Mettlacher storage library

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Mettlacher Staurothek, front side, opened state
St. Lutwinus (Mettlach) , exhibition niche of the Mettlacher Staurothek (open state), on the left St. Lutwinus (founder of the Mettlach monastery), on the right St. Dionysius of Paris (patron of the first Mettlach church), painting of the inside of the doors by Franz Michael Ronge ( Regensburg and Munich ), wood carvings by the Mettler sculptor's workshop in Morbach in the neo-Romanesque style with echoes of Art Deco , 1924
Exhibition niche of the Mettlach storage library, closed state, on the left the legendary eagle that is said to have moved St. Lutwinus to found the Mettlach monastery, on the right the martyrdom sword of St. Dionysius of Paris and his palm branch, the text "The bodies of the saints were buried in peace and their name lives from sex to sex ”refers to the book Jesus Sirach ( Sir 44,13-14  EU ), ornamental carvings in the style of Art Deco, wood carvings of the outside of the doors by the Mettler sculptor's workshop, 1924
Catholic parish and pilgrimage church of St. Lutwinus in Mettlach, exhibition site of the Staurothek

The Mettlacher Staurothek is a reliquary cross that was created in Trier around 1228 . The storage library is 38 cm high and 58 cm wide when open. When closed, the width measures 29 cm. The core of the storage library is made of wood. The casing is embossed and fire-gilded silver with cast parts. Other parts are made of chased , cast, chased , engraved and gilded copper . The middle table is decorated with pits and filigree work as well as stone jewelry and pearls . The storage library belonged to the Mettlach Abbey, founded in the 7th century by St. Lutwinus , and is now located in the Mettlach Lutwinus Church . A reliquary (of ancient Greek σταυρός stau · ros "cross" and θήκη counter "container box") is a container in which components from the cross of Christ be kept.

The Mettlacher Staurothek is one of the most outstanding goldsmiths of its time. It is a special example of the intense relic piety of the Middle Ages and also of its artistry. An extensive collection of relics, such as the one offered by the Mettlacher Staurothek, was said to have the highest salvific effect. With the storage of the precious relics, the inner connection between the “ community of saints ” and the earthly church should also be symbolized. The cross-image theme of the Mettlacher Staurothek is a theological arc of tension from the proclamation of the divine child, its presentation to the wise men of this world and the redemption of the cosmos through Jesus' death on the cross to the universal rule of Christ and his saints in an end time that has already begun thus making salvation possible for every devout viewer of the Mettlacher Staurothek. The special iconographic integration of Mettlach and Trier patrons Lutwinus , Dionysius of Paris , Peter and the Virgin Mary emphasizes the importance of the monastery Mettlach and the (arch) diocese of Trier in the divine plan of salvation . The depicted pious donors and patrons of the monastery and their local foundations are recommended within the iconography of the Staurothek of the special intercession of the saints.

history

An unknown Peter von Merzig is said to have brought the particles from the cross relic of St. Helena to Mettlach in 1212 . The Byzantine-influenced work comes from the time of the Mettlach abbot Johannes (1220–1228) engraved on the back and was probably made in a goldsmith's workshop among the students of Nikolaus von Verdun in Trier.

description

Idol

Limburg storage library (without cover)

The reliquary is designed in the form of a triptych . With the wings closed, it resembles a flat drawer. Originally it could be hung on the wall, as the remains of a hanging device on the upper edge of the central panel show. The central panel of Mettlacher Staurothek bases its design heavily on the so-called Limburg Reliquary , one around the year 964 in Byzantium incurred imperial Kreuzreliquiar, originally located next to other central Christian relics of the Passion of Christ in the imperial Pharos Palace Chapel in the Grand Palace of Constantinople was . As a result of the conquest and sacking of Constantinople in 1204 during the Fourth Crusade , the knight Heinrich von Ulmen (approx. 1175–1234) brought the Limburg storage library to Germany, among many other items. As his foundation, the reliquary came to the Augustinian convent Stuben near Bremm on the Moselle . After the dissolution of the monastery in 1802 as part of the secularisation , it was moved to the Ehrenbreitstein Fortress near Koblenz , from where it came into the possession of Duke Wilhelm von Nassau . He donated it to the Limburg diocese in 1835 . The reliquary is now kept in the Diocesan Museum in Limburg an der Lahn . The Limburg Staurothek was modeled on several cross reliquaries, of which the Mettlacher Staurothek is the closest.

Central panel

front

As in the Limburg model, a removable double cross ( patriarchal cross ) is embedded in a relic tablet in Mettlach . The front of the cross is very richly decorated with filigree and precious stones in cabochon cut and closed setting. Presumably the cross relic was originally visible to the viewer. Around 1400 it was covered by a gothic crucifix cast out of silver . The patriarchal cross is adorned with 83 pearls and precious stones, the frame of the central panel has 50 precious stones. In total, the storage library is filled with 133 pearls and precious stones. The following precious stones were used: amethyst , moonstone , citrine , rock crystal (partly underlaid with colored material), almandine ( garnet ), turquoise , coral and chrysoprase .

The cross relic is surrounded by twenty small reliquary chambers with hinged, simply framed lids made of pit melt. The lids with ring openings show engraved representations of figures that have been individually labeled. Each figure is engraved in recessed metal on a blue, white-edged enamel ground; the interior drawing is not melted out. The names are attached in vertical and horizontal letters. The representations do not necessarily refer to the former relic contents.

Below you can see the twelve apostles Simon Petrus , Andreas , Jakobus the Elder , Johannes , Philippus , Bartholomäus , Thomas , Matthäus , Jakobus, the son of Alphäus , Thaddäus , Simon Kananäus and Matthias with the implements of their martyrdom in gold against a blue background .

Two kneeling angels swing incense casks over the larger arm of the cross . The half-figures of the allegories of the sun (on the left, “Sol” as an upward-looking youth with a bundle of flames) and the moon (on the right, “Luna” as a veiled virgin who carries the crescent moon with concealed hands) appear above the short arms of the cross . At the top left are the Virgin Mary and below her John the Baptist with the Lamb of God . At the top right there are depictions of Saint Agatha of Catania and below that of the original Mettlach church patron Dionysius of Paris . The table is framed by a double-tiered strip of punched sheet metal with filigree work and precious stones. The moldings have a palmette ornament.

The relic boxes are empty today, and the original cross relic is also missing. It was stolen on an unknown date. It is possible that the original contents of the reliquary boxes are currently contained in the two late Gothic Mettlach arm reliquaries. In the 1950s, the Mettlach pastor Roman Koll added a particle of the cross as a relic that he had previously received as a gift in Metz . In the lower part of the cross a small capsule was made for the new cross relic. During the restoration by the two Trier goldsmiths Kerstin Biesdorf and Hans Alof in 2004, a new small capsule in the shape of a cross for the cross relic was made and attached. The wooden cross relic was placed in the capsule, sealed and put back in the storage cabinet. There is currently a relic of the cross in the Staurothek; however much smaller than the original relic that was inlaid in the Middle Ages.

back

The back of the central panel, a gold-plated copper plate, is designed using the engraving technique. In keeping with the smaller scale, the goldsmith decided not to cut out and hatch the ground, so the effect of the drawing appears somewhat flatter. The folds are carefully drawn and the faces are expressive.

In the center, Christ is depicted as Pantocrator on the heavenly throne ( Majestas Domini ). While he is blessing with his right hand, his left hand holds a stylized representation of the cosmos. Christ's cross nimbus, the symbol of his holiness and his sacrificial death, is flanked by the apocalyptic letters Alpha and Omega , the first and last letters of the classical Greek alphabet . They are a symbol for the beginning and the end, thus for the comprehensive, especially for Christ as the first and last. Long hair and a full beard frame a serious face that is directed at the viewer. The clothing of a ruler is quoted with an undergarment and toga. The representation of Christ is surrounded by a simple square frame, which indicates the heavenly sphere.

In a divided field at Christ's feet you can see two clerics who lift up a patriarchal cross together and thus symbolically offer it to the ruler of the world. The two clergymen are inscribed in the square frame as Benedict (us) Custos and Wilhelm (us) Cler (icus). One can assume that these are the two donors of the cross relic and the reliquary belonging to it. The custos and prior Benedictus is named under the Mettlach abbot Johannes I in a document from 1488 for the year 1220.

In the spandrels in the vision of the prophet of God appear Ezekiel described four worshipers before the throne of God ( Ezek 1.4 to 28  EU ), which is also the author of the New Testament apocalypse were taken ( Rev 4,6-8  EU ). In clockwise direction, these are on the gilded copper plate of the Mettlacher Staurothek: an eagle , a winged bull , a winged lion and a winged person. All four beings each carry a book. The gaze of her nimbly head is on Jesus Christ. According to the testimony of the Bible, they proclaim the holiness of God. The four heavenly beings are associated with the four evangelists John , Luke , Mark and Matthew in Christian theology . The human-faced being stands for the incarnation of Jesus, the bull-faced being for his sacrificial death, the lion-faced being for the resurrection and the eagle-faced being for Jesus' return to the Father.

Above and below - separated from the heavenly sphere by wide stripes - half-figures of benefactors and founders of Mettlach Abbey facing each other are shown with allegories of their foundations:

The aristocratic Berta (with band hood ) and her husband Folmar hand over the Rodena royal estate as a pious foundation to the Mettlach monastery , gold engraving on the back of the Mettlach storage library from the early 13th century

Top from left to right:

  • the abbot Folcoldus with Losheim ("Losma")
  • the abbot Rutwicus as “restorer loci” (German restorer of the place) with crook
  • Archbishop Rupertus of Trier with a two-tower church model
  • Archbishop of Trier Egbert with book and crook
  • the abbot Johannes with an unmarked monk. Both hold a building model in a wall wreath.

The heads of the people shown above are decorated with halos. Perhaps these only slightly engraved halos were added at a later time. Probably later on, attempts were obviously made to redeem the nimben. The abbot John I can be documented for the years 1220 to 1228. Losheim was incorporated into Mettlach Abbey in 1228. These dates limit the time when the Mettlacher Staurothek was built to around 1228.

Bottom from left to right:

  • Gerwinus and Cunza with Eblingen ("Obeliilga"), these are the parents of the founder of the Mettlach monastery, Lutwinus
  • Stephanus and Bernowida with Udern ("Udera")
  • Udo with Göttschied ("Gedsceit")
  • Matgunt with Walmünster ("Walamunst")
  • Folmar and Berta with Roden ("Rodena")

All places are shown as a wall ring with a gate.

Side wing

The side wings are also framed with a two-tiered filigree and gemstone strip. On the left you can see St. Peter, the diocese patron of the Archdiocese of Trier and the patron of the old Mettlach abbey church, which was demolished in 1819. The prince of the apostles holds a cross and the key to heaven in his hands. On the right is the founder of the Mettlach monastery, St. Lutwinus in a bishop's robe with miter , crosier and bible.

Annunciation scene

When closed, the outer sides of the wings show the Virgin and Mother of God Maria (right), to whom a church was consecrated within the Mettlach Abbey using an engraving technique. In the illustration above, Mary is holding a Bible in her left hand. The raised right indicates surprise or shock. The dove of the Holy Spirit hovers over her . The approaching Archangel Gabriel (left) announces the birth of Jesus through a banner that he holds in his left hand while he blesses the Virgin with his right hand. The text of the banner reads: “ Ave Maria gra (tia) plena D (omi) n (u) s tecu (m)”, (German translation: “Hail Mary, the Lord is with you!” ( Lk 1.28  EU )). While the vertical folds of the Virgin's robe express calm and unity, the artist creates dynamism in the depiction of the angel through the swinging hem of the robe, the striding position, the outstretched arm and the spread out large wings. The faces of the two people are facing each other. The angel's gaze is firmly fixed on Mary, who bows her head towards the heavenly messenger. Both heads have halos. While Mary is wearing shoes, the angel is walking barefoot.

Adoration of the Magi

Below the Trier goldsmith depicted on the right the Mother of God with the baby Jesus, who is venerated by the Three Kings (left). The star of Bethlehem appears in eight-pointed form above the mother with the child . The Virgin is seated on a profiled, backless throne with a footrest with the baby Jesus, which she is holding on her lap with her left hand. The heads of the two are nimbly. The three arms of a cross shine in the nimbus of the baby Jesus. A fabric velum is held above it by three hooks. The faces of the baby Jesus and Mary are turned towards the kings, who receive them with their right hand. The king closest to the throne is shown kneeling down. In his right hand he is holding a hemispherical bowl in which seven spheres are visible. With his left hand he opens the corresponding bowl lid. As in the Annunciation scene, the artist expresses statics through vertical folds of the mother and child, while the body position and the swaying robes of the kings intend movement. All three kings wear hoop crowns that are adorned with lilies. By increasing the beard length, the design of the faces and the posture, the artist staggered the age group. While the left king is marked as a youth, the middle king represents the middle age and the kneeling king represents the old age. The belted robes of the kings extend to the middle of the lower legs. The two younger kings wear coats, the neck fasteners of which are fashionably positioned on their right shoulder. Her hair length is medium and leaves the ears exposed. The kings wear foot coverings without locks, the upper end of which seems to reach under the robe. The two standing kings each carry a cylindrical box in their left hand. While the rear king covers the can lid with his right hand, the uncovered lid of the middle king is visible as a cone. The middle king points to the star of Bethlehem with his outstretched right index finger. His gaze is directed over his right shoulder to the young king standing behind him, who is attentively watching the heavenly apparition.

Style comparison

Cross relic of the Benedictine Abbey of St. Matthias in Trier

A close connection between the Mettlach Staurothek and the cross reliquary of the Benedictine Abbey of St. Matthias in Trier (73 × 56 cm), which was probably created shortly after the Mettlach piece was made between 1230 and 1235, can be seen in the shape, structure and furnishings should. Both cross reliquaries are based on the model of the Byzantine Limburg Staurothek. The cross reliquary of the former Benedictine monastery of Mettlach is only half as high as the one in Trier and also much simpler. It has strayed even further from the Byzantine type, since it is formed into a triptych by means of wings. Due to the fact that the precious stones and the filigree on the double cross - the content of which has been lost - and on the inner frame are crowded together, the view side gains calm and clarity. Both reliquaries are modeled on the Limburg Staurothek. The palmette ornamentation of the Mettlach and Trier reliquaries is similar, as is the iconographic program of the engraved reverse.

However, there are differences in style, although it is very likely that both were made in a Trier goldsmith's workshop. Presumably two different goldsmiths made the reliquaries. Other reliquaries can also be assigned to the two goldsmiths or their workshop. They probably made one cross reliquary each for the former imperial abbey of St. Maximin in Trier and the former Benedictine abbey of St. Martin at the same location. Of the two reliquaries, only that of St. Martin remains. It was created around the year 1266 and has been in the treasury of St. Vitus Cathedral in Prague since 1846 .

The cross particle of St. Matthias comes from the cross relic of the Limburg Staurothek. Knight Heinrich von Ulmen had taken a piece of wood from the Limburg Staurothek when the Limburg Staurothek was donated to the Stuben Monastery on the Mosel in order to donate it to the Benedictine Abbey of St. Eucharius, which later bore the name of St. Matthias. This is indicated by the nielloed inscription: “Anno ab incarnatione domini MCCVII Henricus de Ulmena attulit lignum (san) c (t) e crucis de civitate Constantinopolitana et hanc portionem ipsius sacri ecclesiae s (anc) ti Eucharii contulit.” (German translation: “ In the year of the Incarnation of the Lord in 1207 Heinrich von Ulmen brought the wood from the holy cross from the city of Constantinople and gave this part of the holy wood to the Church of the Holy Eucharius. ")

The reliquary chambers of the Trier Staurothek are no longer locked as in Trier and Limburg, but covered with cut rock crystals , which means that the relics remain visible to the viewer. The Trier cross reliquary shows rich antique jewelery ; both intaglio and cameos . The reverse is engraved much more richly than in Mettlach. There is a tendency towards spatialization. This is particularly noticeable in the case of the two angels wielding the censer, which were designed in Trier almost as free sculptures. However, the representation of the engraving in Trier is much harder and more schematic than in Mettlach. The iconography is similar in both pieces, however. St. Lutwinus, Abbot of Mettlach and Bishop of Trier, appears as an engraved figure on both reliquaries.

The engravings of the Mettlacher Staurothek with very fine lines, dense, flowing folds of clothing and swinging hems as well as the two embossed reliefs of St. Peter and St. Lutwinus on the inside of the wings show elements of the Cologne "hollow fold style", as found in the wake of the Epiphany shrine developed in the 1st quarter of the 13th century, but show a rather antique style. The Trier piece is based on the style of the area between Sambre and Maas , the style of Hugo von Oignes and his surroundings, as well as on the northern French illumination of the early 13th century with regard to the wrinkles .

restoration

In 2004 the Mettlacher Staurothek was restored by the Trier goldsmiths Kerstin Biesdorf (* 1973) and Hans Alof (1927–2019) in close collaboration with the diocesan curator of the Diocese of Trier, Barbara Daentler. After the extensive restoration, the storage library was loaned to the Mainz exhibition "The Crusades" in the Mainz Cathedral and Diocesan Museum .

Lineup

Since the neo-Gothic Lutwinus shrine, built in 1902, behind the high altar in the same style was not easily visible to large numbers of visitors, it was decided in the early 1920s to re-erect it. A window in the sacristy on the right side of the choir was converted into the new Lutwinus tomb. The niche facing the sacristy was closed by a cupboard. The wood carvings were made by the Mettler sculpture workshop in Morbach . The wing paintings of St. Lutwinus and St. Dionysius of Paris were created by the Munich painter Franz Michael Ronge (1853–1925), who also made paintings for several churches in the Saar region. The relocation of the bones of St. Lutwinus took place in October 1924. Since 2002 the Lutwinus shrine has been located in the old high altar niche and the choir wall niche has since been used for the exhibition of the Mettlach storage library.

literature

  • Joseph Braun: The reliquaries of the Christian cult and their development, Freiburg im Breisgau 1940, pp. 272, 275, 521, 539, 557, 559, 612, 634, 658, 670, 719.
  • Otto von Falke and Heinrich Frauenberger: German melting work of the Middle Ages and other works of art of the art historical exhibition, Frankfurt am Main 1904, pp. 89,91 ff.
  • Anatole Frolow: La Relique de la Vraie Croix (Archives de l'Orient Chrétien 7), Paris 1961, no.503.
  • Anatole Frolow: Les Reliquaires de la Vraie Croix Archives de l'Orient Chrétien 8), Paris 1965, 115, 125, 135, 209, 225.
  • Otto Homburger: A Lorraine art school at the turn of the 12th century, Upper Rhine Art I, 1925, pp. 10-13.
  • Clemens Jöckle: Catholic parish and pilgrimage church of St. Lutwinus Mettlach, Regensburg 2004, pp. 31–34.
  • Catalog Cologne: 1964, No. 22.
  • Catalog Medieval Art in the Trier Area, Saarbrücken 1954, No. 100.
  • Otto Kletzl: West German treasure art in Bohemia, Wallraff-Richartz-Jahrbuch 11, 1939, 89f, 98f, 105f, 112f.
  • Franz Xaver Kraus (Ed.): The Christian Inscriptions of the Rhineland, Volume II, Freiburg and Leipzig 1890/1894, No. 332.
  • EM Link: Hugo von Oignies, Phil. Dissertation, Freiburg im Breisgau 1964, 160f, 239f, 242f.
  • Karl Preisendanz and Otto Homburger: The Evangelistar of the Speyr Cathedral, Leipzig 1930, p. 37f.
  • Rainer Rückert: On the form of the Byzantine reliquaries, Munich Yearbook for Fine Arts, 3. F. 8, 1957, 24.
  • Wolfgang Schmid: The Limburg Staurothek and the Cross Reliquaries in Trier and Mettlach, On the Reception of Byzantine Treasure Art in the West, in: Types of Medieval Reliquaries Between Innovation and Tradition, Contributions to a conference of the Art History Institute of the Christian Albrechts University in Kiel on October 22, 2016 (Objects and Elites in Hildesheim 1130 to 1250, Vol. 2), ed. by Klaus Gereon Beuckers and Dorothee Kemper, Regensburg 2017, pp. 117–138.
  • Hermann Schnitzler: Rheinische Schatzkammer, Die Romanik, Düsseldorf 1959, No. 6.
  • Hermann Schnitzler: The goldsmith sculpture of the Aachen shrine workshop, contributions to the development of goldsmithing in the Rhine-Maas region in the Romanesque period, dissertation, Bonn 1934, p. 109ff.
  • Peter Volkelt: The building sculpture and interior design of the early and high Middle Ages in Saarland (publications by the Institute for Regional Studies of Saarland 6), Saarbrücken 1969, 298–352, 417–424, cat. 220.
  • The time of the Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-432.


Individual evidence

  1. ^ Clemens Jöckle: Catholic parish and pilgrimage church St. Lutwinus Mettlach, Regensburg 2004, pp. 31–34.
  2. ^ Die Zeit der Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-432.
  3. ^ Clemens Jöckle: Catholic parish and pilgrimage church St. Lutwinus Mettlach, Regensburg 2004, pp. 31–34.
  4. ^ Die Zeit der Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-432.
  5. ^ Georg Dehio: Handbook of German Art Monuments - Rhineland-Palatinate / Saarland, edited by Hans Caspary, Wolfgang Götz and Ekkart Klinge, Munich / Berlin 1972, p. 574.
  6. ^ Clemens Jöckle: Catholic parish and pilgrimage church St. Lutwinus Mettlach, Regensburg 2004, pp. 31–34.
  7. ^ Roman Koll: Mettlach in his sanctuaries from old and new times, 2nd expanded edition of the 1923 edition, Mettlach 1948, pp. 23–24.
  8. ↑ Géza Jászai: Evangelist or God's symbols ?, On the iconology of the Maiestas Domini representation of the Carolingian Vivian Bible, in: Das Münster, Zeitschrift für Christian Kunst und Kunstwissenschaft, 1, 2019, 72nd year, Regensburg 2019, p 25-29.
  9. ↑ Theo Raach: Mettlach Monastery / Saar and its property, studies on the early history and manorial rule of the former Benedictine abbey in the Middle Ages (sources and treatises on the history of the Middle Rhine church 19), ed. from the Society for Middle Rhine Church History, Mainz 1974.
  10. ↑ Reinhold Junge: The possessions of the Mettlach Monastery, in: Mettlach Municipal Administration (ed.): 1300 Years Mettlach (Tenth Yearbook of the Association for Local History in the Merzig District), Mettlach / Merzig 1975, pp. 55–57.
  11. ^ Clemens Jöckle: Catholic parish and pilgrimage church St. Lutwinus Mettlach, Regensburg 2004, pp. 31–34.
  12. ^ Die Zeit der Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-432.
  13. ^ Georg Dehio: Handbook of German Art Monuments - Rhineland-Palatinate / Saarland, edited by Hans Caspary, Wolfgang Götz and Ekkart Klinge, Munich / Berlin 1972, p. 574.
  14. ^ Die Zeit der Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-432.
  15. ^ Georg Dehio: Handbook of German Art Monuments - Rhineland-Palatinate / Saarland, edited by Hans Caspary, Wolfgang Götz and Ekkart Klinge, Munich / Berlin 1972, p. 574.
  16. ^ Die Zeit der Staufer, history - art - culture, catalog of the exhibition in the Württembergisches Landesmuseum, Stuttgart 1977, volume I (catalog), ed. by Reiner Hausherr, 6th revised edition, Stuttgart 1977, pp. 431-434.
  17. ^ Georg Dehio: Handbook of German Art Monuments - Rhineland-Palatinate / Saarland, edited by Hans Caspary, Wolfgang Götz and Ekkart Klinge, Munich / Berlin 1972, p. 574.
  18. ↑ https://www.paulinus.de/archiv/archiv/0518/bistuma3.htm , accessed on March 23, 2019.
  19. ^ Roman Koll: Mettlach in his sanctuaries from old and new times, 2nd expanded edition of the 1923 edition, Mettlach 1948, pp. 19-20.