Upper parish (Bamberg)
The Church of Our Lady or Upper Parish is a Gothic Catholic parish church in Bamberg .
The popular name Obere Pfarre was given to the church due to its location on the Kaulberg as a counterpart to the Lower Parish , the former parish church Alt-St. Martin on Maximiliansplatz .
The miraculous image of Mary with child in the high altar and the altar sheet of the former large St. Mary's altar from the cathedral with the painting of the Assumption of Mary by Jacopo Robusti, called Tintoretto, should be emphasized .
history
The parish could be traced back to the own church of the Counts of Babenberg (906 the Franconian line or the line of the old Babenbergs went out). It was first mentioned in a document around 1140 in a document from Bishop Egilbert . In 1304 the upper parish belonged to the cathedral chapter , to which it was awarded again in 1401 after disputes.
Construction of the three-aisled church began in 1338. However, planning apparently began at the end of the 13th century, as two indulgences in favor of the church from 1295 and 1300 suggest. A building inscription on the north aisle reports June 16 as the date of the foundation. The nave could not be consecrated until 1387.
The soaring choir was tackled in 1392. The only source for this is the inscription on the sacrament house, which can actually only refer to the choir. There are also no records whatsoever about the further course of construction. The trees for the beams of the roof structure were felled around the turn of the year 1419/20. The new building must have been completed by 1450 at the latest. The completion of construction was possibly delayed by the incursions of the Hussites and the subsequent immunity dispute (1431 to 1437).
The unfinished tower was covered with shingles in 1481, a tower keeper was first mentioned in 1478. In 1537/38 the old tower parlor was replaced by the two-storey structure that has been preserved to this day. The old condition is recorded on a painting in St. Sebald in Nuremberg (carrying the cross of Hans VI. Tucher , 1485).
Around 1606/07 the church was completely repaired. In 1608 a scaffold collapsed, killed a craftsman and seriously injured three others.
The baroque style was made possible by the will of the cathedral curator Johann Philipp von Franckenstein . The benefactor died on February 25, 1711. On June 20, master masons Christoph Krummb and Franz Eple received the order for the renovations. The stucco work was entrusted to Johann Jakob Vogel , the vaults were drawn in by Wolf Gruber and Michael Schorer. The work was not yet completed in 1721.
In 1768, Johann Jakob Michael Küchel gave the high choir roof its end, which is now hipped towards the west.
After the secularization of the bishopric, the church was painted white in 1811. When the church was demolished, the upper parish received various pieces of equipment from the St. Anna Church , the Franciscan order church. In 1838 structural damage forced the demolition of the sacristy attached to the choir , which was rebuilt in the south. In 1846/47 two new windows were broken into the masonry at this point, which blend well with the old structure.
In 1864 a thorough interior renovation took place. The medieval shape of the church threatened serious danger in 1880 when Nikolaus Eichhorn was appointed pastor. The zealous advocate of doctrinal neo-Gothic made contact with the Viennese master builder Friedrich von Schmidt , who designed plans for a neo-Gothic spire. There were even plans to build a second tower. Both towers should have openwork helmets. This would have severely impaired the traditional cityscape. When Eichhorn died on December 2nd, 1907, these expansion projects were abandoned.
Renewed structural damage in 1928 again required renovation measures. From 1937/38 onwards, extensive security work had to be carried out again.
An aerial bomb hit the tower during World War II and the damage was repaired by 1953. From 1954 the choir was statically secured, the work dragged on - under clerical advice Johann Baierlipp - until 1960 due to lack of money. A large-scale renovation of the parish church under the clerical advice of Pankraz Bäuerlein, caused by extensive stone damage, began in 1971. From 1973 to 1979 the interior was also restored. From 2011 to 2014 the church was completely renovated in three construction phases.
description
The upper parish is a three-aisled, high Gothic pillar basilica with a later added ambulatory choir. The slender south-west tower used to complement the city fortifications as the city tower. Until 1923, a tower keeper lived in this two-story tower structure.
Exterior construction
The basilical nave with its low upper aisle shows connections to the architecture of the mendicant order of the Upper Rhine. The baroque style of the interior is only reflected in the round-arched changes in the windows. The high west tower is covered by a filigree tracery veil, the individual forms of which sometimes seem a bit brittle. Since 1537/38 the five-storey tower has been closed by a plastered tower room with a top and a low slate hood. In addition to the grave monuments, the following artistic works are particularly noteworthy
Bridal portal
On the north side is the bridal portal with its open vestibule and rich sculptural decorations of the wise and foolish virgins . It is usually referred to as the former main portal, but served a former wedding rite of the Catholic Church: the priest blessed the bride and groom and put the rings on the bride and groom outdoors in order to then move into the church with them and celebrate mass. In the tympanum there is a fine coronation of Mary .
Mount of Olives
The Mount of Olives dates from the late Gothic period . This extension on the west side of the church, according to the inscription, was built in 1502, took up the figures that were created at the end of the 15th century, which are related to the reliefs of the Stations of the Cross between the St. Elisabeth Chapel and St. Getreu Church. The Mount of Olives was last extensively restored in 2002.
The choir
The magnificent east choir stands in clear contrast to the simplicity of the nave. Probably as a competition to the somewhat older hall choir of the Nuremberg main church St. Sebald, one of the main works of the Franconian Gothic was created here. The recourse to the older basic French cathedral form is a typical expression of the regotization tendencies in Central European architecture that were observed around 1400 . The architecture of this only Franconian cathedral choir is often associated with the German-Bohemian builder dynasty of the Parler . In fact, there are some corresponding tracery on the tower, but the tracery of the choir windows seems rather conventional. Some of the somewhat crude details of the building sculpture also suggest that the cathedral builders of Regensburg or Vienna might be involved. The convergence of the buttress arches on the upper storey, which is typical of the Parlergothic (two arches have a common starting point), is necessary here for structural reasons. It is possible that the choir, like its Nuremberg model, was planned as a hall and the plan was then changed.
The buttresses are drawn inwards, where they form flat chapel spaces. The upper storey is supported by flat buttress arches, which refer to the model of the Lorenz Church in Nuremberg . The east side is designed as the actual show side. Rich ornamental shapes cover the exposed sandstone. The location on the Kaulberg made powerful substructures necessary, which in Germany are only surpassed by the substructure of the Erfurt Cathedral . The church towers like a ship in front of the viewer. The view from the pile is especially famous. Seen from the upper bridge at the old town hall, the church rises above the sea of houses in an excellent urban position and, next to the cathedral (with which it is sometimes confused), forms an essential part of the city crown of the world cultural heritage old town Bamberg .
inner space
The nave and the high choir were redesigned in baroque style at the beginning of the 18th century. The plasterer Johann Jakob Vogel introduced the Bandelwerk in Franconia from 1711 on , for which Paul Decker's sequence of stitches, Zweytes Werklein von Groteschgen (1710), served as an inspiration. The decoration is essentially limited to the central aisles of the nave and choir. In addition to the ribbon work, the master also used acanthus tendrils , flowers, angel figures, shell work and other things. In the side aisles there are only simple frame stucco ceilings.
The vaulted areas show paintings from the 19th century (1886/87, Adolf Riedhammer). One recognizes, for example, the Annunciation , the Visitation of Mary , the Adoration of the Shepherds or the twelve-year-old Jesus in the temple . In 1934/35 some pictures were removed and partly repainted by Hans Bayerlein.
The Gothic ambulatory remained almost completely untouched by the redesign. The rib vaults of the high choir are also exposed between the stucco work, so they have not been knocked out. The figural keystones are also preserved. This shows a remarkable consideration for the medieval substance, which was observed more frequently in the baroque period , the quality and artistic value of which was obviously recognized. Even the window tracery could be included in the decoration concept.
The cross vault of ambulatory go without capitals in the services on. The medieval image is only spoiled by the baroque altars in the chapels. The keystones show coats of arms , such as that of Prince-Bishop Friedrich III. von Aufseß or the shields of canons from the nobility of the area ( Fuchs von Rügheim , Lichtenstein, Müntzer von Babenberg, spoon wood and others). A donor kneels in front of Saints Heinrich and Kunigunde in the sixth southern colonnade. The chapels are also spanned by cross vaults with keystones (Christ's head, Madonna, Antonite coat of arms and others)
There are figurative consoles on three pillars . A stonemason carries the console on the sixth southern pillar. Possibly this is the portrait of the foreman of the construction phase.
Guided tour of the church
Central nave
The center aisle is accompanied on the left and right by the row of apostles with Jesus Christ as Salvator opposite the pulpit. These figures, made around 1480, were given a polychrome version by the painter Ulrich Widmann . The installation of these figures, however, can only have gone hand in hand with the baroqueization of this church; the original sites were certainly the consoles in the ambulatory. The central nave was originally the same height as the choir. When it was baroque, it was given a false ceiling, about two meters below the original height; the two side aisles were each suspended by one meter.
St. Martin's Church in Amberg has a similar architecture with ambulatory .
The mighty high altar in the choir head, a foundation of Prince-Bishop Lothar Franz von Schönborn in 1711, goes back to a tear by the Carmelite brother Leopoldus. It is possible that he used the high altar of the Jesuit Church of St. Martin as a model. The execution was in the hands of the court carpenter Andreas Bauer; Johann Sebastian Degler was involved in the figurative decoration . The marbling was done by Martin Walther , the gilding by Johann Joseph Scheubel I (1655–1721). The collaboration of the sculptors Johann Georg Stöhr and the Götz brothers cannot be ruled out. The altar was consecrated in 1714. Six pillars made of marbled wood support the structure of this "silent sermon of the baroque era" (B. Pfändtner). God the Father is enthroned in the excerpt (upper part), above one recognizes the dove as a symbol of the Holy Spirit , below it on the arms of Mary Jesus; thus the altar also represents the joyous trinity .
The walnut portrait of Mary with child , which is in the center of the high altar and was only referred to as a miraculous image in 1701, is a work from a school in Cologne around 1250. It was first mentioned in the upper parish in 1443/45. The statue was originally placed on the right side altar on the choir arch, then in 1701 as Maria on the stick in the middle of the church. In 1703 the canon Johann Philipp von Franckenstein donated an altar directly on the choir arch with the Virgin Mary under a canopy. This location obscured the believers' view of the high altar, the Veit-Stoss-Altar , which is now in the cathedral . So the idea grew to integrate the statue into the high altar during the Baroque era.
The pulpit, probably from the early 17th century, was rebuilt in 1711/1713 by Johann Jakob Bader , received ornamental carvings from Johann Sebastian Degler and was redesigned by Philipp Stahl . The on the sounding board of the pulpit standing Mother of God in the glory is related to an engraving of Albrecht Dürer and assigned to the 17th century.
There is evidence of an organ as early as 1488. The organ front on the west gallery was created in the years 1758/1760 under the senior pastor Groß von Trockau , whose coat of arms is placed in the center of the organ. At that time, the organ builder Johann Christian Köhler from Frankfurt created a new organ for the church, for which the sculptor Johann Valentin Schott made the accompanying case. In 1769, during the Rococo period , it was completed by the organ builder Johann Michael Schott . After war damage in 1945 and severe damage as a result of the collapse of a walled-up window in 1947, the organ front was restored by 1951. A new construction of the organ with enlargement of the work by pipes from the organ of the cathedral in Passau was built in 1994 and in the following years by the company Wolfgang Eisenbarth . The trombone angels attached to the side of the organ prospectus come from the previous organ from 1712 and are attributed to Johann Sebastian Degler .
Left aisle
The left aisle is extended to the west by the Rabenstein Chapel, today the memorial chapel for the fallen of both world wars. It contains a calvary probably from the early 17th century. The heavily damaged work of an important carver was restored in 1960 by Georg Bauer, put together and placed in the Warrior Memorial Chapel. The grave of Christ is installed in front of the Calvary on Good Friday for worship.
The first altar, the cross altar, resembles the St. Anna altar opposite. Both altars are donated by chaplain Johann Herding, who died in 1696 . The crucifix that is now in the altar niche instead of an altar leaf comes from the sculptor Philipp Dorsch . The figures of St. John the Baptist, Andrew and others accompanying the altar are by Johann Sebastian Degler (1670–1730).
The second altar, the guardian angel altar, resembles the St. Nicholas altar opposite and was also a donation of the chaplain Johann Herding from 1696. The altar sheet for it was donated by the citizen and skipper Jakob Schultes . The figurative decoration with the Saints Zacharias and Elisabeth and others also comes from Johann Sebastian Degler . The reliquary of the virgin and martyr Fortunadae is visibly embedded in the altar for veneration.
The side altar on the choir arch pillar, the apostle altar, was made by master joiner Johann Jakob Bader in 1712 and taken by Sebastian Reinhardt . In 1716 the altar was supplemented by an essay by master carpenter Martin Walther ; the sculptor Thomas Esterbauer provided it with figurative jewelry. The altarpiece, a work by Sebastian Reinhard , shows Christ's handing over of the keys to the Apostle Peter. This altar is similar in architecture to the Maria Assumption Altar opposite.
In the north aisle there are pictures from the life of Mary, which according to tradition come from the broken-down Franciscan church of St. Anna. They were created by Sebastian Reinhard and taken over there. Above the side entrance is the painting Homecoming of the Prodigal Son , created around 1760/1770 , a work by the painter Johann Nicolaus Treu .
Ambulatory
At the entrance to the ambulatory from the left north aisle stands the figure of St. Christopher , who belongs to the sequence of the apostles around 1480. The ambulatory has 13 altar niches:
In the first choir chapel with the altar of St. Kunigunda there was originally the entrance to the sacristy, which was demolished in 1838. The altar comes from another niche in this ambulatory. The master carpenter Martin Walther created the altar structure in 1714, and Johann Joseph Scheubel II presumably gave it the setting.
In the second chapel is the Maria-Hilf altar, which was made between 1715 and 1718. The following have been handed down as artists: the carpenter Martin Walther , the sculptor Leonhard Gollwitzer and Andreas Müller for the setting of the altar. The altar sheet comes from the Lady Chapel . The excerpt shows the figure of St. Florian .
The 'third choir chapel with confessional comes from the Walther workshop and features a guardian angel figure from the 18th century.
The Johann Nepomuk altar in the fourth chapel was built after the beatification of the clergyman, who was canonized in 1729, in 1721. The carpentry work is attributed to Martin Walther , the altar sheet is dated 1727 Anton Dambacher . On the side of the altarpiece are the figures of Saint Francis Xavier and Rochus .
On the fifth choir chapel with a confessional from Walter's workshop is the statue of Saint Wendelin .
The sixth choir chapel is dominated by the wall-filling structure of the sacrament house . The building inscription dated 1392 above the sacrament niche probably refers to the laying of the foundation stone of the choir. In the base zone, the Entombment of Christ from a later period is fully sculpted. Three floors, each with three figure niches, flank the middle section, with the multi-figure scene of the Last Judgment with the enthroned Christ in the middle forming the end .
In the seventh ambulatory chapel, St. Anna is in childbed . This representation of the birth of Mary has recently been addressed as Mary in childbed. This group of figures, set in a choir chapel and provided with tracery, was probably created for this location and dates from the early 16th century.
The eighth ambulatory chapel in it the Joseph altar, a foundation of the Bauer von Heppenstein brothers , is to be regarded as a tomb for their parents who are buried in front of it. An inscription that has been lost but has survived shows 1714 as the year of construction. This altar is also a work of the carpenter Martin Walther. On the altar is the family coat of arms of the Bauer von Heppenstein / Guffer von Reinhardberg family.
In the cafeteria, a figure of St. Philomena donated around 1880 was rediscovered and made visible in 2005.
The ninth ambulatory chapel contains another confessional from Martin Walther's workshop, on which is the figure of Saint Sebastian .
The tenth ambulatory chapel houses the church's only Rococo altar, consecrated to St. Cajetan , which was built around 1750/1760. It possibly goes back to a design by Johann Jakob Michael Küchel . It was carried out by Johann Georg Reuss . It is one of the few altars without architecture. The altarpiece shows the Christmas miracle of 1517, with Our Lady laying the Christ child in the arms of the clergyman Cajetan . The altar sheet is attributed to Johann Joseph Scheubel II the elder. Side figures of the altar are the saints Johann Nepomuk and Bonifatius . The coat of arms attached to it is that of the unknown donor.
The eleventh ambulatory chapel contains another confessional from Martin Walther's workshop.
The altar dedicated to St. Sebastian is located in the twelfth ambulatory chapel . The donor of the altar, Georg Franz Boxberger, had it built because of the plague that raged in Prague, Regensburg and Vienna ; his coat of arms is placed above the altar panel. This altar is also attributed to the carpenter Martin Walther. The altar sheet , donated by Anton Schulthes, was made by Sebastian Reinhardt . The saints Catherine and Barbara are added to the altar as side figures . The coat of arms of the founder Boxberger can be seen on the final entablature.
The thirteenth ambulatory chapel contained the altar with the names of those who died in the First World War from the parish until around 1975. The relief Lamentation of Christ around 1500 comes from this altar. The octagonal baptismal font moved from the choir took the place of the altar . The cup is covered with wooden reliefs around 1520 and shows the seven sacraments as well as the baptism of Christ in the Jordan by John the Baptist
Above the baptismal font hangs a group of crosses from 1680 by Joseph Heussler , which was formerly placed above the sacrament house.
At the exit of the ambulatory in the left south aisle stands the figure of St. George slaying the dragon from around 1700, a work by Johann Sebastian Degler , although an attribution to Leonhard Gollwitzer is also possible.
There are a number of votive images in various chapels. The series of pictures by Anton II. Dambacher from 1759 is a foundation of the widow Franziska Maria Theresia Böttinger née Heilig, Johann Ignatz Tobias Böttinger and their daughter Maria Apollonia Böttinger. It shows the history of the church and song verses as signatures.
Right aisle
The Assumption of Mary altar on the southern choir pillar on the epistle side corresponds to the opposite in architecture. It was created in 1712 by the master joiner Johann Jakob Bader and received the crowning degree from the joiner Martin Walther and the sculptor Thomas Esterbauer in 1717, which was taken by Andreas Müller. The accompanying altar figures are Saints Joachim and Anna.
Above the dorsal stalls is a man of Sorrows from the last third of the 14th century, who probably came from the church of the St. Klara monastery and came to the upper parish via the cemetery on Upper Stephansberg in 1874.
The first altar in the south aisle on the outer wall is the Nikolaus altar with the altar panel of the Entombment of Christ. This altar corresponds to the guardian angel altar opposite and is in turn a foundation of the chaplain Johann Herding . The original, now lost altarpiece of St. Nicholas showed Johann Herding as this saint. Today's altarpiece is on loan from the cathedral. This picture is attributed to a painter from the circle or the follower of Michelangelo Merisi, called Caravaggio . The accompanying figures of Saints Heinrich and Kunigunda and the other figurative decorations are probably made by Johann Sebastian Degler .
The second altar in the south aisle, the St. Anne's altar , is of the same type as the cross altar opposite. This as well as the other side altars are a donation of the chaplain Johann Herding, who died in 1696 . The age was originally provided with an altar painting. After the Franciscan Church of St. Anna was dissolved, the statue of Anna teaching Marie was placed in the altar niche. This depiction around 1700 is attributed to the workshop of Johann Sebastian Degler (1670–1730). The accompanying figures, the Saints Barbara and Katharina, are in turn attributed to Johann Sebastian Degler.
On the outer wall of the south aisle above the side entrance is the martyrdom of St. Theodore , which was probably brought to this church after the dissolution of the Carmelite monastery. This work is dated around 1700 and is attributed to Sebastian Reinhard .
The two wooden reliefs of the Assumption of the Virgin Mary and the Coronation of the Virgin were recognized according to the latest knowledge as originally for the upper parish and assigned to the altar on the epistle side of the choir arch. The relief of the Assumption of Mary can definitely be ascribed to the sculptor Hans Nussbaum ; the date is set between 1505 and 1510. The art historian dates the relief of the Coronation of the Virgin to around 1490. It is close to the altar Farewell of the Apostles in the cathedral's nail chapel.
The picture of the Assumption of Mary hanging on the west side, the narrow side of the south aisle, was the altarpiece of the large Marian altar there until the cathedral was purified. In 1937 it was loaned to the Upper Parish for the Veit-Stoss- Altar that had been given to the cathedral and stood there. The painting from the mid-16th century can be traced for the first time in 1638 in Bamberg Cathedral and is a work by Jacobo Robusti , known as Tintoretto.
organ
In 1995 a new organ by Orgelbau Eisenbarth was built in the church behind the historic prospectus by Valentin Scholl (1769). The 60 registers , many of which come from the predecessor organ by GF Steinmeyer & Co. , are distributed over four manuals and pedal . The Spieltrakturen are mechanically, the Registertrakturen electrically. The disposition is as follows:
|
|
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
- Coupling : all normal coupling, sub- and super-octave coupling
- Playing aids : 384 electronic typesetting combinations, expandable to 768 using a key switch, crecendo roller, 2-fold programmable
Funerary monuments
The grave monuments in the order following the publication cited below:
- North side
- Franz Joseph Honert (1794–1797) and Josef Christian Strüpf (1793–1797)
- Engelbert Schwarz, Hofkammerrat
- Bartholomäus Heller (1725–1785) and his wife Maria Barbara Heller, b. Scratches (1730–1796)
- A grave monument without an inscription plate
- Johann Jäck, master butcher, "farmer"
- Heinrich von Schaumberg, called Knoch († 1501)
- Court watchmaker Leopold Hoys
- Tomb with no longer legible inscription plate
- Kunigunda Staub, master red tanner (1735–1796)
- Tomb without an inscription plate
- West side
- Johanna Charlotte Franziska Sophia von Künsberg, b. Protectable, called Milchling († 1792)
- Franz Joseph Heunisch (1718–1791), court war councilor, head revenue secretary and his wife Maria Rosina Heunisch, born Küchel (1749–1792)
- Johann Adam Heller († 1779) and his wife Margaretha Heller, b. Dettelbacher († 1797)
- Maria Franziska Pass († 1789)
- Margaretha Wagner († 1582), wife of the sculptor Pankraz Wagner
- Johann Georg Leygeber , district envoy to the Franconian district
- Grave monument without inscription plate
- Maria Theresia Busch, b. Goebhardt
- South side
- Josepha Theresia Mulzer, b. von Böttinger († 1785)
- Josef Achtmark, († 1781), postal administrator. The memorial is now in the church
- Grave monument without inscription plate
- Tomb of Ignaz Christoph Lorber von Störchen (1725–1797), Privy Council
- Three monuments without an inscription
- Maria Anna Hess (1720–1790)
- Two monuments without an inscription
- Inside the church
- Tomb of Canon Johann Fuchs von Bimbach (1514–1577)
- Peter Weldisch († 1502), butcher
- Gallus Bauer von Heppenstein
- Carl Maria Toscana († 1754)
- Johann Rünagel († 1716)
- Augustin Andreas Schellenberger (memorial plaque)
- Anonymous (coats of arms are not sufficiently identified)
- Eva Charlotte Truchseß von Wetzhausen († 1706)
- Schnappauf siblings
- Maria Franziska von Wernau (1709)
- Maria Barbara von Leoprechting and Maria Josepha von Leoprechting
- Maria Magdalena Schenk von Stauffenberg, b. from Riedheim
- Johann Fröhlich, barber
- Erhard Scheffner, goldsmith
- Message board
- from Redtwitz, from Gebsattel
- Willibald Rebel (1727), baker on Judenstrasse, Haus zur drum
- Michael Karl, rank skipper
- Johann Walther, Chamber Councilor
- Johann Werner Schnatz († 1688), court messenger master
- Johann Kaspar Neydecker (1652–1708), Büttner's son, canon
Appreciation
In his travel guide about Bamberg and the surrounding area from the early 20th century, the author Dietrich Amende writes:
- “The most beautiful work of the old Bamberg bourgeoisie is the Upper Parish of Our Lady. Simple and serious, it rises in the noble forms of high Gothic. The strict yet lively structure of the choir, the pithy structure of the tower express the monumental sense of the ancients, the graceful bridal door with the clever and foolish virgins express their intimate feelings, the cozy staircase on the south side of the choir with the 'drinker' their sunny humor out."
quoted from Dr. Dietrich Amende: Bamberg and Franconia . Bamberg, undated (around 1912)
literature
- Georg Dehio: Handbook of the German art monuments: Bavaria I: Franconia. 2nd Edition. Munich, Berlin 1999, ISBN 3-422-03051-4 , pp. 138-142.
- Heinrich Mayer: The upper parish church in Bamberg. Bamberg Hefts for Art and History, 10/11. Bamberg 1929.
- Michael Petzet, Tilman Breuer (Hrsg.): The art monuments of Upper Franconia, 6. City of Bamberg, 4. Bourgeois mining town, half volume 1. The art monuments of Bavaria. Bamberg 1997, ISBN 3-87052-562-2 .
- Anna E Stein: The Upper Parish of Bamberg. 1995, ISBN 3-87052-281-X .
- Bruno Neundorfer, Walter Milutzki: Bamberg, Upper Parish Catholic Parish Church Our Lady. 2nd Edition. Schnell Art Guide No. 354. Schnell & Steiner, Regensburg 2002, ISBN 3-7954-4246-X .
- Norbert Haas: Grave monuments in and at the church of Our Lady Parish in Bamberg.
Web links
- Our Lady Bamberg
- Kaulberg / Upper Parish
- Alexander Racz, Kunstnürnberg: Assumption of Mary by Jacopo Tintoretto, 2014
Individual evidence
- ^ BR Upper Franconia: Bamberg Upper Parish redeveloped ( memento from April 19, 2015 in the Internet Archive ), accessed on August 6, 2015.
- ↑ organ information from the organ in Bamberg, Upper Parish , accessed on August 6, 2015.
Coordinates: 49 ° 53 ′ 22 " N , 10 ° 53 ′ 4" E