Marienkirche Rockenberg

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Marienkirche from the south
View from the southeast

The Marienkirche Rockenberg is the former monastery church of the Marienschloss Abbey in Rockenberg in Wetterau in Hesse . The hall building with a hooded roof turret was built between 1746 and 1749 and is the largest Rococo church north of the Main. Your during construction equipment that in 1778 with the completion of the high altar was concluded, is completely preserved. The Hessian cultural monument with the patronage of the Assumption of the Virgin Mary is now used simultaneously as the prison church of the Rockenberg correctional facility.

history

Gothic epitaph of the donor couple (14th century)

As a predecessor of the monastery Marie Castle a true beguines - Klause ( hospitale / clausa which is documented for the first time mentioned in connection with a donation in 1332 and to the care of the sick had been prescribed). A new monastery complex was donated in 1338 by the knight Johann von Bellersheim , called von Rockinberg, and his wife Gertrud, called Gezele von Düdelsheim . The foundation deed of April 30, 1338 seals the conversion of the hermitage into a Cistercian nunnery. Just a year and a half later, on November 1, 1339, the monastery church of St. Mary and John the Baptist and incorporated the Rockenberg parish church Marienschloss. Through Pope Innocent VI. Marienschloss was incorporated into the Cistercian order in 1342 and the Arnsburg monastery was subordinate to it. Already in 1340 knight Johann and his wife endowed the monastery with endowed goods, over time the monastery was richly fortified by other foundations. The neglect of religious discipline caused the Archbishop of Mainz, Adolf II, to dismiss the abbess Lucia von Weisen and almost all of the sisters in 1466 and to re-occupy the convent . Despite the introduction of the Reformation in Rockenberg in 1535, the monastery remained Catholic. In 1534, the abbess at the time succeeded in getting the pastor of Rockenberg dismissed, who preached Evangelical, served the sacraments in Lutheran fashion and was married. As patroness, however, she had to present tolerant Protestant pastors in the Rockenberg parish church. Since the Diet of Speyer in 1544, the monastery was under Emperor Charles V and fell to Kurmainz in 1581 .

In the years 1602 and 1603 the Counter-Reformation took place in Oppershofen and Rockenberg . Numerous construction measures followed from 1606 to 1619. The Thirty Years' War led to multiple looting and partial destruction of the monastery church and other monastery buildings. Of the five monasteries in the Wetterau from the pre-Reformation period, only Marienschloss remained as an enclave in an evangelical environment and experienced its last heyday in the Baroque period, despite the economically modest conditions, little land ownership and low income.

Under Abbess Franziska Koch (1724–1736) and her successor Antonia Hartz (term of office 1736–1774) the poorly repaired buildings were completely renovated. The foundation stone of the new church was laid on May 5, 1746, and it was completed in 1749. Compared to the previous building, today's church was raised by about 3 meters due to the marshy surroundings of the nearby weather. Afflicted by wars in 1743, 1757 and 1792, the monastery existed until 1803 when it came to Hessen-Darmstadt as a result of the Reichsdeputationshauptschluss . In 1809 the monastery was closed and the last remaining nuns moved out. The monastery was converted into a reformatory and from 1811 prisoners moved into it. In 1939 it was converted into a youth prison for male adolescents, which from 1946 was used as the new owner for the State of Hesse.

In 2014, the damaged ridge turret was repaired, which was removed with the help of a special crane and placed on the ground so that it could be restored and re-clad. On this occasion the bell was used, which was built in 2003 by a foundation of the Kultur- und Geschichtsverein Oppershofen e. V. was poured. Further damage to the facade, windows, sandstone walls , portals and galleries of the monastery church was repaired in a first construction phase, which cost the State of Hesse 1.3 million euros.

architecture

Canopy rider with onion helmet
Chapter house below the nuns gallery
South portal: St. Bernhard above the coat of arms of Antonia Hartz

Marienschloss is located northwest of Rockenberg, east of the Wetter . The south side of the church is designed as a representative display side. The cloister and the former three-wing convent building, which was fundamentally rebuilt in the 19th century and covered by the church, adjoin to the north . The east-facing monastery church made of light-colored, unplastered quarry stone masonry forms the southern end of several monastery buildings. To the east is the slightly lower, two-storey abbess building, which encloses the main gate of Marienschloss from 1733. The monastery church is continued in the west by a lower, two-story extension, the original prioress building, which has been used as a museum since 1998.

The monastery church is built over the foundation walls and in the west over the vaulted space of the lower-lying Gothic predecessor building from the first half of the 14th century. The elongated nave is illuminated on both long sides through seven high, round-arched windows with honeycomb glazing, the profiled walls of which are made of red sandstone and have a keystone . Inside, the deep reveals are sloping downwards. Only the middle window in the south side ends halfway up, as the south portal opens up the church here. A stained glass on the second south window shows St. Wendelin on a cabinet disc , which may have been taken over from the previous church. The hipped roof, which is completely barred, is equipped with small dormers on two levels. In the west is a slate roof turret, the square shaft of which merges into an octagonal bell chamber with round-arched sound holes on four sides. The roof turret houses a Rincker bell. A curved roof conveys the octagonal lantern with eight round-arched sound holes on which an onion helmet is attached. This is crowned by a tower pommel, wrought-iron cross and gilded weathercock.

In the middle of the south side there is a column portal made of red sandstone. It has half and full columns with square bases and capitals and a blown gable in which the coat of arms of Antonia Hartz made of sandstone is attached. Above it stands the figure of Bernhard von Clairvaux in a round-arched sandstone niche, the keystone of which is adorned with an angel's head. To the west of the south portal is an oval window and to the left of it a walled up portal, which originally served as a death gate. Two walled-up windows below the gate and the oval window are probably part of the previous Gothic building.

The western area of ​​the ship is separated in the lower area by a partition and forms a separate sub-room. It is not included in the church and originally served as the chapter house of the nunnery. It is covered with red sandstone slabs. The two stairs that lead to the nuns' gallery date from post-monastery times. Apart from the rectangular wooden door that leads into the monastery church, there were two other entrances that are now walled up: the west door, which gave access to the convent rooms, and the death gate in the south wall, which led outside to the cemetery. Numerous tombstones from the 14th to 18th centuries have been placed on the walls of the chapter house. The oldest from 1354 reminds of Werner von Rockenberg, the son of the founder Johannes von Bellersheim. In the chapter house there is a cracked bell (0.56 meters high) with an old yoke, which was cast in 1714 by Johan Georg Barthels in Frankfurt am Main. It bears the inscription "S. CHRISTIANA STREBIN ABBTISSIMA IN MARIAE SCHLOS ANNO MDCCXIV "and below the inscription" GOSS MICH IOHANN GEORG BARTHELS IN FRANCKFURT ", in between two reliefs of the crowned Mother of God with the baby Jesus and two reliefs with John the Baptist. A stone staircase from the 1960s on the north side of the chapter house leads 3 meters down into the walk-in cloister , i.e. to the level of the previous church from the first half of the 14th century. While the south wing is still from the Gothic period, the three other wings were renewed in 1737 and the superstructure was added. Today, these three wings on both floors are used as an infirmary and for pre- trial detention in the prison and can therefore not be visited. Behind the organ on the nun's gallery, a door with sandstone walls leads into the Wilhelm Leuschner Memorial Room and the Abbey Room, the museum of the Oppershofen Culture and History Association.

Furnishing

View of the nuns' gallery in the west
Stucco ceiling in various pastel tones

The baroque and rococo furnishings are complete and retain their stylistic unity. Only the small altar dedicated to St. Anna was consecrated and presumably stood on the nun's gallery, was moved to the Anna chapel in Rockenberg. The interior is closed by a stucco ceiling , which is divided into 21 cartridges . The cartouches are in the pastel colors pink, blue or yellow monochrome and surrounded by a playful framework of rocailles . The large pink cartouche in the middle ends in the east with the builder's coat of arms with the initials A and H, in the west with a monogram of Mary . Two smaller, light blue cartridges are attached to the sides. The transition to the long sides is made up of six small cartridges, with one more on the east and west walls and in the four corners. The corner cartouches represent the four seasons with their seasonal flowers and fruits: spring flowers, grain stalks with sickles for summer, vines with grapes for autumn and dried flowers for winter. The magnificent stucco work could have come from the same master who furnished the refectory in Arnsburg Monastery in 1746 .

Above the chapter house is the nun's gallery with a convex curved parapet, which, like the ceiling, is richly decorated with stucco. It is dominated by three cartouches framed by rocailles, in between flower garlands and musical instruments are modeled in stucco. A wooden privacy screen with a diamond grille is attached to the parapet. The narrow strips between the 17 removable lattice windows are adorned with gilded flower garlands. Four wide screens, which are crowned with vases, have carved fruit pendants and flower tendrils. Two pillars behind the organ support the stucco ceiling. At the very top of the east wall above the organ, an hour clock with a single pointer shows the prayers of the hours . It is made of plaster of paris and has a clock face with Roman numerals and a stucco wreath, which, like the sundial on the abbess building, is richly decorated with rocailles, tools and symbols of transience.

The nun's gallery corresponds to the concave curved abbess gallery in the west, which is interrupted in the middle by the high altar. Although it is much smaller than the nuns' gallery, its two-part parapet is similarly decorated with rococo stucco. The two cartridges show two large flower baskets. The privacy screen attached to the parapet comprises five windows with diamond grids, which are delimited on the outer walls by a screen, which show a decorated abbess's staff on the left and an open book on the right, each crowned with a vase. It is barely noticeable that under the coat of arms on the high altar, a narrow privacy screen allows a view into the interior of the church.

In the south-east corner of the sacristy, a piscina from the Gothic period is set into the wall . The sandstone pool is clad in wood with pilasters. A square sacrament niche with red sandstone walls was uncovered between the pulpit and the altar in the north wall, which was given a wrought iron grille during the restoration in 1988. On the south wall opposite the pulpit hangs a crucifix about 2 meters in size made of dark wood with a white body and a gold-plated apron. Above the crucified one is a plaque with the title INRI . The capitalis " И " is written backwards.

Panel painting of Anna selbdritt from 1622

Farther to the right above the south portal is a panel of Anna Selbdritt , which a lay brother from Arnsburg painted in 1622. It shows St. Anna and Maria with the baby Jesus in front of an open window with a white curtain drawn to the side. A city can be seen in the background. The Latin inscription reads: "Joannem fratrem Laicum cognomine dictum Bachdeutzer cito positum pinxisse tabella MD.C.XXII" (I state that the lay brother Johannes, called Bachdeutzer, painted this picture. 1622). Presumably this picture on a wooden panel belonged to an altar that Abbot Wendelinus Fabri from Ockstadt donated to the Rockenberg monastery church.

St. Nepomuk in one of the upper niches

Ten niches are set in between the arched windows at the level of the upper window closure, which end at the top with an open shell half. Statues of saints are set up in the niches, which are surrounded by stuccoed fruit and flower ornaments and were probably made by Master Lutz. They stand above consoles on pedestals bearing the name of the person concerned and the letters "OPN" (Ora Pro Nobis = Please for us). On the left side of the Gospel there are five male figures ( Salvator mundi , St. John , Petrus Damiani , Johannes Nepomuk and Antonius von Padua ), on the right side of the epistle there are five female saints (St. Mary, Katharina , Barbara , Walburga and Lutgard ).

pulpit

The baroque pulpit consists of the bulbous pulpit, a staircase, the sound cover and the back wall. Like the high altar, it has a brown base color. Individual surfaces are painted in marbled green and turquoise, while the decorative elements are kept in white with gilding. There is a small vase on the parapet of the steep pulpit staircase. The parapet itself is painted marbled with two curved surfaces, which are surrounded by rocailles and stylized leaves. A jagged frieze completes the top, a twisted band below. Both are continued around the pulpit. The bulbous pulpit basket with concavely vaulted pulpit fields has a twisted hanging knob at the bottom and an open book with the initial Latin words of the Gospel of John "IN PRINCIPIO ERAT VERBUM" (in the beginning was the word). The book is surrounded by rich jewelry, in which a biretta and a flower-decorated stole are incorporated. On the back wall, the short form of the Jesus name IHS with a heart and a cross can be read in gold-plated and decorated letters , surrounded by rich carvings. On the underside of the sound cover is a wreath of cords, in the middle of which a dove of the Holy Spirit hovers. On the cover, a ending conversation Enge in a pedestal, which is decorated with hanging cords. On the pedestal lies a globe with stylized clouds, which is crowned by a halo with the eye of God in a wreath of clouds.

A wooden communion bench with balusters painted in pink marbled separates the choir from the nave. It ends at the height of the pulpit staircase. The central passage of the communion bench is closed by two double doors. The simple, darkly framed church stalls with curved cheeks leave a central aisle free. The darkly framed confessional in the north-west corner of the church, which today only includes a niche, is simple in comparison with the pulpit and altar, which date from the same construction period.

The epitaph of the donor couple from the mid-14th century is set up on the south west wall under the nun's gallery . Thanks to the stucco frame with rococo scrolls, the Gothic tomb fits into the interior. Knight Johannes von Bellersheim († October 14, 1343) is shown in a prayer position with wavy hair and plain clothes, a long undergarment and a short coat, both of which are wrinkled. His wife Gezele von Düdelsheim († 1379) in the same pose wears a long dress and a long, flowing coat, as well as a headscarf and chin band. In the upper corners, the respective coats of arms of those of Bellersheim and Düdelsheim can be seen, between the couple the Bellerheim knight helmets, which are decorated by a unicorn. The Latin inscription on the left edge of the tomb reads: “[ANNO DMI. MCCC] XLIII VIII. KL OCTOBRIS JOHES MILES DE BELDSH. “In addition to the founding epitaph, two consecration crosses dating from the period of construction and another next to the south entrance were uncovered.

Epitaph of Anna Sidonia von Sommerau from 1714

On the north west wall is the epitaph of Anna Sidonia von Sommerau, nee. Freiin von Ried, called Kettig von Bassenheim († March 15, 1713), from 1714 made of red sandstone. The Junkernhof in Rockenberg from the property of her great-uncle Kettig von Bassenheim came to her through inheritance. She probably died in childbed at the age of 31. It is designed in the Baroque style with reliefs and in the lower field has a cartouche above a winged angel's head with a multiline inscription. The cartridge is flanked by two consoles under a profiled cornice. The large middle field shows two putti holding two burning hearts above a column element that reads: "Ehe Lieb zu Got Judgment, Nor the world, nor Death Broken". They stand under a triangle with the Hebrew tetragram YHWH , from which a halo emanates, and above human bones and a skull, which symbolize human transience. On the sides, two pilasters delimit the scene, each bearing two coats of arms of the two pairs of grandparents. On the left is the coat of arms of those of Ried and Kettig of Bassenheim, on the right the same coat of arms of those of and zu Hees is shown twice. Acanthus tendrils decorate the epitaph on the left and right . The two Ionic capitals above the pilasters have a profiled architrave above which the couple's double coat of arms is attached under a round arch. The left coat of arms shows the Hessian lion with bastard beams , while the right one is divided into four and has twice the coat of arms of those of Ried and twice that of those of Kettig von Bassenheim on the diagonal.

High altar

Heraldic shield of the abbess Antonia Hartz
High altar from 1778
Central image of the Ascension

The carved high altar , which was not completed until 1778 and already incorporates some features of the emerging classicism , is the most important piece of equipment in the monastery church. The preliminary work was carried out by the Rockenberg carpenter family Weber, while master Martin Lutz, who carved the figures of the pulpit of Arnsburg Monastery (today in the Marienstiftskirche Lich ) around 1772 to 1774 , took over the planning and executed the figures and designed the other furnishings. The white figures, columns and other surfaces, some of which are gilded, stand out from the brown base color. The altar is divided into three levels. The substructure is continued on both sides in the altar parapets, which separate the area of ​​the sacristy from the nave. Two doors in the base of the altar give access to the sacristy. Angels sit on both parapets facing the altar. The walled-up Altarmensa has bevelled corners at the front and a wooden paneling with three coffered panels on the front, showing the symmetrically entwined letters MARIA in a gold-plated star circle, flanked on the sides by flower tendrils. The cafeteria is covered by a black marble plaque with five consecration crosses carved into it. Between two angels, a tabernacle protrudes over the table into the middle field. The crowning conclusion is artfully carved rocailles and the silver-colored Lamb of God in front of a cross with clover-leaf arms. Relics can be seen in two flat glass compartments behind the tabernacle . The rotating tabernacle has either gold, red or green as a background under a small round arch, depending on the church year and the church festivals.

The central altarpiece in the middle level of the high altar is Mary, Queen of Heaven , who looks upwards . She is surrounded by winged angels and stylized clouds between two pilasters and portrayed with raised hands. On the substructure on the obliquely attached side parts stand the assistant figures of Benedict von Nursia (left) and Bernhard von Clairvaux (right) in front of two free columns and a pilaster, on whose three gilded, richly decorated capitals an architrave rests. At the ends sit two putti holding a curtain under a round arch, in the center of which is the polychrome coat of arms with the initials A and H of the abbess Antonia Harz, which is crowned by an abbess's staff. The structure of the high altar is dominated by a large gilded halo with the representation of the Trinity . In the center of an inner wreath of clouds, the eye of providence can be seen in a triangle and the dove as a symbol for the Holy Spirit , including Christ with the cross and God the Father with scepter and globe on an outer wreath of clouds. Both hold a crown with which the ascending Mary is to be crowned Queen of Heaven. You will be left of St. Joseph with the baby Jesus and flanked to the right by John the Baptist, who sit on curved, broken gables. On the upper, richly profiled gables, two angels sit in front of a round arch, in the middle of which a chronogram forms the top. The letter values ​​of the Latin words "ErIgI CVraVIt AntonIa De Cora et PhILIppIna AbbatIssae VtraqVe Mogona" (Antonia von Herz [Hartz] and Philippina, abbesses and both from Mainz, had it built) give the year of completion (MDCCLVVVVVIIIIIIII = 1778).

organ

organ

In 1926, the Lich organ building company Förster & Nicolaus built a pneumatic work behind the historic, five-part rococo prospectus of an unknown organ builder (around 1760) . The raised, pointed central tower is crowned by the coat of arms of the abbess Antonia Hartz. It is flanked by two low flat fields, which are joined by two round towers on the outside. The consoles of the three towers, the veil boards, the side blind wings and the case structure are richly decorated with volutes and acanthus , the upper and lower labia of the prospect pipes are painted with gilded masks. The instrument has 13 registers with the following disposition :

I Manual C-g 3
Principal 8th'
Gamba 8th'
Dumped 8th'
Octave 4 ′
flute 4 ′
Fifth flute 2 2 ⁄ 3  ′
Octave 2 ′
II Manual C-g 3
Flauto amabile 8th'
Aeoline 8th'
Covered flute 4 ′
Pedal C – f 1
Sub bass 16 ′
Soft bass 16 ′
Violon 8th'
  • Coupling : II / I, I / P, II / P, Super II / I, Super II / II, Sub II / I

literature

  • Alexander F. Fiolka: 675 years of Marienschloß. From the Cistercian monastery to the penal institution 1338 to 2013 (= contributions to the history of the monastery , issue 5). Culture and History Association Oppershofen eV, Rockenberg 2013.
  • Manfred Breitmoser, Alexander Fiolka: 200 years of prison. Aspects of building and economic, personal and social history from 1811 to 1870 (= contributions to the history of the monastery , issue 4). Culture and History Association Oppershofen eV, Rockenberg 2011.
  • Georg Dehio : Handbook of the German art monuments . Hesse II. Darmstadt administrative district. Edited by Folkhard Cremer, Tobias Michael Wolf and others. 3. Edition. Deutscher Kunstverlag, Munich 2008, ISBN 978-3-422-03117-3 , p. 684.
  • Jascha Philipp Braun: “Ergasterium Disciplinarium” - “Breeding through work” in the Marienschloss state penitentiary. In: Messages from the Upper Hessian History Association, Giessen. Volume 93, Giessen 2008, ISSN  0342-1198 , pp. 357-378.
  • Alexander F. Fiolka: Largest Rococo church north of the Main. In: DENKmal, newspaper on the “Open Monument Day” in Hesse on September 9, 2007 , p. 7 (PDF; 1.82 MB).
  • Alexander F. Fiolka: dedicatio ecclesiae - 250 years of consecration (= contributions to the history of the monastery , issue 2). Culture and History Association Oppershofen eV, Rockenberg 2004.
  • Maria Pia Schindele, Christian Vogel, Alexander F. Fiolka: 200 years of secularization (= contributions to the history of the monastery , issue 1). Culture and History Association Oppershofen eV, Rockenberg 2003.
  • Alexander F. Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. Chronology of Marienschloß. 2nd Edition. Culture and History Association Oppershofen eV, Rockenberg 2003.
  • State Office for the Preservation of Monuments Hesse (ed.), Heinz Wionski (edit.): Cultural monuments in Hesse. Wetteraukreis II. Volume 2: Altkreis Friedberg, Friedberg-Wöllstadt. (= Monument topography Federal Republic of Germany ). Theiss, Stuttgart 1999, ISBN 978-3-528-06227-9 , pp. 946-948.
  • Alexander F. Fiolka, Birgit Landvogt: 900 years of the order of the Cistercians. From Cîteaux to Marienschloß. Culture and History Association Oppershofen eV, Rockenberg 1998.
  • Ulrich Simon: Marienschloss Monastery, its beginnings and its donors. In: Wetterau history sheets. Volume 38. Friedberg 1989, ISBN 3-87076-058-3 , pp. 35-71.
  • Friedrich Kling: 650 years of Marienschloß Rockenberg. 1338-1988. Culture and History Association Oppershofen eV, Rockenberg 1988.
  • Johann Gesser: Rockenberg in the Wetterau. A Wetterau village in the mirror of history, 1150–1950, a home book for the 800th anniversary. Rockenberg municipality 1950 ( online , PDF file).
  • Rudolf Adamy: Art monuments in the Grand Duchy of Hesse. Province of Upper Hesse. Friedberg district. Arnold Bergstraesser, Darmstadt 1895, p. 61 ( online ).

Web links

Commons : Klosterkirche (JVA Rockenberg)  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Alexander F. Fiolka: Largest Rococo church north of the Main. In: DENKmal, newspaper on the “Open Monument Day” in Hesse on September 9, 2007 , p. 7 (PDF; 1.82 MB).
  2. ↑ a b c d e f Dehio-Handbuch der Deutschen Kunstdenkmäler. Hessen II. 2008, p. 684.
  3. ↑ a b c State Office for the Preservation of Monuments Hesse (Ed.): Former. Cistercian convent Marienschloß and later state penitentiary, today youth prison In: DenkXweb, online edition of cultural monuments in Hessen
  4. ↑ Marienschloss
  5. ↑ a b Fiolka: 675 years of Marienschloß. 2013, p. 18.
  6. ↑ Georg Wilhelm Justin Wagner: The Cistercians at Marienschloss . In: The former spiritual monasteries in the Grand Duchy of Hesse. Volume 1: Province of Starkenburg and Upper Hesse. Darmstadt 1873, pp. 210-217.
  7. ^ Fiolka: 675 years of Marienschloß. 2013, pp. 41–42.
  8. ↑ Schindele, Vogel, Fiolka: 200 years of secularization. 2003, pp. 24-25, 30-31.
  9. ↑ Breitmoser, Fiolka: 200 years of penal institution. 2011, p. 115.
  10. ↑ Rockenberger Marienkirche goes on ascension . In: Frankfurter Neue Presse of October 17, 2014, accessed on October 24, 2016.
  11. ↑ Schindele, Vogel, Fiolka: 200 years of secularization. 2003, p. 30.
  12. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 11.
  13. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, pp. 51-52.
  14. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 21.
  15. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 22.
  16. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 20.
  17. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 52.
  18. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 57.
  19. ↑ Breitmoser, Fiolka: 200 years of penal institution. 2011, p. 73.
  20. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 26.
  21. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 56.
  22. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 38.
  23. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 40.
  24. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, pp. 43-45.
  25. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, pp. 41-43.
  26. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 39.
  27. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 45.
  28. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 49.
  29. ^ Georg-Wilhelm Hanna : Philipp Edler von Sommerau. In: Main-Kinzig-Kreis. Bulletin Center for Regional History. 37th year 2012, pp. 32–41, here: p. 35 ( online ).
  30. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 47.
  31. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, pp. 30-31.
  32. ^ Fiolka: Church and monastery of the former Cistercian abbey Marienschloß zu Rockenberg. 2003, p. 30.

Coordinates: 50 ° 25 ′ 57.4 "  N , 8 ° 43 ′ 52.8"  E