Muri Monastery Church
The St. Martin Monastery Church is the church building of the Muri Monastery , a former Benedictine abbey in Muri in the canton of Aargau ( Switzerland ). It is dedicated to Saint Martin of Tours and stands in the corner between the cloister and the east wing. The monastery and the monastery church are together a cultural asset of national importance .
The church was built in the Romanesque style in the middle of the 11th century , around three decades after the monastery was founded by the Habsburgs . The substructure of the two church towers , the walls of the transept and the choir and the crypt have been preserved from this period . Fires and looting in the 14th century resulted in great damage and led to a gradual adaptation of the building structure to the Gothic .
On behalf of Abbot Plazidus Zurlauben and according to plans by the builder Giovanni Battista Bettini, the nave was replaced by a baroque octagon between 1694 and 1697 . In this way, the largest central dome building in Switzerland was created. Between 1743 and 1750 the monastery church received most of its current furnishings in the Rococo style. After the abolition of the monastery in 1841, the church remained unused for almost a decade. From 1850, the Roman Catholic parish of Muri used it for church services, and in 1941 they owned the building. The monastery church has five organs (the oldest from 1630), which is why concerts are often held here.
history
Romanesque-Gothic predecessor building
According to the Acta Murensia , Ita von Lothringen and Radbot von Habsburg founded the monastery in 1027. Five years later, the construction of the monastery church began under Provost Reginbold, whereby an existing church had to be demolished and rebuilt elsewhere (today's parish church St. . Goar ). The construction work dragged on for three decades and was finished under Abbot Burkard. Rumold von Bonstetten , the Bishop of Constance , consecrated the church on October 11, 1064 in honor of Saint Martin of Tours . In addition to the main altar, the Acta Murensia mention a Marian and a Petrus altar in the transept , a Mauritius altar in the crypt and a Benedict altar . There was also a Johanneskapelle, which presumably stood outside the monastery church.
By using one step in the terrain, only a little excavation was required for the crypt. The approximately 20-meter-long lay house had three aisles, each divided by three arches. This was followed in the west by a single-storey vestibule with two church towers. This part served as a burial place, evidenced by a tombstone with the coat of arms of the Lenzburgers found in 1674 . To the east of the transept was the altar house, which was bent slightly to the east. The 11th century layout made a short and compact impression. It should have been a flat-roofed basilica without galleries . From the Romanesque church, the substructure of the towers, the walls of the transept and the choir and the crypt have been preserved.
According to the monastery chronicle written by Father Anselm Weissenbach between 1683 and 1693, fires in 1300 and 1363 caused great damage, as did looting by the Confederates during the Sempach War in 1386. For these reasons, the original furnishings of the monastery church were completely lost. Gradually, the exterior of the church changed with the addition of Gothic stylistic elements. Around the middle of the 15th century the crypt was used as a chapter house . In 1491 a roof turret, the "Güggelturm" , was built over the crossing . In 1509 Abbot Laurentius von Heidegg had an abbot's chapel added to the epistle side of the choir, and a year later a new vault was built over the altar house. In 1528 he commissioned a stone rood screen between the crossing and the Laienhaus.
Troops from Reformed Bern , who had arrived too late for the battle of Kappel , again caused great damage in an iconoclasm in mid-October 1531 ; They also destroyed the choir stalls and windows. Melchior, the suffragan bishop of Constance, rededicated the church on October 11th and 12th, 1532. Nine years later, three more altars were reconciled in the crypt, in the abbot's chapel and in front of the choir. Laurentius von Heidegg financed the repair of the church and the other monastery facilities partly from his private assets. In 1558 the north and south towers were renewed. In 1575 a new vestibule was built; the outer one of the two portals was preserved. From 1609 to 1810, the vestibule had an additional floor on which the monastery library was housed. For the relics of the catacomb saints Leontius and Benedikt Martyr, new altars were built in 1648, followed by a new high altar in 1673/74 . During the term of office of Abbot Hieronymus Troger , the interior of the monastery church (with the exception of the altar house) was decorated with stucco , in keeping with the taste of the time.
Baroque renovation
A few months after taking office, Abbot Plazidus Zurlauben presented the convent with an extensive renovation project in 1685. Several new convent buildings were built according to plans by the Vorarlberg master builder Caspar Moosbrugger . A sacristy and a new abbot's chapel were added to the monastery church between 1686 and 1690 , while the crypt received new corridors. Despite the various smaller construction measures, the building was still largely Romanesque; the monks found it cold and damp. At the end of May 1694, Abbot Plazidus presented a plan that included the partial reconstruction of the monastery church. According to the design of the Ticinese stucco maker Giovanni Battista Bettini, the nave was to be completely replaced by an octagon , the other parts of the building were to be preserved and renovated. Caspar Moosbrugger and Hieronymus Schmid, another master builder, came to Muri in November to provide expert opinions on Bettini's design. Finally, on December 6, 1694 , the Chapter gave its approval.
The construction management was held by Bettini, who also took over the stucco work. On April 10, 1695, the abbot blessed the cornerstone . In the second year of construction, the vestibule was demolished and built further to the west, while the towers were repaired. The rood screen was also torn down and replaced with a choir grille , and the altars of the catacomb saints were rebuilt. Francesco Antonio Giorgioli painted the dome frescoes and new altarpieces, while Johann Baptist Wickart carried out various sculptural works and local artists reworked or added to the existing furnishings. Nuncio Michelangelo Conti (who later became Pope Innocent XIII ) consecrated the monastery church on May 5, 1697. To make room for the octagon, most of the north wing of the cloister had to be demolished; In the remaining part, Abbot Plazidus had the Loreto Chapel built in 1698 . The costs for the renovation of the monastery church amounted to 27,565 guilders . The last decoration work was completed in 1700.
In the next decades some repairs followed in the remaining parts of the monastery church; for example, in 1718 Giorgioli overhauled the frescoes in the choir. Prince Abbot Gerold Haimb had almost the entire wooden interior renewed in the Rococo style between 1743 and 1750 . This work was under the direction of two South German masters, the Fürstenberg court carpenter Matthäus Baisch and the Allgäu painter Franz Joseph Spiegler . The altar house with the high altar and the abbot's throne, the transept altars, the four altars in the monks' choir, the two altars of the catacomb saints and the abbot's chapel were renewed. In addition, there was a new choir grille, a pulpit and an epitaph to commemorate the Habsburg family . The renewal of the outer facade, which was also planned, was not carried out. The expansion of the monastery church, which was planned in the 1790s according to plans by Valentin Lehmann, was also not implemented, as political events rolled over and the abbey lost a large part of its property. The building would have been integrated into a new monumental north wing with 46 axes. A church tower was also planned, the ground floor of which alone would have towered over the three floors of the monastery.
Further development
After civil war-like unrest in Freiamt , the Grand Council of the Canton of Aargau decided on January 13, 1841 to abolish all monasteries. The Muri monastery was also affected by this measure. As a result, the monastery church was initially closed and unused for several years. The first service took place again on Martin's Day (November 11th) 1850. In 1863 the Catholic parish of Muri recognized the monastery church as the second parish church next to St. Goar. For the time being, however, it remained in the possession of the canton, which at that time also administered the other monastery buildings and only initiated the most necessary repairs.
In a devastating fire on August 21, 1889, the east wing of the monastery burned down. The fire damaged the adjoining abbot's chapel so badly that it had to be demolished along with the sacristy below. A spread of the flames to the choir of the monastery church could be prevented, but the high altar suffered considerable damage. At the end of November 1928 pieces of stucco fell from the dome ceiling, which prompted the canton to carry out the first major interior restoration between 1929 and 1933. This was under the direction of the art historian Josef Zemp . Among other things, Giorgioli's frescoes were uncovered that had been painted over 100 years earlier by Father Leodegar Kretz. In addition, the east wall, which had soaked up a lot of water during the fire fighting work of 1889, was dehumidified. A plaque attached to the north tower commemorates Zemp's merits.
In the 1920s there were first considerations to hand over the monastery church to the Catholic parish or even to the newly founded Reformed parish. Finally, the Catholic parish and the canton signed a return agreement in 1939, which also included a renovation fund. The ceremonial handover took place on January 13, 1941, exactly 100 years after the monastery was closed. The first extensive exterior restoration of the monastery church took place between 1953 and 1957, a second in 1996/97. The interior has been restored in stages since 1961.
Exterior
The church is faces east and is located on a gently sloping terrain to the east and north terrace. In the west it is partially covered, in the south and east completely by other monastery buildings, while the distant view from the north is free. Architecturally, the church has grown together over the centuries into a unity of Romanesque, Gothic and Baroque, characterized by cubic rigor, rich structure and diverse gradations. The building consists mainly of white plastered quarry stone masonry . The corner pilasters , the walls , the tracery and cornices , as well as the front of the vestibule and the main portal are made of stone . The church building is 60 meters long, the transept 31 meters. A variety of wall openings structure the structure. The octagon has large thermal baths , the choir has narrow round-arched lights, the transept has a late Gothic tracery window and a Romanesque blind arcade .
The vestibule opens to the west in three profiled basket arches . They have consoles - keystones and rest on Tuscan columns ; the gusset fields are deepened. The main portal is the work of three masters: the reveals, niche and console are by Hans Dub (1575), the figures by Simon Bachmann (1650), the ornaments by Giovanni Battista Bettini (1696). The north and south towers on the west facade (both built in 1558) are 32 meters high up to the steep and concave curly eyelashes and have a footprint of 6.5 × 5.5 meters. The octagonal pointed helmets are tower ball and cross attached. The 25 meter high central dome is crowned by a sphere on which a trumpet angel stands. An eight-sided roof turret rises above the crossing of the transept, built in 1491 , which bears the Swiss German name "Güggelturm" because of the cock at the top .
inner space
The low confessional church can be reached through the main portal. On the sides are the foundations of the two church towers, between two Tuscan columns support a gallery with the great organ.
A large arch forms the transition from the confessional church to the central octagon . From there, three similar arches lead to the crossing in the east, the Leontius altar in the north and the Benedict altar in the south. There are also narrower openings to four small rooms in the diagonal axes. Inside are the Petrus Altar (in the northeast), the Descent from the Cross (in the southeast) and the entrances to the church towers (northwest and southwest). The diagonal rooms were created by adding the octagon to an approximately square floor plan. A continuous cornice runs over the round arcades of the main and diagonal axes, which are separated from one another by pilasters . The star vault of the dome is anchored at the eight corner points . This rests on the beams without a parapet or tambour .
The crossing (monk choir) follows east of the octagon. This is three steps higher and is largely dominated by the choir stalls . Narrow passages lead to the side arms, in which chapels have been set up for the Mother of God and St. Benedict of Nursia . A staircase leads from the Benedict Chapel in the south arm of the transept to the main floor of the convent wing, from the Chapel of Our Lady up to the Güggelturm. Six steps lead from the crossing into the almost square high choir (altar house), which is slightly angled on the east wall.
The 11th century crypt is located about two meters below the floor of the high choir and the transept . Six Attic columns of sandstone divide the hall into three naves, groin vault span the approximately square yokes . The capitals are unusually low, which was typical of the construction around 1030. Originally one entered the crypt from the crossing, today from the transept chapels through corridors. The corridors with the arched stairs were discovered in 1890 and exposed in 1933/34; In addition, the crypt received the three present-day arched windows on the east wall.
Graves
Under the floor of the octagon there are four graves that were last opened and examined in 1953. Three are shaft graves lying next to each other . The northern one contains the remains of a man and a child, the middle the skeleton of a woman. Based on consistent information in the Acta Murensia, in the "Spiegel des Erzhauses Österreich" by Johann Jakob Fugger and other records, it can be assumed with high probability that Radbot von Habsburg is buried in the northern grave and Ita von Lorraine in the middle grave . Ita's grave lies exactly in the central axis of the church, until the beginning of the 17th century a table grave marked the grave site. The southern grave contains skeletal fragments of several people who were originally buried under today's confessional church and whose graves were later kept. Presumably the following people are involved: Count Werner I (third son of Radbot), Count Albrecht I (second son of Radbot), Richenza von Lenzburg (daughter of Radbot), Regulinda (wife of Werner I), Count Otto II ( eldest son of Werner I.), Werner II. (son of Otto II.) and Heilwig von Kyburg (wife of Count Albrecht IV. and mother of King Rudolf I ). A little further to the west is the grave of Abbot Johann Jodok Singisen , who is considered the second founder of the monastery due to his numerous reforms.
Furnishing
Confession Church
A fresco painting depicting the entry of Christ into Jerusalem adorns the center of the ceiling. Thematically adapted to the function as a confessional room, there are smaller paintings on the left and right on the subjects of mercy and overcoming doubts, followed by pictures of the four great prophets Daniel , Isaiah , Ezekiel and Jeremiah . Another painting above the organ gallery shows the fall of Lucifer . The confessional church contains three carved confessional boxes (out of eight originally) by the local artist Hans Jost Müller as well as the ticket booth for the exhibitions in the adjacent cloister.
Octagon
The center of the dome is decorated with a round All Saints Day motif with 100 saints kneeling on clouds to pray. The dome wraps show Benedictine missionaries: Augustine of Canterbury , Ansgar , Adalbert , Willibrord , Gerhard , Rupert , Boniface and Leander . There are also eight paintings above the crown of the arch. They show the coat of arms of Abbot Plazidus Zurlauben, the multiplication of bread, the healing of the gout-frail, Petri fishing, a dial with angel and hourglass, the temple cleansing, the healing of the blind and the wedding in Cana.
The six altars, arranged concentrically in an octagon, have one- and two-story columned retables above straight or bulged canteens , which vary greatly in size and proportion. The largest and most stately are the Leontius altar in the north and the Benedict altar in the south side room, which contain the relics of two catacomb saints brought from Rome . The statues of the titular saints were taken over from the previous altars (created in 1696/97 by Johann Baptist Wickart), the remaining figures were created by Joseph Anton Hops four decades later. The upper leaf of the Leontius altar shows Mary of Victory , surrounded by the statues of Leontius and the Saints Peter , Paul , Ursus and Victor . On the top of the Benedict Altar, Joseph of Nazareth is depicted, surrounded by the statues of Benedict and Saint Anne and by four abbots.
In the north-east and south-east niches under the organ galleries are the Petrus Altar and the Deposition from the Cross. Here the columned retables rest on the expansive dining halls, while the figures created by Johann Michael Winterhalder are placed within the aedicula . The altarpiece of the Petrus altar shows the handing over of the keys to Peter, the figures represent Saints Anthony and Wendelin . The altarpiece of the Deposition from the Cross (with corresponding altarpiece) is decorated with figures of Saints Christopher and Jerome . Finally, on the crossing pillars to the left and right of the chancel arch are the Holy Cross and Michael Altars. The former has a tabernacle and figures of Saints Gregory and Magnus , while the main sheet depicts the crucified and the upper sheet Niklaus von Flüe . The latter has a half-length portrait of Our Lady and figures of Saints John the Baptist and Ursula ; the main leaf shows the archangel's victory over Lucifer, the top leaf shows Saint Gallus with the bear. The figures are attributed to Joseph Anton Hops, the pictures to Franz Joseph Spiegler.
The pulpit is attached to the wall between the Leontius and Petrus altars. It is richly decorated with rocaille , acanthus and stalactite shapes. Four carved figures represent the evangelists. The rectangular pulpit basket is pulled up in a funnel shape, of pulpit lid carries Volutenbügel . The counterpart to the pulpit is the donor memorial hanging on the wall between the Descent from the Cross and Benedict Altar. This epitaph recalls the founders of the monastery, Ita of Lorraine and Radbot of Habsburg, who are represented in the form of kneeling and praying wooden figures. The figures flank the coat of arms of the Habsburgs, above which there is an inscription panel. The canopy is crowned by an Austrian shield with a double-headed eagle .
Crossing (monk choir)
A choir grille separates the octagon from the adjacent crossing (monk choir). Johann Jakob Hoffner, the Constance city locksmith, created the lattice in 1745/46. Its middle part consists of a perspective keel arch , adjoined by two wings in the form of semi-arches. The grid is designed ornamentally with acanthus motifs, bandwork and rocaille work, whereby the patterns are arranged so that a three-dimensional impression is created. Fruit motifs and the coat of arms of Prince Abbot Gerold Haimb complete the crowning .
On the main fresco on the ceiling of the crossing, Christ and the four evangelists with their symbols sitting on clouds are depicted in a stucco frame in the form of a quatrefoil variant . Eight angels with the Arma Christi surround the picture. The four church fathers can be seen in stucco cartouches attached to the side of the crossing arches .
The two-part choir stalls in the monks' choir are the work of the carver and draftsman Simon Bachmann from Muri. He started work of his own accord in 1650 and finished it nine years later; in thanks he received a lifelong benefice . Almost all of the choir stalls are made of oak , exceptions are reliefs and coats of arms made of limewood . For the first time in Switzerland, Bachmann arranged the 44 seats in three rows; the seats for abbot, dean, subprior and senior are at right angles to the two longitudinal rows. Composite columns support cranked beams and a dense series of round and triangular gables. On the continuous pedestal there are 26 carved figures of saints (evangelists, apostles, doctors of the church and saints venerated in Muri). The fields between the columns are decorated with reliefs depicting the youth and passion of Christ. Above the doors and the aisles there are reliefs of the coats of arms of Abbots Dominikus Tschudi and Bonaventura Honegger as well as of the convent. Bachmann's choir stalls are among the most important Swiss sculptures of the 17th century.
Transept
Matthäus Baisch took over several figures carved by Johann Baptist Wickart in 1683/84 for the Mother of God Chapel in the north transept arm. They represent the saints Katharina , Barbara , Agatha and Margareta . Statues of the Mother of God and two angels come from Baisch himself. The main leaf shows the death of Mary, the upper leaf Christ with the cross on the throne of clouds. The main figures of the Benedict Chapel in the south transept arm also come from the earlier altar. They were made in 1660 by an anonymous artist and depict four Benedictine abbots. The death of Benedict of Nursia can be seen on the main sheet, and Our Lady with two abbots on the upper sheet. The motif of the ceiling painting in the Marienkapelle is the coronation of Mary , in the Benediktkapelle the apotheosis of Benedict of Nursia.
High choir
The high altar , stylistically at the transition from Régence to Rococo, takes up the entire east wall of the high choir. It has less of an effect due to its architecture (for example the columns are of different heights), but more due to its numerous gold-plated carvings that decorate the blue and white marbled links. The pedestals contain doors that once led to the sacristy and the abbot's chapel (both burned down in 1889). The main picture (main sheet) depicts Christ on the Mount of Olives , the top sheet depicts the Adoration of the Magi .
Statues stand on the pedestals, on the left Martin of Tours, on the right Benedict of Nursia; Joseph Anton Hops is believed to be the sculptor. The broad and flowing bandwork consists of acanthus and shell motifs. The carved coat of arms of Prince Abbot Gerold Haimb can be found between the main picture and the upper picture.
On the side walls of the high choir are the abbot's throne on the gospel side and the celebrant seats on the epistle side. The armchairs stand on low parquet steps in front of carved beams, which are divided into three by pilasters . There is also a canopy above the abbot's throne. A star vault with the coat of arms of Abbot Laurentius von Heidegg rises above the high choir.
Organs
The monastery church has five organs of different sizes. The "Great Organ" rises on the western gallery above the confessional church. It was built by Thomas Schott between 1619 and 1630 and has 34 registers . Regardless of the historical substance, Orgelbau Goll completely cleared the case in 1919/20 and changed the layout fundamentally, as the organ was considered out of date according to the zeitgeist of the time. The restorer Josef Brühlmann and the organ builder Bernhardt Edskes von Metzler Orgelbau reconstructed the large organ between 1965 and 1972, taking care to restore the original condition wherever possible.
In the niches on both sides of the opposite choir arch there are two further galleries with organs. To the right above the altar of the Descent from the Cross is the Epistle organ with 16 registers, built in 1743 by Joseph and Victor Ferdinand Bossart. In the same year, father and son Bossart also built the gospel organ with eight registers. Both organs are almost mirror images of their external appearance, the differences are marginal. There are also two transportable small organs in the choir, a positive and a shelf . These are faithful replicas of two small organs from the 17th and 18th centuries, which Bernhardt Edskes made in 1992.
Bells
Eleven bells hang in the towers of the monastery church . The jubilee or Leontius bell from 1750 is the largest. It is the only one in the north tower and weighs around 4,300 kg with a diameter of 190 cm. The reliefs show the Annunciation, St. Benedict, the coat of arms of Prince Abbot Gerold Haimb and St. Martin with a beggar. In 1907 it was cast in the H. Rüetschi foundry in Aarau . It is the only one not to be rung manually.
Six bells can be found in the south tower. The oldest, the angelus bell from 1551, weighs around 2200 kg with a diameter of 155 cm; the relief shows twice the coats of arms of the abbot Johann Christian von Grüth and the convent. Three more bells date from 1679. The Vespers bell (1100 kg, 125 cm) has a relief with St. Sebastian and the coat of arms of Abbot Hieronymus Troger. The storm and fire bell (550 kg, 95 cm) depicts St. Michael, surrounded by angels and the coat of arms of the abbot and the convent. An unnamed bell (130 kg, 67 cm) depicts the Saints Agatha, Katharina, Antonius and Hieronymus. The festival bell (200 kg, 65 cm) with the coat of arms of Prince Abbot Ambrosius Bloch, St. Wendelin and the Mother of God dates from 1750. The Brother Klausen bell from 1977 (360 kg) replaced the plague bell from 1827, which is now in the cloister.
The "Güggelturm" has two bells. The older one with a diameter of 96 cm was cast at the end of the 15th century. The younger (66 cm) dates from 1602; Depicted as a relief are the coat of arms of Abbot Johann Jodok Singisen and the convent, St. Martin, Our Lady and the crucified. Finally, two more bells hang in the ridge turrets of the two side chapels. The bell on the Leontius Chapel (46 cm) dates from 1647 and has reliefs of Saints Martin and Leontius as well as the Mother of God. The bell on the Benedict Chapel (43 cm) was cast in 1695, the coat of arms of Prince Abbot Plazidus Zurlauben is shown.
| No. | Surname | Weight | diameter | Casting year | Giesser, casting location | volume | place |
|---|---|---|---|---|---|---|---|
| 1 | Jubilee or Leontius bell | 4300 kg | 190 cm | 1907 (casting) | H. Rüetschi in Aarau | G ° | Main tower |
| 2 | Angelus bell | 2200 kg | 155 cm | 1551 | Peter V. Füssli, Zurich | cis' | |
| 3 | Vespers bell | 1100 kg | 125 cm | 1679 | Gebr. Rosier and Stephan Arnold, Lorraine | e ' | |
| 4th | Storm and fire bell | 550 kg | 95 cm | 1955 | H. Rüetschi in Aarau | G' | |
| 5 | Brother Klausen bell | 360 kg | ? | 1977 | H' | ||
| 6th | Festival bell | 200 kg | 65 cm | 1750 | Gebr. Rosier, Lorraine | cis '' | |
| 7th | without name | 130 kg | 67 cm | 1679 | Gebr. Rosier and Stephan Arnold, Lorraine | e '' | |
| I. | - | ? | 96 cm | End of the 15th century | ? | ? | Güggelturm |
| II | - | ? | 66 cm | 1602 | ? | ? | |
| I. | - | ? | 46 cm | ? | ? | ? | In the ridge on the Leontius Chapel |
| II | - | ? | 43 cm | ? | ? | ? | In the ridge on the Benedict Chapel |
literature
- Georg Germann: The art monuments of the canton Aargau . Ed .: Society for Swiss Art History . Volume V, Muri District. Birkhäuser, Basel 1967.
- Bruno Meier : The Muri Monastery, History and Present of the Benedictine Abbey . here + now , Baden 2011, ISBN 978-3-03919-215-1 .
- Dieter Meier: The organs of the monastery church Muri - history, description, organ builder . here + now, Baden 2010, ISBN 978-3-03919-201-4 .
- Peter Felder: The Muri Monastery . Ed .: Society for Swiss Art History. Swiss art guide, volume 692 . Bern 2001, ISBN 3-85782-692-4 .
Web links
- Anton Kottmann: Muri (monastery). In: Historical Lexicon of Switzerland .
- Murikultur Foundation
- Friends of the Muri Monastery Church
Individual evidence
- ↑ a b Georg Germann: The art monuments of the canton Aargau, district Muri. P. 223.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 223-226.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 229-230.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 231-232.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 233-234.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 237-240.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 240-241.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 87.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 244-245.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 89.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. Pp. 89-91.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 252-253.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 135.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 140.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. P. 234.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. Pp. 136-138.
- ↑ Peter Felder: The Muri Monastery. P. 12.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 255-256.
- ↑ Peter Felder: The Muri Monastery. P. 13.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 256-258.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 258-260.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 228-229.
- ↑ a b Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 17.
- ↑ The oldest burial place of the House of Habsburg and the donor monument in the octagon of the Muri monastery church. (PDF; 368 kB) (No longer available online.) Murikultur, archived from the original on July 26, 2014 ; Retrieved September 24, 2012 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 258, 263-264.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. P. 280.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 263-264.
- ↑ Peter Felder: The Muri Monastery. P. 18.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 274-276.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 272-274.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 271-272.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 279-280.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 289-291.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 280-285.
- ↑ Bruno Meier: The Muri Monastery, History and Present of the Benedictine Abbey. P. 76.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 270-271.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. P. 266.
- ↑ Klosterkirche Muri , free guide of the Association Friends of the Klosterkirche Muri , www.klosterkirchemuri.ch, 2014
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 267-270.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. Pp. 276-277.
- ^ Georg Germann: The art monuments of the canton of Aargau, district of Muri. P. 260.
- ↑ Dieter Meier: The organs of the monastery church Muri. Pp. 62-87.
- ↑ Dieter Meier: The organs of the monastery church Muri. Pp. 100-111.
- ↑ Dieter Meier: The organs of the monastery church Muri. Pp. 132-143.
- ↑ a b c Georg Germann: The art monuments of the canton Aargau, district Muri. Pp. 319-323.
- ↑ a b c bells. Friends of the Muri Monastery Church, accessed on September 21, 2012 .
Coordinates: 47 ° 16 '31.4 " N , 8 ° 20' 16.5" E ; CH1903: 668 045 / 236444