Ludwig Altar (Saarlouis)

from Wikipedia, the free encyclopedia
Church of St. Ludwig with Marienbrunnen on the Great Market in Saarlouis
St. Ludwig (Saarlouis), neo-Gothic winged altar by Hans Steinlein when open

The Saarlouis Ludwig Altar is a neo-Gothic image in the parish church of St. Ludwig (Saarlouis) on the Great Market in the Saarland district town of Saarlouis .

Sculptor Hans Steinlein

The neo -late Gothic high altar of the Saarlouis parish church St. Ludwig was created in 1910 on the occasion of the 25th parish anniversary of the dean Alexander Subtil by the workshop of the Eltville am Rhein sculptor Hans Steinlein (* 1872 in Trier, † 1958). Steinlein came from a Wagner family in Trier and completed an apprenticeship in a ceramic workshop in Trier from 1886 . On the subsequent wandering through Germany he came to Ravensburg , where he acquired knowledge of working with stone and wood as an assistant in a sculptor's studio. Steinlein is said to have come into contact with the founder of the Beuron art school , Desiderius Lenz . In the 1890s Steinlein worked for the sculptor Caspar Weis in Frankfurt am Main . In 1899 Steinlein settled in Eltville as a freelance artist. Due to the good order book for equipping churches with religious sculptures, he employed a large number of stonemasons, gilders and carpenters as assistants. Steinlein often worked together with the Mainz cathedral builder Ludwig Becker in furnishing churches. Due to the destruction of churches in World War II and the anti-historicist "iconoclasm" of the 1950s and 1960s, only a few sculptures of Steinlein 's works have survived.

Steinlein also created numerous altars and sculptures in the vicinity of Saarlouis, e.g. B. in the churches of St. Andreas in Reimsbach , St. Martin in Schwalbach , St. Leodegar in Düppenweiler or in the Herz-Jesu-Kirche in Landsweiler-Reden . For the Wendalinus basilica in St. Wendel , the Steinlein workshop created the portal relief at the fruit market "St. Wendelin and St. Matthias the Mother of God with the baby Jesus" and a depiction of the Last Judgment on the tympanum of the portal of the southern vestibule.

Destruction and restoration of the altar

St. Ludwig (Saarlouis), high altar in the closed state during Lent
Neuwied, St. Matthias, interior with a view of the high altar

With the demolition of the neo-Gothic nave of St. Ludwig in Saarlouis in the 1960s, numerous parts of the altar as well as the rich, tracery adorned neo-late Gothic communion bench were initially lost. Large parts were stored in basement rooms, some parts were taken possession of by people, the blasting was partially destroyed, some parts were donated to the church of St. Matthias in Neuwied . Here they were placed in a freely varied arrangement on an existing neo-Gothic high altar. The basic construction of the altar was stored in the old rectory (today Dechant-Unkel-Platz) from the Baroque period until it was demolished. When it was time to close down the traditional building and the baroque inventory was cannibalized, the basic construction of the altar structure and the frame were given as a gift to a Saarwellingen private person, who made bookshelves out of them. Thanks to an extensive restoration of traditional parts and a reconstruction of the entire structure in the years 1981–1985 on the initiative of parishioner Dieter Zell in collaboration with Pastor Anton Heidger, Hans Steinlein’s altar was set up again in the choir of today's church at Christmas 1984 and then completed. The restoration work was carried out by the Saarwellingen-based company Kurt Mettler in cooperation with Polish sculptors , carvers , barrel painters and gilders . Complete reconstructions are the figures of St. Elisabeth, St. Francis as well as those of the two princes of the apostles Peter and Paul. The carpentry work in Saarwellingen was headed by the Silesian carpenter Werner Kroll and, after the Mettler company had to file for bankruptcy, completed it in his Fraulauterner workshop.

The erection of the neo-Gothic altar took place against the concerns of the episcopal diocesan master builder Alois Peitz , who wanted to preserve Böhm's idea of ​​space in its pure form. Gottfried Böhm initially had no objection to the installation of the neo-Gothic altar in his building, but after discussions with Peitz he finally favored his own altar design in the form of a tree of life including parts of the Steinlein altar as a compromise. The Trier diocesan conservator Franz Ronig spoke out in favor of the reconstruction of the neo-Gothic altar.

For the erection of the reconstructed high altar, the Böhm Altar Island, around which all the church seats had previously been clustered, was extended to an "altar tongue", so that the Böhm construction with its concentric focus now has a classic directionality with the character of a path. The stone altar table made of light Vosges sandstone with black marble columns is a complete reconstruction. Due to the bankruptcy of the Saarwellingen company Mettler, part of the climbing frame of the frame of the far right wing could no longer be completed. Mettler's cost estimate was DM 220,000. Ultimately, however, the reconstruction cost around 320,000 DM.

Since 1990 the high altar has again been flanked by two magnificent candelabra that originally served to illuminate the Steinlein altar. The candlesticks were given to the Municipal Museum after the nave of Müller was demolished. They have been extensively restored by a parishioner and given back to the parish.

In a letter dated February 12, 2001, architect Gottfried Böhm commented on the installation of the neo-Gothic high altar as follows:

"I find the installation of the neo-Gothic altar with the large retable particularly beautiful, which, in my opinion, fits perfectly into the room regardless of the details in overall form and structure."

Topic and structure

St. Ludwig (Saarlouis), expositorium niche of the high altar with adoring angels and the dove of the Holy Spirit in the canopy
St. Ludwig (Saarlouis), tabernacle doors with the representation of the English greeting

The high altar thematizes the life of the canonized King Louis IX. from France. In the wings of the altar, important scenes from the life of St. Louis of France are depicted in carved reliefs. St. Louis is one of the most important European monarchs of the European Middle Ages. His rule was remembered in France as a golden age ( le siècle d'or de St. Louis ) in which the country reached an economic as well as political climax. Ludwig was the leader of two crusades and has been since the death of the Roman-German Emperor Friedrich. II was regarded as primus inter pares among the European rulers , whose moral integrity made him an arbiter of their disputes.

Ludwig's actions as a person and a king were committed to a deep Christian piety and love of God. His life falls in the time of the poverty movement initiated by Dominic and Francis of Assisi in the late High Middle Ages , which called Christianity for a spiritual renewal.

In medieval lists of kings, Ludwig was also given the nickname " Prud'homme ", alluding to his lifestyle, which corresponded to the so-called prud'homie , which was a mixture of moderation, reason, bravery and knightly courtesy. Occasionally ridiculed by contemporaries as "Monk King" Ludwig got his own lifetime the reputation of holiness, with his canonization in 1297 by Pope Boniface VIII. Was also recognized by the church leadership. Since then, Ludwig has been regarded as the ideal type of Christian ruler and knight .

The center of the pyramidal winged altar of St. Ludwig in Saarlouis is the tabernacle . The preaching of the Archangel Gabriel to the Virgin Mary , as the origin of the incarnation of Jesus Christ, is engraved on its gilded double doors . On the left is the heavenly messenger and on the right the Virgin Mary. The pointing of the Archangel Gabriel on the tabernacle door points to the crucified Christ in the exposition niche and thus visualizes the determination of the Messiah Jesus formulated in the Gospel of Luke ( Lk 1.32-33  EU ):

“He will be great and will be called the Son of the Most High. The Lord God will give him the throne of his father David. He will rule over the house of Jacob forever and his rule will never end. "

The incarnation of Jesus through Mary, the descent of God into the womb of the virgin, corresponds to the descent of God on the altar in the sacrificial mass, the formation of Jesus Christ in the Eucharistic event, according to the iconographic-theological conception.

After the dismantling of the Steinlein high altar, the tabernacle was built into a tabernacle stele made of brick by Gottfried Böhm. This stele in the style of a modern sacrament house was removed in the wake of the reconstruction of the Steinlein altar.

In the predella zone on both sides of the tabernacle the busts of the four evangelists Matthew , Mark , Luke and John can be seen in carved reliefs as witnesses of the Incarnation as well as the life, death and resurrection of Jesus.

Above the tabernacle, the sculptor Hans Steinlein created a polygonal exposition niche to accommodate the altar cross or the monstrance . The niche is flanked by adoring angels with arms crossed over the chest or hands folded. The dove of the Holy Spirit hovers in the niche canopy . In the central tower of the high altar rising above it, Saint Louis of France in adoration of the Sacred Heart of Jesus , the symbol of divine love, is a fully sculptural group of sculptures under a cantilevered neo-late Gothic canopy, which with its interwoven, crab-adorned eyelashes is reminiscent of the shape of a crown of thorns , set.

The dogmatic background of the presentation was the introduction of the Solemnity of the Sacred Heart of Jesus by Pope Pius IX. in 1856 for the universal Church. In 1899 Pope Leo XIII consecrated in the encyclical Annum sacrum the whole world to the Sacred Heart of Jesus. In the encyclical Leo XIII expresses himself. to the royal authority of Jesus over heaven and earth and recommends his Sacred Heart as an object of pious devotion. The subordination of the secular power of King Louis IX. under the omnipotence of Jesus and the adoration of the Sacred Heart as a symbol of the unlimited love of Christ by the canonized French ruler in the altar depiction of Steinlein thus completely corresponds to the current theology of the time.

  • St. Peter, former facade statue of the baroque Ludwigskirche Saarlouis, light sandstone, around 1700, height 1.86 m

  • St. Paul, former facade statue of the baroque Ludwigskirche Saarlouis, light sandstone, around 1700, height 1.86 m

  • Neo-Gothic winged altar, St. Francis

  • Neo-Gothic winged altar, St. Elisabeth

  • St. Ludwig (Saarlouis), neo-Gothic winged altar, altar crack

The central tower of the high altar is flanked by rich bursts from which four lower fial towers rise. The two inner Fialtürme conceal the figures of the two princes of the apostles Simon Petrus (right) and Paulus von Tarsus (left) under canopies and thus refer to the two stone niche statues of the former baroque facade of St. Ludwig, which are today inside the Böhm church building to the left and right of the central church portal. The placement of the two apostles Peter and Paul can be explained by the second patronage of the Ludwig Church. The Wallerfanger Church, which was destroyed in 1688 on the orders of King Louis XIV , was the patronage of the princes of the apostles. When the city of Saarlouis was founded, the Wallerfang patronage was also transferred to the new parish church of St. Ludwig.

The two outer Fialtürme of the high altar, which rise above the pivot point of the swing-wing, include statues of contemporaries of St. Louis of France, Elizabeth of Hungary (left) and Francis of Assisi (right), which is also like that in the so-called Imitation of Christ their Tried to realize faith. Both figures of saints refer to the Saarlouis branch of the Franciscan Sisters of Waldbreitbach (St. Elisabeth Clinic). When open, the two figures of Elisabeth and Francis are covered by the outer altar wings.

Wing reliefs

The high altar has six reliefs from the life of St. Ludwig under richly carved and gilded tendrils. When closed, the viewer sees two wings; when open, four wings are visible.

The King's Anointing of Louis in Reims

Wing relief "The King's Anointing of Louis in Reims"

When closed, the viewer sees in the left wing (inscription: "St. Ludwig is anointed to be king") the anointing of twelve-year-old Ludwig as King of France. The childlike king kneels with bowed head in a golden halo and with hands clasped in prayer on a padded knee stool in order to be installed in the office of king by the bishop of Soissons in Reims through the anointing with the holy anointing oil. Two secular and two spiritual dignitaries assist the ordinance and hold regalia. An acolyte carries a burning candle.

This anointing ceremony had a long tradition , possibly dating back to the Frankish times. In the cathedral of Reims , the coronation church of the French kings , a vial with "holy anointing oil" was kept until the revolution , which according to legend a dove brought from heaven to earth for the baptism of the Merovingian king Clovis I in the year 496 or 499 should. In fact, it was probably only the Carolingian Pippin III. who deposed the last Merovingian, anointed King of the Franks in 751 . This ecclesiastical ritual was intended to confer royal salvation on Pippin , which until then could only be passed on to the ruling dynasty through blood law .

It has been proven that the anointing took place at all royal coronations in French history since the time of the early Capetians . Before the Archbishop of Reims presented the king to be crowned with the actual regal insignia such as crown , scepter and imperial sword , he put a few drops of this holy oil on his chest with his right thumb, which had previously been mixed with chrism on a paten . He spoke the ritual formula “Ungo te in Regem” (“I anoint you to be king”). The amalgamation of anointing oil and chrism underlined the double sacredness of the French king and referred to the Old Testament anointing of Saul and David as king of Israel by the prophet Samuel ( 1 Sam 10.1  EU ). The ritual, which was also performed on David's successors, was intended to give the ruler divine grace and a prominent status among men, but also to show him that he in turn owes his power to God .

Louis was anointed and crowned king on November 29, 1226 in Reims by the Bishop of Soissons , Jacques de Bazoches . A traditional consecration by the Archbishop of Reims had to be dispensed with, as this church office had been vacant four months earlier since the death of Archbishop Guillaume de Joinville . The low age of the king brought the kingship into a critical situation, because the feudal nobility of France had lost a lot of power under the rule of Ludwig's grandfather Philip II August and father Louis VIII the Lion († 1226), which is why it was already under his father had formed a broad opposition of the vassals to the crown. In relation to the question of guardianship and regency for the young king, this opposition tried to strengthen their interests and positions vis-à-vis the crown by confirming the legality of the temporary takeover of government from 1226 to 1235 until Ludwig's mother, Blanka of Castile, came of age († 1252), as a woman and also a foreigner, disputed.

Ludwig takes the cross

Wing relief "St. Ludwig implores the blessing before the crusade"

When closed, the viewer sees in the right wing (inscription: "St. Ludwig implores the blessing before the crusade") the beginning of the crusade ( Sixth Crusade ) of 1244 by King Ludwig of France. Ludwig, in a purple robe with a royal crown and a golden cloak, kneels before a bishop with an assisting monk who blesses him. A knight in armor with a large shield kneels behind the king , on whose silver surface a red cross can be seen as a symbol of the crusade. Two other crusaders carry swords and lances. The three knights depicted could mean Ludwig's brothers Robert von Artois (1216–1250), Alfons von Poitiers (1220–1271) and Karl von Anjou (1227–1285).

While suffering from malaria that brought Ludwig to the brink of death in 1244, he had vowed to God that if he should recover, he would lead a crusade. Ludwig had long before cherished the desire to liberate the Holy Land from Islam . As early as 1239, Ludwig had supported the so-called ( Crusade of the Barons ) under Theobald von Champagne with monetary payments. Despite many difficulties, this armed conflict brought about considerable Christian territorial gains by 1241, but a large part of it was lost again in 1244 and the defeat in the Battle of La Forbie (October 17th to 18th, 1244) brought the Crusader states into great distress . That is why Ludwig, who had been brought up piously and tried to fulfill his Christian duty with the utmost conscientiousness, now considered a move to Outremer to be his most urgent task.

After his recovery, which the king attributed to God's help, Ludwig finally took great care in preparing for an armed pilgrimage . He obtained confirmation of his vows from Pope Innocent IV in 1245 and set sail with his brothers Robert and Karl (Alfons later succeeded) from Aigues-Mortes with a crusader army of approx. 15,000 men.

After wintering in Cyprus , the army landed on the coast of Egypt in early June 1249 and took the port city of Damiette on June 5, 1249 . The way of the crusaders to Cairo was stopped at the city of al-Mansura , where Ludwig's brother Robert was killed. In the following years, Ludwig was taken prisoner and was only released on payment of a large ransom .

Ludwig left the Holy Land on April 24, 1254 . Thus the crusade with the aim of the liberation of Jerusalem and a weakening of the Muslim powers had failed.

Ludwig frees the prisoners

Wing relief "St. Ludwig pardons the prisoners"

When open, the viewer sees in the extreme left wing (inscription: "St. Ludwig pardons the prisoners") the still child King Ludwig sitting on a scissor chair with lion heads. He wears a golden robe and a royal crown ring on his nimbus-framed head. Behind him stand his mother Blanka of Castile, also framed by nimbus, in Gothic costume with veil and crown ring, assisted by a bishop with a gesture of blessing and a crosier (presumably Archbishop Gautier von Sens , the queen's closest advisor), who by laying her hand on her upper arm little son seems to urge him to carry out the Christian works of mercy . From a wooden prison with magnificent Gothic fittings four verängstig three looking occur prisoners in gray prisoner jackets and block striped red and gray short pants and clogs out. Three of them have already sunk to their knees in front of the royal child. One of them kisses Ludwig on the feet and one looks at him gratefully in a prayer-like, hand-wringing position. A gallows already erected indicates that Ludwig has just saved the prisoners from imminent execution by pardoning them.

The theological background of the scene is Jesus' invitation in the so-called end - time speech in the Gospel according to Matthew Mt 25 : 31-46  EU to take care of the prisoners, the sixth work of mercy. Ludwig is presented to the viewer as a model of Christian charity, mercy and willingness to forgive.

Ludwig feeds the poor

Wing relief "St. Ludwig feeds the poor"

When open, the viewer sees in the left wing flanking the exposition niche (inscription: "St. Ludwig feeds the poor"), the young King of France with a thin crown circlet on his head in the middle of a high Gothic room setting with tracery windows and vaults on one Table with two arms. Behind one approaches from the side Brest Misty on underarm support crutches . While Ludwig is handing bread to the needy person sitting on a stool on his right with his left hand, he is pouring wine from a jug of wine with his right hand to the man on his left. The illustration refers to a passage from the Bible in the Gospel of Matthew Mt 6,3  EU : "When you give alms, your left hand should not know what your right hand is doing. Your alms should remain hidden and your father, who also sees the hidden, will reward you. "

A small dog crouched at the foot of the table as a symbol of Christian loyalty and humility. A royal servant in the background looks on with disapproval and contempt, which is iconographically reproduced from the Emmaus scene. The bread and wine of the feeding of the poor also have a Eucharistic reference.

The sculptor Hans Steinlein depicts St. Ludwig in the sense of a selfless imitation of Christ as the incarnation of Christ who gave the Lord's Supper in the first work of mercy, the feeding of the hungry. The two arms sitting at the table seem incredulous like the Emmaus disciples who Not yet being able to grasp the significance of what happened. Trinitarian motifs (number three of the Gothic window in the indicated space Dreierverschlingung the Fischblasenmaßwerke called Dreischneuße, in the windows) could in connection with the words of Jesus from the Last Judgment parable Mt 25,40  EU , iconographic be interpreted as a hidden presence of God in the charitable action: "What you did to one of the least of my brothers, you did it to me. "

Ludwig buries the plague corpses

Wing relief "St. Ludwig buries the plague corpses"

When open, the viewer sees in the right wing flanking the exposition niche (inscription: "St. Ludwig buries the plague corpses"), like Ludwig on the Seventh Crusade, dressed in armor, crowned helmet and royal cloak in front of the gates of Tunis in a pale corpse holding his arms. The depiction is reminiscent of Pietà depictions of the Virgin Mary with her dead son Jesus in her arms. A gravedigger is standing in a pit that has already been dug. With his right hand he grasps the dead man, with his left he covers his nose and mouth against the acrid smell of decay. Two knights in splendid armor, perhaps Ludwig's brothers, look sympathetically at the corpse. Another corpse lies between Ludwig and the two knights. The carver Hans Steinlein has positioned other members of the Crusade between the group in the foreground and the indicated city wall of Tunis.

The presentation focuses on the seventh work of mercy, the burial of the dead. This work is not New Testament, but was added to the canon of charitable acts by the church father Lactantius with reference to the book of Tobit ( Tob 1.17-20  EU ) and was subsequently established as part of the seven works of mercy .

The historical background of the depiction is that since the failure of his crusade to Egypt, Ludwig was determined to undertake another crusade against the Muslims. After he had left the Holy Land for France in 1254, the king supported the maintenance of a permanent Christian regiment that was supposed to prepare a new crusade. The already constantly threatened existence of the remaining Christian rulers in the Holy Land was exposed to an increasing threat in the sixties of the 13th century after the Mameluke Sultan Baibars I conquered large areas one after another.

Ludwig now considered a new crusade to be more urgent than ever, although his immediate surroundings rejected this project. Ludwig ignored numerous concerns and in 1267 made a new vow of crusade, which he had Pope Clement IV confirmed. Ludwig decided to attack the Sultan of Tunis , al-Mustansir , because he believed he could convince him to convert to Christianity.

Although already at an advanced age and weakened by illness, Ludwig conquered the city of Carthage in the summer of 1270 . However, Sultan Muhammad I al-Mustansir refused to accept the Christian faith and holed up in Tunis. Ludwig closed the siege ring around the city, but unsanitary conditions in the crusader army broke out the bacterial turmoil. Ludwig's son Johann Tristan , who was born in the course of the Sixth Crusade in the Egyptian port city of Damiette in 1250 and accompanied his father on the Seventh Crusade, also fell ill with dysentery and died shortly afterwards to the great consternation of his father. Perhaps the scene on the high altar wing represents this incident.

Ludwig on the death bed

Wing relief "Death of St. Ludwig"

When open, the viewer can see in the far right wing (inscription: "St. Ludwig on the death bed") the death of St. Louis during the Seventh Crusade near Tunis in 1270. The king, marked by death, lies on a white sheet , screened by a makeshift curtain. He has discarded the golden coronet with French lilies (fleur-de-lys). According to the legend that emerged in the Middle Ages, the lily was presented to the Merovingian king Clovis I when he was converted to Christianity by an angel who had descended from heaven , just as the holy anointing oil of the king's anointing was a divine gift.

Dying, the king raises his right hand in the direction of the cross, which is shown to him by a monk kneeling next to him. According to legendary tradition, his last words are said to have been: “We will move into Jerusalem.” Near the king's head adorned with nimbuses, a monk raises his hands in a blessing and horrified at the same time. Another monk is holding a shepherd's staff. The monks wear tonsure and are dressed in white priestly robes. A young knight has fallen on his knees at the feet of St. Ludwig and is praying. Behind him stands a knight with a helmet in a thoughtful pose. He holds his right elbow with his left hand and his head, bowed in sorrow, with his right hand. Despite his death, Ludwig is an active center of events. Based on the expression on his face, he seems to be going to his death serenely with a firm belief in the resurrection and to consolidate those present in this conviction.

During his life Ludwig had always promoted the orders , given rich gifts to churches and greatly expanded the charitable works, whereby he had devoted himself humbly to caring for the poor. After his first crusade, he had become a severe penitent . The cult of relics and indulgences connected deeply, he let 1244-1248 in Paris, the Sainte-Chapelle build. The chapel served as a repository of the Passion relics , Christ's crown of thorns and parts of the “ True Cross ” as well as the tip of a lance that is said to have belonged to the Roman centurion Longinus . The king bought these relics from the Latin emperor Baldwin II in Constantinople in 1237 .

After the death of his son Johann Tristan, the king also died of bacterial dysentery on August 25, 1270, allegedly at three in the afternoon, the same hour as Christ . Both Ludwig and his son were transferred to France and buried in the Saint-Denis basilica .

The sanctity attributed to his way of life led to the initiation of a canonization process soon after his death, which came to a positive conclusion with the canonization by Pope Boniface VIII in 1297.

literature

  • Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985.
  • Oranna Elisabeth Dimmig: Saarlouis Stadt und Stern / Sarrelouis - Ville et Étoile , translation into French: Anne-Marie Werner, ed. v. Roland Henz and Jo Enzweiler Saarbrücken 2011.
  • Dieter Zell: St. Ludwig, Guide and History, ed. from the parish of St. Ludwig, o.O. 1990.

Individual evidence

  1. ↑ Helga Simon: Old Masters of Church Art - The sculptor Hans Steinlein created his works in Eltville , in: Wiesbadener Tagesblatt , edition October 15, 2011.
  2. ↑ Gerd Schmitt: The pilgrimage church of St. Wendelin - a living history, 650th anniversary of the consecration of the choir, 50th anniversary of the elevation to the basilica , ed. by the Stadtmuseum St. Wendel and the Walter Bruch Foundation in cooperation with the parish of St. Wendelin, Dillingen / Saar 2010, pp. 30–31.
  3. ↑ Michael Thome (Red.): Art in the church space Saarlouis 1100–1980, development of church art, catalog for the exhibition in the Städtisches Museum Saarlouis from October 18 to November 9, 1980 , ed. from the district town of Saarlouis, o. O. 1980, p. 19.
  4. ↑ Josef Mischo: "See, I am with you every day", The parish church St. Ludwig - Saarlouis and its stained glass windows by Ernst Alt, thoughts on a work of art of our time . Saarlouis-Lisdorf 1993, 31-44; rheingau-echo.de accessed on August 18, 2015; Severin Delges: History of the Catholic parish St. Ludwig in Saarlouis . Saarlouis-Lisdorf 1931, extension by Heinrich Unkel in 1952, extension by a third part by Marga Blasius in 1985, part 3, p. 28.
  5. ↑ Correspondence between Vicar General Gerhard Jakob and parish council member Dieter Zell on July 24, 1983 and August 2, 1983.
  6. ^ Statement by Kurt Mettler from May 25, 2016.
  7. ↑ Dieter Zell: St. Ludwig, Wegweiser und Geschichte , ed. from the parish of St. Ludwig, Saarlouis 1990, p. 5.
  8. ↑ Archive of the Institute for Current Art in Saarland, letter February 12, 2001B / Bei, jaeckl12.
  9. ↑ This epithet was used, for example, in the chronicle of a minstrel who had served Prince Alfonso of Poitiers. A fragment of this chronicle is contained in the Recueil des Historiens des Gaules et de la France (vol. XXIII, p. 146). Bibliothèque nationale de France, Paris.
  10. ^ Jean Richard: Ludwig XI., King of France , in: Lexikon des Mittelalters , Volume V, Munich and Zurich 1991, Sp. 2184–2186.
  11. ↑ encyclical "Annum sactrum", May 25, 1899 in: Heinrich Denzinger: Compendium of creeds and religious doctrinal decisions improved, extended, translated into German and in collaboration with Helmut Hoping 37th edition, Freiburg edited by Peter Hünermann, in Breisgau, Basel, Rome, Vienna 1991, 3350-3353, pp. 915-918.
  12. ↑ Severin Delges: history of the Catholic Parish of St. Louis in Saarlouis . Saarlouis-Lisdorf 1931, p. 15.
  13. ^ Jean Richard: Ludwig XI., King of France , in: Lexikon des Mittelalters , Volume V, Munich and Zurich 1991, Sp. 2184–2186.
  14. ^ Jean Richard: Ludwig XI., King of France , in: Lexikon des Mittelalters , Volume V, Munich and Zurich 1991, Sp. 2184–2186.
  15. ↑ M. Mollat: Le passage de Saint Louis à Tunis. Sa place dans l'histoire des croisades , in Revue d'histoire économique et sociale 1972.
  16. ^ Jean Richard: Ludwig XI., King of France , in: Lexikon des Mittelalters , Volume V, Munich and Zurich 1991, Sp. 2184–2186.
  17. ↑ Joinville , IV, §4, ed. by Ethel Wedgwood (1906)
  18. ^ Jean Richard: Ludwig XI., King of France , in: Lexikon des Mittelalters , Volume V, Munich and Zurich 1991, Sp. 2184–2186.

Coordinates: 49 ° 18 ′ 57.8 "  N , 6 ° 45 ′ 5.4"  E