclining figure from Kirchheim marble in 1947.
Burkhard Utz († 1960), the second abbot after the re-establishment, is buried in the Scholastika Chapel (the easternmost chapel in the south aisle) . His tomb is marked with a marble slab in the floor; the life of the abbot is briefly described in Latin capital letters . In addition, a bronze plaque for the deceased was attached to the west wall of the oratory. It comes from the Munich artist Hans Mays and was made in 1961 based on designs by Otto Sonnleitner.
Abbot Bishop Joachim Ammann and Abbot Bonifaz Vogel († 2004) have their graves in the neighboring Bonifatius Chapel . Ammann headed the Mtwara diocese in Tanzania from 1932 to 1948 . His grave monument, a bronze plaque, was cast by the monastery's own forge. It was largely created by the then head of the forge, Brother Adelmar Dölger. In addition to the coat of arms of the bishop, his life data are summarized. The epitaph for Abbot Vogel, who headed the abbey from 1959 to 1982, dates back to the 21st century. The upright rectangular bronze plate was made in the abbey workshops. The inscription summarizes in a nutshell the life of the abbot.
The memorial complex from 1987, which was attached to the south wall of the Gregory Chapel, is dedicated to all monks who were buried in the monastery church and its predecessor buildings. The text was designed by the monk Rhabanus Erbacher . The task of the Benedictine monks can be found here in capital letters: IN GENERATIONEM ET GENERATIONEM ANNUNTIABIMUS LAUDEM TUAM (Latin: From generation to generation we will proclaim your praise).
organ
history
There is evidence of an organ in the Romanesque Walther Egbert Church in Münsterschwarzach as early as 1546. The instrument was damaged in the Schmalkaldic War and had to be replaced in 1581. The Heidingsfeld Matthias Eckstein was commissioned with the construction. In 1620 the instrument changed location and was extensively renovated by Martin Schonat from Kitzingen. For Balthasar Neumann's baroque monastery church, only a new choir organ was built , the old instrument remained on the west gallery.
After the repopulation, the new cathedral to be built needed a large organ, for which the Bonn organ building company Klais was commissioned . In 1937 the instrument was installed as Opus 873 in the choir of the monastery church. The National Socialist rulers succeeded in having the organ pipes made of zinc and a tin-lead alloy instead of the usual tin. In 1987 the organ was completely renovated.
Disposition
The instrument is housed in three niches on both sides of the choir room, so it corresponds to a choir organ. However, its size shows that it is also a room-filling main organ. The organ work comprises 60 registers (4,338 pipes), which are distributed over the four manual works and the pedal.
The pipes stand on electro-pneumatic cone chests . In 1987 a 96-fold electronic setter system was retrofitted, which was replaced in 2012 by a 3000-fold setter system with USB connection. The control panel of the typesetting system was integrated so inconspicuously into the gaming table by means of a sliding mechanism that its historical image remained unaffected.
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- Coupling : II / I, III / I, IV / I, III / I super (built through), IV / I sub, III / II, IV / II, III / II super (built through), IV / II sub, IV / III I / P, II / P, III / P, IV / P
- Playing aids : 3000-fold typesetting system , 3 free combinations (the third can be switched for manuals and pedals), hand registers can be switched on to all combinations, 2 free pedal combinations, automatic pedal switching, 3 fixed combinations (MF, F and T), general and individual switches for reeds , General and individual storage for manual 16 ′ and pedal 32 ′, crescendo roller with indicator, foot pistons (for: tongues off, all normal couplings, roller on, step switch for typesetting system, hand register, free combinations 1–3, split FC 3, tutti)
Bells
The current bell of the abbey church was cast after the Second World War - three small bells in 1947 and three large bells in 1950. A historical bell from 1361/62 is also in use, which was returned to Münsterschwarzach after the war. In 2011 the steel belfry was replaced by a new wooden belfry. In the course of the renovation work, a new Horenbell was cast, which relieves the historical bell from the 14th century and now calls for the prayers of the hours. The evangelist bell still rings on high public holidays as well as during Easter and Christmas time at midday and at Compline.
| No. | Surname | Casting year | Caster | Ø (cm) | Mass (kg) | Nominal | Inscription, note |
| 1 | Christ Salvator | 1950 | Karl Hamm, Regensburg | 189 | 3650 | a 0 | |
| 2 | St. Benedict | 1950 | Karl Hamm, Regensburg | 157 | 2100 | c 1 | |
| 3 | Ave Maria | 1950 | Karl Hamm, Regensburg | 140 | 1700 | d 1 | |
| 4th | St. Felizitas | 1947 | Karl Hamm, Regensburg | 120 | 1050 | e 1 | |
| 5 | St. Joseph | 1947 | Karl Hamm, Regensburg | 100 | 650 | g 1 | |
| 6th | St. Placidus | 1947 | Karl Hamm, Regensburg | 80 | 470 | a 1 | |
| 7th | Evangelists | 1361/62 | b 1 | Midday Shore, Compline (on public holidays, as well as during Easter and Christmas) | |||
| 8th | Egbert | 2012 | Albert Bachert, Karlsruhe | c 2 | Noon shore, Compline |
Further equipment
The two altars, which were to be erected to the right and left of the choir arch , were already completed at the beginning of 1938. Both simply had box people and only had an inscription in carved capital letters. After 1965 the tabernacles were replaced by simple pieces of silver. The southern altar has a statue of the Madonna , which was designed by the Münsterschwarzach convent member Franz Blaser.
The church has two ambones that were installed here as early as the 1930s. The southern of the two was decorated with the representation of the four occidental church fathers. In 1954 a wooden eagle statue with outstretched wings was added for the ambo on the north side. The stalls , made of veneered oak, were brought into the church between December 1936 and July 1937.
The abbot's chair, which was set up inside the church in 1940, is remarkable. It was already present in Albert Boßlet's designs and was finally created at the end of 1939 by Hammelburg carver Josef Ruppert. The chair was built in Romanesque style and cites its medieval predecessors. The confessionals of the church, created by the monastery workshop, corresponded with their wood-sightedness to the seating of the church.
literature
- Münsterschwarzach Abbey (Ed.): Benedictine abbey church Münsterschwarzach . Münsterschwarzach no year
- Hans Bauer: District of Kitzingen. An art and culture guide . Market wide 1993.
- Meinrad Dufner: Münsterschwarzach Abbey Church . Passau 1988.
- Clemens Hamburger: The Klais organ in the Münsterschwarzach abbey church . Münsterschwarzach no year
- Johannes Mahr: The abbey church Münsterschwarzach. To celebrate the 75th anniversary of the consecration of the church . Münsterschwarzach 2013.
- Patrick Melber: The abbey church at Münsterschwarzach. The main work of the architect Albert Boßlet (1880–1957) in the context of history. Two volumes . Münsterschwarzach 2013.
- Georg Dehio: Handbook of the German art monuments. Bavaria I: Franconia . Munich and Berlin 1999.
Web links
- Abbey website: Abbey Church
Individual evidence
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 37.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 57 f.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 117.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 196 f.
- ↑ Mahr, Johannes: The abbey church Münsterschwarzach . P. 10.
- ↑ Mahr, Johannes: The abbey church Münsterschwarzach . P. 11.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 352.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 353.
- ↑ Patrick Melber: The abbey church at Münsterschwarzach . P. 392.
- ↑ Geodata: Monument number D-6-75-165-28 , accessed on December 12, 2015.
- ↑ Münsterschwarzach Abbey (ed.): Benedictine abbey church Münsterschwarzach . P. 1.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 359.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 363.
- ↑ Meinrad Dufner: Münsterschwarzach Abbey Church . P. 15.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 366.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 394.
- ↑ Mahr, Johannes: The abbey church Münsterschwarzach . P. 23.
- ↑ Münsterschwarzach Abbey (ed.): Münsterschwarzach Abbey Church . P. 4.
- ↑ Mahr, Johannes: The abbey church Münsterschwarzach . P. 24 f.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 380.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 382.
- ↑ Mahr, Johannes: The abbey church Münsterschwarzach . P. 45.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . Pp. 388-391.
- ↑ Clemens Hamberger: The Klais organ in the Münsterschwarzach abbey church . P. 1.
- ↑ Clemens Hamberger: The Klais organ in the Münsterschwarzach abbey church . P. 3.
- ↑ Information on the disposition of the abbey organ (PDF; 195 kB)
- ↑ Website of the abbey: Die Abteikirche , accessed on December 12, 2015.
- ↑ Melber, Patrick: The abbey church at Münsterschwarzach . P. 385 f.
Coordinates: 49 ° 48 ′ 19.6 ″ N , 10 ° 13 ′ 51.4 ″ E