Marienkirche (Reutlingen)

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August Stechert (1859–1933) Reutlingen, Marienkirche.
West portal and main tower
View from the south
This picture shows the page of the choir begun around 1250. The towers on the side of the vestibule contain the oldest components. The end of the choir with the superior tracery on the gable comes from the second construction phase from around 1290.
Interior view towards the choir
Interior view towards the organ gallery
Commemorative plaque on the work of Matthäus Alber on the outer wall of Reutlingen's Marienkirche

The Marienkirche , named after the mother of Jesus , is one of the landmarks of the Baden-Württemberg district town of Reutlingen . Built from 1247 to 1343 church is now one of the most beautiful and most important religious buildings of the Gothic in Württemberg .

From 1521 to 1548 it was the place of activity of the "Swabian reformer" Matthäus Alber , who from here spread the teachings of Martin Luther's Reformation in what was then the Free Imperial City and in southwest Germany. Since then, the Marienkirche has been the center of the Protestant community in Reutlingen.

In the great city fire of 1726 , which destroyed about 80% of the building stock in Reutlingen, the Marienkirche was badly damaged; the interior furnishings that had existed up to then were lost, with the exception of the late Gothic Holy Sepulcher and the baptismal font from 1499.

Between 1893 and 1901 the church was extensively restored in a neo-Gothic style.

Since 1988 the Marienkirche has been one of the national cultural monuments in Germany.

Building history

For the building history of the Marienkirche, as with other churches in this period, the problem arises that there is no written evidence of the exact building dates and construction processes. More precise dating can therefore only be carried out on the basis of stylistic comparisons, dendrochronological findings and backdating. The first construction activities are located by the building research in the period between 1250 and 1270. Based on the Romanesque plinth on the choir and the choir flank towers, it is assumed that a large part of the choir walls and at least the lower part of the choir flank towers were completed before 1270. Kadauke attributes the long period of twenty years compared to the overall construction time to the work with a relatively small number of stonemasons (about twenty compared to seventy stonemasons in the period from 1280).

From 1270 on, a radical change in the building management is assumed. Based on an architectural drawing on a wall of the south sacristy, a new construction hut could have triggered these changes. During this phase, the already completed choir walls were removed down to the sills and rebuilt in the high Gothic style. The actually square choir was designed to have a polygonal effect, among other things through the different high windows on the east side of the choir and the multi-part ribbed vault . During this construction phase, which lasted until around 1280, the southern sacristy was also completed and the choir towers were almost completely expanded.

The nave was completed from around 1280 to 1310 . The first two nave bays are slightly wider than the remaining five. Kadauke attributes this to the fact that after the completion of the first two yokes, a continuation in the same yoke width would have led to a problem of space on the west side, which is why the yokes are narrower than the first two yokes from the third yoke from the east. The choir flank towers were probably also completely completed in this construction phase.

As the last phase of the construction, the western vestibule and the western facade, which is decorated with a lot of architectural decoration, with the tower placed in the western building were designed from around 1310. Probably because of a war against Eberhard I von Württemberg , this construction phase could only be completed in 1343 with the installation of the golden angel on the top of the west tower.

Historical events

Legend of the origin of the Marienkirche

According to legend, the construction of St. Mary's Church is said to have its origins in the siege of Reutlingen by supporters of the anti-king Heinrich Raspe IV . He had defeated the Staufer King Konrad IV near Frankfurt on August 5, 1246, but was faced with the Swabian imperial cities. Many of the imperial cities, including Ulm and Reutlingen, had only been elevated to imperial cities by the Staufer dynasty and accordingly denied their loyalty to Heinrich Raspe. As a result, Raspe and his followers began a siege campaign of these imperial cities in 1247, but this was unsuccessful in Ulm. At Pentecost 1247 Reutlingen was besieged by followers of Heinrich Raspe. The citizens of Reutlingen are said to have vowed to Maria, who played a special role in urban culture as the city's patron saint, that she would build a chapel within the city walls in her honor if the siege was unsuccessful. After the besiegers had withdrawn, a builder was immediately sent for.

The legend about the origin of the building can be found for the first time in the explanations of the "Chronikon" by Conrad Spechtshart, who was the schoolmaster of the Reutlingen Latin School, from around 1370. However, it is difficult to prove whether this legend is based on historical facts, since the explanations were written over a hundred years after work began on St. Mary's Church and no documents exist from the time construction began.

Storm ram legend

In close connection with the history of St. Mary's Church there is a battering ram that the troops under Heinrich Raspe, according to legend, left behind after the unsuccessful siege of Reutlingen in 1247. The residents of the city had the approximately 35-meter-long battering ram transported to the city, where it is said to have been placed on the building site and served as a measure of the length of the church. The storm ram is said to have been hung in a side aisle of the church until 1517. During a visit by Emperor Maximilian I to the imperial city that year, the latter is said to have ordered the ram to be removed from the church, as it was an inappropriate church decoration. However, since the houses were built relatively close to the main portal, a hole had to be made in the wall of the choir through which the siege device was pushed. In 1563 the ram is said to have been hung on what was then Reutlingen's town hall and provided with a Latin inscription. During the city fire in 1726, it burned mostly with the town hall. However, in 1824 a small piece of the original ram that could be saved was back in St. Mary's Church.

It is unclear, however, whether the storm ram actually existed as a trophy for victory and whether the storm ram legend can be historically proven, as the first documented mentions of the ram came down very late after the church was built. However, there is actually a walled-up spot on the choir wall through which the ram could have been pushed out. During the renovation under Heinrich Dolmetsch from 1893 to 1901 it was provided with the inscription "Sturmbockloch Anno 1547".

Today there is a replica of the storm ram on the south side of the Marienkirche.

architecture

Golden angel

On the top of the 71 m high west tower of St. Mary's Church there is a fully sculpted sculpture of an angel. The sculpture is figurative and in places worked out in great detail. A maker's mark or a date are not available. It has a height of 140 cm and a diameter of 35 cm at the skirt hem. The figure, which consists of embossed copper sheets, which have been riveted and gilded, has a total weight of 35 kg. Technically speaking, the figure can be divided into four parts, namely a head, a neck, an upper body and a skirt. These are connected to one another by rivets or the head and neck sections by solder.

The angel has been in its place with minor interruptions since the completion of St. Mary's Church in 1343. According to the Spechtshart Chronicle, the building was even completed with “a golden angel placed on top”. However, the creator of this work is not known.

The angel could have been changed in some places over time. In older graphic and written sources, for example, the figure had two wings, whereas today, as a rotatable winding angel, it has only one wing. In addition, according to some traditions, the flag he is holding in his left arm was once attached to his left hand. In more recent investigations, a hole was actually found in the left hand where the flag could have been attached. These changes to the angel's appearance could have been made during one of the many restorations - mostly caused by the weather. The angel was probably damaged in the lightning strike in 1494, which destroyed the main tower up to the top gallery. In addition, the angel was newly gilded in June 1726, shortly before the city fire, and the right hand that had fallen off at that time was reattached. On May 28, 1943, the angel and the two finials fell from the tower as a result of an earthquake and landed in the north aisle after breaking through the roof. He was bruised on his skirt, torso, arms and hands, and the wing was bent. Until 1950 it was restored by Franz Aßfalg from Ehingen / Donau and placed back on the tower on July 18, 1950.

The figure represents an upright person, whose left arm rests against the body and carries a flagpole with a flag pointing backwards and a cross-shaped end in the crook of the arm. The right arm is bent and pointing away from the body. Three disproportionately large fingers are stretched out on the right hand, which is interpreted as an oath gesture or a greeting to Mary. The angel has curly hair and wears a skirt that forms parallel folds from the waist down.

Mostly the figure is interpreted as a representation of the Archangel Gabriel .

Refurbishment and restoration history

Works around 1494 under Peter von Breisach

The first major renovation work on St. Mary's Church had to be carried out around 150 years after its completion. On June 20, 1494, lightning struck the west tower and damaged it so much that it had to be rebuilt from the top walkway to the top of the tower. According to the Camerer-Laubenberg Chronicle, the restoration was entrusted to the Reutlingen city master builder Peter von Breisach, who restored the spire to its old state by 1496. On March 11, 1496, the golden angel could be put back in its place on the top of the tower. The building research assumes that this renovation of the tower spire gave rise to further structural changes that were made at the end of the 15th and beginning of the 16th century inside and outside the building, such as the apostle figures created around 1500 on the buttresses or the Holy grave and the baptismal font inside the church.

Johann Georg Rupp

The first major restoration of the Marienkirche was initiated during the 19th century by the then Reutlingen building officer Johann Georg Rupp . Rupp came from a stonemason family in Reutlingen who had also worked on St. Mary's Church several times, as can be seen from the inscriptions. During his time as a building officer, Rupp began removing baroque elements that had been placed there after the city fire and restoring the church in neo-Gothic style.

The Marienkirche was strongly integrated into the everyday life of the imperial city in the 18th century. On the one hand, craftsmen's huts surrounded the church on the outer wall and thus partially damaged the stones; on the other hand, the Reutlingen guild society was represented inside the church by galleries for the individual guilds. Under Rupp, some of the additions to and in the church were demolished in 1829, followed by the demolition of the remaining children's gallery and the men's gallery for the city council in 1842 and 1843.

Neo-Gothic renovation under Heinrich Dolmetsch

The largest and most drastic measure for the renewal of the church in the modern age was the neo-Gothic renovation under the supervision of the senior building officer Heinrich Dolmetsch in the years 1893 to 1901. The goals of this renewal were first to "restore the original shape of the structural members and components" and secondly to modernize the To be a church by modern standards. However, according to the understanding of the restoration at the time, own interpretations of the "original state" were also included in the construction. The appearance of St. Mary's Church is still strongly influenced by the regotization that takes place under interpreting.

In 1896 the Reutlingen City Building Authority decided to extensively renovate St. Mary's Church, which, with the exception of the renovation work by Johann Georg Rupp, was still in the same condition as it was immediately after the city fire. The management of the work was entrusted to the church building specialist Heinrich Dolmetsch, who had already built the Katharinenkirche in Reutlingen in the neo-Gothic style. For the undisturbed work on the building, Dolmetsch had the Leonhardskirche built especially to ensure the services of the Marienkirche community. The first steps in the restoration were to strengthen the foundations and replace the previous roof structure with an iron roof structure. Various measures were carried out on the choir, such as the replacement of the gable between the nave and the choir and the insertion of a relief arch for the choir arch .

The next step in securing the existing structure were the buttresses and arches, some of which had sunk. The easternmost buttresses on both sides also received statues of Moses in the south and Isaiah in the north to create a unit with the existing statues of the Apostles on the other buttresses. Other important external changes were, for example, the redesign of the so-called bridal portal on the south side and the redesign of the main portal, which after the completion of the work still bears a statue of Christ on the post of the two-part portal. In the interior of the church, in addition to the restoration of the assumed Gothic state, extensive modernization was carried out.

The restoration concerned, for example, the octagonal pillars used by Rupp, which were replaced by bundle pillars. In addition, some of the church's arcades and vaults were heavily restored, as they had lost their original shape due to constructions from the time after the city fire, such as the bricked-up arcade arches.

The partial view of the vault shows the cork stickers

The modernization partly consisted of "smaller" additions such as a new pulpit or new chairs. However, complex construction measures such as the installation of a heating system or a lighting system were also carried out. In-house constructions such as the ceiling, which is covered with cork triangles to improve the acoustics, or the organ and organ gallery were only installed under interpreting. On November 24, 1901, the church was returned to the community.

Furnishing

Baptismal font

The font

The baptismal font of the Marienkirche is an octagonal sculpture made of sandstone. The font is dated on the upper edge with the year 1499, but there is no maker's mark. The font has a height of 118 cm and a maximum diameter of 122 cm at the top. It has stood in the hall of the southern choir tower since its completion. Basically, it can be divided into two zones: the lower plinth zone and the pelvic zone above.

The baptismal font was created relatively soon after the completion of the main tower, which was damaged in 1494, and in close proximity to the erection of the somewhat younger Holy Sepulcher. This temporal proximity suggests that the sculptor of these works was the same or that several sculptors in one workshop were active in Reutlingen at the same time. Due to its close relationship to other works of the Urach Meisterkreis, the font could have come from Christoph von Urach's surroundings.

The baptismal font is still largely preserved in its original state. The font could have been damaged during the iconoclasm in 1531. Three restorations were carried out on the stone in the 19th and 20th centuries: from 1859 to 1861 by Ernst Machold, from 1899 to 1901 by Carl Lindenberger, and in 1998 and 1999 by Hans Krauss. Lindenberger intervened most strongly in the shape of the stone with various changes and additions.

The baptismal font stands on a two-tier pedestal decorated with tracery, which, like the baptismal font itself, is octagonal. In the lower base zone, niches are carved into the eight sides, in which there are plastic representations of the baptism of Christ and the seven sacraments of the Catholic Church. The corners of the base zone are made into pillars reminiscent of Corinthian columns. Animal figures are attached below the depictions, ironically commenting on the actions depicted. The background of the actions is indicated by the relief-like processing of the stone.

The basin area of ​​the baptismal font consists of the representations of eight apostles, who stand on the corner pillars of the base area and are covered by canopies. Between the representation of the baptism of Christ on the east side of the baptismal font, i.e. where the priest is at the baptism, are the main saints of the former Reutlingen parish church, Peter and Paul. The eight apostles are represented with their attributes. The spaces between the apostles are filled with branches. The stone was originally painted, remains of the setting can still be seen today.

Holy grave

The holy grave

The Holy Grave of St. Mary's Church, along with the baptismal font, is the only surviving sculpture from the time before the town fire in 1726, which is still in the church today. The sculptural sandstone sculpture has neither a date nor a maker's mark, but due to the depiction of the figures and their folds, it is dated to the beginning of the 16th century. After several transfers, the Holy Sepulcher is now erected in the end of the choir.

The time of origin of the Holy Sepulcher is estimated at the beginning of the 16th century. Thereafter, the creation of the Holy Sepulcher fell in the time of the renewal of the west tower in 1494 and the subsequent decoration of the interior. Since the baptismal font most likely came from a sculptor from the Urach Masters' Circle, it can be assumed that the same workshop designed the Holy Sepulcher.

After its completion, the Holy Grave was probably located in the northern choir tower hall, where it was dismantled as early as 1531 as a result of the iconoclasm. Presumably the sculpture was damaged in the iconoclasm, as was the baptismal font. During the temporary re-Catholicization during the Augsburg interim , the Holy Sepulcher was erected again, but this time in the west tower vestibule. It remained there until the late 19th century. In 1897 it was moved to the choir during the renovation under Heinrich Dolmetsch. There were several reasons for this transfer: On the one hand, the Holy Sepulcher was seen as an important work of art that should be given a place in the church. The place in the choir resulted from the emptiness of the choir, as there was no high altar since the Reformation. On the other hand, the Holy Grave was supposed to cover the access to the newly constructed boiler room.

After the repositioning in the choir, the Holy Sepulcher was restored and supplemented by Carl Lindenberger between 1897 and 1901. However, the Holy Sepulcher had already been restored by Ernst Machold between 1856 and 1859. Lindenberger added several figures and added a partially colored version in some places that are still visible today. From 1985 to 1987 the Holy Sepulcher was restored again as part of the interior restoration of the Marienkirche.

The holy grave stands on a step that was also restored by Lindenberger. The sarcophagus of the tomb is decorated with a total of six half-reliefs of apostles. Two sleeping grave guards lie in front of the sarcophagus. Four three-quarter figures of Our Lady, John the Baptist, Mary Magdalene and Mary Salome are positioned behind the sarcophagus. These stand in front of the open grave. The holy grave of Reutlingen differs from other depictions of a holy grave from this time in the absence of the grave Christ. It is believed that a wooden tomb Christ was placed in the tomb to recount the resurrection of Christ at Easter. The figure of a corresponding Christ was found in a wooden box in St. Mary's Church in 1890. Above the representation of John and the three Marys there is a stone canopy, in the middle of which there is a representation of a risen Christ. Below this image are two angels with a cloth. Above the representation of Christ, eight figures of Old Testament prophets can be seen between tracery, who are named by tapes. The canopy of the Holy Sepulcher ends at the top with corner pinnacles.

Wall paintings in the south sacristy

Interior view of the south sacristy
Wall painting, crucifixion of Jesus

The southern sacristy is the only room in St. Mary's Church that has been completely spared from the city fire. In 1846, several wall paintings from the 14th century and an architectural drawing from the end of the 13th century were found in the southern sacristy, which were not destroyed but only painted over in the wake of the iconoclasm in Reutlingen in 1531. After a rough “refreshment” of the depictions in 1850, which was washed off again in 1900, the southern sacristy was restored twice in the 20th century, namely in 1955 and in the course of the interior restoration of St. Mary's Church in 1977 and 1978. The wall paintings are applied to a layer of plaster using Secco technology, the architectural drawing, on the other hand, was applied to the wall with brown paint.

A crucifixion group is depicted on the arched area of ​​the west wall, with Christ in the middle, Longinus and Stephaton next to him. Further out are Mary and John the Apostle, both in oversized representation. In the corners of the arch are two saints, one of them is called Katharina. On the north wall there are four scenes from the life of Catherine of Alexandria in the three yokes . The left section of the arch shows how Catherine converted the emperor's scholars to Christianity. The middle arch field is divided: on the left you can see the scholars' death by fire, on the right a lightning bolt destroys the wheel with which Katharina is to be executed. The decapitation of Catherine is shown in the right arch field. Under the application of paint of the beheading there is an older wall painting showing the martyrdom of St. Lawrence on the grate. In the wall areas between the windows of the south wall, the saints Martin, Nicholas, Conrad, Augustine as well as Cosmas and Damian are depicted. On the east wall you can see a group of women with three figures, named Maria Magdalena, Katharina and Margareta . In addition, there is an inscription in the arched area of ​​the east wall, which refers to a deputy priest Werner who had the basilica painted. Whether the word basilica only refers to the southern sacristy or to the entire church or the part of the church that was completed by that time is a matter of dispute. On the wall to the choir, a plan of a three-aisled church is drawn in half along the longitudinal axis. The floor plan seems to have been attached there before the southern sacristy was painted. However, it was disturbed by a broken door to the choir, so that the cuboids are sometimes no longer in their original place, but are distributed to the left and right of the door and in its soffit.

In the east wall there is a colored sacraments niche .

  • Martyrdom of St. Catherine

  • Beheading of St. Catherine

  • St. Konrad

  • Saints Mary Magdalene, Catherine and Margareta

  • Sacrament niche in the east wall

organ

View of the organ

Already in 1487 the rhyming chronicle of Johann Fizion reported about an "old organ". This was probably a swallow's nest organ that hung on the north wall of the central nave at about the same level as the pulpit. When St. Mary's Church was elevated to the parish church of Reutlingen in 1540, a large organ was installed on a gallery on the west tower for the first time. However, this church was not completed because the organ builder from Schwäbisch Hall died and left the organ unfinished. For this reason, a new organ with 16 registers was built by the Nuremberg organ builder Hieronymus Scheurstab as early as 1569, the case of which was gilded by Markus Astfalk from Schwäbisch Hall and decorated with the municipal and imperial coat of arms. In 1592 the organ was renewed again by Andreas Sartor.

During the city fire in 1726, the organ and almost all of the interior fittings were lost. However, the city of Ulm donated a new organ in 1736, which the Ulm organ builder Georg Friedrich Schmal made as a two-manual organ with 16 stops. In 1847 this organ was expanded again by the Walcker company from Ludwigsburg.

During the restoration under Heinrich Dolmetsch, Carl Weigle from Leinfelden-Echterdingen made a new, three-manual pneumatic organ with 57 stops, while the existing organ was reduced in size and moved to the Leonhardskirche in 1900. The organ's oak casing was designed by Dolmetsch himself and made by the sculptor Spindler from Stuttgart. However, the dried out mechanics, which was caused by the electrical heating system, which was also installed under interpreting, soon led to limited playability, so that in 1967 the Weigle company had to replace it with a two-manual organ with 16 registers.

Today's organ was built from 1987 to 1988 by the Rieger Orgelbau company from Schwarzach (Vorarlberg / Austria), the lengths and intonation are from Klaus Knoth (Rieger Orgelbau). The reed pipes are designed in French. The slider chest instrument has 53 registers (3,813 pipes) on three manuals and pedal and has a free-standing console . The game actions are mechanical, the stop action is electric.

The Reutlingen Organ Summer concert series with organ concerts takes place every summer .

I Hauptwerk C – g 3
Prestant 16 ′
Principal 08th'
Tube bare 08th'
Pointed flute 08th'
Octav 04 ′
Night horn 04 ′
Fifth 02 2 ⁄ 3  ′
Super octave 02 ′
Mixture major IV-V 02 ′
Mixture minor III-IV 0 01'
Cornet V 08th'
Trumpet 16 ′
Trumpet 08th'
II Positive C-g 3
Salicional 8th'
Wooden dacked 8th'
Quintad 8th'
Prestant 4 ′
Reed flute 4 ′
Sesquialtera II 0 2 2 ⁄ 3  ′
Octav 2 ′
recorder 2 ′
Larigot 1 1 ⁄ 3  ′
Scharff V 1'
Voix humaine 8th'
Cromorne 8th'
Tremulant
III Swell C – g 3
Bourdon 16 ′
Principal 08th'
Wooden flute 08th'
Gamba 08th'
Voix céleste 08th'
Octav 04 ′
Transverse flute 04 ′
Nazard 02 2 ⁄ 3  ′
Octavine 02 ′
Tierce 01 3 ⁄ 5  ′
Sifflet 01'
Plein Jeu VI 02 2 ⁄ 3  ′
Basson 16 ′
Trompette harmonique 0 08th'
Hautbois 08th'
Clairon harmonique 04 ′
Tremulant
Pedal C – f 1
Principal 16 ′
Sub-bass 16 ′
Fifth 10 2 ⁄ 3  ′
Octav 08th'
Dumped 08th'
Octav 04 ′
Pipe whistle 04 ′
Back set IV 0 02 2 ⁄ 3  ′
Contrabassoon 32 ′
trombone 16 ′
Trumpet 08th'
Clarine 04 ′

Bells

The ringing of the Marienkirche consists of six bells, which are all attached to the main tower.

The bells, which were in use until 1726, were destroyed by the town fire. Only the so-called hour or prayer bell (C) was found undamaged on the lower circumference of the tower after the fire. In 1727 the bell was melted down and with the inscription “The Lord has helped us so far. Samuel 7:12 ” . It was pulled back into the main tower along with five other bells in 1728. In 1900 the prayer bell shattered because it was stressed by the ringing of morning and evening prayers and the Lord's Prayer. It was then poured over by Heinrich Kurz from Stuttgart and the inscription “His grace and wisdom will rule over us forever. Alleluia! Psalm 117, 2 ” inserted. The other bells were matched to the prayer bell in the course of this. In 1950 three bells were re-cast by the Heinrich Kurz company. The so-called Christ bell (c '), which is rung to commemorate the resurrection and as a death knell, was given a monogram of Christ and the inscription “Come to me all who are troublesome and burdened! Matthew 11, 28. “ The so-called peace bell (g '), rung as a passion bell, is decorated with a world circle with a cross and the inscription “ Grant us peace graciously ” . As the third bell, the Kingdom of God bell (a ') rang for the service today was re-cast and with the inscription “Your Kingdom come. Matthew 6:10 ” , a sign of the cross and the Greek letters Alpha and Omega.

literature

  • Eugen Gradmann, Johannes Merz, Heinrich Dolmetsch: The Marienkirche in Reutlingen. A memorandum. Wittwer, Stuttgart 1903.
  • Evangelical parish, Marienkirchengemeinde Reutlingen (ed.): In a new light: The Marienkirche in Reutlingen. For interior renovation 1985–1987. Reutlingen 1987.
  • Lothar Gonschor: Cultural monuments and museums in the Reutlingen district. Theiss, Stuttgart 1989, ISBN 3-8062-0560-4 , pp. 174-180.
  • Heimatmuseum Reutlingen (ed.): Figures of salvation. Gothic art from Reutlingen. Reutlingen 2009, ISBN 978-3-939775-11-9 .
  • Bruno Kadauke: The Marienkirche in Reutlingen from an art historical point of view. Verlag Oertel & Spörer, Reutlingen 1987, ISBN 3-88627-055-6 .
  • Friedrich Keppler: The Marienkirche in Reutlingen. Meaning - history - works of art. Gryphius, Reutlingen 1946.
  • Eckhard von Knorre, Gerhard Kost: The Marienkirche in Reutlingen (= large architectural monuments . Booklet 391). 3. Edition. Deutscher Kunstverlag, Munich et al. 1996.
  • Till Läpple, Harald Weiß: He defied lightning strikes, fire and earthquakes. New information on the building history of the tower of the Marienkirche in Reutlingen. In: Preservation of Monuments in Baden-Württemberg , Volume 39, 2010, Issue 3, pp. 171–175 ( PDF )
  • Zimdars, Dagmar (arrangement): Georg Dehio: Handbook of German art monuments. Baden-Württemberg II. Deutscher Kunstverlag, Munich et al. 1997, ISBN 3-422-03030-1 , pp. 574-578.

Individual evidence

  1. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 11.
  2. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 17.
  3. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 24.
  4. ↑ a b Kadauke: The Marienkirche from an art historical point of view. P. 6.
  5. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 9.
  6. ↑ a b Gradmann u. a .: Memorandum. P. 1.
  7. ↑ a b Keppler: The Marienkirche in Reutlingen. P. 10.
  8. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 18.
  9. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 5.
  10. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 7.
  11. ↑ Gradmann u. a .: Memorandum. P. 6.
  12. ^ Johann Daniel Georg Memminger: Description of the Oberamt Reutlingen. Cotta, Stuttgart and Tübingen 1824, p. 24.
  13. ^ Keppler: The Marienkirche in Reutlingen. P. 22f.
  14. ^ Keppler: The Marienkirche in Reutlingen. P. 50.
  15. ↑ a b Heimatmuseum Reutlingen: Figures of Salvation. P. 22.
  16. ↑ a b c Kadauke: The Marienkirche from an art historical point of view. P. 36.
  17. ↑ Evangelical parish, Marienkirchengemeinde: The Marienkirche in Reutlingen. P. 34.
  18. ^ Keppler: The Marienkirche in Reutlingen. P. 11.
  19. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 25.
  20. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 24.
  21. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 27.
  22. ^ Keppler: The Marienkirche in Reutlingen. P. 48.
  23. ↑ Gradmann u. a .: Memorandum. P. 4.
  24. ↑ Läpple, Weiss: He defied lightning, fire and earthquakes. P. 174.
  25. ↑ Gradmann u. a .: Memorandum. P. 28.
  26. ↑ Zimdars: Dehio. P. 576.
  27. ↑ a b Gradmann u. a .: Memorandum. P. 32.
  28. ↑ Evangelical parish, Marienkirchengemeinde: The Marienkirche in Reutlingen. P. 24.
  29. ↑ a b Gradmann u. a .: Memorandum. P. 33.
  30. ↑ Gradmann u. a .: Memorandum. P. 34.
  31. ↑ Gradmann u. a .: Memorandum. P. 35f.
  32. ↑ Gradmann u. a .: Memorandum. P. 36.
  33. ↑ Gradmann u. a .: Memorandum. P. 38.
  34. ↑ Gradmann u. a .: Memorandum. P. 39f.
  35. ↑ a b Gradmann u. a .: Memorandum. P. 45.
  36. ↑ a b Heimatmuseum Reutlingen: Figures of Salvation. P. 38.
  37. ↑ Königlich Statistisches Landesamt (Ed.): Description of the Oberamt Reutlingen. Kohlhammer, Stuttgart 1893, p. 31.
  38. ^ A b Gonschor: Cultural monuments and museums in the Reutlingen district. Stuttgart 1989, p. 180.
  39. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 60.
  40. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 40.
  41. ↑ a b Heimatmuseum Reutlingen: Figures of Salvation. P. 46.
  42. ↑ a b c Zimdars (arr.): Dehio. P. 578.
  43. ↑ a b Heimatmuseum Reutlingen: Figures of Salvation. P. 47.
  44. ↑ Gradmann u. a .: Memorandum. P. 42.
  45. ^ Evangelical Marienkirchengemeinde, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 22.
  46. ↑ Heimatmuseum Reutlingen: Figures of Salvation. P. 44.
  47. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 41.
  48. ↑ Gradmann u. a .: Memorandum. P. 22.
  49. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 38.
  50. ↑ Evangelical church community, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 55.
  51. ↑ a b Kadauke: The Marienkirche from an art historical point of view. P. 12.
  52. ↑ Gradmann u. a .: Memorandum. P. 3.
  53. ↑ a b Kadauke: The Marienkirche from an art historical point of view. P.56.
  54. ↑ a b c d e Evangelical church community, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 64.
  55. ↑ a b c Gradmann u. a .: Memorandum p. 4.
  56. ↑ Gradmann u. a .: Memorandum p. 37.
  57. ↑ Evangelical church community, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 38.
  58. ↑ Evangelical church community, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 65.
  59. ↑ Knorre, Kost: The Marienkirche in Reutlingen. P. 20.
  60. ↑ Kadauke: St. Mary's Church from an art historical point of view. P. 61.
  61. ↑ Evangelical church community, Marienkirchengemeinde Reutlingen: The Marienkirche in Reutlingen. P. 59.

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Coordinates: 48 ° 29 ′ 28 "  N , 9 ° 12 ′ 48"  E