Margaret Church (Mediaș)

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Mediaș market square with St. Margaret's Church in the background
The leaning trumpeter tower of the Margarethenkirche

The Margaret Church is the parish church of the Evangelical Church AB in Mediaș in today's Romania , whose leaning main tower, the Trumpeter Tower or Tramiter, still dominates the cityscape today. The church is one of the most important late Gothic fortified churches of the Transylvanian Saxons , some of which are now UNESCO World Heritage Sites .

history

The surviving medieval sources first name Mediaș in 1267, but there is reason to believe that the village, which was probably founded by German-speaking settlers, is older. The archaeological excavations carried out in 1971 and 1972 have shown that in the second half of the 13th century there was a place of worship built by German residents on the site where the church is today. The town's population must have grown rapidly, because around 50 years later this building had to give way to a hall church with a strikingly long nave. Parts of it have been preserved in today's north aisle.

In 1414 the church was first mentioned as a parish church under the patronage of St. Margaret of Antioch . After the Turkish invasion of 1438 at the latest, the residents of Mediaș began building their third church. In 1447 it is recorded that pastor Christian from Mettersdorf "in porta ecclesiae parochialis beate Margarethe virginis et martyris in oppido Medyes - at the door of the parish church of the Blessed Virgin and Martyr Margarethe" objected to an injustice of the Weissenburg bishop. The oldest bell in the church dates from 1449 and bears the inscription "o [r] ex gloriae veni cum pace - O King of Honor, come with peace". In the second half of the 15th century the choir, main and south aisles were built. The chronicler Georg Soterius wrote in his "Historia Transilvaniae" in the 18th century that the year 1482 was on a tower of the complex. The construction work was completed in 1488. Around the same time, the residents of Mediaș built the so-called church fort, a defense system with multiple wall belts, defensive moats and defense towers, some of which are still preserved today. That was a financial and technical achievement that was hardly imaginable for the time. The fortifications are mentioned in a document as early as 1452.

In the course of the Reformation iconoclasm , the side altars and pictures were removed from the church in 1545, probably in connection with the first Evangelical Synod of Transylvania, which took place in the Margarethenkirche that year. Further repair work on the church is documented for 1584, 1606, 1636 and 1668. A small bell in the parish church bells with the inscription “ Soli Deo Gloria ” bears the date 1587. In 1732 the organ on the west gallery was restored. In 1832 the pillars on the north side were reinforced. The archive of the parish church documents major repair work in the years 1888–1892. In 1927–1930 extensive work was carried out to secure the foundations of the Trumpeter Tower. From 1971 to 1972 Vasile Crişan and Mariana Beldie-Dumitrache carried out archaeological excavations. 1973–1974 further stabilization work on the foundations of the Trumpeter Tower was necessary; the two lower floors were sheathed with prestressed concrete , and further restoration work took place in 1973–1986. 1976–1982 the important late Gothic winged altar of the church was restored in the regional church restoration workshop under the direction of Gisela Richter. In 1992 the center shrine of the altar received a group of figures by the Austrian sculptor Franz Pichler.

Fortification and towers

Hermann Oberth School in the churchyard

Today you enter the churchyard under the so-called gate or bell tower with its wooden battlement. If you continue on the north side of the church, to the left of it is the “old school” built in 1713, today's Hermann Oberth School. Your building now includes the fifth defense tower, which was removed down to the school roof in 1888.

Further to the east is the so-called Seiler or Speckturm with its regularly arranged protruding cast holes. In the 19th century it began to be used for storing bacon , which is reflected in its name.

This is followed by the house where Stephan Ludwig Roth was born , a progressive thinker and fighter who was sentenced to death and shot by a Hungarian court martial in the turmoil of the revolution of 1848/49 .

On the east side of the church is the rectory, which may have been an old monastery. Inside the house there are now rooms for the parish and 2 parish apartments. The so-called music room has a medieval crucifixion fresco on the first floor of the house. Inscriptions (prayers) have been preserved on a wall on the upper floor. This room was previously referred to as the former refectory of the monastery. This large historical room was built into the creation of another apartment on the upper floor in the 1960s. Overall, this house has several cross vaults as well as some deep window niches with benches that have been preserved. Around 1800 the house was provided with a loggia in the late baroque-classicist style on the north side. In order to create more space, the house was enlarged to the north with a one-story extension after World War II. On the south side of the rectory is the Marienturm with a pent roof and battlements, which takes its name from a chapel that is located on the ground floor of this building and which, according to the remains of the preserved wall paintings, was here at the beginning of the 16th century had been established. In the chapel there is a remnant of an altar on the east side . In the floor of the Marienkapelle there is a wooden hatch that hides the access to a staircase to the crypt under the chapel. Nowadays, some gravestones are stored in this underground space . On the south side of the church follows the roofed staircase built in 1803, which was supposed to establish a direct connection to the town's market square. The last fortification of the double wall ring here is the tailor's tower, also equipped with loopholes and casting holes for defense.

Trumpeter Tower

The "Turepitz" on the trumpet tower

In 1550, when Mediaș received city rights, the Trumpeter Tower ("Tramiter") was increased by three floors. The four small corner towers were erected as a sign that the Mediașer Court could also pronounce and execute death sentences . The pressure of the additional floors increased the load on the foundation so that it could no longer withstand. The tower began to lean and now deviates from the vertical by 2.30 m at a height of 68.50 m. By the middle of the 17th century at the latest, the tower had to be supported with two massive candle arches to the northwest and northeast. The bells were moved to the neighboring tower, where they still ring today. Extensive stabilization measures were carried out from 1927 to 1930, again in 1972, which could only be completed at the beginning of the 1980s. While the work was financed by government agencies until 1977, the restoration was subsequently continued and completed with the help of church funds. In 2015 the exterior plaster of the Trumpeter Tower and the roof were renovated.

Since the 17th century, a wooden figure, the "Turepitz", has stood in a niche in the southeast corner of the Trumpeter Tower at the height of the tower clock. Using a simple mechanism, it rings in the full hour with a small bell. The heavily weathered original made of oak, on which the year 16 […] 0 can be seen, was replaced in 1927 by a Roland figure with a sword. In 1982 Kurtfritz Handel made a colored “bell man” modeled after the original, which has since stood on the tower as a lovable detail. In 2015 the "Turepitz" was restored in the course of the renovation work on the Trumpeter Tower. The hour bell of the Trumpeter Tower, which dates from 1751 and has been damaged since the 1950s, was re-cast and placed in its old location in September 2015 as a gift from the Medias partner community in Herrenberg .

East tower with chapel

East Tower (Marienturm)

The east tower of the fortified church, the Marienturm, is crowned with battlements and has a pent roof. On the ground floor there is a small chapel richly frescoed. Its walls and vaults are designed with a rib network made of stucco, which takes up elements of the late Gothic flamboyant style.

In the semi-cylindrical vault, the rib network forms five medallions with ribbons of inscription, in the center of which is the Agnus Dei . This is surrounded by representations of the four evangelists in the form of hybrid apocalyptic figures in human form, the tetramorph . A triptych depicting the Trinity in the pictorial tradition des sedes gratiae has been preserved on the east wall . This is flanked by John the Baptist and the Lamb as well as a barely recognizable representation of the Virgin Mary. In their entirety, the frescoes reflect the pictorial program of the Deesis , a condensed iconography of the Last Judgment. The representation of the Twelve Apostles on the side walls, each of which bears parts of the Apostles' Creed , emphasizes the eucharistic and eschatological allusions of the wall fresco.

Building description of the church

Basilica (left); Hall church (right) Basilica (left); Hall church (right)
Basilica (left); Hall church (right)

The northern part of the Medias parish church has the construction type of a basilica , the southern part is built as a hall church. This construction method can be found in a similar form in the parish church of Sibiu ; The churches of Biertan and Meschen were built as hall churches a little earlier than the south side of the Margarethenkirche . The north aisle , which is connected to the central nave by arcades , is older than the rest of the building. The frescoes from 1420 on the partition wall between the main and north aisles and the wall of the north aisle are cut through and partially covered by the half-columns ( services ) supporting the rib vault .

Ribbed vault of the choir

The five-sided choir has three bays , which are vaulted with a reticulated vault, the vault ribs of which rest on prismatic capitals supported by services . The keystone in the center of the vault ribs shows Christ as the Lamb of God , surrounded by the symbols of the four evangelists. In the apex of the vault ribs there are coats of arms with human faces. Associated with these banners . The outer coats of arms show the twelve apostles. According to a medieval legend, each of the apostles is said to have spoken part of the Apostles' Creed; therefore, a banner with the Latin text of the creed is assigned to each image of the apostle. On the middle vertices there are representations of the four church fathers Augustine , Hieronymus , Gregory the Great and Ambrosius . Further shields at the apex of the vault in the main nave show the coat of arms of the Hungarian King Matthias Corvinus , the Mediaș city coat of arms and guilds in a hierarchical order in the form of a "coat of arms procession" .

A coffin cornice runs under the three-part windows with late Gothic tracery . Sheet consoles on which the services rest interrupt the cornice. In the central and side aisles, the vaulted ribs rise from services and columns without capitals. The three-part windows in the south facade also have late Gothic tracery. At the beginning of the 17th century, the tailor's gallery was added to the two easternmost yokes of the south aisle, underpinned by cross vaults resting on round arches. 1927–1930, the western part of the church was largely redesigned as part of the maintenance work on the Trumpeter Tower. The sheet metal ribs attached towards the end of the 19th century were replaced by hollow stucco ribs, which only have a decorative, non-load-bearing function during the work from 1977–1988.

Furnishing

Medias Altar

Choir and main altar; Working day page with passion cycle

The late Gothic winged altar made between 1490 and 1520 is one of the most artistically valuable objects of the church, as well as of Transylvanian art in general . The formerly rich figural decoration of the altar has been lost. The empty niches from the predella are covered by a Last Supper painting (around 1515) that is not much younger than the panel paintings on the altar. This shows how early the wooden sculptures on the altar were lost, possibly as early as 1545, when the Saxon priests decided at a synod on the iconoclasm of the Reformation in the churches of Transylvania. This synod took place in the Margarethenkirche of all places, the pastor of which, Bartholomäus Altemberger, emerged as a particularly zealous iconoclast.

The working day side of the altar shows a cycle of passion on eight panels with the capture, flagellation, crowning of thorns, mockery, carrying the cross, Christ at rest, crucifixion and resurrection.

The painter of the Passion Cycle, known today as the “Master of Medias”, has remained unknown. In 1930 Franz Juraschek and Victor Roth emphasized the stylistic relationship between the crucifixion panel and the corresponding representation on the large late Gothic winged altar of the Vienna Schottenstift . There, in the 15th century, an also unknown master created a large winged altar. Altars preserved in Transylvania from the same period, such as the Biertan altar in the fortified church of Biertan (1483) and the panels on the altar in Großprobstdorf show the same artistic influences from the Schottenstift school and point to the existence of a painting workshop in this part of Transylvania.

More altars

In the course of the remodeling of the church interior after the Reformation, only the main altar was left in the churches. Today there are further altars in the Margarethenkirche, which have been moved to the Margarethenkirche since the 1990s to protect it from decay and damage. These include the Tobsdorf altar from the church of Tobsdorf (1470/80) with its predella (around 1520), which was set up in the north aisle in 1999, the altar of the church of Nimesch (around 1520) which is today together with the Nimesch baptismal font on the south pore ("Tailor's gallery") is kept, as well as the altar by Schorsten (Șoroştin, around 1520), today in the sacristy. The altars were restored in the workshop of Gisela Richter at the end of the 1970s and again in 2005 by Ferenc Mihály.

Choir stalls from Tobsdorf

Typical flat carvings of late Gothic choir stalls from the Mediasch - Birthälm - Schäßburg area. Here: Fortified church of Biertan, 16th century.

In October 2018, a choir stalls made by Schäßburg master Johannes Reychmuth in 1537 were set up on the north wall of the choir and inaugurated on November 4th. The late Gothic box stalls made of linden wood consist of two parts with three and six seats ("stalls"). It is richly decorated with block inlays and vegetable flat-cut motifs. It originally stood in the Protestant church in Tobsdorf and was dismantled and stored in the fortified church in Großau . In 2010 it was brought to the workshop of the University of Applied Science and Art (HAWK) for restoration . There, the individual parts, which were attacked by wood-destroying insects and severely damaged, were first treated with nitrogen and cemented with acrylic resin . The breakpoints were recorded with a 3-D laser scan . Missing parts were made with a CNC milling machine from limewood and reversibly connected to the original parts with wooden reinforcing rods. A missing spot in the dorsal of the stalls was digitally restored and printed on limewood veneer . The chairs were finally mounted on a reconstructed oak pedestal.

Choir stalls of this type can be found more frequently in Transylvania, for example in the original stalls in the Margaret Church , the Schäßburger Bergkirche , the fortified church in Biertan and in around a dozen small village churches.

Frescoes

During the renovation in the 1970s, frescoes were uncovered on the north walls . The frescoes on the north wall of the central nave were restored, those of the south aisle were left in the found condition. At least three masters have been involved in their production. They were dated between 1385 and 1420. The frescoes suffered greatly from moisture penetrating the masonry. They were partially destroyed in later renovations, for example the depiction of the Adoration of the Kings is broken through from today's north portal and divided into two parts and partially covered by a pilaster. There were depictions of martyrs on the north wall of the central nave. Further frescoes show the Old Testament scene from ( 2 Mos 16  EU ) when manna fell from heaven, a crowning of thorns , and the "martyrdom of the ten thousand". A tape under these frescoes gives the year 1420 as the date of their completion. On the spandrels of the arcades between the main and north aisles there is a representation of the root of Jesse . Next to this begins a cycle of passion that extends to the triumphal arch ; the crucifixion scene is missing today. Due to their artistically less skillful design, the frescoes of the Passion Cycle are more likely to be attributed to a student or less talented painter.

Baptismal font

The bronze baptismal font in the form of a two-part chalice was created in the last quarter of the 14th century, making it the oldest baptismal font of the Evangelical Church in Romania. An inscription in Gothic minuscule gives the " Ave Maria ". Inside the cup there is a bronze basin that almost fills it and in the edge of which a Tughra- like inscription is embossed.

pulpit

The pulpit on the fourth pillar of the south aisle is vaulted by a sound cover in the Baroque style . The richly ornamented and colored work shows the Archangel Michael with the dragon and a dove as a symbol of the Holy Spirit. It was created by the Transylvanian carver and sculptor Sigismund Möss (d. 1687), to whom, in addition to the pulpit cover of the Margaret Church, that of the church of Mühlbach , the altars of Hammersdorf and Urwegen , and various epitaphs in the ferula of the Sibiu parish church can be attributed; The artist probably also created the organ front of the parish church.

organ

The existence of an organ in the Margarethenkirche is documented as early as 1535 . At first it was on the north side of the choir room. For the year 1621 it is recorded that the parish priest Simon Kirtscher, whose grave slab is in the choir today, had the organ “definitely improved”. The notary Daniel Conrad von Heydendorff noted a church renovation in a town log from 1732. In this context, the "large organ" was moved from the choir to the nave and was expanded with new organ works on this occasion.

Today there is a baroque organ by the Transylvanian organ builder Johannes Hahn from 1755 on the western gallery. The original contract from 1755, in which the disposition, material and costs of organ building are listed in detail, is preserved in the Mediasch municipal archive. The work has two manuals and a pedal , 24 sounding registers with more than 1300 organ pipes . In 1873 Wilhelm Hörbiger rebuilt the organ in line with the musical tastes of his time (magazine bellows, adding the short octave, rearranging the positive and the pedal). In 1983 a repair was carried out by the regional church organ workshop ( Hermann Binder ). In 2005, Binder restored the organ to its original condition: the console was returned to its original layout and a new pedal keyboard was installed. In 2013, Burghard Wenzel performed tuning and intonation work. The construction of a pedal drawer for some free-standing pipes is planned.

Today's disposition is as follows:

View into the main nave with the pulpit, organ gallery and the frescoes on the north wall, 2018
I Manual
Bourdon 16 '
Principal 8th'
Pointed flute 8th'
Viola di gamba 8th'
Octav 4 ′
Pointed flute 4 ′
Fifth 2 2/3 ′
Super octave 2 ′
Forest flute 2 ′
Quint 1 1/3 ′
Mixture 5–6 times
II manual
Coppel 8th'
Fugara 4 ′
Flute 4 ′
Principal 2 ′
Sedecima 1'
3-fold mixture
shelf 8th'
pedal
Violon 16 ′
Sub-bass 16 ′
Octave bass 8th'
cello 8th'
flute 4 ′
trombone 8th'

Register and game action are mechanical.

Carpets

The carpets on the walls in the choir and in the nave of the church date from the period between the 16th and 18th centuries. They are Anatolian carpets , so-called " Transylvanian carpets ", which were donated to the church by citizens of the city. Along with the carpet collection of the Black Church in Kronstadt, this is the most important collection of its kind in Europe. In the 19th century, the Austrian art historian Alois Riegl recognized the historical and artistic value of the carpets preserved in the churches of Transylvania. The population's interest in these art treasures awoke. Ernst Kühlbrandt was the first to describe them. At Riegl's advice, an initial inventory of the carpets was made; these were cleaned and re-issued. For a long time, the work of the Transylvanian Emil Schmutzler was the most comprehensive description. It was not until 2005 that they were published again. Since the beginning of the decade, “church carpets” from smaller churches in the area have also been brought to the Margaret Church's collection, where they can be better preserved and protected from theft.

Grave slabs and epitaphs

The grave slabs behind the altar and other grave slabs remember personalities who were buried in the interior of the church. The first tombstone on the left is the tombstone of the pastor and writer Christian Schesaeus (author of the work " Ruinae pannonicae "). This is followed by the grave slabs of the parish priest Simon Kirtscher (d. 1621) and Barbara Theilesius, b. Schlemmer, the wife of the parish priest and later Bishop Georg Theilesius (1576-1646). This tombstone is attributed to the master sculptor Elias Nicolai from Sibiu. Other grave slabs can be assigned to pastor Simon Kirtscher († 1621) and mayor Petrus Gotterbarmert († 1623). On the north wall of the choir there is a memorial plaque for the fallen of the First World War , on the south side there is a memorial plaque for the victims of the Second World War , the deportations to the Soviet Union and the communist internment camps . On the walls of the naves there are more wood-carved and painted epitaphs of Mediš citizens.

Benches

In the Margaret Church (as in the Black Church of Kronstadt ), the benches in the front part of the nave have seat backs that can be folded back and forth along the longitudinal axis. In every church service and every organ concert, visitors can therefore sit facing the pulpit or organ.

sacristy

Inscription frescoes have been preserved in the sacristy of the Margarethenkirche. A monogram of King Wladyslaw II. Jagiellos (reigned 1490–1516), which supports Georgius Soterius in his work Historia Transilvaniae , according to which the church was rebuilt in 1488, is of particular importance for the dating of the church building. In addition to Latin inscriptions (north wall: MARI / A MATER GRACI (A) E, M [A] / TER MI / SERIC [O] R [DIAE] ; south wall: O SACRUM [C] O / NVIVUM IN QUO CRISTUS SU / MITUR RA [COLITUR] ) there is an inscription in Slavonic: PANE BOZIE DAI SVOBODU CZITIEM R with the Christ monogram IHS . It reproduces the beginning of a Marian hymn by the Bohemian Brethren to whom King Wladyslaw was close.

Parish priest of Mediaș

Before the Reformation
  • Adam, Sacerdos de Villa Medjes, 1283
  • Wylandus, 1334
  • Andreas Plebanus in Medjes, 1420
  • Johannes Henrici, 1441
  • Michael, rector parochialis Ecc. [Lesiae] b. [Eatae] Margarethe, 1453
  • Martinus Andree de Nova Villa, 1470-1471
  • Valentinus Baccalaureus, 1477
  • Stephen, 1492-1504
  • Johannes Fridricus Magister, 1510–1535
  • Vincentius, 1537
After the Reformation
  • Bartholomäus Altemberger, until 1547
  • Mathias Hentzius, until 1560
  • Georgius Gabriel and
  • Georgius Salburger, until 1569
  • Christian Schesaeus , until 1585
  • Simon Hermanus, until 1590
  • Martinus Oltardus, until 1591
  • Franciscus Valentinianus, until 1597
  • Mathias Schiffbaumer, until 1601 (Bishop 1601–1611)
  • Simon Kirtscher, until 1621
  • Georg Theilesius, until 1627 (Bishop 1627–1646)
  • Georgius May, until 1632
  • Paulus Graffius, until 1645
  • Mathias Miles, until 1649
  • Johannes Scharsius, until 1657
  • Stephanus Adami, until 1666 (Bishop 1666–1679)
  • Johannes Czekelius, until 1668
  • Lucas Graffius, until 1671
  • Michael Pancratius, until 1686 (Bishop 1686–1690)
  • Lucas Hermanus, until 1691 (Bishop 1691–1707)
  • Stephanus Gunthardus, until 1698
  • Lucas Graffius, until 1712 (bishop 1712–1736)
  • Georgius Haner , until 1737 (bishop 1736–1740)
  • Aegidius Mangesius, until 1740
  • Georg Jeremias Haner, until 1759 (Bishop 1759–1777)
  • Andreas Schunn, until 1762
  • Nathanael Schuller, until 1783
  • Johannes Schmidt, until 1821
  • Johannes Wagner, until 1830
  • Simon Gottlieb Brandsch, until 1852
  • Samuel Joseph Fabini, until 1874
  • Johannes Petrus Oberth, until 1901
  • Johann Carolus teacher, until 1916
  • Carl Martin Römer, until 1941
  • Gustav Göckler, until 1962
  • Hans Scheerer, until 1970
  • Michael Paulini, until 1984
  • Dietmar Plajer, until 1992
  • Kurt Fabricius, until 1995
  • Kilian Dörr, until 1999
  • Ralf Schultz, until 2002
  • Reinhart Guib , until 2010 (bishop since 2010)
  • Gerhard Servatius-Depner, managing pastor since 2010

literature

  • Hansotto Drotloff, Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 100-138 .
  • Herrmann Fabini: Mediasch. In: Sacred architecture in Transylvanian-Saxon cities . monuMenta Verlag & Working Group for Transylvanian Cultural Studies, Sibiu (Hermannstadt), Heidelberg 2013, ISBN 978-973-7969-15-6 , p. 171-208 .
  • Otto Folberth: Gothic in Transylvania - The Master of the Medias Altar and His Time . Schroll, Vienna, Munich 1973, ISBN 3-7031-0358-2 .
  • Stefano Ionescu (ed.): The Margaret Church in Mediasch . Verduci Editore, Rome 2018, ISBN 978-88-7620-928-4 .

See also

Web links

Commons : Margarethenkirche (Mediaș)  - collection of images, videos and audio files

Individual evidence

  1. ^ Villages with Fortified Churches in Transylvania. UNESCO World Heritage Center 1992–2010.
  2. ↑ a b Herrmann Fabini: The restoration of the Protestant parish church in Mediasch. In: Research on folk and regional studies 20 (1) . 1977, p. 85-102 .
  3. ↑ Otto Folberth: Gothic in Transylvania - The Master of the Mediasch Altar and His Time . Schroll, Vienna, Munich 1973, ISBN 3-7031-0358-2 .
  4. ^ Chronicle of the parish church according to: Hermann Fabini : Mediasch. In: Sacred architecture in Transylvanian-Saxon cities . monuMenta Verlag & Working Group for Transylvanian Cultural Studies, Sibiu (Hermannstadt), Heidelberg 2013, ISBN 978-973-7969-15-6 , p. 191-192 .
  5. ↑ Hansotto Drotloff & Günter E. Schuster (eds.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 76-77 .
  6. ↑ Moni Schneider-Mild: Turepitz is back at the Tramiterturm of the Medias Margarethenkirche . In: Transylvanian newspaper . January 11, 2016 ( hagenbuerger.de [accessed on September 8, 2018]).
  7. ↑ a b c Dana Jenei: Picturi murale din jurul anului 1500 la Mediaș (Murals from around the year 1500 in Mediaș) . In: Ars Transilvaniae XXI . 2012, p. 49-62 .
  8. ↑ Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 107 .
  9. ↑ a b Dietmar Plajer: A tour of the church . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 111 .
  10. ^ Hermann Fabini : Mediasch. In: Sacred architecture in Transylvanian-Saxon cities . monuMenta Verlag & Working Group for Transylvanian Cultural Studies, Sibiu (Hermannstadt), Heidelberg 2013, ISBN 978-973-7969-15-6 , p. 192 .
  11. ↑ Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 120 .
  12. ^ Hermann Fabini : Mediasch. In: Sacred architecture in Transylvanian-Saxon cities . monuMenta Verlag & Working Group for Transylvanian Cultural Studies, Sibiu (Hermannstadt), Heidelberg 2013, ISBN 978-973-7969-15-6 , p. 199 .
  13. ^ Franz Juraschek: Medieval Vienna in an unknown view . In: Kirchenkunst, Austrian magazine for the care of religious art, 2nd year, 2nd issue . Vienna 1930, p. 45-46 .
  14. ↑ Victor Roth: The crucifixion picture of the Mediascher winged altar . In: Correspondence sheet of the Verein für Siebenbürgische Landeskunde (53), No. 11-12 . 1930, p. 280-281 .
  15. ↑ Harald Krasser: On the Transylvanian successor to the Schottenmeister . In: Austrian Journal for Art and Monument Preservation (27) . 1963, p. 109-121 .
  16. ↑ Hansotto Drotloff: The Mediascher winged altar and its master . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 117-126 .
  17. ^ Emese Sarkadi Nagy: Local Workshops - Foreign Connections: Late Medieval Altarpieces from Transylvania . In: Studia Jagellonica Lipsiensia, Volume 9 . Thorbecke, Ostfildern 2012, ISBN 978-3-7995-8410-4 , p. 179-187 .
  18. ^ Klaus Philippi: Noble Tobsdorfer choir stalls in Mediascher Margarethenkirche: completion of the restoration celebrated by specialists from Hildesheim. In: General German newspaper for Romania . November 8, 2018, accessed November 10, 2018 .
  19. ↑ HAWK press team: The miracle of Tobsdorf: HAWK helps choir stalls from 1537 “get back on their feet”. September 27, 2018, accessed November 10, 2018 .
  20. ↑ Christine Fiedler: Digitally aided methods for supplementing imperfections in inlays on wood-transparent furniture . 2013 ( hornemann-institut.de [accessed on November 10, 2018]).
  21. ↑ Dennis Söffker: Planning of the transport and re- installation of the Tobsdorf choir stalls from 1537 . 2017 ( hornemann-institut.de [accessed on November 10, 2018]).
  22. ^ Nicole Berger: The choir stalls from 1537 from the church of Tobsdorf / Dupuș / Romania. Documentation of the restoration measures from 2010-2015 . 2016 ( hornemann-institut.de [accessed on November 10, 2018]).
  23. ^ The Tobsdorf choir stalls and their restoration: Transylvanian choir stalls by the master Johannes Reychmut from Schäßburg . In: Gerdi Maierbacher-Legl, Ralf Buchholz, Christine Fiedler, Susanne Karius (eds.): Hildesheimer contributions to the research and preservation of cultural assets . HAWK, University of Applied Science and Art, Hildesheim 2018, ISBN 978-3-9813856-1-8 .
  24. ^ HAWK Faculty of Building and Preservation, Hildesheim: Late Gothic choir stalls in Transylvania / Romania. Retrieved November 10, 2018 .
  25. ↑ Vasile Drǎguţ: Picturile mural de la Medias. O importantâ recuperare pentru istoria artei transilvânene. In: Revista muzeelor ​​şi monumentelor. Monumente istorice si de artâ 45 (1976), No. 2, pp. 11-22, quoted from Plajer, in Drotloff & Schuster, 2009
  26. ↑ Dietmar Plajer: A tour of the church . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 113-114 .
  27. ^ Elisabeth Binder: The baroque altar art of Sigismund Möss. Comparison of two altars from Transylvania . In: Research on folklore and regional studies . tape 57 , 2014, p. 81-101 .
  28. ↑ Harald Krasser: Sigismund Möss. Sculptor and carver (!) In Sibiu . In: New Literature . Bucharest 1974, p. 71-84 .
  29. ↑ Herrmann Binder: Organs in Transylvania. A contribution to the history of the organ in Transylvania from the beginning to the middle of the 19th century . Gehann-Musik-Verlag, Kludenbach 2000, ISBN 3-927293-20-2 , p. 19 .
  30. ↑ a b Entry Mediasch in the organ file of the Evangelical Church AB in Romania, accessed October 27, 2017
  31. ↑ Ernst Kühlbrandt: The old oriental carpets of the Kronstadt ev. Parish church . In: Correspondence sheet of the Association for Transylvanian Cultural Studies . 21, No. 8-9, 1898, pp. 101-3.
  32. ↑ Ernst Kühlbrandt: Our old oriental carpets . In: The Carpathians . 1, No. 1, 1907, pp. 40-43.
  33. ^ Emil Schmutzler: Ancient oriental carpets in Transylvania . Anton Hiersemann (new edition 2010), Leipzig 1933, ISBN 978-3-7772-1015-5 .
  34. ^ Stefano Ionescu: Antique Ottoman Rugs in Transylvania . 2nd Edition. Verduci Editore, Rome 2005.
  35. ↑ Dietmar Plajer: A tour of the church . In: Hansotto Drotloff & Günter E. Schuster (Ed.): Mediasch. A historical foray through the Transylvanian-Saxon city on the Kokel . Schiller, Sibiu (Hermannstadt) / Bonn 2009, ISBN 978-3-941271-15-9 , pp. 107 .
  36. ↑ a b Stefano Ionescu (ed.): The Margaret Church in Mediasch . Verduci Editore, Rome 2018, ISBN 978-88-7620-928-4 , p. 71 .

Coordinates: 46 ° 9 '54.7 "  N , 24 ° 21' 4.5"  E