Marienkirche (Flensburg)

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Marienkirche

The Marienkirche or Sankt-Marien-Kirche ( Danish Vor Frue Kirke ) is one of the main churches in the city of Flensburg . The community belongs to the Evangelical Lutheran Church District Schleswig-Flensburg in the north church . From the Nordermarkt you can get to the Marienkirche via the Schrangen , a historical connecting building from 1595.

history

St. Marien on the Beyer's epitaph from 1591
St. Marien, view from Flensburg harbor

Previous construction

The previous building was a Romanesque stone church and was probably built under King Waldemar I around 1165/70, but according to other sources only after the accession of the Danish King Knut VI. in 1182. The building was destroyed in 1248 in the fratricidal war between King Erik IV of Denmark and Duke Abel of Schleswig . From this church a casting lion from the end of the 12th century has been preserved, which is now kept in the Museum of Art and Industry Hamburg .

Emergence

Today's St. Mary's Church is mentioned for the first time in a letter of indulgence from Danish Bishop Tycho von Aarhus on May 2, 1284. It is located in the city archive in Flensburg town hall. This letter says that the citizens have started building the new church. A three-aisled hall church was built as a brick building in Gothic style. It is located near the Nordermarkt , on Große Straße, in the same place where the previous building was, and is dedicated to Maria . It is the oldest inner city church in Flensburg and one of the largest and most important churches in the city.

In the course of time, the Marienkirche was repeatedly rebuilt. The building, initially comprising three bays , was extended to the east by two bays around 1400. Two chapels of different depths were added to the side aisles, the windows of which were made in three parts. The larger chapel in the north became the baptistery.

The Reformation was introduced in 1526, and in 1598 altars and Popish pictures were removed from the church and a new high altar was added, which is considered to be the main work of the North German late Renaissance . At first the church had only one roof turret. From 1730 to 1731 a tower was built on reinforced corner pillars over the western yoke of the central nave and crowned with a baroque dome. A year later the church received a new organ, the prospectus of which has been preserved to this day. Around 1780 a baroque portal was built on the south wall, in 1788 the three naves were given a mansard roof. In the years 1878-1880, the baroque tower was replaced by a neo-Gothic one with a pointed helmet. The two-story sacristy was added in 1901 together with a stair tower on the north side.

The church at the end of the war

The church remained undamaged during the air raids on Flensburg . At the beginning of May 1945 the last Reich government had withdrawn to Flensburg- Mürwik . Since May 8, 1945, the church services have been held in the Heiliggeistkirche , as German troops occupied the church as emergency quarters. Some of the windows of the church were damaged and destroyed in June 1945 by the explosion at Kielseng , a munitions explosion in the Flensburg harbor area . The Flensburg painter Käte Lassen designed six new windows that were made between 1949 and 1957. The glass painter Hans Gottfried von Stockhausen created additional windows from 1959/60 . The building is now accessible through a porch from 1958; it is located on the south side of the tower yoke. In 1991 a new bronze bell was purchased and in 1994 two more.

Flensburg monument dispute

In January 1967 the "Flensburg Monument Controversy" ( North Church ) and the "Flensburg Church Dispute" ( Flensburger Tageblatt ) began . The trigger was a dispute over the monument to the “Stone Warriors”, which banned three pastors from St. Mary's Church. The dispute, which brought Flensburg into the headlines nationwide, "divided society at the time, brought the CDU an ordeal and the Flensburger Tageblatt whole pages of letters to the editor." The pastor's dispute is considered a forerunner of the student revolt at the end of the 1960s , where the Flensburg pastors Jastram, Krause and Friedrichs became “a code of a left-wing awakening”.

Furnishing

A large part of the art treasures in the church are foundations of wealthy citizens.

Renaissance altar

Renaissance high altar (1598)

On the east wall of the church is the high altar donated by Mayor Dietrich Nacke in his will. It is the largest late Renaissance altar in Schleswig-Holstein. It was made in 1598 by Heinrich Ringerink and another carver. Jan von Enum designed the paintings. The altar rises over three floors, is divided by columns and caryatids and has a richly decorated entablature.

Basement

The figures of the apostles Peter and Paul are placed outside in the basement . Peter, on the left, holds the key of the kingdom of heaven in his hand, Paul wears a sword as an attribute , which can be seen as a sign of the defense of the faith and also indicates his death by beheading. Access behind the altar is possible through the two doors next to the apostles. The left door is adorned with a painting depicting the circumcision of Jesus in connection with his presentation in the temple . In the arched area above there is a picture of Jesus in a medallion. The baptism of Jesus in the Jordan is the theme of the right door, complemented by a medallion image of John the Baptist in the arched area.

Main floor

Miracula Christi - model by Hendrick Goltzius
The last supper
Passio Christi - based on Hendrick Goltzius

The main floor is divided into three picture fields, whereby the middle field is wider than the two sides and shows the last supper as the main picture after an engraving by Johann Sadeler. The two side surfaces each contain two medium-sized square pictures, which are arranged one above the other, and each of which is surrounded by a frame of 16 small pictures. These four paintings, including the associated small pictures, are based on four engravings by Hendrick Goltzius from 1578. The upper half of the left side is dedicated to Christ as a model of the virtues, below his miracles are discussed. On the right-hand side, the passion of Christ is depicted at the top and his resurrection at the bottom. The small pictures each illustrate eight biblical stories from the New Testament alternating with eight symbolic representations from the New and Old Testament. All headings and biblical passages quoted are in Latin.

EXEMPLAR VIRTVTVM (Example of the Virtues) is the title of the first topic. In the middle picture, a woman embodies the human soul as an imitatio Christi (imitation of Christ). She sits in front of an easel and paints a hollowed-out heart-shaped object according to the motif that the Christ standing in front of her holds in his left hand: Jesus as a shepherd boy with a lamb. The picture is framed by eight scenes from the life of Jesus, to which certain virtues are assigned. The motif belonging to Fidelitas is shown on the altar as a picture according to the model by Goltzius, but the biblical passage and the name of virtue are missing here.

  • Fidelitas (faithfulness): Jesus speaks as his father told him ( John 12.50  EU )
  • MISERICORDIA (mercy): a sinner anoints Jesus' feet ( Lk 7.36-50  EU )
  • PIETAS (piety): Jesus goes up a mountain to pray ( Mk 6.46  EU )
  • HVMILITAS (humility): Jesus washes the feet of his disciples ( Joh 13,3-17  EU )
  • BENIGNITAS (goodness): Jesus does not condemn the adulteress ( Joh 8,3-11  EU )
  • FORTITVDO (strength): Jesus is tempted by the devil ( Mt 4,1-11  EU )
  • PAVPERTAS (poverty): Jesus has no place to bed his head ( Mt 8.20  EU )
  • CHARITAS (love): Jesus wants to gather the children of Jerusalem around him ( Mt 23.37  EU )

Between the virtues there are eight symbols of Christ's sonship, such as the Lord's staff, the Lord's hand or the arm of God, the crown of life or the sun of righteousness.

MIRACVLA CHRISTI (miracle of Christ) is the leitmotif of the next cycle. Faith personified, with a crucifix in hand, brought the sick soul to Christ, who now lies at his feet in the form of a half-naked woman and with her right hand with a goblet catches the blood that flows from Jesus' side wound. Christ is called a medicus (doctor), holds in his right hand the vicious heart of the sick soul and in his left a cross wound around by a snake. The small pictures are mainly dedicated to Jesus' healings.

The first scene illustrates the statement in the Bible that Jesus makes the dumb, crippled, lame and blind well again ( Mt 15.31  EU ). He heals a man from his dropsy ( Lk 14.1-4  EU ), a leper ( Matt 8.1-3  EU ), a woman who has been bleeding for twelve years ( Matt 9.20-22  EU ) and one Sick people at the Betesda pond ( Joh 5,2-9  EU ). The parable of the Good Samaritan ( Lk 10.33-34  EU ) is followed by the expulsion of demons, which Jesus drives into a herd of pigs ( Mt 8.28-33  EU ). In the final picture , Jesus brings the deceased Lazarus to life ( Joh 11,43-44  EU ). The symbols in this area, such as the Manna rain, the tree of life, rainbow and pillar of fire, allude to Jesus' meaning of salvation.

PASSIO CHRISTI (Passion of Christ) is the heading of the upper painting formation on the right. Christ sits on a stone as the Man of Sorrows and clasps his cross with both hands. A woman with the commandment boards, who embodies obedience to God, leads a believing man by the hand to Christ. While the believer steps on the Cupid boy lying on the ground and thus overcomes earthly love, a woman with children appears in the sky, symbolizing love for God.

In the small pictures above, Christ is shown on the Mount of Olives, followed by his capture and interrogation before the high priest, during which he is hit in the face. Flagellation and crowning of thorns can be seen in the middle area. Below are shown carrying the cross, nailing to the cross and crucifixion. In symbolic images with motifs such as the ram that Abraham sacrifices instead of his son Isaac, the pelican who uses his blood to bring his young to life, or an altar with a sacrificial lamb, a connection to Jesus' death is established.

RESVRRECTIO CHRISTI (Resurrection of Christ) is the generic term for the last group of motifs. With the victory flag in his hands, Christ rises from the grave, a guard flees.

The frame pictures begin with the Descent from the Cross and the Entombment. This is followed by the appearances of Christ after his resurrection. He shows himself first to Mary Magdalene, who initially takes him for the gardener, then two disciples on the way to Emmaus, his disciples in a locked room, to whom he gives the Holy Spirit, later at the lake of Tiberias and finally the unbelieving Thomas. The cycle closes with Ascension Day. Connections to Jesus' resurrection can also be found in the eight symbolic images, for example in Jacob's dream of the ladder to heaven, a star or the name of God .

The source of inspiration for the paintings after Hendrick Goltzius was the altarpiece in the Sankt Nikolai Church in Kolding from 1590. However, only three altarpieces were created there: Exemplar virtutum , Miracula Christi and Resurrectio Christi .

Under the pictures on the main floor is Mayor Dietrich Nacke's motto: A DEO HABEMUS OMNIA - SOLI DEO GLORIA (From God we have everything - God alone be glory).

First floor

The upper floor is dominated by a painting with the Adoration of the Shepherds . It is flanked by two statues of women, of which the left symbolizes hope with an anchor and a bird, and the right one with a cross and commandment boards symbolizes faith. To the right and left of them there are pictures of the altar donor Dietrich Nacke and his wife Catharina. The projectile is crowned with a picture of Jesus as Salvator Mundi , as the Savior of the world .

pulpit

Pulpit from 1579

The ornate pulpit was donated by the Nacke couple, hangs raised on a pillar and is artfully carved. It consists of a staircase with a door, the basket and the sound cover. Hinrich Mattes made it in 1579. On the side above the parapet there is a three-hundred-year-old pulpit clock consisting of four hourglasses, each of which shows a quarter of an hour. This ensured that the sermon did not last longer than an hour. The glasses are no longer used. The sound cover is richly decorated. The carved pictures on the pulpit show scenes from the Bible that are rarely depicted. From left to right you can see the fall of man, the sacrifice of Isaac, the good Samaritan, the sermon of Jesus from a boat, the conversion of Saul to Paul, the parable of the lost sheep and the transfiguration of Christ. The pulpit cage is held by an inverted console.

Baptismal font

The bronze baptismal font

The bronze christening dates from 1591 and was cast by Michael Dibler from Flensburg. Four figures, which represent the evangelists Matthew, Mark, Luke and John with their symbols , carry the cup. Two sentences in Low German are attached to the basin: Latet de Kinderken to miommen wente sulker is dat Himmelrieke and Wolloovet ande dofted worth being stale . Underneath, the story of Jesus' passion is shown in eight reliefs. It starts with the Last Supper , followed by the washing of Jesus' feet with his disciples, Christ's prayer on the Mount of Olives and his imprisonment in the Garden of Gethsemane . Then it is shown how Jesus had to answer to Kajaphas , how he was scourged and crucified. The sequence of scenes closes with the resurrection of Jesus Christ . The lid is carved from wood, it was supposed to protect the baptismal water from contamination.

In April 1885 Emmy Ball-Hennings was baptized in St. Mary's Church in Flensburg .

Gothic vault painting

Larger remains of medieval vault paintings are preserved inside the church. The paintings in the second yoke of the north and south aisles were made around 1400. In the north aisle, the four vaulted caps deal with the prehistory of Jesus. Viewed chronologically, the sequence of scenes in the western cap begins with images from the lives of Joachim and Anna, Mary's parents: The high priest refuses to accept Joachim's offering because his wife is childless. After Joachim has gone into the desert, an angel prophesies the birth of a child to him and Anna. Joachim returns to Jerusalem and meets Anna at the golden gate. The northern cap shows the Birth of Mary on the left and the Annunciation on the right . In the east follow the Visitation of Mary and the birth of John the Baptist, whom Mary holds in her arms. To the south, the cycle closes with the presentation of Jesus in the temple .

Secular motifs can be found in the south aisle. In the two caps facing east-west are a "wild man" who wants to kill a bear with a club, and a man who sits on a lion and opens his mouth with his hands. The third cap shows two grotesque dancers and the last two knights in tournament armor.

At the end of the 15th century, the Last Judgment was depicted on the vault above the high altar : Christ sits as judge of the world on a rainbow, the earth at his feet. As an intercessor for the people, Our Lady kneels on the left in front of the gate of the heavenly Jerusalem and on the right John the Baptist, who has his place above the opened jaws of hell. To the left, three lilies emerge from Christ's mouth as a sign of forgiveness, to the right a sword as a sign of judgment. The dead rise from their graves below.

window

The Pentecost window

The windows by Käte Lassen deal with the great festivals and religious secrets of the church year. Starting in the east of the south wall, she created the Christmas window, the crucifixion window, the Easter window and the Ascension window. The Pentecost window in the choir chapel and the Last Judgment window in the devotional chapel are also made by her. Wealthy merchant families from Flensburg donated the windows, their names are written in the lower area. The main motif of the Christmas window is the Adoration of the Shepherds . The center is the Mother of God with the baby Jesus and a lamb at her feet; it is surrounded by a golden halo. Kneeling shepherds flank the group. Angels have gathered under a gold star above the scene. The Annunciation of the Lord is shown below the center, and the Three Wise Men are on their way to the manger at the bottom right .

The window of creation, which has the creation of the world as its theme in several small scenes, is located in the east of the north wall. It was designed by Hans Gottfried von Stockhausen , who also made the windows on the east wall. The large Trinity window can hardly be seen, it is covered by the high altar. It is flanked by two small windows with allegorical meaning . To the right of the high altar, Moses and the tablets of the Ten Commandments and Elijah refer to the Old Testament, to the left the parables of the Good Samaritan and the Good Shepherd refer to the New Testament.

Other equipment

The statue of a crescent moon Madonna with child, which Heinrich Ringerink created in 1589, is in the window screen on the western front of the tower. In front of the choir hangs a triumphal cross , which is dated to the second half of the 15th century. Some large paintings are reminiscent of wealthy Flensburg citizens who donated money or equipment. Some of these citizens are buried in the church. Max Kahlke created an impressive picture of the crucifixion of Christ at the beginning of the 20th century.

Epitaph for Georg Beyer from 1591

Some notable epitaphs adorn the walls. The epitaph for Georg Beyer on the east wall of the south chapel is considered important. Hans Kremberg carved the ornate frame in 1591. Faith with the cross as an attribute and on the right the hope with the anchor are placed as caryatids . On the painting between the two figures, members of the Beyer family are shown under the crucified Christ, living and deceased, whereby at the time the picture was made, those who had already died are marked by a red cross above their heads. The view of the city of Flensburg painted in the background, on which the towerless St. Mary's Church can be seen, is considered the oldest known representation of the city.

The important baroque carver Hans Gudewerth the Younger made the frame of an epitaph for the merchant Niels Hacke in 1648 and decorated it with virtue personifications. In the picture you can see Hinrich Jansen's entombment. As with the high altar, there was also a collaboration between the carver Heinrich Ringerink and the painter Jan von Enum for epitaphs. In 1597 Ringerink created the late Renaissance frame for an epitaph for Gerd van Merfeldt, for whom Jan van Enum had painted the Last Judgment, and in 1601 another frame for the depiction of the parable of the scoundrel for Evert Vette.

organ

Organ of the Marienkirche

The organ in St. Mary's Church was built in 1983 by Marcussen & Søn . The prospectus of the old organ by Lambert Daniel Kastens from 1732 has been preserved. The instrument has 41 registers , which are divided into three manuals and pedal .

I Rückpositiv C–
1. Dumped 8th'
2. Quintatön 8th'
3. Principal 4 ′
4th Reed flute 4 ′
5. octave 2 ′
6th Sif flute 1 1 ⁄ 3  ′
7th Sesquialter II
8th. Sharp IV – V
9. Dulcian 8th'
Tremulant
II main work C–
10. Gedacktpommer 16 ′
11. Principal 8th'
12. Pointed flute 8th'
13. octave 4 ′
14th recorder 4 ′
15th octave 2 ′
16. Cornett IV
17th Mixture IV-VI
18th Zimbel III
19th Trumpet 8th'
III Swell C–
20th Drone 16 ′
21st Reed flute 8th'
22nd Salicional 8th'
23. Beat 8th'
24. Italian principal 4 ′
25th Flute 4 ′
26th Fifth 2 2 ⁄ 3  ′
27. Forest flute 2 ′
28. third 1 3 ⁄ 5  ′
29 Mixture VI
30th Bombard 16 ′
31. oboe 8th'
32. Vox humana 8th'
Tremulant
Pedal C–
33. Principal 16 ′
34. Sub-bass 16 ′
35. octave 8th'
36. Dumped 8th'
37. octave 4 ′
38. Night horn 2 ′
39. Backset V
40. trombone 16 ′
41. Trumpet 8th'

Church music

The community maintains a cooperation with the Flensburger Bach Choir , led by the former organist of St. Marien, Matthias Janz . V.

Bells

The oldest bell was cast in 1631 for the St. Gertrud cemetery at that time. It bears the inscription "The name of the Lord be praised". It has been used as a quarter-hour strike bell in St. Mary's Church since 1904. The second oldest bell was made by Claus Asmussen in Husum in 1682. Its inscription reads "Glory to God in the highest". It serves as an hour-bell.

The oldest bell is the Marienglocke, also called "the fat Maria". Claus Asmussen poured it in 1698 in the week before Pentecost. Next to the inscription “Is God for us, who can be against us?” A pair of pelicans feeding their young and a crucifix with Mary Magdalene are depicted. Three new bronze bells come from the Bachert bell foundry , one from 1991 and two from 1994. The chime consists of the tones c 1 , es 1 , f 1 and a flat 1 .

According to legend, the church bells of St. Mary are supposed to call "the fishermen and boatmen". The port of Flensburg is very close.

literature

  • Margarethe Luise Goecke Seischab: The most beautiful churches in Germany . Anacondaverlag, 2013, ISBN 978-3-7306-0013-9 .
  • Udo Gräve: St. Marien, Flensburg . (= Schnell Art Guide No. 1484). 2nd, completely revised edition. Regensburg 1993.
  • Udo Gräve: St. Marien zu Flensburg . Kunstverlag Fink, Lindenberg 2010, ISBN 978-3-89870-666-7 .
  • Parish of St. Marien (ed.): The St. Marien Altar from 1598 . Flensburg 1998.
  • Stephan Linck: fault lines . The Flensburg church dispute over the warrior commemoration of St. Mary in 1967. Ed .: Broder Schwensen (=  series of publications by the Society for Flensburg City History . Volume 83 ). 1st edition. Society for Flensburg City History eV, Flensburg 2017, ISBN 978-3-925856-78-5 (86 pages).

Web links

Commons : Marienkirche  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Evangelical Lutheran Church District Schleswig-Flensburg. North Church ( Memento of the original from February 22, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kirchenkreis-schleswig-flensburg.de
  2. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 1
  3. ^ Evangelical Lutheran Church District Schleswig-Flensburg. North Church ( Memento of the original from February 2, 2015 in the Internet Archive ) 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. @1@ 2Template: Webachiv / IABot / www.kirchenkreis-schleswig-flensburg.de
  4. ↑ St. Marien Church in Flensburg
  5. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 1
  6. ↑ St. Mary's Church
  7. ^ Andreas Rumler: Schleswig-Holstein. Culture, history and landscape between the North and Baltic Seas, the Elbe and the Flensburg Fjord. DuMont Reiseverlag, 4th, updated edition, Ostfildern 2011, p. 81
  8. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 2
  9. ↑ Broder Schwensen: “The city is where the wildest rumors go around. May 1945 in the mirror of the Flensburg city chronicle ” in: Lange Schatten. End of the Nazi dictatorship and the early post-war years in Flensburg . City archive Flensburg (2000), p. 25
  10. ^ Evangelical Lutheran Church District Schleswig-Flensburg. North Church ( Memento of the original from February 2, 2015 in the Internet Archive ) 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. @1@ 2Template: Webachiv / IABot / www.kirchenkreis-schleswig-flensburg.de
  11. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, pp. 2-3
  12. ^ Exhibition commemorates the "Flensburg Monument Controversy" 50 years ago. In: www.nordkirche.de. Evangelical Lutheran Church in Northern Germany - Public Service Office, January 9, 2017, accessed on July 27, 2017 .
  13. ^ Joachim Pohl: Book project in Flensburg: Flensburg writes church history. In: Flensburger Tageblatt . January 10, 2017. Retrieved July 27, 2017 .
  14. ↑ The St. Marien Church in Flensburg ( Memento of the original from February 23, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , P. 5 @1@ 2Template: Webachiv / IABot / www.flensburger-stadtgeschichte.de
  15. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 10
  16. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 14
  17. ↑ Carsten Bach-Nielsen: Emblematics in Denmark In: Simon McKeown, Mara R. Wade, (Ed.): The emblem in Scandinavia and the Baltic. Center for Emblem Studies, Glasgow 2006, ISBN 0-85261-822-0 , p. 44.
  18. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 8
  19. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 14
  20. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 8
  21. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 14
  22. ↑ B. Reetz, Paradise Was For Us. Emmy Ball-Hennings and Hugo Ball. Berlin 2015. p. 11.
  23. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, p. 5
  24. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, pp. 5-6
  25. ↑ The St. Marien Church in Flensburg ( Memento of the original from February 23, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , P. 13 @1@ 2Template: Webachiv / IABot / www.flensburger-stadtgeschichte.de
  26. ^ Udo Gräve: St. Marien zu Flensburg . Lindenberg 2010, pp. 28-32
  27. ^ Andreas Rumler: Schleswig-Holstein. Culture, history and landscape between the North and Baltic Seas, the Elbe and the Flensburg Fjord . DuMont Reiseverlag, 4th, updated edition, Ostfildern 2011, p. 81
  28. ^ Andreas Rumler: Schleswig-Holstein. Culture, history and landscape between the North and Baltic Seas, the Elbe and the Flensburg Fjord . DuMont Reiseverlag, 4th, updated edition, Ostfildern 2011, p. 82
  29. ^ Organ database
  30. ^ Evangelical Lutheran Church District Schleswig-Flensburg. North Church ( Memento of the original from February 22, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kirchenkreis-schleswig-flensburg.de
  31. ↑ St. Marien Church in Flensburg, pictures and bells
  32. ^ Gundula Hubrich-Messow: Legends and fairy tales from Flensburg. Husum 1992, p. 38, number 45.

Coordinates: 54 ° 47 ′ 23 "  N , 9 ° 25 ′ 58"  E